2018.19 CONCERT PROGRAM
GRANT US
Peace
SUNDAY, MAY 19, 4:00 PM WASHINGTON NATIONAL CATHEDRAL
Greetings, Thank you so much for joining us for the final concert of our 2018.19 season. Both works on today’s program are powerful expressions of faith in humanity. Vaughan Williams’ moving entreaty for peace in post-WWI Europe was inspired by the personal horrors he experienced fighting in the war. He sets three Civil War-era poems by Walt Whitman, the great American poet whose 200th birthday we celebrate this May. Vaughan Williams combines Whitman’s poetry with part of a speech by British Member of Parliament John Bright in response to the Crimean War, and then with poignant biblical texts concerning war and peace. Dona Nobis Pacem bookends with our opening program this season, when we gave the world premiere of Kastalsky’s Commemoration for Fallen Brothers, which was also written as the composer’s deeply personal response to the First World War. Poulenc’s music expresses the joy, wonder, solemnity and supplicant nature of the text of the Gloria. In both works heard this evening, the music so vividly encapsulates the meaning of these varied texts; but both composers approach the text differently: with their beloved, distinctive voices, their respective native languages, and their personalities shining through. In our High School Choir Festival this past January, I was reminded of how formative musical experiences can be for young people. Today’s program is one that I had the chance to sing as a high school student. I have always wanted to conduct these two works together ever since, and I am excited to see it happen here today as part of my first season with Cathedral Choral Society.
Sincerely,
Steven Fox Music Director
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GRANT US
Peace
SUNDAY, MAY 19, 4:00 PM
WASHINGTON NATIONAL CATHEDRAL
Lauren Snouffer, soprano Jesse Blumberg, baritone Cathedral Choral Society & orchestra Steven Fox, conductor
Gloria I. II. III. IV. V. VI.
Francis Poulenc (1899 - 1963)
Gloria Laudamus te Domine Deus Domine fili unigenite Dominus Deus, Agnus Dei Qui sedes ad dexteram Patris
INTERMISSION Dona Nobis Pacem Ralph Vaughan Williams (1872 - 1958) I. II. III. IV. V. VI.
Lento Allegro moderato Reconciliation Dirge for Two Veterans L’istesso tempo Poco animato
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PROGRAM FRANCIS POULENC: GLORIA (1959-60) Francis Poulenc (1899-1963) was a member of Les Six, a group of French composers that also included Auric, Durey, Honegger, Milhaud, and Tailleferre. Les Six began to give concerts together in 1917 and were given their sobriquet by Henri Collet in 1920. Formed under the watchful Erik Satie and later promoted by the artist-designer-activist Jean Cocteau, the group adopted a distinct Francophile-centric outlook, incorporated popular music, jazz, and new technologies, and focused on direct and brief works. They supported a strong anti-German agenda and openly railed against the excessiveness of not only Wagner, but also Debussy, Strauss, Stravinsky, and Schoenberg. Born into a wealthy family, Poulenc’s father oversaw the family pharmaceutical business (eventually industry giant Rhône-Poulenc), and his mother was from a family of artist-craftsmen. He began piano lessons with his mother at the age of five, but despite clear talents, Poulenc followed his father’s demand to complete a classical education at the Lycée Condorcet. World War I and the early passing of both his parents derailed his plans for conservatory studies. From 1914 to 1917 Poulenc took lessons with the celebrated pianist Ricardo Viñes, who introduced him to Auric, Satie and Falla. While Viñes served as a mentor, his influence on Poulenc’s compositional work was limited; Poulenc is generally recognized as a self-taught composer. Poulenc’s ranging style oscillates between humorous and satirical to an eclectic individual voice. His lack of formal training did not result in a raw dilettante approach, but rather a style that gracefully hides his meticulous craftsmanship. The distinctive and mature style heard in Poulenc’s late works relies heavily on strong musical contrasts: harmonies move between overt dissonance and lush sensuous chords; vigorous counterpoint unfolds in angular phrases that alternate with songful writing; and dynamics frequently dash from profound piano to an overbearing forte within a few beats. This confluence of contrasts is compounded by Poulenc’s expressive timbral palette and is only matched by his melodicism. Melody is at the heart of Poulenc’s voice, and he is cited as the successor to the French lyricism of Gabriel Fauré. Though his father came from a devout Catholic background, Poulenc abandoned his faith after childhood. In August 1936, while vacationing in southwestern France, Poulenc learnt that his friend, composer, and critic Pierre-Octave Ferroud, had been killed violently in an automobile accident. Shaken by the news, Poulenc journeyed to the nearby Notre Dame de Rocamadour, an important pilgrimage site that maintained a revered fourth-century Madonna sculpted in black wood. The visit had a profound and long-lasting effect on Poulenc. That very night, Poulenc began his first religious work, the Litanies à la Vierge noire (Litanies of the Black Madonna), a work for three-part women’s choir and organ. Despite composing many outstanding sacred works over the next twenty-five years, Poulenc constantly grappled with his understanding of faith. Despite this struggle, Poulenc self-recognized that his sacred works, including the Messe en sol majeur (1937), Quartre motets pour un temps de penitence (1938-9), Stabat mater (1950-1), Quatre motets pour le temps de Noël (1952), Gloria (1959-60), and Sept répons des ténèbres (1962), were perhaps his greatest accomplishments.
