Joy of Christmas 2017 Program

2017.18 CONCERT PROGRAM

SATURDAY, DEC. 16, 2:00 & 7:00 PM SUNDAY, DEC. 17, 4:00 PM WASHINGTON NATIONAL CATHEDRAL

JOY OF

Christmas

Greetings, Welcome to the 41st year of our annual Joy of Christmas concert!

We are so pleased that you are joining us today to celebrate the holiday season.

We are glad to welcome guest conductor Betsy Burleigh, and our special guest ensembles, Lyric Brass Quintet and the Washington Latin Public Charter School Honors Choir. Together we have prepared a program of well-loved carols and beautiful Christmas music that we know will fill you with the spirit of the season.

Each of us has our own traditions that we look forward to and our own memories that come alive each year. Our wish is that you will find something in this program that gives those traditions new meaning and makes old memories come alive again.

As you step out of the Cathedral today, we hope the joy and peace you experience remains with you throughout the new year.

Wishing you and yours a very happy holiday season!

from everyone at the Cathedral Choral Society

SOLITUDE AND

Joy

SUNDAY, MARCH 4, 4:00 PM

WASHINGTON NATIONAL CATHEDRAL Donald Nally, guest conductor Thomas Mesa, cello Scott Dettra, organ

“

Without solitude, without the test of time, without the passion for silence, without the excitation and retention of the whole body, without a frightened stumbling, without wandering into a region of shade and invisibility, without memory of animality, without melancholy, without isolation in melancholy, there is no joy.

“

Our musical journey follows this lyrical prose by writer Pascal Quignard. Hymns, chants, and anthems invoke awe in the brilliance of the stars and earth, inviting wonder and contemplation.

JOY OF

Christmas

SATURDAY, DECEMBER 16, 2:00 PM SATURDAY, DECEMBER 16, 7:00 PM SUNDAY, DECEMBER 17, 4:00 PM WASHINGTON NATIONAL CATHEDRAL

Betsy Burleigh, guest conductor Lyric Brass Quintet Cathedral Choral Society Washington Latin Public Charter School Honors Choir

Melissa VerCammen, conductor Benjamin Straley, organ Edward Nassor, carillon Joy Schreier, piano O Come, O Come Emmanuel / Let All Mortal Flesh Keep Silence arr. Betsy Burleigh O Come, All Ye Faithful arr. David Willcocks Christmas Cantata Daniel Pinkahm

I. Quem vidistis pastores II. O magnum mysterium III. Gloria in excelsis Deo Silent Night World Premiere Paul Mealor There Shall a Star Come Out of Jacob Felix Mendelssohn Brass Interlude: Ave Maria arr. Andrew Spang Lo! How a Rose E’re Blooming arr. Hugo Distler Wassail Song arr. Ralph Vaughan Williams In the Bleak Midwinter arr. Abbie Betinis The Snow Lay on the Ground arr. Julian Wachner Washington Latin Public Charter School:

Tomorrow Shall Be My Dancing Day arr. John Linton Gardner Good Night, Dear Heart Dan Forrest

People, Look East

arr. Matthew Phelps Ríu, Ríu, Chíu arr. Linda Steen Spevacek El Rorro arr. Nancy Grundahl Sing Alongs: God Rest Ye Merry, Gentleman arr. David Willcocks What Child is This? arr. David Willcocks Joy to the World arr. Julian Wachner

Silent Night arr. Edwin Fissinger Angels We Have Heard on High arr. Julian Wachner These performances are made possible in part by the Richard Wayne Dirksen Endowment Fund.

This fund supports our annual Christmas carol commission and our Joy of Christmas concerts.

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PROGRAM CARILLON PRELUDE Edward M. Nassor, carillon BRASS PRELUDE Lyric Brass Quintet Carol of the Bells Prelude on “Divinium Mysterium” Masters in This Hall Ríu, Ríu, Chíu Suo Gân I Wonder as I Wander I Saw Three Ships

Mykola Leontovych, arr. Richard Price Thirteenth-century plainsong Traditional English Traditional Spanish, sixteenth-century Traditional Welsh Southern Appalachian folk song, collected and adapted John Jacob Niles (1892-1980) Traditional English

Andrew B. Spang, who has arranged for brass all but the first carol, is a founding member of the Lyric Brass Quintet. A National Merit Scholar from Maine, he graduated from Boston Conservatory of Music and Eastman School of Music in Tuba Performance. He was named Teacher of the Year in 2008 by the Maryland Music Education Association.

O Come, O Come, Emmanuel Let All Mortal Flesh Keep Silence

John Mason Neale (1818-1866) Ralph Vaughan Williams (1872-1958) arr. Betsy Burleigh

In her arrangement for today’s procession, guest conductor Betsy Burleigh combines in alternation two chants. Veni, veni, Emmanuel is the last of seven O Antiphons, or “Great Os,” sung each day before the Magnificat at Vespers during the week before Christmas. Each antiphon addresses the coming Messiah under one of many titles ascribed in Holy Scripture, and concludes with the imperative, “Come.” The singing of the antiphons during Advent was a solemn affair in cathedrals and monasteries in medieval Christian Europe. The tune, a fifteenth-century Franciscan processional, was discovered at the Bibliothèque Nationale in Paris.

A Cherubic Hymn for the Offertory of the Divine Liturgy of St. James, Let all mortal flesh keep silence is an ancient Greek chant based on Habakkuk 2:20—“Let all the earth keep silence before him.” The tune, Picardy, comes from Chansons Populaires des Provinces de France, a collection of medieval French folk songs published in 1860. English composer Ralph Vaughan Williams combined the text and tune for inclusion in the famed English Hymnal of 1906, of which he was editor. Gerard Moultrie’s English translation was first published in Lyra Eucharistica in 1864.

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PROGRAM O come, O come, Emmanuel, and ransom captive Israel, who mourns in solemn exile here, until the Son of God appear.

Rejoice! Rejoice! Emmanuel shall come to thee, O Israel.

Rank on rank the host of heaven spreads the vanguard on the way.

As the Light of Light descendeth from the realms of endless day, comes the power of hell to vanquish as the darkness clears away.

Let all mortal flesh keep silence, and with fear and trembling stand.

Ponder nothing earthly minded, for with blessing in his hand, Christ our God to earth descendeth; our full homage to demand.

O come, Desire of nations, bind all peoples in one heart and mind; Bid envy, strife and quarrels cease; and fill the world with heaven’s peace.

Rejoice! Rejoice! Emmanuel shall come to thee, O Israel.

O come, thou Day-spring, from on high, and cheer us by thy drawing nigh, Disperse the gloomy clouds of night, and death’s dark shadows put to flight.

Rejoice! Rejoice! Emmanuel shall come to thee, O Israel.

—English texts from Hymns Ancient and Modern, 1861

PLEASE STAND AND SING CAROL: O Come, All Ye Faithful

Tune: Adeste fideles arr. David Willcocks (1919-2015)

Sir David Willcocks’ beloved carol arrangements for organ and brass are synonymous with Christmas worldwide. In addition to his post at King’s College, Cambridge, he was music director of the London Bach Choir for thirty-eight seasons.

