Cathedral Choral Society Concert Program
Haydn Creation Sunday, October 18 | 4:00 p.m. Washington National Cathedral
Greetings, We are so pleased to welcome you to the first concert of our 2015/16 Season. Our opening program, Haydn’s The Creation, is a powerful work that paints a vivid musical picture of sun and stars, mountains and rivers, birds and beasts as they emerge into being. Told through the words of Genesis, Psalms, and Milton’s Paradise Lost, the oratorio is divided into three sections that represent chaos, creation, and the story of Adam and Eve. A very warm greeting to our season subscribers. In the past two seasons, our subscriber audience has increased by 20%, and we are so happy to welcome you and to share our concert season with you. If you are not a subscriber, consider subscribing to the remaining concerts on our 2015/16 Season: Joy of Christmas, Vivaldi Gloria, and Fantastic Beethoven. We invite you to turn your single ticket back in today and we will credit that amount toward the purchase of a season subscription. Subscribers receive the best seating available in each section and free parking in the Cathedral garage. Set aside Sunday afternoons just for you! The Cathedral Choral Society is the volunteer symphonic chorus-in-residence at Washington National Cathedral. As an independent performing arts organization we are dedicated to welcoming singers and audiences of all ages, cultural backgrounds, and spiritual beliefs to experience the joy of choral music. This is our 74th concert season and we are excited to be planning our 75th anniversary season now. Do you have a special Cathedral Choral Society memory that you would like to share? Were you in the audience or the chorus at one of our early performances during World War 2? Do you remember the performance of Bach’s St. Matthew’s Passion that occurred three days after the assassination of Martin Luther King? Send me an email or call me. Share your story or memory and help us celebrate our 75-year history! Enjoy today’s concert!
Genevieve Twomey Executive Director gtwomey@cathedral.org | 202-537-5524
Coming Up...
Joy of Christmas
Saturday, December 12 | 4:00 p.m. Sunday, December 13 | 4:00 p.m. Celebrate the warm spirit of the season in a majestic setting. Program will feature a newly commissioned carol by British composer James Whitbourn. Special guests: Lyric Brass Quintet and the Children’s Chorus of Washington.
Family Joy
Saturday, December 12 | 12:00 p.m. This special one-hour program has something for all ages! Special guests: the Children’s Chorus of Washington and American Youth Philharmonic Brass Ensemble.
Cathedral Choral Society J. Reilly Lewis, Music Director
Haydn Creation Sunday, October 18 | 4:00 pm Washington National Cathedral J. Reilly Lewis, conductor Danielle Talamantes, soprano Peter Scott Drackley, tenor Kenneth Kellogg, bass Cathedral Choral Society The Creation, Hob. XXI/2 Franz Joseph Haydn Part I Representation of Chaos The First Day The Second Day The Third Day The Fourth Day Part II The Fifth Day The Sixth Day INTERMISSION Part III Adam and Eve in the Garden of Eden
Patrons are kindly requested to turn off all noise-making devices during the performance. Any taking of photographs or unauthorized recording of this concert is prohibited. Cover photo: Odyssey of the Spirit stained glass at Washington National Cathedral, photo by Ken Cobb
Text THE CREATION Franz Joseph Haydn (1732-1809) CHARACTERS REPRESENTED Gabriel Uriel Raphael
soprano tenor bass
Adam Eve
bass soprano
PART I The First Day
The Second Day
INTRODUCTION — Representation of Chaos
RECITATIVE — Raphael And God made the firmament, and divided the waters, which were under the firmament from the waters which were above the firmament: and it was so.
RECITATIVE — Raphael In the beginning God created the heaven and the earth; and the earth was without form, and void; and darkness was upon the face of the deep. CHORUS And the Spirit of God moved upon the face of the waters. And God said, Let there be light: and there was light. RECITATIVE — Uriel And God saw the light, that it was good: and God divided the light from the darkness. AIR — Uriel Now vanish before the holy beams The gloomy shades of ancient night; The first of days appears. Now chaos ends, and order fair prevails. Affrighted fly hell’s spirits black in throngs: Down they sink in the deep abyss To endless night. CHORUS Despairing, cursing rage attends their rapid fall. A new-created world springs up at God’s command.
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Now furious storms tempestuous rage, Like chaff, by the winds impelled are the clouds, By sudden fire the sky is inflamed, And awful thunders are rolling on high. Now from the floods in steam ascend reviving showers of rain, The dreary, wasteful hail, the light and flaky snow. SOLO — Gabriel The marvelous work behold amazed The glorious hierarchy of heaven; And to the ethereal vaults resound The praise of God, and of the second day. CHORUS And to the ethereal vaults resound The praise of God, and of the second day.
Text The Third Day
The Fourth Day
RECITATIVE — Raphael And God said, Let the waters under the heavens be gathered together to one place, and let the dry land appear: and it was so. And God called the dry land Earth, and the gathering of waters called He seas: and God saw that it was good.
RECITATIVE — Uriel And God said, Let there be lights in the firmament of heaven, to divide the day from the night, and to give light upon the earth; and let them be for signs, and for seasons, and for days, and for years. He made the stars also.
AIR — Raphael Rolling in foaming billows, Uplifted, roars the boisterous sea. Mountains and rocks now emerge, Their tops among the clouds ascend. Through the open plains, outstretching wide, In serpent error rivers flow. Softly purling, glides on Through silent vales the limpid brook. RECITATIVE — Gabriel And God said, Let the earth bring forth grass, the herb yielding seed, and the fruit-tree yielding fruit after his kind, whose seed is in itself, upon the earth: and it was so. AIR — Gabriel With verdure clad the fields appear, Delightful to the ravished sense; By flowers sweet and gay Enhanced is the charming sight. Here fragrant herbs their odours shed; Here shoots the healing plant. With copious fruit the expanded boughs are hung; In leafy arches twine the shady groves; O’er lofty hills majestic forests wave. RECITATIVE — Uriel And the heavenly host proclaimed the third day, praising God, and saying: CHORUS Awake the harp, the lyre awake, And let your joyful song resound. Rejoice in the Lord, the mighty God; For He both heaven and earth Has clothed in stately dress.
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RECITATIVE — Uriel In splendour bright is rising now the sun, And darts his rays: a joyful happy spouse, A giant proud and glad To run his measured course. With softer beams, and milder light, Steps on the silver moon through silent night; The space immense of the azure sky A countless host of radiant orbs adorns. And the sons of God announced the fourth day. In song divine, proclaiming thus His power: CHORUS The heavens are telling the glory of God, The wonder of His work displays the firmament. TRIO — Gabriel, Uriel, Raphael To day that is coming speaks it the day, The night that is gone to following night. CHORUS The heavens are telling the glory of God, The wonder of His work displays the firmament. TRIO In all the lands resounds the word, Never unperceived, ever understood. CHORUS The heavens are telling the glory of God, The wonder of His work displays the firmament.