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PROGRAM Poulenc’s Gloria, was commissioned by the Koussevitzky Foundation and the first performance was given on January 20, 1961 by the Boston Symphony Orchestra under Charles Munch. In the Gloria, Poulenc’s faith is expressed with great exuberance and joy, conjoined by a sinew of prayerful calm and mysticism, and ending in pure tranquility. Some critics considered parts of the setting sacrilegious, to which Poulenc casually replied, “While writing it I had in mind those Crozzoli frescoes with angels sticking out their tongues, and also some solemn-looking Benedictine monks that I saw playing football one day.” Divided into six short movements, the work opens with a brief fanfare from the strings and brass in a style suggestive of Stravinsky. The chorus presents a second fanfare in double-dotted rhythms that becomes the movement’s prevailing motive. The overly witty and utterly joyous figures, unprepared modulations, and buoyant brass of the “Laudamus te” might be viewed as indicative of Poulenc’s irreverence, but this is dispelled by the sublime unaccompanied lower-register rendering by the choral sopranos of “gratias agimus tibi” and the subsequent lush coloration in the strings. This ushers forth a return of the more joyous materials; the proceeding interlude, however, give new context to the return as Poulenc’s mercurial voice reassures his devotion to the seriousness of the task. The “Domine Deus”, evokes God’s three designations as ruler, heavenly being, and almighty Father. The solo soprano is heard for the first time in one of the more lyric moments of the work. The brief “Domini Fili Unigenite” is the shortest movement and renews Poulenc’s lighthearted approach. The soprano soloist returns for the transcendent “Dominus Deus, Agnus Dei”, wherein the soloist and chorus gently exchange lyrical phrases. In the final movement, a brief majestic figure is juxtaposed with an animated setting of “Qui sedes ad dexteram Patris”. This gives way to the peaceful serenity that dominates the work’s close, but it is not without a further contrast on “Amen”. —Daniel Abraham
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PROGRAM GLORIA
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Gloria in excelsis Deo. Et in terra pax hominibus bonae voluntatis.
Glory to God in the highest. And on earth peace to men of good will.
LAUDAMUS TE Laudamus te, benedicimus te, adoramus te, glorificamus te. Gratis agimus tibi propter magnam gloriam tuam.
We praise Thee, we bless Thee, We worship Thee, we glorify Thee, We give Thee thanks for Thy great glory.
DOMINE DEUS Domine Deus, Rex coelestis! Deus, Pater omnipotens!
Lord God! heavenly King! God, the father Almighty!
DOMINE, FILI UNIGENITE Domine, Fili unigenite, Jesu Christe!
Lord Jesus Christ, the only-begotten Son!
DOMINE DEUS, AGNUS DEI Domine Deus! Agnus Dei! Filius Patris! Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram.
Lord God! Lamb of God! Son of the Father, Thou, who takest away the sins of the world, have mercy upon us. Thou, who takest away the sins of the world, receive our prayer.
QUI SEDES AD DEXTERAM PATRIS Qui sedes ad dexteram Patris, miserere nobis. Quoniam tu solus sanctus, Tu solus Dominus. Tu solus altissimus, Jesu Christe! Cum Sancto Spiritu, in gloria Dei patris. Amen.
Thou who sits at the right hand of the Father, have mercy upon us. For Thou alone art holy, Thou only art the Lord, Thou only, O Christ, art most high With the Holy Ghost in the glory of God the Father. Amen.
PROGRAM RALPH VAUGHAN WILLIAMS: DONA NOBIS PACEM (1936) Like Poulenc, Ralph Vaughan Williams (1872-1958) was born into a family of means and alongside Parry, Stanford, and Grove, he ushered in a revival of distinctly English music. He received his first lessons from an aunt who taught him the piano as well as rudimentary harmony. At preparatory school, he studied violin, piano and organ. Vaughan Williams studied with Charles Hubert Parry at the Royal College of Music in London where he earned his BMus, then took a BA in History from Trinity College, Cambridge before returning to the RCM for further composition studies with Parry, Wood, and Stanford. In 1897 he studied with Bruch in Berlin and in 1908 with Ravel in Paris. It was during his formal studies that Vaughan Williams began to explore earlier English sources including English folksong and Tutor-era music. From his discoveries, he began to develop a philosophy of musical citizenship that espoused the importance of a distinctly English approach free of German influence. These beliefs were a hallmark of his share interests and life-long friendship with Holst, whom he met in 1895 at RCM. Vaughan Williams’ style brings together a unique and individual sensitivity toward the subject matter. His distillation of British folk elements and use of older compositional techniques including Renaissance forms and modal harmony, have made his music exceedingly popular. His absorption, recovery, and compositional use of England’s musical past is seen by many as kindred to the outlook of Czech composer Leoš Janáček or Hungarian Béla Bartók. Vaughan Williams’ diatonic-based or old-fashioned approach has been criticized by those who consider the expression of modernity to be rooted in atonality or expressive dissonance. Closer examination of his output, however, reveals a stylistic pluralism in which selected techniques and the applied approach is chosen carefully for the aesthetic task. While Vaughan Williams