1. O come, all ye faithful, Joyful and triumphant, O come ye, O come ye to Bethlehem; Come and behold him Born the King of Angels: O come, let us adore him, (3x) Christ the Lord!

2. God of God, Light of Light Lo! He abhors not the Virgin’s womb; Very God, begotten, not created: O come, let us adore him, (3x) Christ the Lord!

3. Sing, choirs of angels, Sing in exultation, Sing, all ye citizens of heav’n above: “Glory to God In the highest.”

O come, let us adore him, (3x) Christ the Lord.

—John Francis Wade’s Cantus Diversi, 1751 trans. Frederick Oakeley (1802-1880)

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PROGRAM Christmas Cantata (1957)

Daniel Pinkham (1923-2006)

Christmas Cantata is a three-movement sacred sinfonia for chorus, brass choir, and organ. The Latin texts are taken from the Roman Catholic liturgy for Christmas. The first movement Quem vidistis, pastores? is a dialogue with the Shepherds. The second, O magnum mysterium, evokes the medieval chant associated with the Feast of the Nativity.

The third alternates between the angels’ refrain, Gloria in excelsis deo and the a cappella Psalm Jubilate Deo omnis terra. Daniel Pinkham was a teacher, composer, conductor, organist and choirmaster in Boston. Educated at PhillipsAndover and Harvard in the 1940s, he studied privately with Nadia Boulanger, Arthur Honegger, and Aaron Copland.

During the academic year spent as visiting lecturer at Harvard, Pinkham composed the Christmas Cantata for the New England Conservatory Chorus, which gave the world premiere on December 1, 1957. The following year, he joined the Conservatory faculty. Shortly thereafter, at age 35, Pinkham was named organist and choirmaster of King’s Chapel in Boston, a position he held for the next forty-one years.

I. Quem vidistis pastores?

Dicite: Annuntiate nobis in terris Quis apparuit.

Natum vidimus et choros angelorum, Collaudantes Dominum, Alleluia.

Say, O Shepherds, whom saw ye?

Tell us now, and declare the same unto us: Who hath upon the earth appeared.

We the Child have seen, and all the choir of angels: Singing praises to the Lord. Alleluia.

II. O magnum mysterium, et admirabile sacramentum, ut animalia viderent Dominum natum jacentem in praesepio: Beata virgo, cujus viscera meruerunt portare Dominum Christum.

—Matins Responsory, Feast of the Nativity

O great mystery and wonderful sacrament, that the animals should behold the new-born Lord, lying in a manger Blessed Virgin, whose womb was fit to bear Christ the Lord.

—Matins Responsory, Feast of the Nativity trans. Helen L. St. John

III. Refrain: Gloria in excelsis Deo et in terra pax hominibus bonae voluntatis.

Refrain: Glory to God in the highest, and on earth peace to men of good will.

Jubilate Deo omnis terra; Servite Dominum in lætitia.

Refrain

O be joyful in the Lord all ye lands; Serve the Lord with gladness.

Refrain

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PROGRAM Introite in conspectu ejus in exultatione.

Refrain

And come before his presence with a song.

Refrain

Scitote quoniam Dominus ipse est Deus: Ipse fecit nos, et non ipsi nos.

Refrain

Be ye sure that the Lord he is God: It is he that hath made us and not we ourselves.

Refrain

Alleluia.

Alleluia.

WORLD PREMIERE Silent Night (2017)

—Psalm 100: 1-2 for Laudes, Feast of the Nativity English version, Book of Common Prayer, 1928

Paul Mealor (b. 1975)

Welsh composer Paul Mealor, professor of composition at the University of Aberdeen, was catapulted to international attention when 2.5 billion people heard his motet, Ubi caritas, sung at the royal wedding of His Royal Highness Prince William and Catherine Middleton at Westminster Abbey on April 29, 2011. His music has since rapidly entered the repertoire of choirs around the world. We’re glad to have him with us today. Here, he describes his new setting of this beloved carol: When asked to compose the carol for this year’s Joy of Christmas concerts, I knew exactly what I’d like to write.

The words of Silent Night have always touched me very deeply—there is something of great simplicity in them and, as a result, something of such profound beauty that they cannot help but touch even the hardest of hearts.

The words were written almost exactly two-hundred years ago, in 1818, during a blizzard in the tiny Austrian village of Ogledorf. Nestled in the Austrian mountains, that same day the people of St. Nicholas’ church found their organ was broken. So, the priest began composing a song that could be sung without accompaniment.

Something that would express their Christmas joy! And, ‘Silent Night’ was born.

My work is gentle and simple in its construct; I wrote it as a lullaby with a rocking, lilting accompaniment. Each verse moves the new tune to different sections of the choir, ending with a solo for soprano that ascends into Heaven. I could not resist quoting the original tune towards the end of each verse—here, the past speaks to the future and vice-versa. I hope that my simple gift matches the deep musicianship and hearts of the Cathedral Choral Society.

Silent night, holy night, All is calm, all is bright Round yon virgin mother and child.

Holy infant, so tender and mild, Sleep in heavenly peace, Sleep in heavenly peace.

Silent night, holy night, Shepherds quake at the sight; Glories stream from heaven afar, Heavenly hosts sing Alleluia!

Christ the Saviour is born, Christ the Saviour is born!

Alyssa Cox, soprano; Richard Wanerman, tenor

Silent night, holy night, Son of God, love’s pure light; Radiant beams from thy holy face With the dawn of redeeming grace, Jesus, Lord, at thy birth, Jesus, Lord, at thy birth.

—Words: Joseph Mohr (1792-1848) Trans. John Freeman Young (1820-1885)

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PROGRAM There Shall a Star Come Out of Jacob Felix Mendelssohn (1809-1847) from Christus, op. 97 (1847)

In 1846, having completed his oratorio Elijah, an Old Testament figure, Felix Mendelssohn began work on another oratorio he would not live to finish. His brother published posthumously fragments of the score under the title Christus, in recognition of Felix’s apparent intent to bookend Elijah with Christ, a New Testament figure. It was, biographer Larry Todd believes, “an opportunity for Mendelssohn to mediate the space between his Jewish ancestry and Christian faith.”

Undulating broken-chord triplets accompany the chorus, which culminates with Philipp Nicolai’s magisterial 1599 Protestant chorale, Wie schön leuchtet der Morgenstern. On display are the musical skills that made Mendelssohn’s oratorios staples of English and American choral societies for more than a century.

Chorus There shall a star come out of Jacob, and a sceptre shall rise out of Israel.

With might destroying princes and nations.

Chorale How brightly beams the morning star!

What sudden radiance from afar With light and comfort glowing!

Thy Word, O Lord, radiance darting, Truth imparting, gives salvation; Thine be praise and adoration.

BRASS INTERLUDE Ave Maria Cuncti simus concanentes, Llibre Vermell de Montserrat

—Numbers 24:17; Psalm 2:9

—Philipp Nicolai (1556-1608) Wie schön leuchtet der Morgenstern, in Freuden-Spiegel deß ewigen Lebens, 1599 Trans. Hymnal Version, 1955

Fourteenth-century Catalan

arr. Spang

The antiphon, Ave Maria (Hail, Mary, full of Grace) is a private Roman Catholic prayer of no fixed liturgical occasion. This brass arrangement is derived from a fourteenth-century collection of Catalan devotional texts, including late medieval songs, titled Llibre Vermell de Montserrat (“Red Book”) at the Montserrat monastery outside Barcelona, Spain. Cuncti simus concanentes is one of the ten songs to survive the burning of the library during the Napoleonic Wars only because, in 1811, the book had been loaned out.