Text PART II The Fifth Day RECITATIVE — Gabriel And God said, Let the waters bring forth abundantly the moving creature that hath life, and fowl that may fly above the earth in the open firmament of heaven. AIR — Gabriel On mighty pens uplifted soars The eagle aloft, and cleaves the air, In swiftest flight, to the blazing sun. His welcome bids to morn the merry lark, And cooing calls the tender dove his mate. From every bush and grove resound The nightingale’s delightful notes; No grief affected yet her breast, Nor to a mournful tale were tuned Her soft, enchanting lays. RECITATIVE — Raphael And God created great whales, and every living creature that moveth; and God blessed them, saying, Be fruitful all, and multiply, Ye winged tribes, be multiplied, And sing on every tree; Multiply, ye finny tribes, [fish with fins] And fill each watery deep; Be fruitful, grow, and multiply, And in your God and Lord rejoice. RECITATIVE — Raphael And the angels struck their immortal harps, and the wonders of the fifth day sung. TRIO Gabriel Most beautiful appear, with verdure young adorned, The gently sloping hills, their narrow, sinuous veins Distill in crystal drops, the fountain fresh and bright.
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Uriel In lofty circles play and hover, in the air, The cheerful host of birds; and as they flying whirl Their glittering plumes are dyed as rainbows by the sun. Raphael See flashing through the deep in thronging swarms The fish a thousand ways around. Upheaved from the deep, the immense Leviathan Sports on the foaming wave. Gabriel, Uriel, and Raphael How many are Thy works, O God! Who may their number tell? TRIO AND CHORUS The Lord is great, and great His might, His glory lasts for ever and for evermore.
The Sixth Day RECITATIVE — Raphael And God said, Let the earth bring forth the living creature after his kind, cattle, and creep-ing thing, and beast of the earth, after his kind. RECITATIVE — Raphael Straight opening her fertile womb, The earth obeyed the word, And teemed creatures numberless, In perfect forms, and fully grown. Cheerful, roaring, stands the tawny lion. With sudden leap the flexible tiger appears. The nimble stag bears up his branching head. With flying mane, and fiery look, impatient neighs the noble steed. The cattle, in herds, already seek their food On fields and meadows green.
Text And over the ground, as plants, are spread The fleecy, meek, and bleating flocks. Unnumbered as the sands, in swarms arose The host of insects. In long dimension Creeps, with sinuous trace, the worm. AIR — Raphael Now heaven in fullest glory shone; Earth smiled in all her rich attire; The room of air with fowl is filled; The water swelled by shoals of fish; By heavy beasts the ground is trod: But all the work was not complete; There wanted yet that wondrous being, That, grateful, should God’s power admire, With heart and voice His goodness praise. RECITATIVE — Uriel And God created Man in his own image, in the image of God created He him; male and female created He them. He breathed into his nostrils the breath of life, and Man became a living soul. AIR — Uriel In native worth and honour clad, With beauty, courage, strength, adorned, Erect, with front serene, he stands A man, the lord and king of nature all. His large and arched brow sublime Of wisdom deep declares the seat; And in his eyes with brightness shines The soul, the breath and image of his God. With fondness leans upon his breast The partner for him formed, A woman, fair and graceful spouse. Her softly smiling, virgin looks, Of flowery spring the mirror, Bespeak him love, and joy, and bliss.
RECITATIVE — Raphael And God saw every thing that He had made, and behold, it was very good. And the heavenly choir, in song divine, thus closed the sixth day. CHORUS Achieved is the glorious work; The Lord beholds it, and is (well) pleased. In lofty strains let us rejoice, Our song let be the praise of God. TRIO Gabriel and Uriel On Thee each living soul awaits; From Thee, O Lord, all seek their food; Thou openest Thy hand, And fillest all with good: Raphael But when Thy face, O Lord, is hid, With sudden terror they are struck; Thou takest their breath away, They vanish into dust. Gabriel, Uriel, and Raphael Thou sendest forth Thy breath again, And life with vigour fresh returns; Revived earth unfolds new strength And new delights. CHORUS Achieved is the glorious work; Our song let be the praise of God. Glory to His name for ever. He sole on high exalted reigns. Hallelujah!
INTERMISSION
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Text PART III Adam and Eve in the Garden of Eden INTRODUCTION — Morning RECITATIVE — Uriel In rosy mantle appears, by music sweet awaked The morning, young and fair. From heaven’s angelic choir Pure harmony descends on ravished earth. Behold the blissful pair, Where hand in hand they go: their glowing looks Express the thanks that swell their grateful hearts. A louder praise of God their lips Shall utter soon; then let our voices ring, United with their song. DUET — Adam and Eve By Thee with bliss, O bounteous Lord, Both heaven and earth are stored; This world so great, so wonderful. Thy mighty hand has framed.
Eve And thou that rulest the silent night, And all ye starry hosts, Spread wide and everywhere His praise In choral songs about. Adam Ye mighty elements, by His power, Your ceaseless changes make; Ye dusky mists, and dewy streams, That rise and fall through the air; CHORUS Resound the praise of God our Lord. Great His name, and great His might. Eve Ye purling fountains, tune His praise, And wave your tops, ye pines. Ye plants, exhale, ye flowers, breathe To Him your balmy scent.
CHORUS For ever blessed be His power, His name be ever magnified.
Adam Ye that on mountains stately tread, And ye that lowly creep; Ye birds that sing at heaven’s gate, And ye that swim the stream:
Adam Of stars the fairest, pledge of day, That crownest the smiling morn; And thou, bright sun, that cheerest the world, Thou eye and soul of all:
DUET AND CHORUS Ye creatures all, extol the Lord! Him celebrate, Him magnify.
CHORUS Proclaim in your extended course The almighty power and praise of God.
Eve and Adam Ye valleys, hills, and shady woods, Made vocal by our song, From morn till eve you shall repeat Our grateful hymns of praise.
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Text CHORUS Hail! bounteous Lord! Almighty, hail! Thy word called forth this wondrous frame, The heavens and earth Thy power adore; We praise Thee now and evermore. RECITATIVE — Adam Our duty we have now performed, In offering up to God our thanks. Now follow me, dear partner of my life, Thy guide I’ll be; and every step Pours new delights into our breasts, Shows wonders everywhere. Then mayest thou feel and know the high Degree of bliss the Lord allotted us, And with devoted heart His bounties celebrate. Eve O thou for whom I am, my help, my shield, My all, thy will is law to me: So God our Lord ordains; and from obedience Grows my pride and happiness. DUET — Adam and Eve Adam Graceful consort, at thy side Softly fly the golden hours; Every moment brings new rapture, Every care is lulled to rest. Eve Spouse adored, at thy side Purest joys overflow the heart, Life and all I have is thine; My reward thy love shall be. Adam The dew-dropping morn O, how she quickens all!