studied with Ravel, he is not an impressionist. His strong coloristic understanding, in combination with ideas from older English music and his free thinking based on a broad tonal-modal harmony, gives rise to his uniquely English voice. While his expressive range varies greatly, his overall style remained relatively stable throughout his career and is indubitably conservative when compared to techniques of his contemporaries. His thirty-nine choral-orchestral and thirty-one a cappella or keyboard-accompanied choral works, alongside his many hymns, carols, and folk song arrangements stand as a dedicated testament to the British choral tradition. Three of the major choral-orchestral compositions are settings of texts by Walt Whitman: A Sea Symphony (1903-9), Toward the Unknown Region (1904-6), and the Dona nobis pacem (1936). The Dona nobis pacem was commissioned by the Huddersfield Choral Society for its 100th anniversary. It is an anti-war plea for peace in six movements with each section proceeding without pause. It incorporates three Walt Whitman poems concerning the American Civil War—“Beat! Beat! Drums”, “Reconciliation”, and “Dirge for Two Veterans”—along with the Liberal-Quaker John Bright’s speech before the British House of Commons in 1854 during the Crimean War, Old Testament passages, and a portion of the “Agnus Dei” text, which provides the work’s title. The composition holds significant
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PROGRAM importance in the development of choral music through its combination of Latin liturgical texts with secular poetry, anticipating Benjamin Britten’s War Requiem (1961-2). The opening “Agnus Dei” begins with the solo soprano asking “Lamb of God, grant us peace” followed by a more animated call by the chorus. Drums in the distance grow closer to answer the request as an unsettling preamble to war. Their pleas are unrealized; the bugles and violence of war of Whitman’s “Beat! Beat! Drums” destroys the peaceful lives of the everyday non-combatants who struggle to survive. “Reconciliation” is a movement of profound beauty, featuring a baritone soloist echoed by the chorus and concluding with the soprano again calling for peace against a request for the cleansing of world by the chorus. Drums signal the opening of “Dirge for Two Veterans”, a movement derived from a previously composed 1911 setting. It is a powerful dirge for a father and son. With hymn-like reverence, the pair is solemnly processioned to their “new-made double grave.” The mother, personified as the moon, observes the proceedings. Amid the military pomp and sadness, there is positive assurance that the dead will be honored, and the tragedies of war will be recognized. As the drums rumble off, a solo baritone intones Bright’s impassioned opposition to the Crimean War to which the chorus cries aloud its request for peace. The final section is a compilation of biblical texts advocating for humanity’s communal call for peace. After a soaring choral climax on “Glory to God in the highest,” the repetitions of the phrase “and on earth peace, good-will toward men” provide sanguinity. The optimism is soon shattered—just as it would be in 1936—with the soprano soloist’s final utterances of “Dona nobis pacem.” The words remind us that peace is frail and that only the collective human spirit holds the will to provide lasting tranquility. —Daniel Abraham
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PROGRAM I LENTO Agnus Dei qui tollis peccata mundi Dona nobis pacem
Lamb of God, who takes away the sins of the world Grant us peace
II ALLEGRO MODERATO Beat! beat! drums!—blow ! bugles ! blow ! Through the windows – through the doors – burst like a ruthless force, Into the solemn church, and scatter the congregation, Into the school where the scholar is studying; Leave not the bridegroom quiet—no happiness must he have now with his bride, Nor the peaceful farmer any peace, ploughing his field, or gathering in his grain, So fierce you whirr and pound you drums – so shrill you bugles blow. Beat ! beat ! drums !—blow ! bugles ! blow ! Over the traffic of cities—over the rumble of wheels in the streets; Are beds prepared for the sleepers at night in the houses? No sleepers must sleep in those beds, No bargainers’ bargains by day—would they continue? Would the talkers be talking? would the singer attempt to sing? Then rattle quicker, heavier drums—you bugles wilder blow. Beat ! beat ! drums !—blow ! bugles ! blow ! Make no parley—stop for no expostulation, Mind not the timid—mind not the weeper or prayer, Mind not the old man beseeching the young man, Let not the child’s voice be heard, nor the mother’s entreaties, Make even the trestles to shake the dead where they lie awaiting the hearses, So strong you thump O terrible drums—so loud you bugles blow.
—Walt Whitman III RECONCILIATION Word over all, beautiful as the sky, Beautiful that war and all its deeds of carnage must in time be utterly lost, That the hands of the sisters Death and Night incessantly, softly, wash again and ever again this soiled world; For my enemy is dead, a man divine as myself is dead, I look where he lies white-faced and still in the coffin – I draw near, Bend down and touch lightly with my lips the white face in the coffin.
—Walt Whitman
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PROGRAM IV DIRGE FOR TWO VETERANS
The last sunbeam Lightly falls from the finished Sabbath, On the pavement here, and there beyond it is looking Down a new-made double grave.