Lo! How a Rose E’er Blooming

Tune: Es ist ein Ros’ Entsprungen Chorale Motet from The Christmas Story, op. 10 (1933)

arr. Hugo Distler (1908-1942)

Hugo Distler’s cantata Die Weihnachtsgeschichte, or The Christmas Story, is one of the great unaccompanied choral works of the twentieth century. Composed for four-part a cappella chorus in a style evocative of Heinrich Schütz, this recounting of the Nativity is a work of profound depth. Separating each section of the larger work are seven variations on Es is ein Ros’ entsprungen, the seventeenth-century chorale by Michael Praetorius. The image of the rose as Mary was common in medieval thought. Three of the seven variations are sung today.

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PROGRAM Lo! how a Rose e’er blooming From tender stem hath sprung, Of Jesse’s lineage coming, As men of old have sung.

It came a Flow’ret bright Amid the cold of winter, When half-spent was the night.

Isaiah ‘twas foretold it, The Rose I have in mind.

With Mary we behold it, The Virgin Mother kind.

Through God’s eternal will, She bore to men a Savior At midnight calm and still.

All thanks to God the Father, To God the Holy Ghost, Who by a human mother Made His dear Son our Host!

We pray by that sweet Progeny, Deliver us from evil From sinning set us free.

—English poetic trans. Theodore Baker (1851-1934) 1894

Wassail Song from Five English Folk Songs (1913)

Gloucestershire Folk Song arr. Ralph Vaughan Williams (1872-1958)

Ralph Vaughan Williams stands between Edward Elgar and Benjamin Britten as the preeminent English composer of the twentieth century. His keen appreciation for the English folksong helped to revive a sense of “Englishness” in music the nation had not enjoyed since Henry Purcell. He arranged this traditional Wassail tune for unaccompanied chorus after an “old person” in Gloucestershire sang it for him in July or August of 1913. The term “wassail” comes from “wes hal”—Old English for “Be thou whole” (hale)—a salutation used on festive occasions. One eighteenth-century account suggests this carol “was sung in Gloucestershire by wassailers carrying a great bowl dressed up with garlands and ribbon.” In this free arrangement, Vaughan Williams replaced the actual names of horses (Cherry and Dobbin) and cows (Broad May, Fillpail and Colly) with “ox,” a more generic term.

Wassail, wassail, all over the town!

Our bread it is white and our ale it is brown; Our bowl it is made of the green maple tree; In the Wassail bowl we’ll drink unto thee.

Here’s a health to the ox and to his long tail, Pray God send our master a good cask of ale.

A good cask of ale as e’er I did see.

In the Wassail bowl we’ll drink unto thee.

Here’s a health to the ox and to his right eye, Pray God send our master a good Christmas pie, A good Christmas pie as e’er I see see.

In the Wassail bowl, we’ll drink unto thee.

Come, butler, come fill us a bowl of the best; Then I pray that your soul in heaven may rest; But if you do bring us a bowl of the small, May the Devil take butler, bowl and all!

Here’s a health to the ox and to his right horn, Pray God send our master a good crop of corn, A good crop of corn as e’er I did see.

In the Wassail bowl we’ll drink unto thee.

Then here’s to the maid in the lily white smock, Who tripped to the door and slipped back the lock; Who tripped to the door and pulled back the pin, For to let these jolly Wassailers walk in.

—The Oxford Book of Carols, 1928

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PROGRAM In the Bleak Midwinter (1906, 2006)

Gustav Holst (1874-1934) arr. Abbie Betinis (b. 1980)

The English lyric poet, Christina Rossetti, sister of pre-Raphaelite painter Dante Gabriel Rossetti, wrote this Christmas poem for publication in Scribner’s Monthly (January, 1872). When Ralph Vaughan Williams searched for high-quality texts and tunes to include in The English Hymnal of 1906, of which he was editor, he turned to fellow composer, Gustav Holst. An Englishman of German descent, Holst wrote this haunting, wistful tune and harmonization. Minnesota composer Abbie Betinis, a three-time cancer survivor in her thirties, holds a bachelor’s degree music from St. Olaf College, a master’s in music composition from the University of Minnesota, and has done post-graduate work in Paris.

Music runs in her family: a great niece of composer Alfred Burt, of Christmas carol fame, she continues the family tradition by writing an original carol each year and sending it as a holiday card to family and friends. Rossetti’s poem recounts in third person the Christmas story, set amid a winter snow. Betinis personalizes the last verse by changing a single word—from “him” to “you.”

In the bleak midwinter frosty wind made moan, earth stood hard as iron, water like a stone; snow had fallen, snow on snow, snow on snow, in the bleak midwinter long ago.

Angels and archangels may have thronged the air, shepherds, beasts, and wise men, may have gathered there, but only his mother in her tender bliss blessed this new redeemer with a kiss.

Christ a homeless stranger, so the gospels say, cradled in a manger and a bed of hay; in the bleak midwinter, a stable place sufficed, Mary and her baby, Jesus Christ.

What can I give you, poor as I am?

If I were a shepherd I would bring a lamb; If I were a wise man I would do my part; Yet what I can I give you: Give my heart.

— v. 1 Christina Rossetti (1830-1894) alt v. 2 John Andrew Storey vv. 3, 4 Rossetti, alt.| Betinis

Emily McCullough, soprano; Gwyneth Kelly, alto

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PROGRAM The Snow Lay on the Ground (1940)

West English Traditional Carol from Nine Festive Carol Settings arr. Wachner This Anglo-Irish carol is believed to have been sung in Rome by the Pifferari from the Abruzzi Mountains. The tune, Venite adoremus (Come, let us adore him) may be a nineteenth-century melody. Text and tune were published in the Episcopal Hymnal 1940, having been adapted by its editor Charles Winfred Douglas and harmonized by Leo Sowerby, who was dean of the College of Church Musicians at Washington National Cathedral in the 1960s.

The snow lay on the ground, the stars shone bright, When Christ our Lord was born on Christmas night.

Venite adoremus Dominum; Venite adoremus Dominum.

Refrain Venite adoremus Dominum; Venite adoremus Dominum.

‘Twas Mary, daughter pure of holy Anne, That brought into this world the God made man.

She laid Him in a stall at Bethlehem; The ass and oxen shared the roof with them.

Refrain

Saint Joseph, too, was by to tend the Child; To guard him, and protect His mother mild; The angels hovered round, and sung this song, Venite adoremus Dominum.

Refrain And thus that manger poor became a throne; For he whom Mary bore was God the Son. O come, then, let us join the heavenly host, To praise the Father, Son, and Holy Ghost.