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Eve The coolness of even, O, how she all restores! Adam How grateful is of fruits the savour sweet! Eve How pleasing is of fragrant bloom the smell! Both But, without thee, what is to me The morning dew, the breath of even, The savory fruit, the fragrant bloom? With thee is every joy enhanced, With thee delight is ever new, With thee is life incessant bliss, Thine, thine it all shall be. RECITATIVE — Uriel O happy pair! And happy ever to be, If not, misled by false conceit, Ye strive at more than granted is, And more desire to know, than know ye should! CHORUS WITH QUARTET Jocelyn Mullins, mezzo-soprano solo Sing the Lord, ye voices all, Magnify His name through all creation, Celebrate His power and glory, Let His name resound on high. Praise the Lord. Utter thanks. Jehovah’s praise for ever shall endure. Amen. _________________ ORIGINAL TEXT SOURCES: Genesis I:1 – II:3 and The Psalms from the English Authorized [King James] Version of the Bible (1611), Paradise Lost by John Milton (1674). Word elisions have been silently expanded for greater clarity.
Program Notes HAYDN’S “NEW CREATED WORLD” addresses the most profound question of human existence — the creation of the universe. “In The Creation, we see the greatest composer of the time, at the very height of his powers, gathering all his resources to tackle the central mystery of our existence. It was a supreme moment in musical history,” writes musicologist Nicholas Temperley. Franz Joseph Haydn (1732-1809) — born the same year as George Washington — spent his boyhood as a chorister at St. Stephen’s Cathedral in Vienna. Most of his adult life passed in relative isolation as Kapellmeister to four successive princes of the House of Esterházy, one of the wealthiest and most influential families in Hungary. Portrait of Haydn by Ludwig For three decades, he composed for Guttenbrunn, 1770 or 1791. and directed the work of an orchestra, chorus, and group of soloists, who took part in church services, concerts, and operas in the palaces at Eisenstadt, Esterházy, and Vienna. By the time a prince who cared little for music acceded to the title in 1790, 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 new freedom. At the invitation of his friend, London impresario and violinist Johann Peter Salomon, Haydn visited England in 1791 and 1794, where he heard performances at Westminster Abbey of the great choral works of George Frideric Handel, including the Coronation Anthems, Israel in Egypt, Judas Maccabaeus, and Messiah. He was astounded by the reaction of the masses to the music of the great master. “He found a whole nation aroused by compositions offered in monumental performances,” one scholar noted. “He desired intensely to write, as Handel had written, works meant for a whole nation.” He did not have to wait long for the opportunity.
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THE LIBRETTO As Haydn was returning to Vienna, Salomon gave him a libretto entitled The Creation of the World, written some fifty years earlier and originally intended for, but not used by, Handel. The libretto of The Creation as finally accepted by Haydn is derived from two seminal English books: The King James Bible of 1611 (Genesis and the Psalms) and Paradise Lost (1674), John Milton’s epic poem about creation. The librettist adopted as narrators, but without reference to their traditional roles, the three Archangels of Paradise Lost — Gabriel, the chief guardian angel; Uriel, the regent of Title page of Paradise Lost, London: 1667, by John Milton. the sun’s orb; and Raphael, the chief Houghton Library, Harvard messenger of God. University Baron Gottfried van Swieten (1733-1803), Austrian ambassador to Berlin from 1770 to 1777 and afterwards prefect of the Imperial Library in Vienna, organized a society of wealthy aristocrats to underwrite performances of Bach and Handel and eventually Haydn’s German oratorios. Van Swieten translated the English libretto of The Creation into German, albeit heavily revised and paraphrased. From the outset, Haydn clearly intended the work to be bilingual. The original libretto is lost. Music Director J. Reilly Lewis explains: When van Swieten translated the text back into English for publication in 1799, the result was quaint, unanalyzed phrases, with accents on the wrong syllables, vowels occurring awkwardly, and the melodic lines seriously altered. Numerous attempts have been made to resolve the conflicts between the two languages. Says Dr. Lewis: I made a line-by-line choral text comparison of the original German, the original English, and translations by Vincent Novello, Nicholas Temperley, A. Peter Brown, and Robert Shaw. In the end, my journey brought me back to the Novello translation. And no wonder. Vincent Novello (1781-1861) was chapel organist at the Portuguese Embassy chapel on Grosvenor Square from 1797 to 1822. The difficulties of arranging first performances of Mozart and Haydn masses led him in
Program Notes 1811 to found his own music publishing house, Novello & Co. In the 1820s, he arranged a vocal score of The Creation with separate accompaniment for organ or pianoforte, in which he confronted the problems of text and translation. It is this edition, with slight textual alterations, that we will sing in our concert. FIRST HEARINGS The first performance of The Creation was given on April 30, 1798, under the composer’s direction at the palace of Prince Joseph zu Schwarzenberg before the twelve noblemen who had underwritten the commission. The first public performance Haydn’s Creation was performed March 27, 1808, was on March 19, 1799, in the Great Hall of the University ofVienna. in Vienna. Again, Haydn Watercolor, Balthasar Wigand. Credit: Vienna Museum. conducted. With the score’s publication in February 1800, performances began to be heard in the capitals of Europe, and by 1819 in America. THE MUSIC Haydn divides his oratorio into three parts, each of which is divided into groups containing (1) a recitative based on a text from Genesis, (2) then described by an accompanied recitative or aria (or both) that draws from Milton, and (3) concluded by a chorus of praise using a Psalm text. These choruses, though only twenty minutes in total length, provide the most memorable moments in the work. Part I opens with an orchestral introduction entitled “Representation of Chaos.” It is a stunning departure from every norm Haydn had established in his instrumental writing. A single unison C plunges the listener immediately into the void. Earth is without form and the Spirit of God has yet to “move over the face of the waters.” The tonepainting of Chaos emerges out of harmonic ambiguity and thematic fragments. “You have certainly noticed,” Haydn said to a friend for whom he played the Introduction, “how I avoided the resolutions that you would most readily expect. The reason is that there is no form [to the universe] yet.”
