2019.20 CONCERT SEASON
HAYDN
Steven Fox, Music Director
Harmoniemesse
SUNDAY, OCTOBER 20, 2019 5:00 PM WASHINGTON NATIONAL CATHEDRAL
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Dear friends, On behalf of the Cathedral Choral Society family, I’d like to welcome you to Washington National Cathedral for our opening concert of the 2019.20 season. I am particularly excited about today’s concert, for it represents our first collaboration with the Washington Bach Consort since the passing of J. Reilly Lewis. Reilly was not only the director of Cathedral Choral Society for more than 30 years, he was the founder and director of the Washington Bach Consort. We are linked, therefore, through a long history of collaborations, and we are thrilled that this tradition will continue to move forward under the Washington Bach Consort’s new artistic director, Dana Marsh, and our music director, Steven Fox. We are extremely lucky to have this extraordinary space as our concert hall. As a location that regularly hosts heads of state and dignitaries from around the world, Washington National Cathedral holds a unique and special place in the national conversation. We are grateful to the Very Reverend Dean Randy Hollerith, Director of Music Michael McCarthy, and all of the clergy and staff of the Cathedral for including us in the activities here. Most importantly, however, we welcome you. For nearly eighty years, it has been the dedicated patrons of the Cathedral Choral Society that have enabled us to thrive, to grow, and to use our musical voice to create beauty in our community and beyond. I wish to thank each and every one of you for being here today. Sincerely,
Walter Doggett, Board President, Cathedral Choral Society
CONCERT DEDICATION
We are honored to dedicate todays concert to the memory of William and Ruth Harwood. Both were devoted singers and supporters of CCS, singing a combined total of 25 seasons with us. Outside of rehearsals, Bill served on the Board of Trustees while Ruth served on the Women’s Board. Cathedral Choral Society is deeply grateful to Harmonia Society members like Bill and Ruth whose bequest will provide resources for CCS to continue recording activities well into our future. We are so pleased to welcome their two daughters, Ellen and Janet, and their families to the concert today. 2
HAYDN
Harmoniemesse
SUNDAY, OCTOBER 20, 5:00 PM WASHINGTON NATIONAL CATHEDRAL
Jessica Beebe, soprano Mikki Sodergren, mezzo-soprano Brian Giebler, tenor Jonathan Woody, bass Washington Bach Consort (Dana Marsh, Artistic Director) Cathedral Choral Society Steven Fox, conductor
Te Deum for the Empress Marie Therese, Hob. XXIIIc:2
“Laudate Dominum� from Vesperae Solennes de Confessore, K. 339
Harmoniemesse, Hob. XXII:14
F. Joseph Haydn (1732-1809) W.A. Mozart (1756-1791) Haydn
I. Kyrie II. Gloria III. Credo IV. Sanctus V. Benedictus VI. Agnus Dei
Any taking of photographs or unauthorized recording of this concert is prohibited. Todays concert is expected to be 75 minutes in length with no intermission.
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PROGRAM NOTES It is only fitting that Cathedral Choral Society should celebrate the opening of its 78th season with the Washington Bach Consort, founded by CCS’ beloved long-time director J. Reilly Lewis in 1977, and with a program showcasing the brilliance of Joseph Haydn, a master who only got better with age. In his 77 years, Haydn developed main elements of what came to be known as the Classical style; he also inspired and helped nurture the talents of Mozart, Beethoven and other major composers of the time. Widely regarded as the father of the symphony and the string quartet, Haydn demonstrated equal facility with voices, composing fourteen masses, several large-scale oratorios, and twenty operas. Tonight we bring together the singers of Cathedral Choral Society and the players of the Washington Bach Consort to present two magnificent works from the last decade of his life. Empress Marie Therese long wished to commission a major work from Haydn. At a time when Haydn was contractually obligated to compose only for the court of Prince Nicolaus Esterházy (the Esterházys were perhaps the most influential family amongst Hungarian nobility), the Empress seems to have been given a special concession. She commissioned Haydn to write his second setting of the celebratory medieval hymn, Te Deum laudamus. The work, completed in 1799, reflects Haydn’s predilection for a symphonic structure. It is divided into a three-movement form reminiscent of an early Classical symphony or overture: fast-slow-fast. The first movement is a fluid, through-composed setting of the first stanzas of the hymn: “We praise thee, O God, we acknowledge thee to be the Lord.” The adagio movement, in the relative minor, so poignantly expresses the text, “We therefore pray Thee, help Thy servants whom Thou hast redeemed by Thy precious blood”; and the exuberant final section, in C major, culminates in a grand fugue on the text “O lord in thee have I trusted, let us never be confounded.” The three trumpets and timpani add a festive color to the work. The hymn Te Deum laudamus is often sung at celebratory occasions such as installations, ordinations or coronations. For us this evening, the