Refrain —adapted by Charles Winfred Douglas (1867-1944) harmonized by Leo Sowerby(1895-1968)

WASHINGTON LATIN PUBLIC CHARTER SCHOOL HONORS CHOIR Melissa VerCammen, conductor Tomorrow Shall Be My Dancing Day, op. 75, no. 2 (1966)

English traditional arr. John Linton Gardner (1917-2011)

This jaunty carol, believed to be a sixteenth-century Cornish folk text and tune, was first published in 1833 in William Sandy’s Christmas Carols, Ancient and Modern. John Gardner’s setting uses the first four of eleven stanzas. According to fellow English composer and author Elizabeth Poston, this carol is “unique in [its] conception of love, sacred and profane, as a dance, spoken in the person of Christ, mystical leader of the cosmic order . . . a theme with imagery akin to that of William Butler Yeats, expressed in the simplest terms of traditional dance measure.” John Gardner was for many years professor of harmony and composition at the Royal Academy of Music. He arranged this carol during his tenure at St. Paul’s Girl’s School, where he succeeded Gustav Holst and Herbert Howells as director of music.

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PROGRAM Tomorrow shall be my dancing day; I would my true love did so chance To see the legend of my play, To call my true love to my dance.

Sing O my love, O my love, my love, my love; This have I done for my true love.

In a manger laid and wrapped I was, So very poor, this was my chance, Betwixt an ox and a silly poor ass, To call my true love to my dance.

Sing O my love, O my love, my love, my love; This have I done for my true love.

Then was I born of a Virgin pure, Of her I took [my] fleshly substance; Thus was I knit to man’s nature, To call my true love to my dance.

Sing O my love, O my love, my love, my love; This have I done for my true love.

Then afterwards baptized I was; The Holy Ghost on me did glance, My Father’s voice heard from above, To call my true love to my dance.

Sing O my love, O my love, my love, my love; This have I done for my true love.

—William Sandy’s Christmas Carols Ancient and Modern, 1833

Good Night, Dear Heart (2008)

Dan Forrest (b. 1978)

A composer of contemporary church music, Dan Forrest wrote this short a cappella piece in response to the death of an infant girl in Ethiopia, who was about to be adopted by his brother and sister-in-law. “My search for a suitable text for an elegy for Etsegenet and other Ethiopian orphans,” Forrest recalled, “led me to a cemetery in Elmira, New York, where the great American author Mark Twain and his family are buried, and to the poem Twain had engraved on his beloved daughter’s tombstone, after she died unexpectedly at 24.”

Warm summer sun Shine kindly here, Warm southern wind Blow softly here.

Green sod above Lie light, lie light.

Good night, dear heart, Good night, good night.

—Robert Richardson and Mark Twain (Samuel Langhorn Clemens)

People, Look East (2014)

Traditional Besançon Carol arr. Matthew Phelps (b. 1979)

This joyous Advent carol describes all of creation’s wonder at the glorious coming. With love as the central theme, each stanza ends with reference to distinctive symbols of the Creator’s benevolence—love as guest, rose, bird, star, and Lord. The traditional melody, “Chantons, bargiés, Noué, Noué,” originated in the Besançon area at the foot of the Jura Mountains in eastern France. The dance-like rhythm, coupled with this vivid text, has inspired arrangements by many twentieth-century composers. Here, Matthew Phelps, minister of music at West End United Methodist Church in Nashville, clothes the melody with interwoven polyphony for five voices a cappella interspersed with sections of rich harmony. The text, which first appeared in The Oxford Book of Carols in 1928, was written by Eleanor Farjeon, an Englishwoman best remembered for her poem, “Morning Has Broken.”

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PROGRAM People, look east. The time is near of the crowning of the year.

Make your house fair as you are able, trim the hearth and set the table.

People, look east and sing today: Love, the Guest, is on the way.

Stars, keep the watch. When night is dim one more light the bowl shall brim, shining beyond the frosty weather, bright as sun and moon together.

People, look east and sing today: Love, the Star, is on the way.

Furrows, be glad, though earth is bare, one more seed is planted there: Give up your strength the seed to nourish, That in course the flower may flourish.

People, look east and sing today: Love, the Rose, is on the way.

Angels, announce with shouts of mirth Christ Who brings new life to earth.

Set every peak and valley humming with the word, the Lord is coming.

People, look east and sing today: Love, the Lord, is on the way.

Birds, though you long have ceased to build, guard the nest that must be filled.

Even the hour when wings are frozen God for fledging time has chosen.

People, look east and sing today: Love, the Bird, is on the way.

Ríu, Ríu, Chíu

—Eleanor Farjeon (1881-1965) The Oxford Book of Carols, 1928

attrib. Mateo Flecha the Elder (1481-1553) arr. Linda Steen Spevacek (b. 1945)

Derived from medieval dance forms, the fifteenth-century Spanish villancico is a refrain genre sung in the vernacular.

The folk carol Ríu, Ríu, Chíu celebrates a uniquely Mediterranean world-view in which the stories, legends, and images of the Christian tradition are deeply woven into the fabric of secular life. More recently, it has become identified as a “Christmas carol.” The syllables Ríu, ríu, chíu were a traditional call of Spanish shepherds in their fields. The song’s contemporary popularity dates from a live, televised performance on “The Monkees” Christmas show in 1967.

Refrain: Ríu, ríu, chíu La guarda ribera: Dios guardó el lobo De nuestra cordera.

Refrain: Riu, riu, chiu, the shepherd by the river: God kept the wolf away from our sheep.

Este qu’es nascido es el gran monarca, Christo patriarca de carne vestido; Hanos redimido con se hazer chiquito, Aun qu’era infinito, finito se hiziera.

Refrain

This new-born babe is the mighty monarch, Christ the patriarch clothed in flesh; By making himself a little child he has redeemed us.

He who was infinite became finite.

Refrain

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PROGRAM Pues que ya tenemos lo que desseamos, todos juntos vamos presentes el vemos; todos le daremos nuestra voluntad, pues a se igualar con el hombre viniera.

Refrain

Yo vi mil garçones que andavan cantando, Por aquí bolando, haziendo mil sones, diziendo a gascones: “Gloria sea en el cielo y paz en el suelo,” ques Jesús nasciera.

Now we have gained what we desired Let us go together to present to him our gifts; Let each resign his will to the God who was willing To come down to earth to become man’s equal.

Refrain I saw a thousand young youths singing as they flew, Making a thousand sounds, chanting “Gascons, Glory be in the heavens, and peace on earth, now that Jesus is born!”

—From Cancionero de Uppsala: Villancicos de diversos autores, Venice, 1556 ed. Paco Marmol and Manolo Casaus

El Rorro (1996)

Rocking the Child

Based on Mexican Rocking Carol arr. Nancy Grundahl (b. 1946)

A Mexican folk song to sing children to sleep, variants of this traditional lullaby can be found in Mexico and Central and South American countries, among them Guatemala and Argentina. Arranger Nancy Grundahl is the conductor of three choirs in the Minneapolis area: The Angelica Cantanti Concert Choir (a youth choir), the Riverside Singers of Augsburg College (a women’s choir), and the Mayflower Church Adult Choir where she also serves as the director of music. She received vocal performance degrees from St. Olaf College and the University of Minnesota.

Refrain A la ru ru ru niño chiquito, Duérmase ya mi Jesusito.

All the animals are standing near, Tenderly guarding baby small and dear.

Children’s choir Holy night, oh, night of wondrous joy; Mary bore a son for us, a blessed boy.