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Although skeptical of scholarly suggestions that the oratorio embraces an overall tonality of the key of C, Nicholas Temperley contends that “the movement from C minor to C major, depicting the change from darkness to light, from chaos to cosmos, is heavy with symbolism — whether Christian, Deist, Masonic, or none of these — that could be taken to celebrate the Enlightenment itself.” Part I describes the first four days of Creation through the omniscient viewpoint of the three archangels Gabriel (soprano), Uriel (tenor), and Raphael (bass). On the First Day, God saw the light, that it was good: and God divided the light from the darkness. After Uriel announces that “chaos ends and order fair prevails,” the chorus declaims “a new-created world springs up at God’s command.” On the Second Day, the Creator divides the waters. Gabriel sings Milton’s lines — “The marvelous work behold amazed the glorious hierarchy of heaven” to which the chorus responds “And to the ethereal vaults resound the praise of God, and of the second day.” On the Third Day, in addition to dividing the land and the seas (“Rolling in foaming billows uplifted roars the boisterous seas”), plant life is added to the landscape: And God said: Let the earth bring forth grass, the herbyielding seed, and the fruit-tree yielding fruit after his kind, whose seed is in itself upon the earth; and it was so. Gabriel sings Milton’s lyrical words, “With verdure clad the fields appear delightful to the ravished sense; by flowers sweet and gay enhanced is the charming sight.” The chorus commands harp and lyre to awaken in triumph to the Lord, “For He both the heaven and earth has clothed in stately dress.” On the Fourth Day, God said: Let there be lights in the firmament of heaven, to divide the day from the night, and to give light upon the earth; and let them be for signs and for seasons, and for days, and for years. He made the stars also.
Program Notes The archangel Uriel describes how With softer beams, and milder light, Steps on the silver moon through silent night; The space immense of the azure sky A countless host of radiant orbs adorns, And the sons of God announced the fourth day In song divine, proclaiming thus His power. Part I concludes with the great C-Major chorus, “The Heavens are telling the glory of God.” Part II opens on the Fifth Day, where birds of the air and fish of the sea join creation. Birds — soaring eagle, merry lark, cooing dove, singing nightingale — and great whales are commanded to “be fruitful, grow, and multiply!” The three archangels together describe “the cheerful host of birds” and how, “upheaved from the deep, the immense Leviathan sports on the foaming wave.” On the Sixth Day, cattle, creeping things, and beasts of the earth are brought forth. Suddenly, the earth is filled with “the tawny lion, the flexible tiger, the nimble stag with his branching head, the sprightly steed, cattle in herds, and the fleecy, meek, and bleating flocks.” Finally come to life the “host of insects” and “the sinuous trace of the worm.” Now heaven in fullest glory shone; Earth smiled in all her rich attire. . . . But all the work was not complete. There wanted yet that wondrous being, That, grateful, should God’s power admire, With heart and voice His goodness praise. And so, on the Sixth Day, “God created man in his own image.” Male and female created He him. He breathed into his nostrils the breath of life, and Man became a living soul. The chorus surveys all Creation and declares: Achieved is the glorious work; The Lord beholds it and is (well) pleased. In lofty strains let us rejoice! Our song let be the praise of God. Creation is now complete.
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Part III is set in the Garden of Eden with Adam and Eve — “the blissful pair” — walking hand in hand to “express the thanks that swell their grateful hearts.” The instrumental introduction (“Morning”) depicts the first sunrise, mirroring the orchestral introduction, “Representation of Chaos,” with which the oratorio opened. The hymn, a dialogue between Adam and Eve (duet) and the Heavenly Host (chorus), is a miniature reprise of the entire oratorio. Adam and Eve reflect on each aspect of creation and bid it “express thanks to God,” even as the angels echo this praise from on high. The climactic hymn of praise, “Sing the Lord, ye voices all,” becomes a magnificent fugue for chorus and soloists, who join in unison for the final proclamation: “Jehovah’s praise for ever shall endure.” After an early performance, one lady of royal birth wrote that when Adam and Eve turned toward each other and sang “Graceful consort, at thy side softly fly the golden hours,” the entire audience began to weep. Haydn himself seems to have been seized, like Handel when composing Messiah, with a religious fervor. “Never was I so pious as when composing The Creation,” Haydn wrote a friend. “I knelt down every day and prayed God to strengthen me for my work.” Haydn was a man of simple, optimistic faith. Like Johann Sebastian Bach, he inscribed the words “Soli Deo Gloria” (to God alone the glory) or “Laus Deo” (Praise to God) at the end of his scores. He perceived The Creation, although not intended for liturgical worship, as an act of faith. In an 1802 letter, he wrote an admirer: A secret voice whispered to me: There are in this world so few happy and contented people; sorrow and grief follow them everywhere; perhaps your labor will become a source in which the man bowed down by care, or burdened with business matters, will for a while find peace and rest.” —© 2015 Margaret Shannon
Biographies Music Director J. Reilly Lewis, a native of Washington, D.C., began his musical career at the age of eight as a member of the Junior Boy’s Choir at Washington National Cathedral. He received his bachelor’s degree from Oberlin Conservatory and master’s and doctoral degrees from The Juilliard School. In 1985, he was selected as music director of the Cathedral Choral Society. He has presided over nine of its current recordings as well as many notable performances at the Cathedral, the Kennedy Center, Strathmore, and Wolf Trap. One of the world’s leading Bach specialists, Dr. Lewis is the founder and music director of the internationally acclaimed Washington Bach Consort. As a keyboard artist and conductor, he has performed at the Aspen Music Festival, the International Handel and Bach festivals held in Halle and Leipzig, respectively, the Cologne New Music Festival, and in Washington, D.C., with the Smithsonian Chamber Players and the Folger Consort. Some of his most recent awards include the Washingtonian Magazine “Washingtonian of the Year,” The Mayor’s Arts Award, the University Club of Washington’s Distinguished Washingtonian Award,Yale University’s Cultural Leadership Citation, the Choralis GRACIE Award for Outstanding Contributions to Choral Music, and an honorary doctorate from the Virginia Theological Seminary. Danielle Talamantes, soprano, is an international recitalist who made her Carnegie Hall debut in a soldout solo recital in 2007. Since then, she has sung as soloist with Choralis, Hochschule für Musik Hanns Eisler in Berlin, Nashville Symphony, National Philharmonic Chorale & Orchestra, Oratorio Society of Virginia, the Baltimore Symphony Orchestra, the National Symphony Orchestra, Seoul Philharmonic, Théâtre du Châtelet in Paris, Trujillo Symphony Orchestra of Peru, and The United States Army Chorus. In addition, she was the Soprano in Residence for the Summer 2012 and featured guest soloist at the Summer 2014 Marlboro Music Festival, Vermont.