Te Deum celebrates the start of a new season of music. Haydn composed the Harmoniemesse in 1802. It was his final major work. Haydn’s last six masses were commissioned annually for the name day of Prince Esterházy’s consort, Maria Hermenegild (after Haydn retired, the tradition was continued for a short time by Johann Nepomuk Hummel and then Beethoven). The late masses of Haydn are often called ‘symphonic’ because of their scale, and also because of the symphonic structure of many of the larger movements. Haydn began work on the Harmoniemesse after completing the oratorio The Seasons in early 1802. Despite the weariness of age - he had written to Prince Esterházy that he was “laboring wearily on the new Mass” - he was still able to rehearse and conduct its premiere that September. The name of the work is a reference to “Harmonie” (German for “wind band”), and refers to the full wind orchestration as well as to the charming wind solos that appear throughout the work. This last large-scale work of Haydn’s has the formal grandeur and the virtuosity one might expect from a composer whose genius grew with age, and who, by the end of his life, it seems, could achieve whatever he wanted to in his compositions. But it also shows us different aspects of Haydn’s lovable personality - his wit, his love of life, his passion, and his deep spirituality. In between these two Haydn works, as a palate cleanser, we will perform Mozart’s “Laudate Dominum”, one of the five psalm settings from his Solemn Vespers (Vesperae Solennes de Confessore). Psalm 117, the most succinct of all 150 psalms, is a joyous song of praise, and Mozart’s setting is one of simple beauty. It is scored for a soprano soloist, an intimately-sized orchestra (comprised of strings, organ, and bassoon) and chorus, which joins for the second section of the piece. The “Laudate Dominum” is often performed as a stand-alone piece both in liturgies and in concert. While Haydn’s shadow loomed large over all other composers of his time, including Mozart and Beethoven, one must also remember that Haydn acknowledged the special genius of Mozart, remarking to Leopold Mozart: “Before God and as an honest man I tell you that your son is the greatest composer known to me either in person or by name; he has taste, and, furthermore, the most profound knowledge of composition.” - Steven Fox
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TEXTS AND TRANSLATIONS TE DEUM Te Deum laudamus, Te Dominum confi temur, Te aeternum Patrem omnis terra veneratur. Tibi omnes Angeli, Tibi coeli et universae Potestates, Tibi cherubim et seraphim incessabili voce proclamant: Sanctus, sanctus, sanctus Dominus Deus Sabaoth. Pleni sunt coeli et terra majestatis gloriae tuae.
We praise thee, O God, we acknowledge thee to be the Lord. All the earth doth worship thee, the Father everlasting. To thee all Angels cry aloud, the Heavens, and all the Powers therein. To thee Cherubim and Seraphim continually do cry, Holy, Holy, Holy, Lord God of Sabaoth; Heaven and earth are full of the majesty of thy glory.
Te gloriosus Apostolorum chorus, Te Prophetarum laudabilis numerus, Te Martyrum candidatus laudat exercitus. Te per orbem terrarum sancta confi tetur Ecclesia: Patrem immensae majestatis, Venerandum tuum verum et unicum Filium, Sanctum quoque Paraclitum Spiritum.
The glorious company of the Apostles praise thee. The goodly fellowship of the Prophets praise thee. The noble army of Martyrs praise thee. The holy Church throughout all the world doth acknowledge thee; The Father of an infinite Majesty; Thine honorable, true, and only Son; Also the Holy Ghost the Comforter.
Tu Rex gloriae, Christe. Tu Patris sempiternus es Filius. Tu ad liberandum suscepturus hominem non horruisti Virginis uterum. Tu, devicto mortis aculeo, aperuisti credentibus regna coelorum.
Thou art the King of Glory, O Christ. Thou art the everlasting Son of the Father. When thou tookest upon thee to deliver man thou didst not abhor the Virgin’s womb. When thou hadst overcome the sharpness of death, thou didst open the kingdom of heaven to all believers.
Tu ad dexteram Dei sedes in gloria Patris. Judex crederis esse venturus.
Thou sittest at the right hand of God, in the glory of the Father. We believe that thou shalt come to be our Judge.
Te ergo quaesumus tuis famulis subveni, quos pretioso Sanguine redemisti. Aeterna fac cum Sanctis tuis in gloria numerari.
We therefore pray thee, help thy servants, whom thou hast redeemed with thy precious blood. Make them to be numbered with thy Saints, in glory everlasting.
Salvum fac populum tuum, Domine, et benedic haereditate tuae. Et rege eos, et extolle illos in aeternum. Per singulos dies benedicimus te, Et laudamus nomen tuum in saeculum seculi.
O Lord, save thy people and bless thine heritage. Govern them and lift them up for ever. Day by day we magnify thee; And we worship thy Name ever world without end.
Dignare, Domine, die isto, sine peccatos nos custodire. Miserere, miserere nostri, Domine. Fiat misericordia tua, Domine, super nos, quemadmodum speravimus in te; non confundar in aeternum.
Vouchsafe, O Lord, to keep us this day without sin. O Lord, have mercy upon us, O Lord, let thy mercy lighten upon us, as our trust is in thee. let me never be confounded.