Lo, the moon ascending, Up from the east the silvery round moon, Beautiful over the house-tops, ghastly, phantom moon, Immense and silent moon. I see a sad procession, And I hear the sound of coming full-keyed bugles, All the channels of the city streets they’re flooding As with voices and with tears. I hear the great drums pounding, And the small drums steady whirring, And every blow of the great convulsive drums Strikes me through and through. For the son is brought with the father, In the foremost ranks of the fierce assault they fell, Two veterans, son and father, dropped together, And the double grave awaits them. Now nearer blow the bugles, And the drums strike more convulsive, And the daylight o’er the pavement quite has faded, And the strong dead-march enwraps me. In the eastern sky-up buoying, The sorrowful vast phantom moves illumined, ‘Tis some mother’s large transparent face, In heaven brighter growing. O strong dead-march you please me! O moon immense with your silvery face you soothe me! O my soldiers twain! O my veterans passing to burial! What I have I also give you. The moon gives you light, And the bugles and the drums give you music, And my heart, O my soldiers, my veterans, My heart gives you love. —Walt Whitman
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PROGRAM V L’ISTESSO TEMPO The Angel of Death has been abroad throughout the land; you may almost hear the beating of his wings. There is no one as of old….. to sprinkle with blood the lintel and the two side-posts of our doors, that he may spare and pass on.
—John Bright
Dona nobis pacem.
Grant us peace.
We looked for peace, but no good came; and for a time of health, and behold trouble! The snorting of his horses was heard from Dan; the whole land trembled at the sound of the neighing of his strong ones; for they are come, and have devoured the land . . . . . and those that dwell therein . . . . . The harvest is past, the summer is ended, and we are not saved . . . . Is there no balm in Gilead?; is there no physician there? Why then is not the health of the daughter of my people recovered? — Jeremiah VIII. 15-22
VI POCO ANIMATO ‘O man greatly beloved, fear not, peace be unto thee, be strong, yea, be strong.’ — Daniel X. 19 ‘The glory of this latter house shall be greater than of the former . . . . . and in this place will I give peace.’ —Haggai II. 9 ‘Nation shall not lift up a sword against nation, neither shall they learn war any more. And none shall make them afraid, neither the sword go through their land. Mercy and truth are met together; righteousness and peace have kissed each other. Truth shall spring out of the earth, and righteousness shall look down from heaven. Open to me the gates of righteousness, I will go into them. Let all the nations be gathered together, and let the people be assembled; and let them hear, and say, it is the truth. And it shall come, that I will gather all nations and tongues. And they shall come and see my glory. And I will set a sign among them, and they shall declare my glory among the nations. For as the new heavens and the new earth, which I will make, shall remain before me, so shall your seed and your name remain for ever.’ Glory to God in the highest, and on earth peace, good-will toward men. (Adapted from Micah iv. 3, Leviticus xxvi. 6, Psalms lxxxv. 10, and cxviii. 19, Isaiah xliii. 9, and lxvi. 1822, and Luke ii. 14)
Dona nobis pacem.
Grant us peace.
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BIOGRAPHIES Steven Fox is the Cathedral Choral Society’s Music Director, appointed in 2018. He is also the Artistic Director of The Clarion Choir and The Clarion Orchestra, in New York City. He founded Musica Antiqua St. Petersburg as Russia’s first periodinstrument orchestra at the age of 21, and from 2008 to 2013 he was an Associate Conductor at New York City Opera. He has also served as Assistant Conductor for the Metropolitan Opera Lindemann Young Artists Program and for Juilliard Opera. He has appeared as a guest conductor with many renowned ensembles such as Philharmonia Baroque Orchestra in San Francisco, Handel and Haydn Society in Boston, Juilliard415 at Lincoln Center, the Charleston Symphony Orchestra, the Quebec Symphony Orchestra, l’Opéra de Québec, Music of the Baroque in Chicago, and the Tucson Symphony Orchestra.
Soprano Lauren Snouffer is celebrated as one of the most versatile and respected sopranos on the international stage. She is recognized for her unique artistic curiosity in world-class performances spanning the music of Claudio Monteverdi and Johann Adolph Hasse through to György Ligeti and George Benjamin. Lauren has performed with the Houston Grand Opera, Lyric Opera of Chicago, Seattle Opera, Lyric Opera of Kansas City, Des Moines Metro Opera, and the Opéra Royal de Versailles. As a concert artist, Lauren Snouffer has collaborated with the Cleveland Orchestra, Rotterdam Philharmonic, Indianapolis Symphony Orchestra, Baltimore Symphony Orchestra, San Francisco Symphony, Handel & Haydn Society of Boston, and Orquestra Sinfônica do Estado de São Paulo.
His performances have also taken him to some of the most prestigious halls internationally, such as the Grand Philharmonic Hall and Hermitage Theater in St. Petersburg, Russia, Rachmaninoff Hall in Moscow, the Duke’s Hall of London, and the Vatican. He has been called “an esteemed director” by The New Yorker and “visionary” by BBC Music Magazine. Of a recent Clarion performance, The New York Times praised his “deft guidance” and wrote: “an inspired interpretation. Fox revealed the drama of the score with vivid dynamic shadings. Intonation and pacing were exemplary throughout the performance.” In 2017, Steven and The Clarion Orchestra mounted the organization’s first fully-staged opera production, Mozart’s Magic Flute. The production, staged by renowned Canadian director Alain Gauthier, was called “a deft reach across two centuries” by The New York Times and “a delight, on all fronts” by Opera magazine (UK).
Most recently, Lauren created principal soprano roles in the world premieres of Houston Grand Opera’s The House Without A Christmas Tree, and in Andrew Norman’s A Trip to the Moon presented by the Los Angeles Philharmonic. Other recent highlights include roles with Teatro Municipal de Santiago and Opera Philadelphia, and performances with the Malaysian Philharmonic Orchestra and Moscow Chamber Orchestra.