The heavenly choir, in accents sweetly singing, The tiding of this wondrous birth are bringing.

Emily German, soprano

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—From A Book of Christmas Carols Haig Shekerjian (1922-2002) & Regina DeCormier Shekerjian (1923-2000)

PROGRAM PLEASE STAND AND SING ALL VERSES CAROL: God Rest You Merry, Gentlemen (1961)

English traditional carol arr. Willcocks

This English traditional carol may have been sung to the gentry in the London streets as early as the fifteenth century by the town watchmen, who earned extra pay during Christmastide. “God rest you merry” (meaning “God keep you merry”) is a paraphrase of Luke 2:10, the angels’ greeting to the shepherds (gentlemen) who are frightened, or “dismayed,” by their appearance.

1. God rest you merry, gentlemen, Let nothing you dismay, For Jesus Christ our Saviour Was born upon this day, To save us all from Satan’s power When we were gone astray: O tidings of comfort and joy, comfort and joy, O tidings of comfort and joy.

2. From God our heav’nly Father A blessed angel came, And unto certain shepherds Brought tidings of the same, How that in Bethlehem was born The Son of God by name: O tidings of comfort and joy, comfort and joy, O tidings of comfort and joy.

3. Now to the Lord sing praises All you within this place, And with true love and brotherhood Each other now embrace; This holy tide of Christmas All others doth deface: O tidings of comfort and joy, comfort and joy, O tidings of comfort and joy.

—West Country traditional (Sandys, 1833)

PLEASE STAND AND SING ALL VERSES CAROL: What Child is This? (1978)

English traditional melody arr. Willcocks

The first mention of the folk song Greensleeves—the lament of a sixteenth-century Lothario (possibly Henry VIII)—dates from 1580. The adaptation of a secular song to a sacred text is not without precedent: today, the tune is most often associated with What child is this?, first published in Christmas Carols New and Old, 1871, with words penned by English hymn writer William Chatterton Dix. 1. What child is this, who, laid to rest On Mary’s lap is sleeping?

Whom angels greet with anthems sweet, While shepherds watch are keeping?

This, this is Christ the King, Whom shepherds worship and angels sing: Haste, haste to bring him praise, The Babe, the son of Mary.

2. So bring him incense, gold, and myrrh, All tongues and people own him.

The King of kings salvation brings, Let ev’ry heart enthrone him: Raise, raise your song on high While Mary sings a lullaby; Joy, joy for Christ is born, The Babe, the son of Mary.

—William Chatterton Dix (1837-1898)

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PROGRAM PLEASE STAND AND SING ALL VERSES CAROL: Joy to the World

Tune: Antioch From Nine Festive Carol Settings (2005) arr. Julian Wachner (b. 1969)

Not explicitly a Christmas song, the text of Joy to the world! is a paraphrase of Psalm 98 by English poet Isaac Watts, published in 1719. This carol first appeared in print to the tune “Antioch” in The Modern Psalmist in 1839. Arranger Julian Wachner began his musical studies with Gerre Hancock at the Choir School of St. Thomas Church in New York City.

He attended Boston University from which he earned his Doctor of Musical Arts degree in composition and orchestral conducting. As director of music at New York’s historic Trinity Wall Street, he annually leads many concerts, including the flagship weekly series, Bach-at-One, and Compline-by-Candlelight.

1. Joy to the World, the Lord is come!

Let earth receive its King; Let ev’ry heart prepare him room, And heaven and nature sing, And heaven and nature sing, And heaven, and heaven, and nature sing.

3. No more let sin and sorrow grow Nor thorns infest the ground; He comes to make his blessings flow Far as the curse is found, Far as the curse is found, Far as, far as, the curse is found.

2. Joy to the earth! the Saviour reigns!

Let all their songs employ; While fields and floods, rocks, hills and plains Repeat the sounding joy, Repeat the sounding joy, Repeat, repeat, the sounding joy.

4. He rules the world with truth and grace And makes the nations prove The glories of his righteousness, And wonders of his love, And wonders of his love, And wonders, wonders, of his love.

Silent Night (1818, 1985)

—Isaac Watts (1674-1748)

Joseph Mohr (1792-1848) arr. Edwin Fissinger (1920-1990)

Franz Xaver Gruber (1787-1863), an Austrian primary school teacher and church organist in Arnsdorf, also served as organist and choirmaster at St. Nicholas Church in nearby Oberndorf bei Salzburg. On Christmas Eve 1818, assistant pastor Joseph Mohr asked Gruber to set to music a six-stanza poem he had written in 1816. With the church organ broken down, Gruber produced a melody with guitar arrangement for the poem. The two men sang Stille Nacht for the first time at Christmas Mass in St. Nicholas Church while Mohr played guitar. Professor Edwin R. Fissinger chaired the music department at North Dakota State University and directed its choir for many years. Fissinger’s spare, elegant arrangement includes English and German verses. The Christmas Truce of 1914, the first Christmas of the Great War, found British and German troops singing this carol simultaneously in English and German.

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PROGRAM Silent night! Holy night: All is calm, all is bright.

Round yon virgin mother and child!

Holy infant, so tender and mild.

Sleep in heavenly peace.

Sleep in heavenly peace.

Silent night! Holy night: Shepherds quake at the sight!

Glories stream from heaven afar.

Heavenly hosts sing alleluia.

Christ the Savior is born!

Christ the Savior is born!

PLEASE SING VERSE 4 CAROL: Angels We Have Heard on High From Nine Festive Carol Settings (2006)

French traditional arr. Wachner

“Les anges dans no compagnes” (The angels in our fields) is believed to be an old, eighteenth-century noël, probably from Lorraine or Provence, based on the Gospel according to Luke. The refrain, “Gloria in excelsis Deo” (Glory to God in the highest), is the first line of the song the angels sang to the shepherds.

Angels we have heard on high Sweetly singing o’er the plains, And the mountains in reply Echoing their joyous strains.

Gloria in excelsis Deo! Gloria in excelsis Deo!

Come to Bethlehem and see Him whose birth the angels sing; Come, adore on bended knee, Christ the Lord, the newborn King.

Gloria in excelsis Deo! Gloria in excelsis Deo!

Shepherds, why this jubilee?

Why your joyous strains prolong?

What the gladsome tidings be Which inspire your heav’nly song?

Gloria in excelsis Deo! Gloria in excelsis Deo!

(Please sing!)

See Him in a manger laid, Whom the choirs of angels praise; Mary, Joseph, lend your aid, While our hearts in love we raise.

Gloria in excelsis Deo! Gloria in excelsis Deo!

—H. F. Hémy (1818-1888) after James Chadwick (1813-1882)

- Program Notes by Margaret Shannon ABOUT THE ADVENT WREATH Today’s advent wreath on the stage has been generously given by Blanche L. Curfman, continuing her tradition of giving this wreath in memory of her husband David R. Curfman and his grandmother Florence Marie Schreck. David was the president of the Cathedral Choral Society Board of Trustees from 1984 - 1986. The wreath is modeled after one used at Liverpool Cathedral in England.