--Text, traditionally attributed to St. Ambrose and St. Augustine, AD 387
--English version from Book of Common Prayer, 1662 5
TEXTS AND TRANSLATIONS LAUDATE DOMINUM – PSALM 117 Laudate Dominum, omnes gentes; Laudate eum, omnes populi. Quoniam confirmata est super nos misericordia ejus, Et veritas Domini manet in Ìternum. Gloria Patri et Filio, et Spiritui Sancto. Sicut erat in principio, et nunc, et semper. Et in saecula saeculorum. Amen
O praise the Lord, all ye heathen; Praise him, all ye nations. For his merciful kindness is ever more and more towards us, and the truth of the Lord endureth forever. Glory be to the Father and Son, and Holy Spirit As it was in the beginning, and now, and ever shall be. World without end. Amen. --English version from Book of Common Prayer, 1662
HARMONIEMESSE I. KYRIE Kyrie eleison. Christe eleison. Kyrie eleison.
Lord, have mercy upon us. Christ, have mercy upon us. Lord, have mercy upon us.
II. GLORIA Gloria in excelsis Deo, et in terra pax hominibus bonae voluntatis. Laudamus te. Benedicimus te. Adoramus te. Glorificamus te.
Glory to God on the highest, and on earth peace, goodwill toward men. We praise thee. We adore thee. We bless thee. We glorify thee.
Gratias agimus tibi propter magnam gloriam tuam. Domine Deus, rex coelestis, Deus Pater omnipotens. Domine Fili unigenite, Jesu Christe. Domine Deus, Agnus Dei, Filius Patris:
We give thanks to thee for thy great glory. Lord God, king of heaven, God the omnipotent Father. Lord the only-begotten Son, Jesus Christ. Lord God, Lamb of God, Son of the Father:
Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dexteram Patris, miserere nobis.
Who takest away the sins of the world, have mercy upon us. Who takest away the sins of the world, hear our prayer. Who sittest at the right hand of the Father, have mercy upon us.
Quoniam tu solus sanctus, tu solus Dominus, tu solus altissimus: Jesu Christe, cum Sancto Spiritu, in gloria Dei Patris. Amen.
For thou alone art holy, thou alone art God, thou alone art most high: Jesus Christ with the Holy Ghost, in the glory of God the Father. Amen.
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TEXTS AND TRANSLATIONS III. CREDO Credo in unum Deum, Patrem omnipotentem, factorem coeli et terrae, visibilium omnium et invisibilium. Et in unum Dominum Jesum Christum, Filium Dei unigenitum. Et ex Patre natum ante omnia saecula. Deum de Deo, lumen de lumine, Deum verum de Deo vero. Genitum, non factum, consubstantialem Patri: per quem omnia facta sunt. Qui propter nos homines, et propter nostram salutem descendit de coelis.
I believe in one God the Father Almighty, maker of heaven and earth, and of all things visible and invisible. And in one Lord Jesus Christ, the only-begotten Son of God. Born of the Father before all ages, God of God, Light of Light, very God of very God. Begotten, not made, being of one substance with the Father, by whom all things were made, who for us men and for our salvation came down from heaven.
Et incarnatus est de Spiritu Sancto ex Maria Virgine: et homo factus est. Crucifixus etiam pro nobis sub Pontio Pilato, passus, et sepultus est.
And was incarnate of the Holy Ghost by the Virgin Mary, and was made man; and was crucified also for us under Pontius Pilate; He suffered and was buried.
Et resurrexit tertia die, secundum Scripturas. Et ascendit in coelum: sedet ad dexteram Patris. Et iterum venturus est cum gloria judicare vivos et mortuos, cujus regni non erit finis. Et in Spiritum Sanctum, Dominum, et vivificantem: qui ex Patre Filioque procedit. Qui cum Patre et Filio simul adoratur et conglorificatur: qui locutus set per Prophetas. Et unam, sanctam, catholicam et apostolicam Eccelsiam.
And on the third day He rose again according to the Scriptures, and ascended into heaven, and sitteth on the right hand of the Father, And He shall come again, with glory, to judge both the quick and the dead; whose kingdom shall have no end. And I believe in the Holy Ghost, The Lord, and Giver of life, who proceedeth from the Father and the Son, who with the Father and the Son is worshiped and glorified; who spake by the Prophets. And I believe in one holy Catholic and Apostolic Church;
Confiteor unum baptisma in remissionem peccatorum. Et exspecto resurrectionem mortuorum
I acknowledge one Baptism for the remission of sins; and I look for the resurrection of the dead,
Et vitam venturi saeculi. Amen.
and the life of the world to come. Amen.
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TEXTS AND TRANSLATIONS IV. SANCTUS Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth.
Holy, Holy, Holy, Lord God of Hosts.
Pleni sunt coeli et terra gloria tua. Osanna in excelsis.
Heaven and earth are full of thy glory Hosannah in the highest.