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Talamantes made an exciting stage debut this 2014/2015 season as Frasquita in Bizet’s Carmen in a return to The Metropolitan Opera. She also debuted the role of Donna Anna in Mozart’s Don Giovanni with Cedar Rapids Opera Theatre and returned to the North Carolina Master Chorale for Dvořák’s Stabat Mater and the National Philharmonic for both Beethoven’s Ninth Symphony and Mozart’s Requiem and Exsultate, Jubilate. Her debut album, Canciones españolas, was recently released on the MSR Classics label and is already being hailed as a triumph and an exquisite interpretation of Spanish gems. Peter Scott Drackley has been lauded by The Baltimore Sun as having “an impressive lyric tenor voice... summoning credible emotional intensity” and by DC Metro Theater Arts as having “a magnificent tenor voice.” Drackley was recently seen singing the role of Male Chorus in Britten’s The Rape of Lucretia with Baltimore’s HexaCollective. In concert, Drackley performed solos from Handel’s Messiah and Bach’s Christen, atzet diesen Tag in an internationallytelevised program with The Basilica of the National Shrine of the Immaculate Conception, and in Annapolis Opera’s “Gifts from Grand Opera” concert. He has also appeared as tenor soloist for Mendelssohn’s Elijah, Handel’s Messiah, Mozart’s Requiem, Orff’s Carmina Burana, Bach’s Magnificat, and Beethoven’s Mass in C Major and Symphony No. 9. Drackley trained as a Festival Artist with the Utah Festival Opera and Musical Theater and at Sarasota Opera as a Studio Artist. Drackley returned recently to Utah for the role of Rodolfo in La Bohème. His upcoming performances include Spoletta with Skylight Music Theatre in Milwaukee and the Messiah Sing-a-long at the John F. Kennedy Center for the Performing Arts. He will also be performing Beethoven’s Missa Solemnis with the Helena Symphony in Montana, and scenes from the world premiere of Greg Sandow’s As You Like It at Strathmore Music Hall.
Biographies Kenneth Kellogg, bass, is a native of Washington, D.C. and an alum of the Duke Ellington School for the Performing and Visual Arts. He has performed with opera companies across the U.S., including Wolf Trap Opera, Washington National Opera, Los Angeles Opera, San Francisco Opera, Atlanta Opera, North Carolina Opera, Opera Tampa, Ash Lawn Opera, West Edge Opera, and Virginia Opera. He is an alum of the Washington National Opera’s DomingoCafritz Emerging Artists Program where he appeared as Angelotti in Tosca, Don Alfonso in Così fan tutte, Leporello in Don Giovanni, and Johann in Werther. He made his European debut with Ópera de Oviedo as Sarastro in Die Zauberflöte. He was a recipient of San Francisco Opera’s Adler Fellowship, and is a 2007 alumnus of San Francisco Opera’s Merola Opera Program, where he created the role of Tobias in the world premiere of Pasatieri’s Hotel Casablanca. As a Filene Young Artist at Wolf Trap Opera Company, he performed in Wolf-Ferrari’s Le donne curiose (Ottavio), Sondheim’s Sweeney Todd with the National Symphony Orchestra (Judge Turpin), and Offenbach’s Les contes d’Hoffmann (Crespel/Schlemil). He is an alumnus of Ohio University (B.M.), University of Michigan (M.M.) (Specialist), and the Academy of Vocal Arts. Today’s soloists are made possible by the Marion Drew Leach Performing Artist fund. Todd Fickley is the Associate Music Director and Chorus Master of the Cathedral Choral Society. He is also Assistant Conductor and Keyboard Artist for the Washington Bach Consort, as well as for The Choralis Foundation, and is the Organist of The Falls Church (Anglican). A native Washingtonian, he began his organ studies at Washington National Cathedral under Bruce Neswick. At the age of twenty-three, Mr. Fickley was made a Fellow
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of the American Guild of Organists (AGO). He also holds the AGO Choirmaster Diploma and an M.A. in Organ Performance with High Distinction from the University of Wales. A prize-winning organist, Fickley has been featured numerous times on NPR and PRI and has performed and conducted throughout the United States, Israel, and Europe. In 2014 Fickley launched “The Bach Project,” a cycle of concerts performing and recording all of Bach’s organ works, the first time in almost a quarter of a century that such a project has been undertaken in the D.C. area. The first volume was recently released on the MSR Classics label and was praised in Fanfare Magazine as “some of the most enthralling Bach organ playing you are likely to hear anywhere by anyone.” Joy Schreier is Pianist and Vocal Coach of the Cathedral Choral Society. She has been presented in recital at Weill Recital Hall at Carnegie Hall, Lincoln Center, the White House, Kennedy Center, National Museum for Women in the Arts, National Portrait Gallery, Phillips Collection, Cosmos Club, Strathmore Hall, the embassies of Austria, Russia, and Poland, Anderson House on Embassy Row, and at recital halls throughout the country. Internationally, she has performed throughout Europe and Asia. Schreier has coached for the Washington National Opera Domingo-Cafritz Young Artist Program and served as official pianist for the Washington International Voice Competition and Metropolitan Opera National Council Auditions. She received her doctorate in accompanying and chamber music in 2003 at the Eastman School of Music, where she was the recipient of the Barbara Koenig Award for excellence in vocal accompanying. The Cathedral Choral Society is the resident symphonic chorus of Washington National Cathedral. Founded in 1941 by Paul Callaway, the 140-voice chorus is the oldest symphonic choral group in Washington, D.C. Since 1985,
Biographies J. Reilly Lewis has served as its second Music Director, leading performances ranging from symphonic choral masterpieces to world premieres. The Cathedral Choral Society presents a concert series with four programs at Washington National Cathedral. In addition to its concert series, the chorus has performed around the city and on nationwide radio and television. The Cathedral Choral Society has appeared at the Kennedy Center with The Washington Ballet, the Juilliard Orchestra, in performances sponsored by Washington Performing Arts Society, and with the National Symphony Orchestra under Leonard Slatkin and other conductors. The group has sung with Russian baritone Dmitri Hvorostovsky and the Philharmonia of Russia at the Kennedy Center and at Lincoln Center. The Cathedral Choral Society has a remarkable history of championing new music, including eight major commissions for new symphonic choral works and an annual commission for a new Christmas carol. Each season the chorus builds on a tradition of showcasing emerging soloists as well as internationally known artists. The Cathedral Choral Society’s discography features ten recordings made at Washington National Cathedral. The Cathedral Choral Society offers community engagement programs, including Cathedral Sings, sing-along opportunities for the public and an annual High School Choir Festival featuring choirs from across Washington, D.C.
Turn today’s ticket into a subscription! Receive your best value. Four concerts starting at just $90. Hand back your ticket at the table near the Cathedral entrance OR call 202-537-2228 by Wednesday, October 21.
Interested in singing with us?
2015/16 Season
Our next round of auditions will be in January 2016. Visit cathedralchoralsociety.org/sing to find out more. To set up an audition, contact Kate at auditions@cathedral.org.