Steven was named an Associate of the Royal Academy of Music, London, in 2010 “for significant contributions to his field in music,” and received a GRAMMY nomination with The Clarion Choir in 2016 and 2018. In May 2018, Steven conducted The Clarion Choir in a performance with Madonna at the Met Gala, which included the world premiere of “A Beautiful Game.” He has given master classes and clinics at Dartmouth College, The Juilliard School, and Yale University, where he served for two years as preparatory conductor of the Yale Schola Cantorum.
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Baritone Jesse Blumberg enjoys a busy schedule of opera, concerts, and recitals, performing repertoire from the Renaissance and Baroque to the 20th and 21st centuries. His performances have included the world premiere of The Grapes of Wrath at Minnesota Opera, Bernstein’s MASS at London’s Royal Festival Hall, various productions with Boston Early Music Festival, and featured roles with Atlanta Opera, Pittsburgh Opera, Opera Atelier, and Boston Lyric Opera. Jesse has made concert appearances with American Bach Soloists, Boston Baroque, Apollo’s Fire, Oratorio Society of New York, Montréal Baroque Festival, Arion Baroque, Early Music Vancouver, Pacific Music Works, and on Lincoln Center’s American Songbook series, and has performed recitals with the New York Festival of Song, Marilyn Horne Foundation, and Mirror Visions Ensemble.
BIOGRAPHIES Jesse is featured on a dozen commercial recordings, including the 2015 Grammy-winning Charpentier Chamber Operas with Boston Early Music Festival. His recent releases include Winterreise with pianist Martin Katz, Rosenmüller cantatas with ACRONYM, and St. John Passion with Apollo’s Fire. Jesse is also the founder and artistic director of Five Boroughs Music Festival in New York City. Pianist and Assistant Conductor Joy Schreier is praised by Plácido Domingo as an “orchestra at the piano” and The Washington Post as a “responsive accompanist” and “ideal support” at the piano. She has been presented in recital at Carnegie Hall, Lincoln Center, Merkin Hall, the White House, 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, Italy, Korea, Poland, Russia, Taiwan, Anderson House, 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. Concert engagements include a sold-out Carnegie Hall debut at Weill Recital Hall with soprano Danielle Talamantes and a recital series with mezzo-soprano Isabel Leonard for the Marilyn Horne Foundation. An avid chamber musician, since 2010 Schreier has been official pianist of the Washington International String & Voice Competitions at the Kennedy Center. She served as official pianist for the Metropolitan Opera National Council Auditions, Assistant Conductor at the Washington National Opera and coach for the Domingo-Cafritz Young Artist Program, as well as Keyboard Artist of the Washington Bach Consort. 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.
The Cathedral Choral Society is the resident symphonic chorus of Washington National Cathedral. Founded in 1941 by Paul Callaway, the 120-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. Beginning in the 2018.19 season, Steven Fox is the organization’s third Music Director. 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 Jessica Barness** Joanne Casey Laura Cooman Tari Cooper* Marcia D’Arcangelo Lesley Earl Kaylee Folsom Melissa Fox Ariana Frascatore Renee Gamache Marian Gamboa Hope Hukkeri Elizabeth Hutcheson Elizabeth Konneker Chana Kuhns Lori Kurtyka Wendy Lubarsky Chris Markus Marianna J. Martindale
TENOR Scott Alman Douglas K. Barry Steven Blondo Ross Bradford* Gregg Breen David Costanza David Dietly Kellen Edmondson Brett Ewer Jeremy Gosbee John W. Harbeson Joshua Hermias Mike Kelleher Richard Larkin
Emily McCullough Susan McDaid Jenny Nathans Fotina Naumenko Catherine Ort-Mabry Kimberly Pacala Felicia Pagden Frances H. Pratt* Kyra Reumann-Moore Melissa Ryan Cynthia Shen Helen L. St. John Megan Sullivan** Evelyn Tsen Dianne Vandivier Jelena Vranic Elizabeth Owens Wakefield Celeste Wanner
Peter Lee James M. E. Mixter, Jr.** John E. Moyer Thomas Mugavero Christine H. Mulligan* Jacob Perry Jr. Rob Porter Robert Reeves Martin S. Rosenthal** John Schaettler Martyn Smith Matt Taylor D.C. Washington
ALTO Salma Al-Shami Dr. Violet Baker Hannah Baslee Robin Bier George Branyan Kathleen Brion Laurene Church Laura Connors Robin Costanza Kayli Davis Catie DeLiso Kehan DeSousa Cindy Drakeman Holly Filipiak Susan Grad** Mary Grace Grieco Kim Harris Pam Hazen**
BASS Ernest Abbott Daniel Banko-Ferran Joshua Blume Christopher L. Buechler* Nathaniel Buttram Kelly Cameron Jack Campbell Casey Cook David Dalton David D’Auria John Doyon Glenn S. Griffiths** Giles Howson Lee Larson Justin Wayne Lewis Andrew Madar Michael McCarthy