V. BENEDICTUS Benedictus qui venit in nomine Domini. Osanna in excelsis.
Blessed is he who cometh in the name of the Lord. Hosanna in the highest.
VI. AGNUS DEI Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mudni, dona nobis pacem.
Lamb of God, who takest away the sins of the world, have mercy on us. Lamb of God, who takest away the sins of the world, have mercy on us. Lamb of God, who takest away the sins of the world, grant us peace.
Dona nobis pacem.
Grant us peace. --Traditional Latin Mass, Roman Missal English version from Holy Bible, 1611 and Book of Common Prayer, 1928
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BIOGRAPHIES Steven Fox is Music Director of the Cathedral Choral Society and Artistic Director of The Clarion Choir and The Clarion Orchestra in New York. 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, Opéra de Québec, Music of the Baroque in Chicago, and the Tucson Symphony Orchestra. Upcoming engagements include the Rochester Philharmonic, Cappella Romana, and a residency at the University of Toronto. 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, the 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. Mr. 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 fullystaged 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 Operamagazine (UK).
He has given master classes and clinics at The Royal Academy of Music, Dartmouth College, The Juilliard School and Yale University, where he served for two years as preparatory conductor of the Yale Schola Cantorum. Lauded as having “honey-colored tone” and “the most radiant solo singing” from Opera News, soprano Jessica Beebe is steadily gaining international attention as an affecting interpreter of repertoire from the Renaissance and Baroque to contemporary American opera. Ms. Beebe has performed as a guest soloist with several major orchestras and ensembles across the country including The New York Chamber Orchestra at Carnegie Hall, The Los Angeles Philharmonic at Walt Disney Hall, The Indianapolis Symphony Orchestra with Raymond Leppard, The Indianapolis Baroque Orchestra, The Folger Consort, The Philharmonia Orchestra of New York, Piffaro The Renaissance Wind Band, The Princeton Festival Orchestra, The Philadelphia Orchestra and more. Ms. Beebe has debuted several new operas with Opera Philadelphia, including David Hertzberg’s The Wake World, Jennifer Higdon’s Cold Mountain, and Lembit Beecher’s Sky on Swings. Ms. Beebe has also performed internationally, covering the role of ‘Angel’ in Bergen National Opera’s staged production of Messiah and covering the title role in Handel’s Semele with Harry Bicket and the English Concert. Most recently, Ms. Beebe made her Los Angeles Philharmonic solo debut in Meredith Monk’s opera Atlas. Ms. Beebe is a member of GRAMMY winning ensemble The Crossing, GRAMMY nominated ensemble Clarion Society, Variant Six, and Trio Eos. For more information on Ms. Beebe please visit www. jessicabeebesoprano.com.
Steven was named an Associate of the Royal Academy of Music, London, in 2010 ‘for significant contributions to his field in music,’ and has received GRAMMY nominations for his first two recordings with The Clarion Choir: Steinberg’s Passion Week (2016) and Kastalsky’s Memory Eternal (2018). In May 2018, Steven conducted The Clarion Choir in a performance with Madonna at the Met Gala, including the world premiere of ‘Dark Ballet’. 9
BIOGRAPHIES With a gift of changing vocal styles quickly and often, Mikki Sodergren’s vocal flexibility has afforded her many wonderful musical opportunities. Recently, she performed the eponymous role of Carmen with Queens Opera Theatre, Aldonza/ Dulcinea (Man of La Mancha) alongside Ron Raines at Amarillo Opera (TX), and has been involved in workshops and readings of several new musical theatre works, including work for Disney Theatricals and The National Theatre of Great Britain. Sodergren has performed as the Alto soloist in Handel’s Messiah with the Johnstown Symphony (PA), the Mezzo-Soprano soloist in the Rachmaninoff Vespers with the twice-GRAMMYnominated Clarion Choir, and the Mezzo-Soprano soloist in Vivaldi’s Gloria with Pro Arte Chorale, and will repeat that performance in the spring with the period ensemble, REBEL. She has performed Pops programs with the symphonies of Jacksonville, Tallahassee, Savannah, and the New Jersey Festival Orchestra. Mikki loves ensemble work, touring to Cuba and Ecuador with the ensemble Meridionalis, and toured Handel’s Semele, conducted by Harry Bicket, with the English Concert and the Clarion Choir across Europe and the US last spring. Favorite roles include Eponine (Les Miserables), Brooke/Journalist (Looking at You), and Ali (The Bad Years). Mikki currently serves as the Artistic Director of the American Traditions Vocal Competition in Savannah, Georgia, where all styles of American music are celebrated equally. www.mikkisodergren.com Garnering praise for his “most impressive… bright, clear tone and lively personality” (New York Times), American tenor Brian Giebler is a “faultless high tenor” (Seattle Times) with “lovely tone and deep expressivity” (New York Times). From Evangelist in Bach’s St. Matthew Passion with the GRAMMY-nominated Choir of Trinity Wall Street under Julian Wachner, to Stravinsky’s Threni with The Cleveland Orchestra under Franz Welser-Möst, “the sweetness of Giebler’s impressive high tenor” and his “expressive and 10