Joy of Christmas | December 12 or 13 Vivaldi Gloria | February 21 Fantastic Beethoven | May 15
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Cathedral Choral Society J. Reilly Lewis, Music Director Paul Callaway Conducting Chair Todd Fickley, Associate Music Director and Chorus Master Joy Schreier, Pianist and Vocal Coach Soprano I Kathleen Alvania Anne Carman Nicole Collins Tari Cooper* Marcia D’Arcangelo Lesley Earl Melissa Fox RenÊe Gamache Leah Germer Liz Harvey Chana Kuhns Chris Markus Marianna Martindale Susan McDaid** Sarah Mitchell Jocelyn Mullins Kimberly Pacala Melanie Steinkamp Patricia Stephenson Megan Sullivan Elaine Teng Elizabeth Owens Wakefield Sophie Wohltjen Nuska Zakrajsek
Soprano II Mary Amorosino Jessica Barness Susanna Beiser Joanne Casey Laura M. Connors Sheri Economou Emily German Lori Kurtyka Beth L. Law Wendy Lubarsky Catherine Ort-Mabry Natalie Pho Frances H. Pratt** Kyra Reumann-Moore Melissa Ryan Helen L. St. John Cheryl Schock Cindy Shen Dianne Vandivier Jeannette Dea WarrenAnderson Margot T. Young*
Alto I Amanda Ayers Caren Backus Violet Baker Kathleen Brion Christine de Fontenay Kehan DeSousa Susan Grad Jennifer Hawley Melissa A.L. Holman Laura Jackman Jane Jurkevics* Ingrid Kauffman** Gwyneth Kelly Charlotte Maskelony Laura Miller Mary Olch Campbell Rogers Jane Roningen Margaret Shannon Nadezhda V. Volchansky Maki Yasui
Alto II Stephanie Cabell Laurene Church Robin Costanza Cindy Drakeman Holly Filipiak Margaret Gonglewski Kim Harris Pam Hazen Mary Hiebert-White Elizabeth Hoffmann Sarah B. Holmes Beth A.V. Lewis Marti Olson Jennifer Griffiths Orudjev Christopher G. Riggs* Teresa A. Spencer Natalie Torentinos Kathleen M. Welling** Susan Pruett Williams
Tenor I Gregg M. Breen David Dietly Douglas Dykstra John W. Harbeson Nicholas Houhoulis Kevin Josey Dick Larkin Thomas Mugavero Christine H. Mulligan** Joel Phillips Rob Porter Robert Reeves Raymond Rhinehart* Martin S. Rosenthal John Schaettler D.C. Washington
Tenor II Scott Alman Douglas K. Barry J. Austin Bitner Ross Bradford Mark Bublitz James Clay** David Costanza Luke W. Fisher Jeremy Gosbee Jeremy Kane Jason Kingman Pietro Miozzo James M.E. Mixter, Jr.* John E. Moyer Jonathan Rajaseelan John R. Wiggins
Bass I Eric P. Andersen John Boulanger Joshua Brown Kelly Cameron Alfred J. Chiplin, Jr. Everitt Clark John Hewes Tony King Andrew Madar Nicholas Petersen Marcus Pfeifer Stephen S. Roberts* Andrew Sauvageau James Schaller L. Bradley Stanford** Richard Wanerman Clifton N. West III Peter G. Wolfe Christopher Woolley
Bass II Ernest Abbott* Andrew Bawden Dale Boyd Chris Buechler** Thomas Chapman Paul Edson Ian M. Matthews Scott McCorkindale Matthew Ogden Charles E.K. Parris David Peyton Ellis Wisner
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** Section Coordinators * Alternates
Orchestra Violin I Sally McLain, Concertmaster Jennifer Rickard Laura Miller Karin Kelleher Sonya Hayes Laura Knutson Solomia Gorokhivska Violin II Paula McCarthy* Pamela Lassell Saskia Guitjens Annie Loud Carolyn Kessler Stephanie Flack
Viola Derek Smith* Catherine Amoury Robin Massie-Pighee Michael Polonchak Cello Gita Ladd* Marion Baker Drew Owen Barbara Brown Bass Michael Rittling* Jacqueline Robertson Flute David Lonkevich* Nicolette Oppelt Angie Uperti Hite
Oboe Rick Basehore* Alison Lowell
Trumpet Woodrow English* Douglas Wilson
Clarinet Suzanne Gekker* Edna Huang
Trombone Bryan Bourne* Aaron Moats
Bassoon Eric Dircksen* Ben Greanya Jeffrey Ward
Bass Trombone Jerry Amoury
Contrabassoon Eric Dircksen Jeffrey Ward Horn Rick Lee* Erika Binsley
Timpani Joseph McIntyre* Fortepiano Todd Fickley Personnel Manager Pamela Lassell *Principal player
The Concertmaster Chair is supported by the Thoron Concertmaster Fund.
your support is truly instrumental Our annual fund support comes from individuals just like you. Each gift is meaningful and important. Each person - whether a subscriber, single ticket buyer, friend, chorus member or chorus alumni - plays their part and the result is amazing:
Please consider making a donation to our 2015/16 Annual Fund Campaign today! By phone: 202-537-5510 or online at...
www.cathedralchoralsociety.org
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A remarkable and welcoming choral community, exciting and vibrant concerts, and community programs that inspire everyone to sing!
