Joy of Christmas 2016

CATHEDRAL CHORAL SOCIETY CONCERT PROGRAM

JOY OF

Christmas

FRIDAY, DECEMBER 9, 8:00 PM SUNDAY, DECEMBER 11, 4:00 PM WASHINGTON NATIONAL CATHEDRAL

2016 | 17 SEASON

Greetings, Welcome to the 40th 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 Joseph Flummerfelt, and our special guest ensembles, Georgetown Visitation Preparatory School Choir and the Lyric Brass Quintet. 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 this evening, 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

UP NEXT

AMID A CROWD OF WITH NEW YORK POLYPHONY

Stars

SUNDAY, MARCH 19 4:00 PM Spirited light shines through intimate, meditative music spanning from chant to renaissance to contemporary.

One of the finest vocal ensembles in the world, New York Polyphony has been praised for their “vibrant vitality” and “rich, natural sound.” Michael McCarthy, guest conductor.

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CATHEDRAL CHORAL SOCIETY

JOY OF Christmas FRIDAY, DECEMBER 9, 8:00 PM SUNDAY, DECEMBER 11, 4:00 PM WASHINGTON NATIONAL CATHEDRAL

Cathedral Choral Society Joseph Flummerfelt, guest conductor Lyric Brass Quintet Georgetown Visitation Preparatory School Choir David Nastal, conductor Edward Nassor, carillon Todd Fickley, organ

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.

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

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PROGRAM CARILLON PRELUDE BRASS PRELUDE PROCESSION OF THE ADVENT WREATH The candles in this wreath represent the four weeks of Advent, the season that precedes Christmas. Three candles are either violet or blue. The fourth, a rose-colored candle for the third Sunday in Advent (Gaudete), symbolizes the day of rejoicing. Blanche L. Curfman continues the tradition of giving this wreath in memory of David R. Curfman and Florence Marie Schreck.

PROCESSION Once in royal David’s city (1848, 1970)

Henry John Gauntlett (1805-1876) Vv. 1-5 harmonized, Arthur Henry Mann (1850-1929) Descant and organ part by David Willcocks (1919-2015)

As director of music at King’s College, Cambridge, from 1957 to 1974, Sir David Willcocks turned its Christmas Eve live broadcast of A Festival of Nine Lessons and Carols into an annual tradition for millions, who expectantly await the voice of a single treble singing the first verse of Once in royal David’s city. This association with Lessons and Carols has indelibly identified the hymn with Christmas. Cecil Frances Alexander, one of Britain’s greatest female hymn-writers, originally wrote its six verses to explain the Apostles Creed to children.

Once in royal David’s city, Stood a lowly cattle shed Where a Mother laid her baby In a manger for his bed; Mary was that Mother mild, Jesus Christ her little child.

For he is our childhood’s pattern, Day by day like us he grew, He was little, weak, and helpless, Tears and smiles like us he knew: And he feeleth for our sadness, And he shareth in our gladness.

He came down to earth from heaven Who is God and Lord of all, And his shelter was a stable, And his cradle was a stall; With the poor and mean and lowly Lived on earth our Saviour holy.

And our eyes at last shall see him Through his own redeeming love, For that Child, so dear and gentle, Is our Lord in heaven above; And he leads his children on To the place where he is gone.

And through all his wondrous childhood He would honour and obey, Love and watch the lowly maiden, In whose gentle arms he lay: Christian children all must be Mild, obedient, good as he.

Not in that poor, lowly stable With the oxen standing by We shall see him, but in heaven, Set at God’s right hand on high, Where, like stars, his children, crowned All in white shall wait around.