elegant phrasing” (Cleveland Classical) has captivated audiences around the world. Mr. Giebler’s recent seasons’ highlights include solo engagements with The Cleveland Orchestra; The English Concert (Apollo in Handel’s Semele under Harry Bicket); Boston Baroque (Arnalta in Monteverdi’s Poppea); Grand Rapids Symphony; Virginia Symphony Orchestra; Syracuse Symphoria; Charlottesville Opera; Musica Sacra (Carnegie Hall); Handel & Hadyn Society; Mark Morris Dance Group (Lincoln Center’s Mostly Mozart Festival); Boston Early Music Festival; Clarion Music Society; Baltimore Choral Arts; and the Oregon Bach Festival. While his light lyric tenor is sought-after for his interpretations of the music of Bach and Handel (and their contemporaries), Mr. Giebler has also earned a fine reputation for his interpretation of roles in new works by prominent modern-day composers such as Paola Prestini (collaborating on a work for Minnesota Opera), William Antoniou (Anathema: The Turing Opera – National Sawdust), Charles Wuorinen (Haroun and the Sea of Stories – Boston Modern Orchestra Project), and James Dashow. Mr. Giebler took 2nd Place in the 2018 Lyndon Woodside Oratorio-Solo Competition at Carnegie Hall, and won the People’s Choice Award at the 2018 American Traditions Vocal Competition. This season, Mr. Giebler makes his solo débuts with Santa Fe Pro Musica, the Oratorio Society of New York (Handel’s Messiah at Carnegie Hall), and as Adam in the New York premiere of Julian Wachner/Cerise Jacobs’ opera, Rev. 23, at the Prototype Festival in January, 2020.
BIOGRAPHIES Bass-baritone Jonathan Woody is a sought-after performer of early and new music across North America. Jonathan has made appearances in recent seasons as soloist with orchestras such as Apollo’s Fire, Pacific MusicWorks, Boston Early Music Festival, Tafelmusik Baroque Orchestra, Portland Baroque Orchestra and New York Baroque Incorporated. Last season, Jonathan appeared with the English Concert and the Clarion Music Society on an international tour of Handel’s Semele, covering the roles of Cadmus and Somnus. Jonathan is also regularly featured as a member of the GRAMMY-nominated Choir of Trinity Wall Street, where he has earned praise as “charismatic” and “riveting” from the New York Times for his solo work. An avid performer of new music, Jonathan has premiered several works in recent years, including Ted Hearne’s The Source, Ellen Reid’s p r i s m (2019 Pulitzer Prize winner), Missy Mazzoli’s Breaking the Waves (NYC premiere), and Du Yun’s Angel’s Bone (2017 Pulitzer Prize winner). Festival appearances include Staunton Music Festival, Portland Bach Festival, Carmel Bach Festival, Oregon Bach Festival, American Bach Soloists Academy, and the Britten-Pears Young Artist Programme. On the operatic stage, Jonathan has joined Opera Lafayette, Gotham Chamber Opera, New Amsterdam Presents and Beth Morrison Projects for recent productions, and will return to Opera Lafayette for two productions in the 2019-2020 season. Jonathan has recorded with the Choir of Trinity Wall Street under the Musica Omnia label and is featured on their Grammy® recording of Israel in Egypt. Other recording credits include Boston Early Music Festival’s St. Matthew Passion of J. Sebastiani (RadioBremen), New York Polyphony’s Roma Æterna (BIS Records), and the Choir of Trinity Wall Street’s Missa Gentis Humanae (Musica Omnia). Jonathan enjoys a richly varied life in the arts based in Brooklyn, NY, and holds degrees from McGill University and the University of Maryland, College Park. www.athloneartists.com/jonathan-woody/
Assistant Conductor and Pianist 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.
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BIOGRAPHIES Washington Bach Consort Founded in 1977 by the late Dr. J. Reilly Lewis, the Washington Bach Consort is a professional chorus and orchestra based in Washington, DC, now led by Artistic Director Dana Marsh. The Consort is committed to ensuring that current and future audiences experience the music of Johann Sebastian Bach and his contemporaries by: 1) performing the music of Bach and his contemporaries to the highest artistic standards, 2) sharing the joy of Bach’s music by broadening audiences in the nation’s capital, 3) nurturing the appreciation of Bach’s music through education and community outreach activities, and 4) interpreting the music of Bach for audiences of today, thereby ensuring his legacy. As one of DC’s most nationally recognized organizations, the Consort is noted for its historically informed performances on period instruments. Selected recordings include the first American recording of the F major and G minor masses and three solo cantatas with soprano Elizabeth Futral. After completing Bach’s entire 215-cantata cycle, the Library of Congress welcomed recording and concert program archives into its permanent collection. The Consort is committed to making Bach’s works accessible to Washington’s diverse audiences by providing one of the only live, classical music education experiences for DC public school students free of charge. In August 2018, the Bach Consort welcomed Artistic Director Dana Marsh, who also serves as Associate Professor of Music and Director of the Historical Performance Institute at Indiana University. Marsh succeeds beloved founder, J. Reilly Lewis, who led the Washington Bach Consort for 39 years until his untimely passing in 2016. In May 2019, the Council of the District of Columbia recognized the 30th anniversary of the Consort’s free Noontime Cantata Series, which attracts more than 2,200 people each year.