Thank You The Cathedral Choral Society is pleased to acknowledge the following contributors to our Annual Fund Campaign between June 23, 2014 and September 23, 2015. Thank you. Your ongoing and generous contributions support out vision to inspire and nurture our community through the joy of choral singing and exceptional choral performances. Paul Callaway Associates $20,000+ Ernest*^ and Catherine Abbott Sustaining Patrons $10,000+ Anonymous (1) Thomas P. Gallagher^
The Estate of Mr. David Willard Cook
David and Grace Pratt
Guarantor Patrons $5,000+ Diana^ and Douglas Dykstra Anne R. Harris Richard* and Celia Larkin
John E. Moyer*^ and Jane Passman Bradley J. and Martha A.*^ Olson Gerald W.^ and Alice Padwe
Martin Rosenthal*^ and Corinne Axelrod Stephen S. Roberts* John and Dariel Van Wagoner
Chorus Section Patrons $2,500+ Arthur and Constance Eggers Nancy M. Folger and Sidney L. Werkman Paul Juergensen Il ^ Virginia C. Mars Christine* and James Mulligan
Mary B. Olch* Catherine E. Ort-Mabry* and Brian Mabry Lolly and Jim*^ Mixter Frances H. Pratt* T. Michael and Linda Shortal
Raymond Rhinehart* and Walter Smalling, Jr. Dale and Peter Turza Kevin and Andrea Wade Margot T. Young*
Charles Leonard Egan Mary-T. ^ and Spencer Gordon Susan Grad* Judith R. Hope Ann Ingram J. Reilly^ and Beth A.V.* Lewis Nevin E. and Elizabeth D. Kuhl William M. Leach Christina M. Markus*
Susan McDaid* Mary B. Olch Lynn Rhomberg James* and Madeleine Schaller Andrew†and Patricia Soto L. Bradley Stanford*^ Genevieve^ and Sean Twomey Robert and Betty Wallace Nancy H. Wiecking
Angela Lancaster and C.F. Muckenfuss III Pam A. and Don Lassell Janice L. Lockard George Londeree Dorothy C. Mergner Jennifer Griffiths Orudjev*^ Kimberly Pacala* Scott and Nancy Pinckney Charles Pratt and Alexandra England Robert* and Lissa Reeves
John and Judy Shenefield Margaret C. and Robert D. Stillman Leslie C. Taylor Joyce H. Thornhill Estate of M. Elizabeth Tidball Elinor G. Vaughter Richard and Virginia Wagner Sinclair and Julia Winton John Ellis Knowles Wisner* Dorothy M. Woodcock
Unsung Heroes $1,000+ Eric P. Andersen* and W. David Young II Estate of Richard S. and Alayne C. Antes Margaret M. Ayres & Stephen Case Betty J. Beard Beaty Family Fund Brian J. and Donna J. Bogart Blanche L. Curfman Edison and Sally Dick Walter B.^ and Joanne Doggett Sheri* and George Economou Patrons $500+ Violet Baker* Jessica Barness* Kathleen Brion*^ Jeanne Buster Joanne Casey* Christine C. De Fontenay* Jeremy Gosbee* Susan J. Henry Sarah B. Holmes* and John B. Morris Jr. Georgia Koenig
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Thank You Sponsors $250+ Nancy Maes Aherne and Marko Zlatich Robert and Laura Barlow Catherine Beauchamp Jane C. Bergner Andrew and Kay Boesel Kate and Will Breytspraak Anne* and James Carman James W. Clay* Alice M. Denney Martha Duggan Lynn B. Dutton Katherine Gammill
Mary Cox Garner Pam Gibert Margaret Gonglewski* Ruth Mary Hall George Hanc Embry and Joseph Howell M. Douglas Lakey Wendy Palmby Lubarsky* Rosemary D. Lyon Samuel Miller Gerry Perman Robert* and Elaine Porter
Theodora Radcliffe William Shunk Ill and Patricia Read Richard and Linda Roeckelein John Schaettler* William P. Snow Patricia Stephenson* Joanne and Greg Stopka Anne D. Stubbs and Thomas Bolle J.M. and P.S. Taylor Thomas Tesoriero and Robert Bertram Caroline E. and Richard C. Van Wagoner
Donors $100+ Anonymous (3) Mary Amorosino* Mark J. Andrews D. Philip Baker James Bauman Elise and Jim Blair Herman Bostick Dale* and Gloria Boyd Gregg M. Breen* Michael and Mary Ann Bridges Michael F. Butler Kelly* and Theresa Cameron Timothy W. and Patricia R. Carrico Everitt Clark* Marilyn Clark Vera I. Connolly Philip and Roberta Cronin Ruth and Nelson Denlinger Sharrill Dittmann Elise Fisher and Doug Pulak Sally A. Fiske Gladys Foxe Cary C. Fuller Lillian R. Gigliotti Neil and Carolyn Goldman D. Ruth Goodchild Hilton Lee Graham
Joan and David Green William and Margaret Greer George E. Groninger Marilee L Hall Bill and Ruth Harwood Frederick S. Hird Madeline and Rufus Iannucci Katherine Johnson Ingrid Kauffman* Richard and May Lea Keating Dorothy Kent Susanne Leach Robert M. Leddy, Jr. Alaster MacDonald James W. Madden Paula Marchetti David S. Marsh Nancy McBride Scott* and Linda McCorkindale Leander and Stephanie McCormick-Goodhart Barbara and John McGraw Michael Mercier Andrea T. Merrill Eiko Narita Trenton Osborne Donald and Nancy Peck
B. Dwight and Suzanne Perry Warren and Marianne Pfeiffer Rondi K. Pillette and Steven A. Levin Joan A. Pirie Lisa Poole Jackie Prince Jane* and Vern Roningen Suzanne H. Rooney Carla L. Rosati Milton and Ingrid Rose Helen Rosemont Hubert and Charlotte Schlosberg Ann Imlah Schneider Patrick D. Shannon Cynthia Shen* Lynwood D. and Thalia J. Sinnamon Jacqueline K. Stover Keiko Stusnick J. David Sulser and Patricia Jungreis Alice and Richard Sziede James T. and Anne C. Townsend Samuel Van Culin Jean Van Der Tak Alice T. Wagner Phyllis C. Wertime Evelyn Woolston-May
*Chorus Member
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^Board Trustee
†Deceased
Thank You The Cathedral Choral Society is pleased to recognize Government, Foundation, and Corporate support to our Annual Fund Campaign between June 23, 2014 and September 23, 2015.
Thank you to our Government and Foundation Supporters U.S. Commission of Fine Arts, National Capital Arts and Cultural Affairs Program Alice & Russell True Foundation Clark-Winchcole Foundation Dallas Morse Coors Foundation
Dimick Foundation Mars Foundation Meredith Foundation
Richard Eaton Foundation United Way of the National Capital Area
Thank you to our Corporate Supporters Corporate Champion $2,000+ Bank of America Exxon Mobil Foundation
Pepco Holdings Inc.
Corporate Investor $1,500+ American Gas Association Clark Construction Group, LLC
IBM
Corporate Leader $1,000+ UBS Financial Services
Wiener and Garg
Corporate Advocate $500+ E*Trade Financial
Offit Kurman Attorneys at Law
Corporate Supporter $100+ Ameriprise Financial – Kim, Hopkins & Associates
Sentinel Wealth Management, Inc.