Emily German, soprano

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—Words, Cecil Frances Alexander (1818-1895)

PROGRAM In dulci jubilo (1607)

Fourteenth-century German melody Michael Praetorius (1571-1621)

According to a fourteenth-century German manuscript, this joyous carol was sung to a Dominican monk by angels who visited him in his sufferings. One of the earliest and best-known Christmas melodies, it is also one of the clearest examples of macaronic, or mixed language, texts. The language of the Church (Latin) was frequently interpolated in carols sung in the vernacular upper German dialect. This setting of In dulci jubilo is one of at least five attributed to Michael Praetorius, whose prolific output includes the nine-volume Musae Sioniae, a collection of 1,244 chorale and song arrangements. The Lyric Brass Quintet first plays the chorale harmonization of Johann Sebastian Bach.

In dulci jubilo Nun singet und seid froh!

Unsers Herzens Wonne

leit in præsepio, Und leuchtet als die Sonne Matris in gremio.

Alpha es et O.

In quiet joy, Now, sing and be glad!

Our hearts’ desire Lies in a manger, And shines like the sun in His mother’s bosom.

You are Alpha and Omega.

—Musae Sioniae, Part II, No. 5 (Jena, 1607)

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

John F. Wade’s Cantus Diversi, 1751 arr. Willcocks

Sir David Willcocks’s incandescent carol arrangements for organ and brass have become synonymous with Christmas.

In addition to his post at King’s College, Cambridge, he was music director of the London Bach Choir for 38 seasons.

He led the Cathedral Choral Society’s 1998 performance of Edward Elgar’s oratorio, Dream of Gerontius. In 2001, the Cathedral Choral Society commissioned Willcocks to write a setting of Hark! How all the welkin rings!

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, Christ the Lord!

Sing, choirs of angels, Sing in exultation, Sing, all ye citizens of heaven above; Glory to God In the highest: O come, let us adore him, Christ the Lord.

Yea, Lord, we greet thee, Born this happy morning, Jesu, to thee be glory given; Word of the Father, Now in flesh appearing: O come, let us adore him, Christ the Lord!

—trans. Frederick Oakeley (1802-1880)

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PROGRAM PART I – CATHEDRAL CHORAL SOCIETY Please hold applause until the end of the set.

O come, O come, Emmanuel (1958)

Fifteenth-century French Franciscan processional arr. Alice Parker (b. 1925) and Robert Shaw (1916-1999)

This chant melody is one of the seven great antiphons, or ‘Great O’s,’ said each day before and after 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.” To create a new Christmas Hymns and Carols album for the Robert Shaw Chorale, Shaw’s lifelong collaborator, Alice Parker, spent hours combing books of folk songs and carols for new discoveries. O come, O come, Emmanuel is but one result of their remarkable collaboration.

O come, O come, Emmanuel, And ransom captive Israel, That mourns in lonely exile here, Until the Son of God appear: Rejoice! Rejoice! Emmanuel Shall come to thee, O Israel!

O come, Thou Day-Spring, come and cheer Our spirits by Thine advent here; Disperse the gloomy clouds of night, And death’s dark shadows put to flight.

Refrain

O come, Thou Key of David, come, And open wide our heav’nly home; Make safe the way that leads on high, And close the path to misery: Refrain.

—Latin Advent Antiphons Trans., John Mason Neale (1818-1866), Hymni Ecclesiae, 1851

The Shepherds’ Farewell to the Holy Family (1849/1854) “L’adieu des bergers” from L’enfance du Christ, Op. 25

Hector Berlioz (1803-1869)

This beloved Christmas anthem had a decidedly secular origin. Finding himself bored at a card-playing party in 1849, Hector Berlioz started sketching an organ piece. When a friend saw what he was doing, he asked Berlioz to write a sketch for his souvenir album, something “with the character of primitive, rustic mysticism.” Thus prompted, Berlioz thought of the shepherds saying good-bye as the Holy Family leaves for Egypt. He dashed off a text, attributed the music to Pierre Ducré, an obscure seventeenth-century Parisian choirmaster of Sainte-Chapelle, and dated the composition 1679. First performed in 1850, it was not until 1854 that Berlioz included L’adieu des bergers in Part II (“The Flight into Egypt”) of his oratorio, L’enfance du Christ, or The Childhood of Christ. This musical jewel was sung at the Cathedral Choral Society’s inaugural Joy of Christmas concert in 1976.