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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. 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.
CATHEDRAL CHORAL SOCIETY SOPRANO Amanda Ayers Jessica Barness** Joanne Casey Tari Cooper* Marcia D’Arcangelo Lesley Earl Kaylee Folsom Melissa Fox Ariana Frascatore Renee Gamache Crossley Hawn Hope Hukkeri Elizabeth Hutcheson Elizabeth Konneker Chana Kuhns Carys Kunze Lori Kurtyka Boyoung Lee
ALTO Molly Lowder Wendy Lubarksy Chris Markus Marianna J. Martindale Emily McCullough Jenny Nathans Catherine Ort-Mabry Kimberly Pacala Felicia Pagden Frances H. Pratt* Helen St. John Megan Sullivan** Evelyn Tsen Dianne Vandivier Jelena Vranic Elizabeth Owens Wakefield Celeste Wanner
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
Salma Al-Shami Dr. Violet Baker Hannah Baslee Vanessa Bateman Ivy Bostock George Branyan Kathleen Brion Laurene Church Laura Connors Robin Costanza Kayli Davis Catie DeLiso Kehan DeSousa Cindy Drakeman Holly Filipiak Susan Grad** Jennifer Griffiths Orudjev Kim Harris
Pam Hazen** Sarah B. Holmes Kyla Kitamura Beth L. Law Sheila N. McJilton Julie Meadows Laura Miller* Mary Olch Sarah Petroni Sarah Phillips Teresa Polinske Larisa Prisacari Eleanor Slota Susan Stanford Patricia Stephenson Cecelia Tamburro Kathy Welling*
BASS Peter Lee James M. E. Mixter, Jr. Jack Moyer** Thomas Mugavero Christine Mulligan* Robert Porter Robert Reeves Martin Rosenthal** John Schaettler Martyn Smith MatthewTaylor D.C. Washington
Ernest Abbott Joshua Blume Christopher L Buechler* Nathaniel Buttram Kelly Cameron Jack Campbell Casey Cook David D’Auria John Doyon Glenn S. Griffiths** Lee Larson Ian Matthews Michael McCarthy Scott McCorkindale Armand R. Peterson Richard Rattan Raymond Rhineha Scott McCorkindale
Armand R. Peterson Richard Rattan Raymond Rhinehart Christopher G. Riggs Stephen Roberts Gary Roebuck Deion Roulhac James Schaller David Shilton Arthur Smith** L. Bradley Stanford Richard Wanerman* Nicholas Wathen Richard Weinberg Emerson Wells Clifton West III Ellis Wisner
* Section Coordinators ** Alternates
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WASHINGTON BACH CONSORT WASHINGTON BACH CONSORT Dana Marsh, Artistic Director VIOLIN I Cynthia Roberts, Concertmaster Chloe Fedor Fiona Hughes Marlisa Woods Jude Ziliak Jeremy Rhizor VIOLIN II Tatiana Chulochnikova* Theresa Salomon Annie Loud Sophie Genevieve Lowe Sarah Jane Kenner VIOLA Marika Holmqvist* Scott McCormick Marta Howard Daniel McCarthy CELLO Paul Dwyer* Rebecca Humphrey Diedrich Wade Davis BASS Jessica Powell Eig* Tracey Mortimer
FLUTE Colin St.-Martin* OBOE Stephen Hammer* Sarah Davol CLARINET Richard Spece* Elise Bonhivert BASSOON Clay Zeller-Townson* Kelsey Schilling HORN Bradley Tatum* John Peiffer TRUMPET Josh Cohen* Joelle Monroe Dennis Anthony Ferry TIMPANI Michelle Humphreys* ORGAN George Fergus+
* principal + assistant organist, Washington National Cathedral
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THANK YOU The Cathedral Choral Society is pleased to acknowledge the following contributors to our Annual Fund Campaign between July 1, 2018 - October 2, 2019. Gifts made in Memory or Honor of another person are listed on page 18. Thank you. Your ongoing and generous contributions support our vision to engage people in the extraordinary power of choral music. FOUNDER’S CIRCLE $10,000+ Anonymous Ernest*^ and Catherine Abbott
Thomas P. Gallagher Patricia D. Hevner^
Thomas C. Mugavero*^ Martin Rosenthal*^ and Corinne Axelrod
Margarita Ossorio-Goldman^ and Daniel Goldman Gerald W. and Alice Padwe
Stephen S. Roberts* L. Bradley* and Susan*^ Stanford Gene^ and Sheryl Tunison
Virginia C. Mars^ Susan McDaid* Lolly and Jim* Mixter John E. Moyer* and Jane R. Passman Catherine E. Ort-Mabry* and Brian Mabry
Frances H. Pratt* Raymond Rhinehart* and Walter Smalling, Jr. Gary B. Roebuck*^