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BIOGRAPHIES Conductor Betsy Burleigh chairs the Choral Department at Indiana University’s Jacobs School of Music, where she conducts the University Singers and the Oratorio Chorus in addition to teaching masters and doctoral conducting classes. There she most recently conducted Vaughan Williams’s A Sea Symphony, Walton’s Belshazzar’s Feast, Stravinsky’s Pulcinella (complete), and Handel’s Messiah. As guest conductor, Burleigh has led the Pittsburgh Symphony Orchestra, the Rhode Island Philharmonic, and several regional orchestras.

Burleigh served for ten years as Music Director of the Mendelssohn Choir of Pittsburgh, where she led the ensemble to national attention. She prepared the group for all Pittsburgh Symphony choral performances, collaborating with PSO Music Director Manfred Honeck on numerous projects including staged performances of Messiah and an acclaimed Mozart Requiem at Carnegie Hall. During her time with the Mendelsssohn, Burleigh conducted performances of Brahms’s Ein deutsches Requiem, Bach’s B minor Mass, Mozart’s ‘Great’ Mass in C minor, Duruflé’s Requiem, and Rachmaninoff’s All Night Vigil. She was also invited by the Library of Congress to bring the group to sing here in Washington D.C. Prior to her appointment with the Mendelssohn Choir, Betsy served as the Assistant Director of Choruses for The Cleveland Orchestra, most notably preparing all performances for Blossom, TCO’s summer home.

Burleigh also served Cleveland Opera as Chorus Master for productions of Turandot, Carmen, Eugene Onegin, Sweeney Todd, Faust, Les Contes d’Hoffmann, Madama Butterfly, Iolanthe, and Tosca.

Burleigh lived for many years in Boston, where she was music director of Chorus pro Musica, the Providence Singers, The Master Singers, the Cambridge Madrigal Singers, and held teaching positions at Tufts University, MIT, the Longy School, and Clark University. During her time with Chorus pro Musica she commissioned works by Abbie Betinis and Andrew Rindflebisch.

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Formed in 1998, the Lyric Brass Quintet has established itself as an exciting ensemble dedicated to bringing the rich traditions of brass chamber music to new audiences while forging new ground in the area of concert performance.

Individually, the musicians have performed with, or been members of, the Baltimore, San Francisco, Harrisburg, Maryland, Acadiana (LA), Memphis, and New World Symphony Orchestras, Baltimore Chamber Orchestra, the United State Navy Band, Eastman Wind Ensemble, and Darrin Atwater’s Soulful Symphony. Together, the ensemble’s debut CD, Daydreams, Desires and Diversions, was released in 2000 to critical acclaim. It has been followed by two holiday-themed recordings, Christmas Around the World, and Ancient Noëls. The Lyric Brass were winners of the 2001 Catch the Rising Stars Competition (Fairfax, VA) and the 2000 Baltimore Chamber Music Competition. The Lyric Brass have held residencies at Carroll Community College and with the American Studio Orchestra. Ardent supporters of music education, they have been featured performers at the NAfME AllEastern Conference and the Maryland Music Educators Association Conference.

The Washington Latin Public Charter School Honors Choir is an auditiononly group led by Melissa VerCammen.

Founded in 2006, The Washington Latin Public Charter School’s mission is to educate students in the classical tradition. The music department is in it’s sixth year, and has bloomed from only twenty-seven members to over one hundred. The Honors Choir has competed in the Fame Choral Competition in New York City, winning first place for Best Choral Repertoire, Best Choral Sound, and Best Overall Performance. Members of the ensembles

BIOGRAPHIES have performed at engagements at locations such as The Basilica of the Immaculate Conception, St. John the Divine in New York City, the DC-CAP fundraising series, Mayor Bowsers’s holiday party, a Superior Court induction ceremony, a Nationals Game, the D.C. Education Festival, and numerous fundraising events.

The Rev. Benjamin Straley is Organist and Associate Director of Music at Washington National Cathedral. Prior to this appointment, he was Organ Scholar at Trinity Church (Episcopal), New Haven as well as Director of Music for the Episcopal Church at Yale.

Upon the completion of his undergraduate studies with Marilyn Keiser at Indiana University, he entered the Yale Institute of Sacred Music in 2008, where he studied with Martin Jean and Jeffrey Brillhart. In 2010, he became one of the few Americans in the history of the Haarlem Organ Festival to compete in its world-renowned improvisation contest. He was featured in the May 2015 issue of The Diapason as one of the “Top 20 under 30” young organists in the country. He holds both Masters in Music and Divinity from Yale, as well as a Certificate in Anglican Studies from Berkeley Divinity School, and is a Deacon (transitional) in the Episcopal Church.

Edward M. Nassor is the carillonneur at Washington National Cathedral, where his duties include performing preludes before Sunday Holy Eucharist and weekly recitals on the Bessie J. Kibbey carillon, located in the second level of the cathedral’s central tower, 150 feet above the nave floor. When not performing at the cathedral, Nassor is the Director-Carillonneur of the Netherlands Carillon, in Arlington, Virginia, where he performs and schedules guest carillonneurs for an annual carillon recital series sponsored by the National Park Service. A long-standing member of the Guild of Carillonneurs in North America, Nassor currently serves on the guild’s board of directors. His Doctor of

Musical Arts and Master of Music degrees are from the Benjamin T. Rome School of Music at the Catholic University of America. While working on his doctoral degree, he was the first American to be awarded a Fulbright grant to study campanology in The Netherlands.

While earning a diploma from the Netherlands Carillon School he performed in towers throughout Europe. His performances are featured on several Cathedral Choral Society recordings.

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

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

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BIOGRAPHIES Paul Mealor is “the most important composer to have emerged in Welsh choral music since William Mathias” (The New York Times). Mealor was catapulted to international stardom in April 2011, when 2.5 billion people heard his Motet, Ubi caritas, performed by the choirs of Westminster Abbey and Her Majesty’s Chapel Royal at the Royal Wedding Ceremony of His Royal Highness Prince William and Catherine Middleton at Westminster Abbey.

Mealor enjoys writing for a variety of ensembles and festivals. The Royal Philharmonic Orchestra commissioned and premiered a work by Mealor for the 2017 Last Night of the Welsh Proms. In addition, Mealor has composed works for HM Queen Elizabeth II’s Diamond Jubilee, the 25th birthday of Classical FM, and the 10th anniversary of the founding of Dumfries House.

Born in St Asaph, North Wales, Paul Mealor studied composition privately as a boy with William Mathias, at the University of York, and in Copenhagen with Hans Abrahamsen and Per Nørgård. In April of 2012 Mealor was voted the nation’s favorite living composer during the UK Classic FM Hall of Fame. Since January 2003 he has taught in the Music Department at the University of Aberdeen where he is Professor of Composition.

The Cathedral Choral Society is the resident symphonic chorus of Washington National Cathedral.

Founded in 1941 by Paul Callaway, the 145-voice chorus is the oldest symphonic choral group in Washington, DC. From 1985 to 2016, J. Reilly Lewis served as its second Music Director, leading performances ranging from symphonic choral masterpieces to world premieres. The Cathedral Choral Society has just announced Steven Fox as its third Music Director starting in the 2018.19 season.

The Cathedral Choral Society presents a concert series with four programs at Washington National Cathedral. In

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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.