Thou must leave Thy lowly dwelling, The humble crib, the stable bare, Babe, all mortal babes excelling, Content our earthly lot to share, Loving father, loving mother, Shelter Thee with tender care!

Blessed Jesus, we implore Thee, With humble love and holy fear, In the land that lies before Thee, Forget not us who linger here!

May the shepherd’s lowly calling, Ever to Thy heart be dear!

Blest are ye beyond all measure, Thou happy father, mother mild!

Guard ye well your Heavenly Treasure, The Prince of Peace, the Holy Child!

God go with you, God protect you, Guide you safely through the wild!

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—English version by Paul England

PROGRAM A Boy was born, Op. 3 (1932-33)

Benjamin Britten (1913-1976)

Benjamin Britten was not yet twenty when he began composing a large set of carols entitled A Boy was born. Together, the theme and six increasingly complex choral variations recount the story of Christ’s birth through the texts of ancient carols. Here, the chorus sings the opening carol, a gentle, hymn-like setting of the four-note theme upon which the larger work is based.

A Boy was born in Bethlehem; Rejoice for that, Jerusalem!

Alleluya!

He let himself a servant be, That all mankind he might set free: Alleluya!

Then praise the Word of God who came To dwell within a human frame: Alleluya!

—Sixteenth-century German text trans. Percy Dearmer (1867-1936)

There shall a star from Jacob come forth Es wird ein Stern aus Jacob aufgehn From Christus, Op. 97 (1847)

Felix Mendelssohn (1809-1847)

In 1846, having completed his oratorio Elijah, an Old Testament figure, Felix Mendelssohn began work on an oratorio he would not live to finish. Christian Karl Josias von Bunsen (1791-1860) compiled the German libretto from biblical sources. After Felix’s death, his brother Paul published fragments of the score under the title Christus, in recognition of the composer’s apparent intent to bookend Elijah with a New Testament figure—an opportunity, as biographer Larry Todd has posited, for Mendelssohn “to mediate the space between his Jewish ancestry and Christian faith.” Undulating broken-chord triplets accompany the chorus, which also incorporates, unaltered, Philipp Nicholai’s great 1599 Protestant chorale, Wie schön leuchtet der Morgenstern (How brightly beams the morning star).

There shall a star from Jacob come forth, and a Sceptre from Israel rise up, and dash in pieces Princes and Nations.

How brightly beams the morning star!

With sudden radiance from afar With light and comfort glowing!

Thy Word, Jesus, inly [inwardly] feeds us, Rightly leads us, Life bestowing Praise, oh praise such love o’erflowing.

—Numbers 24:17; Psalm 2:9

—Philipp Nicholai (1556-1608) English version, Catherine Winkworth (1827-1878)

ORGAN SOLO Toccata on “Veni Emmanuel”

arr. Andrew Carter (b. 1939)

In F-sharp minor, the tune “Veni Emmanuel” (O come, O come, Emmanuel) thunders forth in the pedal while the manuals play the French toccata configuration made famous by Henri Mulet’s Toccata on Tu es petra (Thou Art the Rock) and the final variation of Marcel Dupré’s Variations sur un Noël. After a quiet middle section in which keys constantly shift, the fanfare motif that began the work heralds the return of the main theme in the final section wherein the melody is broken up in the pedal.

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PROGRAM PART II – GEORGETOWN VISITATION PREPARATORY SCHOOL CHOIR Please hold applause until the end of the set.

Gaudete (1987)

arr. Michael Englehardt (b. 1974)

Gaudete is one of seventy-four Latin songs appearing in Piae Cantiones, a medieval Finnish songbook published in 1582. The text is the incipit, or first line, of the antiphon for Gaudete, the third Sunday in Advent, a day of rejoicing. This contemporary setting of the medieval melody derives joyful energy from accented rhythms and dance-like percussive elements. A native of Woodstock, Illinois, with degrees from Milliken University and Southern Illinois University Edwardsville, Michael Engelhardt is a freelance choral composer, conductor, clinician, singer, and producer.