Mary Hiebert-White Sarah B. Holmes Kyla Kitamura Beth L. Law Sheila McJilton Julie Meadows Laura Miller* Mary Olch Jennifer Griffiths Orudjev Sarah Petroni Sarah Phillips Teresa Polinske Eleanor Slota Susan Stanford Patricia Stephenson Cecelia Tamburro Kathleen M. Welling*
Scott McCorkindale Armand R. Peterson Richard Rattan Raymond Rhinehart Christopher G. Riggs Stephen Roberts Gary Roebuck James Schaller David Shilton Arthur Smith L. Bradley Stanford* Richard Wanerman** Nicholas Wathen Gregory Watson Emerson Wells Clifton West III Ellis Wisner
* Section Coordinators ** Alternates
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ORCHESTRA VIOLIN I Laura Miller Concertmaster Jennifer Rickard Sonya Hayes Amelia Giles Annie Loud Mia Lee Erika Sato Sara Matayoshi VIOLIN II Karin Kelleher* Lisa Cridge Milena Aradski Anna Kong Nathan Wisniewski Pam Lassell
FLUTE Karen Johnson* Elli McGinness Sarah McIver PICCOLO Elli McGinness OBOE Rick Basehore* Alicia Maloney ENGLISH HORN Mary Riddell CLARINET Suzanne Gekker* Jeremy Eig
TRUMPET Chris Gekker* Doug Wilson Gil Hoffer Susan Rider TROMBONE Bryan Bourne* Jeff Knutson BASS TROMBONE Craig Arnold TUBA Jess Lightner PERCUSSION Greg Herron
VIOLA Mary Dausch* Michael Polonchak Timothy MacDuff Caitlin Wick Derek Goad
BASS CLARINET Jeremy Eig
TYMPANI Joseph McIntyre*
BASSOON Benjamin Greanya* Sean Gordon
HARP Melissa Dvorak*
CELLO Susanna Mendlow* Marion Baker Drew Owen Andrew Rammon
CONTRABASSOON Jeff Ward
BASS Jessica Powell Eig* Matthew Nix Morgan Daly
HORN Gregory Miller* Mark Wakefield Eric Moore Brad Tatum
ORGAN Nicholas Quardokus *Principal
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THANK YOU The Cathedral Choral Society is pleased to acknowledge the following contributors to our Annual Fund Campaign between January 15, 2018 – April 15, 2019. Gifts in Memory or Honor of another person are listed on page 19. Thank you. Your ongoing and generous contributions support our vision to engage people in the extraordinary power of choral music. SUSTAINING PATRONS $10,000+ Anonymous Ernest*^ and Catherine Abbott Thomas P. Gallagher
The Estate of Ms. Marjorie Schrader The Estate of M. Elizabeth and Charles Tidball
GUARANTOR PATRONS $5,000+ Diana Dykstra Patricia D. Hevner^ Sarah B. Holmes*^ and John B. Morris Jr. Celeste Avril Letourneau Lolly and Jim* Mixter
Thomas C. Mugavero*^ Mary B. Olch* Catherine E. Ort-Mabry* and Brian K. Mabry Margarita Ossorio-Goldman^ and Daniel Goldman
Gerald W. and Alice Padwe Frances H. Pratt* Stephen S. Roberts* Martin Rosenthal*^ and Corinne Axelrod Gene^ and Sheryl Tunison
CHORUS SECTION PATRONS $2,500+ Charles Leonard Egan Virginia C. Mars^ Arthur L.† and Connie† Eggers Susan McDaid* Jeremy Gosbee*^ John E. Moyer* and Jane R. Passman Richard* and Cecilia Larkin
Raymond Rhinehart* and Walter Smalling, Jr. L. Bradley*^ and Susan*^ Stanford
UNSUNG HEROES $1,000+ Betty J. Beard Jeanne Buster Laura M. Connors* Blanche L. Curfman Edison and Sally Dick Nancy M. Folger Genevieve and Sean Twomey
Mary-T^ and Spencer Gordon Susan Grad* Paul Juergensen II Samuel and Tsai-Hong Miller Kimberly* and Mark Pacala Robert* and Lissa Reeves Eric P. Andersen* and W. David Young II
James* and Madeleine Schaller T. Michael and Linda Shortal Guy and Margaret^ Steuart Kevin and Andrea Wade Nancy H. Wiecking Margot T. Young
PATRONS $500+ Violet Baker* Jessica Barness* Alice M. Denney Lynn B. Dutton Holly*^ and Trevor Filipiak Cary C. Fuller Embry Howell Robert W. Jerome and William J. Courville
C. F. Muckenfuss III and Angela Lancaster Peter* and Lauralyn Lee Christina M. Markus* Dale and Anthony Pappas Harold I. and Frances G. Pratt Lynn Rhomberg Linda and Richard Roeckelein Suzanne H. Rooney
John F. Schaettler* David* and Mary Shilton Elizabeth Steuart-Kret Leslie C. Taylor Elinor and James Vaughter Thomas and Linda Veblen Douglas H. and Catherine T. Wheeler
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THANK YOU SPONSORS $250+ Catherine H. Beauchamp David and Jane Berteau Kathleen Brion* Timothy W. and Patricia R. Carrico Joanne Casey* James W. Clay* Brett Ewer* Glenn S.* and Judith M. Griffiths Earl and Phyllis Hannum Anne R. Harris
Paul and Ellen Hoff The Keating Foundation Michael Kelly Wendy Palmby Lubarsky* Rosemary D. Lyon Tom Manteuffel and Margaret Sheeran Ann F. McCormick-McQuillan Barbara and John McGraw Bob Kline and Elaine Mills
Scott and Nancy Pinckney Jacqueline K. Prince Jim and Linda Sheridan Sinclair Winton James D. Toews C. Thomas Van Alen Richard and Virginia Wagner Elizabeth Owens Wakefield* Kathleen M. Welling* Ellis Wisner*