J. Reilly† and Beth Lewis Samuel and Tsai-Hong Miller Robert* and Lissa Reeves John F. Schaettler* James* and Madeleine Schaller T. Michael and Linda Shortal
Guy and Margaret Steuart Mr. Leslie C. Taylor Elinor and James Vaughter Kevin and Andrea Wade Nancy Wiecking
CONDUCTOR’S CIRCLE $5,000+ Walter^ and Joanne Doggett Jeremy Gosbee*^ Sarah B. Holmes*^ and John B. Morris Jr. Celeste Letourneau CHORUS’ CIRCLE $2,500+ Theresa Caragol^ Charles Leonard Egan Connie Eggers† Susan Grad* Richard and Cecilia Larkin ENCORE LEVEL $1,000+ Laura M. Connors* Blanche L. Curfman Nancy M. Folger Mary-T^ and Spencer Gordon Robert W. Jerome and William J. Courville C. F. Muckenfuss III and Angela Lancaster
* Chorus member ^ Board Trustee † Deceased
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THANK YOU SUSTAINER LEVEL $500+ Violet Baker* Jessica Barness* Jeanne Buster Jack Campbell* and Family Alice M. Denney Lynn B. Dutton Brett Ewer* Holly* and Trevor Filipiak
Embry Howell Peter* and Lauralyn Lee Kimberly* and Mark Pacala Dale and Anthony Pappas Scott and Nancy Pinckney Harold I. and Frances G. Pratt Lynn Rhomberg
Linda and Richard Roeckelein Eric P. Andersen and W. David Young II Megan Sullivan*^ C. Thomas Van Alen Thomas and Linda Veblen Ellis Wisner* Margot T. Young
The Keating Foundation Gary and Judy Kushnier Wendy Palmby Lubarsky* Marianna J. Martindale* Leander and Stephanie McCormick-Goodhart Barbara and John McGraw Bob Kline and Elaine Mills Joan and Robert Pirie
Lise M. Pommois Jacqueline K. Prince Georgene Rasmusson Suzanne and Robert Rooney David* and Mary Shilton James D. Toews Elizabeth Owens Wakefield* D. C. Washington* Kathleen M. Welling*
Cary C. Fuller Cynthia Livingstone Gibert Neil and Carolyn Goldman George E. Groninger Douglas Gustafson George Hanc Frederick S. Hird Robert and Parma Holt Rosella G. Homan Oliver B. John Martha Jones Mr. and Mrs. Louis E. Kahn Mary Ruth Keller Richard and Jeanne Lambert George Londeree Rosemary D. Lyon Alaster MacDonald James W. and Kathleen E. Madden Robert Turner Mead Martha Miller Christine* and James Mulligan
Coleman H. & Elizabeth B. O’Donoghue Warren and Marianne Pfeiffer Rondi K. Pillette and Steven and Jake Levin Robert* and Elaine Porter Markley Roberts Ann Imlah Schneider Charles and Joanne Schwarz Patrick Shannon James and Linda Sheridan Carol Hill Sox Patricia Stephenson* Keiko Stusnick Alice Sziede Matt Taylor* Ann Tickner Phyllis C. Wertime Virginia L. White Evelyn D. Woolston-May
PATRON LEVEL $250+ Margaret M. Ayres and Stephen Case D. Philip Baker Catherine H. Beauchamp David and Jane Berteau Gregg M. Breen* Kathleen Brion* James W. Clay Glenn S.* and Judith M. Griffiths Paul and Ellen Hoff DONOR LEVEL $100+ Anonymous (2) Marjorie Abbot Doug Barry* and Liz Eder Gordon L. Biscomb Andrew and Kaye Boesel Herman Bostick Christopher L. Buechler* Michael F. Butler Helen Carras Timothy W. and Patricia R. Carrico Laurene H. Church* Marilyn Clark Vera I. Connolly Frances D. Cook Roberta and Philip Cronin Marcia D’Arcangelo* Sharrill Dittmann John Doyon* Cynthia L. Drakeman* and Richard Wanerman* Neil and Mary Fisher
* Chorus member ^ Board Trustee † Deceased
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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 July 1, 2018 - October 2, 2019. GIFTS IN HONOR In Honor of Ellis Wisner Judith Hope
In Honor of Frances H. Pratt Chuck Pratt and Alex England
In Honor of Tom and Patti Mugavero Elizabeth Sherfy
In Honor of Mary-T. Gordon Tom Beaty and Anne Mettringer
In Honor of Tom Mugavero Anonymous
In Honor of Kehan Desousa Susan T. Grant
In Memory of Milton Rose Ingrid R. Rose
In Memory of Glen Mitchell Mary-T^ and Spencer Gordon
In Memory of John D. Van Wagoner Beth Lewis Mary-T and Spencer Gordon Blanche L. Curfman
In Memory of Warren Johnson Bill Koerner
In Honor of Margot T. Young Kathleen W. and Walter Weld