Gaudete, gaudete Christus est natus ex Maria Virgine, gaudete.

Rejoice, rejoice, Christ is born of the Virgin Mary, rejoice.

Suo-Gân (1968)

—Piae Cantiones, 1582

Traditional Welsh lullaby arr. Brian Trant (1910-1995)

Suo Gân, meaning lullaby, is a traditional Welsh slumber song made famous by the 1987 Stephen Spielberg film, “Empire of the Sun.” Welsh folklorist Robert Bryan first collected and codified the words around 1794. This arrangement is possibly the earliest, dating to 1968. Arranger Brian Trant studied at London’s Bishopshalt School. When war broke out in 1939, he formed the Haydon Hall Singers to occupy civil defense members. Later, he served as organist of St. Andrew’s Church, Uxbridge from 1950 to 1976.

Huna blentyn ar fy mynwes Clyd a chynnes ydyw hon; Breichiau mam sy’n dynn amdanat, Cariad mam sy dan fy mron; Ni chaiff dim amharu’th gyntun, Ni wna undyn â thi gam; Huna’n dawel, annwyl blentyn, Huna’n fwyn ar fron dy fam.

Huna’n dawel, heno, huna, Huna’n fwyn, y tlws ei lun; Pam yr wyt yn awr yn gwenu, Gwenu’n dirion yn dy hun?

Ai angylion fry sy’n gwenu, Arnat ti yn gwenu’n llon, Tithau’n gwenu’n ôl dan huno, Huno’n dawel ar fy mron?

Paid ag ofni, dim ond deilen Gura, gura ar y ddôr; Paid ag ofni, ton fach unig Sua, sua ar lan y môr; Huna blentyn, nid oes yma Ddim i roddi iti fraw; Gwena’n dawel yn fy mynwes Ar yr engyl gwynion draw.

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Sleep child upon my bosom It is cosy and warm; Mother’s arms are tight around you, A mother’s love is in my breast; Nothing shall disturb your slumber, Nobody will do you harm; Sleep in peace, dear child, Sleep quietly on your mother’s breast.

Sleep peacefully tonight, sleep; Gently sleep, my lovely; Why are you now smiling, Smiling gently in your sleep?

Are angels above smiling on you, As you smile cheerfully, Smiling back and sleeping, Sleeping quietly on my breast?

Do not fear, it is nothing but a leaf Beating, beating on the door; Do not fear, only a small wave Murmurs, murmurs on the seashore; Sleep child, there’s nothing here Nothing to give you fright; Smile quietly in my bosom, On the blessed angels yonder —Collected and collated by Robert Bryan (1858-1920) English words by Harold Idris Bell (1879-1967)

PROGRAM This Christmastide (1993) From A Christmas Symphony

Donald Fraser (b. 1947)

This sumptuous song, known as “Jessye’s Carol” after the 1993 recording of A Christmas Symphony, was written for soprano Jessye Norman, the American Boychoir, and the New York Choral Society. A lilting melody speaks of the Christmas season (“tide”) as a time when “truth and love and hope abide.” British-born composer Donald Fraser studied at the Royal College of Music.

Green and silver, red and gold And a story born of old.

Truth and love and hope abide, This Christmastide, this Christmastide.

Children sing of peace and joy At the birth of one small boy.

Let the bells ring loud and clear, Ring out now for all to hear.

Holly, ivy, mistletoe And the gently falling snow.

Trumpets sound and voices raise In an endless stream of praise.

From a simple ox’s stall Came the greatest gift of all.

Green and silver, red and gold And a story born of old.