DONORS $100+ Anonymous (2) Marina Alman Mary Amorosino Margaret M. Ayres and Stephen Case D. Philip Baker Jane C. Bergner Gordon L. Biscomb Andrew and Kaye Boesel Herman Bostick Gregg M. Breen* Madeleine M. Brown Christopher L. Buechler* Michael F. Butler Helen Carras Marilyn Clark Frances D. Cook Roberta and Philip Cronin John Da Camara Marcia D’Arcangelo* Christine C. De Fontenay
Sharrill Dittmann Cindy Drakeman* and Richard Wanerman* Cynthia Livingstone Gibert Neil and Carolyn Goldman Hilton Lee Graham George E. Groninger Douglas Gustafson George Hanc Frederick S. Hird Oliver B. John Martha Jones Mary Ruth Keller Gary W. and Judy Kushnier Richard and Jeanne Lambert George Londeree James W. and Kathleen E. Madden Rosemary Marcuss Robert Turner Mead Martha Miller Christine* and James Mulligan
Coleman H. and Elizabeth B. O’Donoghue Suzanne M. and B. Dwight Perry Warren and Marianne Pfeiffer Rondi K. Pillette and Steven and Jake Levin Joan A. Pirie Robert* and Elaine Porter Georgene Rasmusson Markley Roberts Jane and Vernon Roningen Ann Imlah Schneider Patrick Shannon Keiko Stusnick Megan Sullivan* Matt Taylor* Ann Tickner Virginia L. White Evelyn D. Woolston-May Sam Yoon
*Chorus Member
^Board Trustee
†Deceased
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THANK YOU The Cathedral Choral Society is pleased to recognize Government, Foundation, and Corporate support to our Annual Fund Campaign between January 15, 2018 – April 15, 2019. 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+ Exxon Mobil Foundation Omni Shoreham Hotel Corporate Investor $1,500+ IBM
Pepco, an Exelon Company
Reed Smith, LLP
Sentinel Wealth Management
Corporate Advocate $500+ River Oaks Veterinary Clinic Starbrite Dental, the Office of Dr. Maryam Seifi
Corporate Supporter $100+ Ameriprise Financial – Kim, Hopkins, & Associates
CATHEDRAL CHORAL SOCIETY CORPORATE PARTNER PROGRAM
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THANK YOU The Cathedral Choral Society is pleased to acknowledge the following contributions made in memory or honor to our Annual Fund Campaign between January 15, 2018 – April 15 2019. GIFTS IN HONOR In Honor of Ellis Wisner Judith Hope In Honor Mary-T. Gordon Terry Beaty and Anne Mettringer Jean Jawdat In Honor of Kathy Brion Sherry Mueller
In Honor of Margot T. Young Kathleen W. and Walter Weld Soprano II Section
In Honor of Tom and Patti Mugavero Elizabeth Sherfy
In Honor of Franny Pratt Susan J. Henry Chuck Pratt and Alex England In Honor of Tom Mugavero Anonymous
GIFTS IN MEMORY In Memory of Charles S. Tidball Mary B. Olch* Mary-T^ and Spencer Gordon Blanche L. Curfman James D. Campbell and Janet M. Hall Linda Lear In Memory of Ruth Harwood Mary-T^ and Spencer Gordon In Memory of J. Reilly Lewis Beth Lewis Louis E. and Ruth H. Kahn Patricia Stephenson* In Memory of Dariel Van Wagoner Beth Lewis
In Memory of John and Friede Brion Kathleen Brion* In Memory of Steven Brion-Meisels Kathleen Brion* In Memory of William M. Leach Sally A. Fiske Jean Jawdat In Memory of Milton Rose Ingrid R. Rose In Memory of Marjorie Schrader Linda and Stuart Churchill Dolores R. Condon
In Memory of McKinney Russell Patricia Critchlow Anne Ripley In Memory of Theodore R. Blesdoe Mary-T^ and Spencer Gordon In Memory of Glenn Mitchell Mary-T^ and Spencer Gordon In Memory of James W. Stone Crawford Feagin Stone In Memory of Charles W. McClendon Leslie McClendon
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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 stability 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 Thomas P. Gallagher Mary-T Gordon^ Anne R. Harris Patricia D. Hevner^
Ann Ingram Richard* and Cecilia Larkin 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
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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
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THANK YOU The Cathedral Choral Society is pleased to recognize the full and half table sponsors from our Mardi Gras Gala held on March 9, 2019 at the Omni Shoreham Hotel. GALA SPONSORS Ernest*^ and Catherine Abbott Walter^ and Joanne Doggett Cynthia Drakeman* and Richard Wanerman* Mary-T.^ and Spencer Gordon Jeremy Gosbee*^
Sarah B Holmes*^ and John B. Morris, Jr. Celeste A. Letourneau Margarita Ossorio-Goldman^ and Daniel Goldman
Raymond Rhinehart* and Walter Smalling, Jr. Clark Construction Whiteford, Taylor, and Preston, LLP