Willis Metro DC
Messina, Canal & Moawad, DDS
Gifts in Honor In Honor of Mary T. Gordon Hubert and Charlotte Schlosberg In Honor of Virginia Mars Beaty Family Fund Shirley M. Fine Dorothy and William McSweeny In Honor of Frances H. Pratt Josephine T. and Morton S. Roberts
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In Honor of Margot T. Young Anonymous Christopher L. Buechler* James D. Campbell and Janet M. Hall Blanche L. Curfman David Dietly* Sheri* and George Economou Embry and Joseph Howell
Jean Jawdat Lolly and Jim*^ Mixter John E. Moyer*^ and Jane Passman Bradley J. and Martha A.*^ Olson Lindsay Sheridan Patricia Stephenson* Marguerite Toscano* and Richard Stumpf Kathleen and Walter Weld
Thank You Gifts in Memory In Memory of David W. Cook Donna M. Christian Mary-T.^ and Spencer Gordon Susan C. Stover In Memory of Sir Martin Gilbert Margaret Shannon* In Memory of Steve Prestegard Tom Van Alen Samuel Van Culin In Memory of Mary Louise Pusch Olson / Pusch Families Kathleen and Warren Mugnolo Margaret Shannon* Margot T. Young* Members of the Alto 2 Section In Memory of Lee Tidball Erika R. Joyce
In Memory of Susan Urban Spaulding Mary-T. ^ and Spencer Gordon In Memory of Rena Stephenson Patricia A. Stephenson* In Memory of Andrew Soto Ernest*^ and Catherine Abbott Timm Abendroth Alliant Energy Corporation American Gas Association Terry S. and Rhona S. Arbit Jessica Barness* Laura A. Brown Carl and Kay Chapman Ronald D. Christian Peter Connor Crothall Patient Transport Lisa F. and James E. Davenport Covington, Louisiana Office, Administrative Law Judges, U.S. Dpt. of Labor
Edison Electric Institute Friends at the Energy Solutions Center Damian Finio Marie A. Finio Brenda Gardiner, Beth Cantz and Holly Still Gary Wayne Gardner Colleen Geraghty Steven and Rosemarie Gluck Thomas J. and Celeste B. Goodwin Mary-T. ^ and Spencer Gordon Charles L. Grizzle Ralph E. Horvath Linda Huehn Carol M. and Robert C. Jones Thomas Jones Cheryl Lafleur and William Kuncik The Laclede Group Steve Lango Lani and Mike Longarzo Cincinnati Office of Administrative Law Judges
The Staff of the Office of Administrative Law Judges The Office of Administrative Law Judges, San Francisco Office Staff Adele H. Odegard Bradley J. and Martha A.*^ Olson Robert and Christine Phillips Questar Friends Ron Jibson, Colleen Bell, Tina Faust and Barrie McKay Jane Raymond Jean Marc Robinson Daniel K. Roketenetz Lee J. Romero Darcy Rossman John E Shelk Julie Simon Kristin M. Smith Daniel and Patricia Solomon Theresa D. Thoman Justin and Debra Thornton Vectren Foundation, Inc. Wilkinson, Barker, Knauer, LLP
Harmonia Society The Cathedral Choral Society was founded in 1941. Founding Music Director, Paul Callaway, championed the idea of a large symphonic chorus that would welcome the community to come together and sing in the Cathedral. Four decades later the Harmonia Society was founded by twenty-two charter members to recognize those who have, with special thought and foresight, included the Cathedral Choral Society in their estate plans. Their wish was to build an endowment that would continue the work begun by this visionary gentleman for generations to come. Anonymous Donors Catherine H. Beauchamp Charles Leonard Egan Arthur and Connie Eggers Charles W. and Jane R. Ervin Thomas P. Gallagher^ Mary-T Gordon^ William B. and Ruth L. Harwood Ann Ingram
Richard* and Cecilia Larkin William M. Leach J. Reilly^ and Beth A.V.* Lewis Rosemary D. Lyon James*^ and Lolly Mixter Martha A. Morris Mark W. Ohnmacht Gerald W.^ and Alice Padwe Carla L. Rosati
Martin S. Rosenthal^* Margaret Shannon* T. Michael and Linda Shortal Steven and Nancy Smith Andrew Soto†M. Elizabeth†and Charles Tidball Nancy Wiecking Evelyn Woolston-May
If you have remembered the Cathedral Choral Society in your estate planning and do not see your name above, please let us know. To reach us or to learn more about the Harmonia Society, contact Genevieve Twomey at 202-537-5524.
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Thank you to our media sponsor...
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Acknowledgements Board of Trustees Ernest Abbott, President Kathleen Brion Kristi S. Brown Cynthia Drakeman Walter B. Doggett III Diana F. Dykstra Thomas P. Gallagher
Paul Juergensen II, Vice President Thomas Mugavero J. Reilly Lewis, Music Director James Mixter, Treasurer Jack Moyer Martha A. Olson
Jennifer Griffiths Orudjev Gerry Padwe, Secretary Kevin Rosengren Martin Rosenthal L. Brad Stanford Genevieve C. Twomey, Executive Director
Honorary Trustees Mary-T Gordon
Virginia C. Mars
Cathedral Choral Society Staff Kate Breytspraak, Director of Chorus & Concert Operations Laura Crook Brisson, Operations Coordinator Todd Fickley, Associate Music Director & Chorus Master
J. Reilly Lewis, Music Director Jennifer Minich, Executive & Development Assistant Mimi Newcastle, Finance Manager Joy Schreier, Keyboard Artist & Vocal Coach
Lindsay Sheridan, Director of Marketing & Communications Genevieve C. Twomey, Executive Director
Personal Assistant to the Music Director Adam Jackson
Concert Support Margaret Shannon, Program Annotator Patricia Stephenson, Librarian
Library Committee: Joanne Casey, David Dietly, Kim Pacala, Jennifer Hawley, Ian Matthews, Robert Reeves
Washington National Cathedral Staff Valerie Ciccone, Manager, Volunteers & Events Gary Ford, Supervisor Sexton / Housekeeping Kim Gilliam, Director, Event & Program Management
Mark Huffman, Technical Director & Audio Engineer Sarah Rockwood, Front of House Manager James W. Shepherd, Director of Preservation & Facilities
With special thanks for all the staff and volunteers of Washington National Cathedral
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Robert Sokol, Chief Operating Officer Kevin Thomas, Asst. to the Director of Worship & Administrative Verger Torrence Thomas, Verger
J. Reilly Lewis, Music Director
Cathedral Choral Society
2015 | 16 A Singular Season
Joy of Christmas
Saturday, December 12 | 4:00 p.m. Sunday, December 13 | 4:00 p.m.
Christmas favorites and a newly commissioned carol by British composer James Whitbourn
Vivaldi Gloria
with the Washington Bach Consort
Sunday, February 21 | 4:00 p.m. Vivaldi, Concerto for Oboe and Trumpet, RV 563 Vivaldi, Nulla in mundo pax sincera, RV 630 Vivaldi, Dixit Dominus, RV 595 Vivaldi, Gloria in D Major, RV 589
Fantastic Beethoven
Sunday, May 15 | 4:00 p.m.
Beethoven, Leonore Overture, No. 2, Op. 72 Beethoven, Choral Fantasy, Op. 80 Beethoven, Mass in C Major, Op. 86
Turn today’s ticket into a subscription! Receive your best value. Four concerts starting at just $90. Hand back your ticket at our table near the Cathedral entrance OR call 202-537-2228 by Wednesday, October 21.
cathedralchoralsociety.org | 202-537-2228