—text, Jane McCullough

Ave Maria (2006)

Guy Forbes (b. 1957)

The antiphon, Ave Maria, a private Roman Catholic prayer of no fixed liturgical occasion, has been set to music by many composers, most famously, Charles Gounod and Franz Schubert. This setting is by Guy Forbes, associate conductor of choirs and chair of music education at Milliken University in Decatur, Illinois. His first composition, it won first prize in the 2005 Roger Wagner Contemporary Choral Composition Contest.

Avē Maria, gratia plena, Dominus tecum.

Hail Mary, full of grace, the Lord is with thee;

Benedicta tu in mulieribus, et benedictus fructus ventris tui, Jesu.

blessed art thou among women, and blessed is the fruit of thy womb, Jesus.

Sancta Maria, Mater Dei, ora pro nobis peccatoribus, nunc et in hora mortis nostræ. Amen.

Holy Mary, Mother of God, pray for us sinners, now and at the hour of our death. Amen.

ALL STAND AND SING (turn page for lyrics)

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PROGRAM ALL STAND AND SING CAROL: The First Nowell The first Nowell the angel did say Was to certain poor shepherds in fields as they lay.

In fields where they lay keeping their sheep On a cold winter’s night that was so deep.

Nowell! Nowell! Nowell!

Born is the King of Israel!

English Traditional Carol arr. Willcocks They lookèd up and saw a star Shining in the East beyond them far.

And to the earth it gave great light, And so it continued both day and night.

Nowell! Nowell! Nowell!

Born is the King of Israel!

Then let us all with one accord Sing praises to our heav’nly Lord.

That hath made heav’n and earth of naught.

And with his blood mankind hath bought.

Nowell! Nowell! Nowell!

Born in the King of Israel!

GUEST CONDUCTORS Friday: Ronald P. Frezzo Sunday: David Nastal

PART III – CATHEDRAL CHORAL SOCIETY Please hold applause until the end of the set.

Christmas Day: Choral Fantasy on Old Carols (1910)

Gustav Holst (1874-1934)

From the composer who created the heart-stirring melodies of Nimrod (Enigma Variations) and I vow to thee, my country comes this delightful assemblage of three carols—Good Christian men, rejoice; God rest ye merry, gentlemen; and Come, ye lofty, come, ye lowly (Old Breton Melody) topped off with The First Nowell. An English composer of German-Latvian origins, Gustav Holst taught at the prestigious St. Paul’s Girls’ School in Hammersmith, West London and at Morley College, for whose music students he composed this choral fantasy in the last year of the Edwardian era.

Good Christian men, rejoice With heart, and soul, and voice; Give ye heed to what we say: News! News! Jesus Christ is born today: Ox and ass before him bow, And he is in the manger now.

Christ is born today! [repeated]

In Bethlehem, in Israel, This blessed Babe was born, And laid within a manger, Upon that holy morn; The which His Mother, Mary, Did nothing take in scorn.

O tidings of comfort and joy.

God rest ye merry, gentlemen, Let nothing you dismay, Remember Christ our Saviour Was born on Christmas day, To save us all from Satan’s power, When we were gone astray.

O tidings of comfort and joy.

Good Christian men, rejoice, With heart, and soul, and voice; Now ye hear of endless bliss: Joy! Joy! Jesus Christ was born for this!

He hath oped the heav’nly door, And man is blessed evermore.

Christ was born for this!

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PROGRAM Sung simultaneously throughout: The first Nowell, the angels did say, Was to certain poor shepherds in fields as they lay; In fields where they lay, Keeping their sheep, On a cold winter’s night that was so deep.

Nowell, Nowell, Born is the King of Israel.

Come ye lofty, come ye lowly, Let your songs of gladness ring; In a stable lies the Holy, In a manger rests the King: See in Mary’s arms reposing, Christ by highest heav’n adored: Come, your circle round Him closing, Pious hearts that love the Lord.

Come, ye poor, no pomp of station Robes the Child your hearts adore.

He, the Lord of all salvation, Shares your want, is weak and poor.

Oxen, round about behold them; Rafters naked, cold and bare, See the shepherds, God has told them That the Prince of Life lies there.