GIFTS IN MEMORY In Memory of Charles S. Tidball Mary B. Olch* Blanche L. Curfman* 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 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 stabilty and success of this choral organization for the next generation of singers and audiences. We are grateful to each member of the Harmonia Society for their vision and generous support. Anonymous (2) Ernest*^ and Catherine Abbott Catherine H. Beauchamp Judy Davis David Dietly* Charles Leonard Egan Arthur and Connie Eggers Thomas P. Gallagher^ Mary-T^ and Spencer Gordon Anne R. Harris ^
William B.† and Ruth L.† Harwood Patricia D. Hevner^ Ann Ingram Richard* and Cecilia Larkin William M. Leach J. Reilly† and Beth A.V.* Lewis Susan McDaid* Lolly and Jim*^ Mixter Martha A. Morris Gerald W.^ and Alice Padwe
Raymond Rhinehart* Carla L. Rosati Martin Rosenthal*^ and Corinne Axelrod Margaret Shannon* T. Michael and Linda Shortal John† and Dariel† Van Wagoner Nancy Wiecking Martha Wilson Evelyn D. Woolston-May
If you have remembered the Cathedral Choral Society in your estate planning and do not see your name above, please let us know. To reach us or to learn more about the Harmonia Society, contact Christopher Eanes at 202-537-5524.
The Cathedral Choral Society is pleased to recognize Government, Foundation, and Corporate support to our Annual Fund Campaign between July 1, 2018 - October 2, 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
Edelman Community 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 Deloitte
Corporate Investor $1,500+ IBM Sentinel Wealth Management
Corporate Advocate $500+ River Oaks Veterinary Clinic Starbrite Dental, the Office of Dr. Maryam Seifi American Fundraising Foundation
Corporate Supporter $100+ Messina, Canal, & Moawad, DDS Amazon Smile Foundation
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Corporate Leader $1,000+ Bogart Wealth Managment, LLC
THANK YOU BOARD OF TRUSTEES Ernie Abbott Theresa Caragol David Dietly Walter B. Doggett III, President Christopher Eanes, ex officio Steven Fox, ex officio
Jeremy Gosbee, Secretary Patricia Hevner Sarah Holmes, Vice President Tom Mugavero Margarita Ossorio-Goldman Andrew Prior
Gary Roebuck Martin S. Rosenthal Susan Stanford Nick Stokes Megan Sullivan Gene Tunison, Treasurer
HONORARY TRUSTEES
Mary-T. Gordon
Virginia C. Mars
CATHEDRAL CHORAL SOCIETY STAFF Emily Buttram, Development Manager Morgan Callwood, Operations Coordinator Christopher Eanes, Executive Director Steven Fox, Music Director
Anna Lipowitz, Director of Artistic Operations Courtney Ruckman, Marketing Coordinator Joy Schreier, Pianist & Assistant Conductor
CONCERT SUPPORT Violet Baker Joanne Casey Kimberly Pacala
Margaret Shannon, Text and Translations Patricia Stephenson, Librarian Robert Porter
SPECIAL THANKS The Cathedral Choral Society would like to recognize and thank the following people for making todays concert possible: WASHINGTON NATIONAL CATHEDRAL STAFF The Very Rev. Randolph Marshall Hollerith, Dean Cannon Michael McCarthy, Director of Music Valerie Ciccone, Director, Office of Event Management Aneisha Persuad, Deputy Director, Office of Event Management Sarah Rockwood, Deputy Director, Patron Services
Mark Huffman, Technical Director/Audio Engineer Matt Echave, Director or Video Services Gary Ford, Director, Sextons and Housekeeping Sara Kirsch, Events Operations Manager Torrence Thomas, Head Verger
WASHINGTON BACH CONSORT Dana Marsh, Artistic Director Marc Eisenberg, Executive Director Tim Laughlin, Artistic Administrator
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2019.20
JOY OF
Season
Christmas
SATURDAY, DEC. 21, 2:00 & 7:00 PM SUNDAY, DEC. 22, 5:00 PM
MARCH OF THE
Women
SUNDAY, MARCH 22, 5:00 PM
High School
CHOIR FESTIVAL
WEDNESDAY, JANUARY 29, 7:30PM FREE AND OPEN TO THE PUBLIC
Rossini MESSE SOLENNELLE
SUNDAY, MAY 17, 5:00 PM
SUBSCRIBE AND SAVE 202-537-2228 CATHEDRALCHORALSOCIETY.ORG 20
Receive your best value and make plans to join us for the rest of the concerts in our 2019.20 season. Packages start at just $90. Visit our website OR call 202-537-2228 by October 31.