LYRIC BRASS QUINTET Robert Couto, trumpet Chris Shiley, trumpet Larry Williams, horn Milton Aldana, trombone Andrew Spang, tuba Mark Lortz, timpani & percussion

WASHINGTON LATIN PUBLIC CHARTER SCHOOL HONORS CHOIR Justin Burgon Nora Butler Nate Crystal Nona Douglas Will Geist Rodney Goldring

Shelby Griffith Helena Ikenberry Noah Logan Lydia Moore Ava Tiller Cecilia Timberg

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

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

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

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

Tenor I Gregg M. Breen David Dietly John W. Harbeson Kevin Josey Dick Larkin Peter Lee Thomas Mugavero Christine H. Mulligan** Joel Phillips Rob Porter Robert Reeves Raymond Rhinehart* Martin S. Rosenthal John Schaettler D.C. Washington

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

Bass I Jared Berry Kelly Cameron Jack Campbell Michael Droettboom Giles Howson Tony King Andrew Madar Nicholas Petersen Marcus Pfeifer Stephen S. Roberts* James Schaller Arthur Smith L. Bradley Stanford** Richard Wanerman Clifton N. West III Christopher Woolley

Bass II Ernest Abbott Daniel Banko-Ferran Chris Buechler** Thomas Chapman Glenn Sherer Griffiths, OSL* Eugene Kaye Scott McCorkindale Gregory Watson Ellis Wisner

** Section Coordinators * Alternates

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THANK YOU The Cathedral Choral Society is pleased to acknowledge the following contributors to our Annual Fund Campaign between August 20, 2016 to November 20, 2017. Gifts made in Memory or Honor of another person are listed on page 26 and 27.

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

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

Thomas P. Gallagher

Patricia D. Hevner^

Guarantor Patrons $5,000+ D. Philip Baker Virginia C. Mars^

Lolly and Jim*^ Mixter Thomas C. Mugavero*^

Mary B. Olch* Gerald W.^ and Alice Padwe

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

Richard* and Cecilia Larkin William M. Leach Frances H. Pratt*

T. Michael and Linda Shortal Kevin and Andrea Wade

Unsung Heroes $1,000+ Brian and Donna Bogart Jeanne R. Buster Laura M. Connors* Blanche L. Curfman Edison and Sally Dick Lynn B. Dutton Charles Leonard Egan Cary C. Fuller Mary-T^ and Spencer Gordon Susan Grad* Anne R. Harris

Ruth G. Hofmeister Sarah B. Holmes* and John B. Morris, Jr. Judith Richards Hope Celeste Avril Letourneau^ Christina M. Markus* Susan McDaid* John E. Moyer* and Jane Passman Christine* and James Mulligan Jennifer*^ and Alec Orudjev Harold I. and Frances G. Pratt

Robert* and Lissa Reeves Kevin Rosengren^ James* and Madeleine Schaller L. Bradley Stanford*^ Guy and Margaret Steuart Mr. Leslie C. Taylor Genevieve^ and Sean Twomey John and Dariel†Van Wagoner Nancy Wiecking Margot T. Young*

Patrons $500+ Margaret M. Ayres and Stephen Case Violet Baker* Catherine H. Beauchamp Cynthia L. Drakeman* Jeremy Gosbee* Robert W. Jerome and William J. Courville

C. F. Muckenfuss III and Angela Lancaster Samuel Miller Bradley J. and Martha A. Olson Kimberly* and Mark Pacala Lynn Rhomberg

John Schaettler* Susan Fifield Mentley and James David Toews Elinor G. Vaughter Virginia L. White

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THANK YOU Sponsors $250+ Kris Brown Coleman^ Anne* and James Carman James W. Clay* Alice M. Denney Glenn S.* and Judith M. Griffiths Ingrid* and Dean Kauffman Richard and May Lea Keating

Donors $100+ Anonymous (2) Mary Amorosino* Estate of Richard S. and Alayne C. Antes Carolyn Arpin and Benjamin Sacks Kathleen Brion*^ Frances D. Cook Harvey and Carolyn Bale Jessica Barness* Doug Barry* and Liz Eder Gordon L. Biscomb Andrew and Kaye Boesel Herman Bostick Gregg M. Breen* Thornton W. Burnet Michael F. Butler Stephen and Sandra* Caracciolo Timothy W. and Patricia R. Carrico Marilyn Clark Vera I. Connolly Roberta and Philip Cronin Sharrill Dittmann Augusta T. Getchell Cynthia L. Gibert Neil and Carolyn Goldman

Wendy Lubarsky* Barbara and John McGraw Robert Turner Mead Michael Mercier Scott and Nancy Pinckney Robert* and Elaine Porter

Richard and Linda Roeckelein David and Mary Shilton C. Thomas van Alen Richard and Virginia Wagner Ellis Wisner* Dorothy M. Woodcock

D. Ruth Goodchild Hilton Lee Graham Joan and David Green William and Margaret Greer George E. Groninger James D. Campbell and Janet M. Hall George Hanc Neil Hedlund John Hewes Frederick S. Hird Robert and Parma Holt Erika R. Joyce Louis E. and Ruth H. Kahn Karen R. and Norman A. Kane Laurie Keegan Mary Ruth Keller George Robert Lamb Janice L. Lockard Rosemary D. Lyon Alaster and Sue MacDonald Paula Marchetti Marianna Martindale* Martha Miller Coleman H. and Elizabeth B. O’Donoghue

Warren and Marianne Pfeiffer Rondi K. Pillette and Steven A. Levin Joan A. Pirie Chuck Pratt and Alexandra England James Quinn Theodora Radcliffe Georgene Rasmusson Jane Roningen* Suzanne H. Rooney Alan and Geraldine Schechter Ann Imlah Schneider Patrick Shannon Carol Hill Sox Patricia Stephenson* Margaret C. Stillman Jacqueline K. Stover Keiko Stusnick Alice Sziede Dianne Vandivier* Tom and Linda Veblen Richard O. G. Wanerman* Sinclair Winton Evelyn D. Woolston-May

*Chorus Member

^Board Trustee

†Deceased

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Simply visit SMILE.AMAZON.COM, login to your account, and search for the “Cathedral Choral Society” in the charity name field.

Then, save smile.amazon.com in your bookmarks and return to it when you need to make an Amazon purchase. You’ll find the exact same experience as Amazon.com, with the added bonus that Amazon will donate a portion of the purchase price to the Cathedral Choral Society.

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THANK YOU The Cathedral Choral Society is pleased to recognize Government, Foundation, and Corporate support to our Annual Fund Campaign between August 20, 2016 to November 20, 2017.