Come ye children, blithe and merry, This one Child your model make; Christmas holly, leaf, and berry, All be prized for His dear sake; Come, ye gentle hearts, and tender, Come, ye spirits, keen and bold; All in all your homage render, Weak and mighty, young and old.

High above a star is shining, And the Wisemen haste from far: Come, glad hearts, and spirits pining: For you all has ris’n the star.

Let us bring our poor oblations, Thanks and love and faith and praise: Come, ye people, come ye nations, all in all draw nigh to gaze.

Good Christian men, rejoice With heart, and soul, and voice; give ye heed to what we say: News! News! Jesus Christ is born today: Ox and ass before him bow, and he is in the manger now.

Christ is born today!

Good Christian men, rejoice, With heart, and soul, and voice; Now ye hear of endless bliss: Joy! Joy! Jesus Christ was born for this.

He hath oped the heav’nly door, And man is blessed evermore.

Christ was born for this.

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.

Good Christian men rejoice, With heart, and soul, and voice; Now ye need not fear the grave: Peace! Peace! Jesus Christ was born to save!

Calls you one, and calls you all, To gain His everlasting hall: Christ was born to save!

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PROGRAM What is this lovely fragrance? (1985)

Seventeenth-century French melody arr. Joseph Flummerfelt (b. 1937)

Joseph Flummerfelt made three calm and serene folk carol arrangements for a 1985 recording by the world-renowned Westminster Choir, which he conducted for 33 years. The text of this seventeenth-century French carol, Quelle est cette odeur agreable?, is thought to have originated in the French province of Lorrain. Its melody dates to music composed by Johann Christoph Pepusch (1667-1752), for John Gay’s wildly popular Beggar’s Opera in 1728.

Shepherds what is this lovely fragrance Filling the air this wondrous night?

Gentler than all the flow’rs of springtime Wafting from heav’n in sweet delight.

Shepherds what is this lovely fragrance Filling the air this wondrous night

What is this light so clear, so brilliant, Filling the sky before our eyes?

Brighter than day a star is shining, Ne’er have we seen such radiant skies!

What is this light so clear, so brilliant, Filling the sky before our eyes?

In Bethlehem in lowly manger Lies our Redeemer, Lord, and King.

Come let us hasten to adore Him, And there to Him our praises sing!

In Bethlehem in lowly manger Lies our Redeemer, Lord, and King.

—Trans. by Glen Parker

The Blessed Son of God (1954) Ralph Vaughan Williams (1872-1958) from This Day (Hodie)

This beautiful chorale comes from the last major choral-orchestral composition by Ralph Vaughan Williams. He dedicated his Christmas cantata for soloists, chorus, and orchestra to fellow musician Herbert Howells. The composer conducted the premiere at Worcester Cathedral, as part of the Three Choirs Festival, on September 8, 1954. Vaughan Williams set to music the words of Miles Coverdale (1488-1569), the English clergyman who published the first complete English translation of the Bible in 1535. His revisions greatly influenced the translators of the 1611 King James Version of the Bible.

The blessed son of God only In a crib full poor did lie; With our poor flesh and our poor blood Was clothed that everlasting good.

Kyrie eleison.

The Lord Christ Jesu, God’s son dear, Was a guest and a stranger here; Us for to bring from misery, That we might live eternally.

Kyrie eleison.

All this did he for us freely, For to declare his great mercy; All Christendom be merry therefore, And give him thanks for evermore.

Kyrie eleison.

—Miles Coverdale, after Martin Luther

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PROGRAM I saw three ships (1960)

English Traditional Carol arr. Willcocks

The anonymous fifteenth-century text of this traditional English storytelling carol is based on the legend that the skeletal remains of the Three Magi, or the Three Kings of Cologne, were carried on ships to Constantinople. The words first appeared in the second edition of John Forbes’ Cantus in 1666 and were included in Christmas Carols, Ancient and Modern, published by William Sandys in 1833. Sir David’s jubilant arrangement evokes the sound of “all the bells on earth” ringing on Christmas Day. I saw three ships come sailing in, On Christmas Day, on Christmas Day. And what was in those ships all three? . . .