The Cathedral Choral Society is pleased to recognize the following patrons who supported our Mardi Gras Gala held on March 9, 2019 at the Omni Shoreham Hotel through the purchase of tickets, participation in the live auction, and/or donations in support of the event. GALA SUPPORTERS Anonymous Thomas C. Mugavero*^ Martin Rosenthal*^ and Corinne Axelrod Chris and Franceska Schroeder Blanche L. Curfman Ann and Tom Kamasky Celeste A. Letourneau Evelyn D. Woolston-May Guy and Margaret^ Steuart Margot T. Young Anne R. Harris John E. Moyer* and Jane Passman Jessica Barness* Ernest*^ and Catherine Abbott Judith Hope Gene^ and Sheryl Tunison Ellis Wisner* Mary-T.^ and Spencer Gordon Josh Gotbaum Holly*^ and Trevor Filipiak James* and Madeleine Schaller
Joanne Casey* Cary C. Fuller Patricia D. Hevner^ Paul Juergensen II Kimberly* and Mark Pacala Gerald W. and Alice Padwe L. Bradley*^ and Susan*^ Stanford David Dietly*^ David* and Mary Shilton Lolly and Jim* Mixter Robert M. Church Neeta Helms Sarah B. Holmes*^ and John B. Morris, Jr. Lauren and Mark Roche-Garland Raymond Rhinehart* and Walter Smalling, Jr. Jeanne Buster Laurene H. Church* Steven Fox^ Mary Cox Garner Susan Grad*
John McJunkin Cynthia Moore Christopher G. Riggs* Van Patrick Bevill and M. Douglas Lakey Becky Abbott Fred Cerasuolo Lee and Julianna Delong Cindy Drakeman* and Richard Wanerman* Walt Nagel Lisa Poole Frances H. Pratt* Debby Abbott Kristýna Fox Jennifer Griffiths Orudjev* Michael McCarthy* Colleen Meiman Alice Quinn Brad Spencer Maria Vento Brendan Kara
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HONORS AWARDS The Cathedral Choral Society Honors Committee is pleased to announce the recipients of our 2019 honors and recognitions. THE ORDER OF MERIT FOR OUTSTANDING LEADERSHIP The Order of Merit for Outstanding Leadership recognizes the transformational achievement of an individual who has served the Cathedral Choral Society in a leadership capacity. Ernie Abbott We are pleased to recognize Ernie with the Order of Merit. Ernie has been a member of the Cathedral Choral Society for 17 years and he has served on the Board of Trustees for the past 7 years. During his time on the Board, he served as Board President (3 years), and was a member of the Finance Committee, Development Committee, Music & Program Committee, and the Personnel Committee. Ernie’s leadership has been powerful in strengthening CCS and has had a significant impact on our growth and sustainability. THE M. ELIZABETH AND CHARLES S. TIDBALL AWARD The M. Elizabeth and Charles S. Tidball Award recognizes extraordinary and meritorious volunteer service over many years. James M. E. Mixter, Jr. We are pleased to recognize James with the Tidball Award. James has been a member of the Cathedral Choral Society for 19 years. For 8 of these years, he served on the Board of Trustees (2 terms), was the Board Treasurer for 4 years, and was a member of the Governance Committee, Finance Committee, Development Committee, and Chorus Affairs Committee. James is a positive member of this organization and a strong advocate for CCS in the community. COMMENDATION FOR VOLUNTEER SERVICE The Commendation for Volunteer Service recognizes noteworthy and exceptional volunteer service. Jennifer Griffiths Orudjev We are pleased to recognize Jennifer for her dedication as a volunteer. Jennifer has been a member of the Cathedral Choral Society for 8 years, and served as a Board Trustee Singer Representative for 4 years (2 terms). Jennifer has been a member of the Chorus Affairs Committee, Music and Program Committee, and Development Committee and is a committed volunteer at our annual High School Choir Festivals and galas.
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ACKNOWLEDGEMENT BOARD OF TRUSTEES Ernest Abbott David Dietley Walter B. Doggett III, Treasurer Holly Filipiak Steven Fox, ex officio Jeremy Gosbee
Patricia Hevner, Vice President Sarah Holmes Thomas Mugavero, President Margarita Ossorio-Goldman Martin S. Rosenthal L. Bradley Stanford
Susan Stanford Margaret Steuart Gene Tunison
HONORARY TRUSTEES Mary-T. Gordon
Virginia C. Mars
CATHEDRAL CHORAL SOCIETY STAFF Laura Crook Brisson, Operations & Marketing Coordinator Emily Buttram, Annual Fund & Events Coordinator Steven Fox, Music Director
Anna Lipowitz, Operations & Education Programs Manager Joy Schreier, Pianist & Assistant Conductor
CONCERT SUPPORT Program Notes: Daniel Abraham Text and Translations: Margaret Shannon
Librarian: Patricia Stephenson Library Committee: Joanne Casey, Violet Baker, and Robert Porter
WASHINGTON NATIONAL CATHEDRAL STAFF Valerie Ciccone, Director, Office of Event Management Matt Echave, Director of Video Services Gary Ford, Director, Sextons and Housekeeping Mark Huffman, Technical Director & Audio Engineer
Sara Kirsch, Events Operations Manager Aneisha Persaud, Deputy Director, Office of Event Management Sarah Rockwood, Deputy Director, Patron Services Torrence Thomas, Head Verger
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