Thank you to our Government Supporters DC Commission on the Arts and Humanities US Commission of Fine Arts: National Capital Art and Cultural Affairs Program

Thank you to our Foundation Supporters Anonymous Dallas Morse Coors Foundation

Richard Eaton Foundation Dimick Foundation

Mars Foundation Meredith Foundation

Thank you to our Corporate Supporters Corporate Champion $2,000+ Bank of America Clark Construction

Reed Smith, LLP Exxon Mobil Foundation

Corporate Investor $1,500+ IBM

Sentinel Wealth Management

Corporate Leader $1,000+ Bogart Wealth Management

Sahouri Insurance

JMR Concrete Construction Pepco, an Exelon Company

UBS Financial Services

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

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Dental Group At Reston Station

Signature Estate and Investment Advisors

THANK YOU Gifts in Memory of J. Reilly Lewis Anne R. Harris Mary Prussing W. Reid and Mary M. Thompson Edison and Sally Dick Judith Richards Hope Embry and Joseph Howell Violet Baker* Paul and Ellen Hoff Elizabeth and Jan Lodal Virginia C. Mars^ Lynn C. Rhomberg Richard and Linda Roeckelein T. Michael and Linda Shortal

Nancy Aherne and Marko Zlatich Robert and Laura Barlow David and Jane Berteau Margaret Gonglewski* Earl and Phyllis Hannum Leslie and Keith Kruse Bob Kline and Elaine Mills Robert and Betty Wallace Ellis Wisner* Jessica Barness* Kris Brown Coleman^ and Jonathan Coleman Stephanie Cabell

Jill T. Cochran Judith Cecilia Dodge John L. and Elizabeth W. Gardner D. Ruth Goodchild Louis E. and Ruth H. Kahn Gary and Judy Kushnier Richard C. Lee Janice L. Lockard Alaster and Janet MacDonald Andrea Merrill Mark W. Ohnmacht Suzanne M. and B. Dwight Perry

Natalie* and Hung Q. Pho Harold and Martha Quayle Stephen S. Roberts* Suzanne and Robert Rooney Gus and Susan Schumacher Crawford Feagin Stone J. David and Patricia Sulser Margot T. Young* Peter Fontneau Frederick S. Hird Warren and Marianne Pfeiffer The Estate of Mary Louise Pusch Theodora Radcliffe Sharon and David Foster

In Honor of Mary-T. Gordon John T. Beaty, Jr.

In Honor of Virginia C. Mars Shirley M. Fine

In Honor of Thomas Mugavero Anonymous

In Honor of Susan and Brad Stanford Karen and Jim Fort

In Honor of Margaret Gonglewski Elisabeth Gonglewski

In Honor of Marti Olson Margaret Gonglewski*

In Honor of Han and Phan Pho Natalie and Hung Q. Pho

In Honor of Margot T. Young Kathleen W. and Walter Weld James T. and Anne C. Townsend

Gifts in Honor

In Honor of Ann Ingram Roberta J. Duffy Christie Kramer and Charles Kirby

In Honor of Anna Skinner Thread Creative

In Honor of Earl and Linda Seip Natalie and Hung Q. Pho

Gifts in Memory In Memory of Dariel Van Wagoner Mary-T^ and Spencer Gordon Robert and Laura Barlow Sandra Person Burns CCS Alto II Section William M. Leach Virginia C. Mars^ Margot T. Young* Chancel Choir At Clarendon United Methodist Church Blanche L. Curfman Cynthia G. Plante Roxanne Rhinehart Sharon Harmon Centreville Regional Library Maggie Wrobel

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

In Memory of Karl Walter Ohnmacht Mary-T^ and Spencer Gordon In Memory of Gertrude Ohnmacht Mary-T^ and Spencer Gordon In Memory of David Hearn Mary-T^ and Spencer Gordon In Memory of Barbara Dobson Mary-T^ and Spencer Gordon Jean Jawdat

In Memory of Marion Leach Steven and Monica Leach In Memory of James Farrand Ann Marie Marie Plubell In Memory of Jean Miller Galeone Sharon and David Foster In Memory of Elizabeth Clemons Bains Sharon and David Foster

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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 Ernest*^ and Catherine Abbott Catherine H. Beauchamp Judy Davis David Dietly* Charles Leonard Egan Arthur and Connie Eggers Charles W. and Jane R. Ervin 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 Lolly and Jim*^ Mixter Martha A. Morris Bradley J. and Martha A. Olson

Gerald W.^ and Alice Padwe Carla L. Rosati Martin Rosenthal*^ and Corinne Axelrod Margaret Shannon* T. Michael and Linda Shortal John and Dariel† van Wagoner Nancy Wiecking Martha Wilson Evelyn D. Woolston-May

If you have remembered the Cathedral Choral Society in your estate planning and do not see your name above, please let us know. To reach us or to learn more about the Harmonia Society, contact Genevieve Twomey at 202-537-5524.

This season, make a gift.

When you make a donation to the Cathedral Choral Society, you play a key role in sustaining and strengthening our artistic and education programs.

Support from individuals covers 40% of programming expenses and truly makes this chorus possible.

Please consider making a donation to the Cathedral Choral Society today!

WWW.CATHEDRALCHORALSOCIETY.ORG/GIVE | 202-537-5510 26

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

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

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

Honorary Trustees Mary-T. Gordon

Virginia C. Mars

Cathedral Choral Society Staff Emily Alcorn, Executive & Development Assistant Laura Crook Brisson, Operations Coordinator Steven Fox, Music Director Designate Anna Lipowitz, Operations & Education Programs Manager

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

Concert Support Margaret Shannon, Program Annotator Patricia Stephenson, Librarian

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

Washington National Cathedral Staff Valerie Ciccone, Deputy Director, Office of Event Management Matt Echave, Director of Video Services Gary Ford, Supervisor, Sextons and Events Set-up Daniel Rose, Director, Event Management Mark Huffman, Technical Director/Audio Engineer

Sarah Rockwood, Front of House Manager Robert Sokol, Chief Operating Officer Kevin Thomas, Asst. to the Canon Precentor & Administrative Verger Torrence Thomas, Head Verger

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

Introducing STEVEN FOX THE CATHEDRAL CHORAL SOCIETY IS PLEASED TO ANNOUNCE STEVEN FOX AS ITS THIRD MUSIC DIRECTOR STARTING IN THE 2018.19 SEASON. “I feel that there is a strong connection with this chorus and I am personally drawn to Washington, DC and Washington National Cathedral. I believe that we will make great music and I am looking forward to beginning our work together.”

TO LEARN MORE, VISIT WWW.CATHEDRALCHORALSOCIETY.ORG/STEVEN-FOX

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2017.18

Season SOLITUDE AND SUNDAY, MARCH 4, 4:00 PM

Joy

Donald Nally, guest conductor - Thomas Mesa, cello Scott Dettra, organ A musical journey following lyrical prose by writer Pascal Quignard. Works by Gabriel Jackson, Sebastian Currier, Howells, Tavener, James MacMillan, Pēteris Vasks, and Arvo Pärt, plus a newly commissioned work by Ēriks Ešenvalds.

Hold the date

FOR OUR 2017.18 GALA FRIDAY, APRIL 27, 2018 WASHINGTON NATIONAL CATHEDRAL

Bernstein THE

HUMANITARIAN

SUNDAY, MAY 20, 4:00 PM Lawrence Loh, guest conductor - Demarre McGill, flute Alexandra Loutsion, soprano - Laurel Semerdjian, mezzo-soprano William Davenport, tenor - Reginald Smith, Jr., baritone Copland, Fanfare for the Common Man - Haydn, Mass in Time of War Bernstein, “Make Our Garden Grow” from Candide - Bernstein, Halil Beethoven, Symphony No. 9 in D Minor (“Choral”), IV. Presto

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