Our Saviour Christ and his lady, . . .

And all the bells on earth shall ring, . . .

And all the angels in heav’n shall sing, . . .

Then let us all rejoice amain! [suddenly] On Christmas Day, On Christmas day in the morning.

—John Forbes’ Cantus, 1666

Sir Christèmas From Ave Rex (1969)

William Mathias (1934-1992)

This is the last movement of Ave Rex, a sequence of four carols commissioned by the Cardiff Polyphonic Choir and first performed by them at Llandaff Cathedral on December 6, 1969. It takes the form of a dialogue between a group offering hospitality and a visitor who represents “Sir Christmas.” The words are attributed to Richard Smart, a fifteenthcentury rector of Plymtree, Devon from 1435-1477. This contemporary setting of the pre-Puritanism text is remarkable.

The music of Welsh-born and Wales-identified composer William Mathias, who died at only 56, has been described as “sophisticated but free of exhibitionistic affectation” and “unequivocally populist in its euphonious appeal.” He composed music for several royal occasions, including the 1981 wedding of the Prince of Wales and Lady Diana Spencer.

Nowell, nowell, nowell, nowell, Who is there that singeth so, Nowell, nowell?

I am here, Sir Christèmas, Welcome, my lord Sir Christèmas!

Welcome to all, both more and less, Come near, nowell.

Dieu vous garde, beaux sieurs, [God keep you, good Sir] tidings I you bring: A maid hath borne a child full young, which causeth you to sing: Nowell.

Christ is now born of a pure maid; In an ox stall he is laid, Wherefore sing we at a brayde: [all at once] Nowell.

Buvez bien par toute la compagnie [Drink well, through all the company] Make good cheer and be right merry, And sing with us now joyfully, Nowell! Nowell!

—Attributed to Richard Smart (1435-1477)

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PROGRAM BRASS INTERLUDE My spirit, be joyful (1726) From Cantata 146, Wir müssen durch viel Trübsal

Johann Sebastian Bach (1685-1750) Transcribed, Harry Herforth (1916-2013)

Transcribed for brass by the founder of the Cleveland Brass Quintet, the duet Wie will ich mich freuen (How will I myself rejoice) is the penultimate movement of Bach’s cantata for Jubilate, the third Sunday after Easter. Although Cantata 146 deals with both grief and joy—“We must through great sorrow pass to enter the kingdom of heaven,”—Bach’s music clearly evokes the joy of heaven in this duet, originally written for tenor and bass.

Ah, how I will glory in song and rejoicing, when all of these earthly afflictions are past.

The sun of my soul will in splendor be shining, the blessings of Heaven will banish repining, all earthly woe will end at last.

WORLD PREMIERE Come, Let Us Go Again, Op. 1157

Carson Cooman (b. 1982)

Commentary by composer Carson Cooman I was delighted to accept a commission from the Cathedral Choral Society and its music director of many years, J. Reilly Lewis. Preliminary discussions of the piece began with Reilly Lewis, but his death on June 9, 2016 came as a significant surprise to the DC and wider American musical community. I decided that it was impossible for me to imagine not somehow reflecting that in the work to be written. However, Christmas is generally viewed as the most joyous time of the year, and the spirit of the season generally demands music of good cheer and festivity. How then to reconcile these factors?

It seemed a new text was needed and I turned, as I have before, to poet Richard Leach...I told him I imagined something that would begin somewhat quietly, gathering people together in anticipation, and then finally breaking into a joy that celebrates making music “all of our days.” This final sentiment was one that I felt would be especially appropriate to remembering Reilly Lewis, whose entire life until his very last day was devoted to both making music himself and bringing others together in that spirit.

The music thus follows that path: beginning with a sense of gathering in the dark: coming together amidst a world full of difficulties, wondering how we can make sense of things, spoken and unspoken; even the presence of fear as to an uncertain future. But then joining together in the song and spreading the jubilation of the Christmas message: “fear turned to wonder” — “We will sing and make music all the days of our lives!”

Come let us go again into the field, not far from Bethlehem what shall we see?

Come, let us watch with them, let us be still Let the wide world go on just as it will.

Shepherds who bide their time under the stars— little to do or say here in the dark.

Much that is known not spoken aloud— deeply felt need not crying out

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PROGRAM This is a waiting not knowing it waits.

All will be altered this night of nights.

All nights are touched by this night, all darkness touched by this light, all hearts invited to sing.

Jesus, Messiah, the Savior, is born.

Come, let us tell again of the surprise— tell of an angel and glory-filled eyes.

Glory in heaven, highest heaven, Peace on the earth, on the earth

Come, let us hear again, how great the song— voices of heaven sing on and on.

Come, let us go again into our days, fear turning to wonder, waiting to praise.

Glory in heaven, highest heaven peace on the earth, on the earth.

Come, let us sing, come, let us sing.

We will sing and make music all of our days.

Sing and make music all the days of our life!

—Words, Richard Leach (b. 1953)

ALL STAND AND SING CAROL: Hark! The Herald Angels Sing

Hark! the herald angels sing: Glory to the new-born King!

Peace on earth and mercy mild, God and sinners reconciled!

Joyful, all ye nations rise!

Join the triumph of the skies!

With the angelic host proclaim: Christ is born in Bethlehem!

Hark! the herald angels sing: Glory to the new-born King!

Felix Mendelssohn (1809-1847) Adapted by William Cummings (1831-1915) arr. Willcocks

Christ, by highest heaven adored, Christ, the everlasting Lord: Late in time behold him come, Offspring of the Virgin’s womb.

Veiled in flesh the Godhead see!

Hail th’incarnate Deity, Pleased as man with man to dwell: Jesus, our Emmanuel!

Hark! the herald angels sing: Glory to the new-born King!

Hail the heav’n-born Prince of Peace!

Hail the Sun of Righteousness!

Light and life to all he brings, Risen with healing in his wings.

Mild he lays his glory by, Born that man no more may die, Born to raise the sons of earth, Born to give them second birth.

Hark! the herald angels sing: Glory to the new-born King!

—Charles Wesley (1707-1788), alt.

CARILLON POSTLUDE —Program notes ©2016 Margaret Shannon

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BIOGRAPHIES Conductor Joseph Flummerfelt is founder and musical director of the New York Choral Artists, and for 33 years was conductor of the worldrenowned Westminster Choir of Rider University in Princeton, New Jersey.

Since 1971, he has been responsible for most of the choral work of the New York Philharmonic. In 2004, he was named Musical America’s Conductor of the Year. For 37 years he served as director of choral activities for the Spoleto Festival U.S.A. in Charleston, South Carolina, and for 23 years was the maestro del coro for the Festival dei Due Mondi in Spoleto, Italy.

As an orchestral conductor, Flummerfelt made his debut with the New York Philharmonic in 1988, conducting Haydn’s Creation. He has also appeared as guest conductor with the New Jersey Symphony Orchestra, Orchestra of St. Luke’s, the Juilliard Symphony Orchestra, and the San Antonio and Phoenix Symphonies. He has conducted over 60 choral/orchestral performances with the Spoleto Festival Orchestra. For over four decades, Flummerfelt has collaborated in the preparation of hundreds of choral/orchestral performances and recordings with such conductors as Abbado, Bernstein, Barenboim, Boulez, Chailly, Colin Davis, Gilbert, Giulini, Maazel, Masur, Mehta, Muti, Ozawa, Sawallisch, and Shaw.

Flummerfelt’s Westminster Symphonic Choir and New York Choral Artists have performed with the Berlin Philharmonic, Vienna Philharmonic, and the Royal Concertgebouw Orchestra. They have been featured in 45 recordings, including Britten’s War Requiem and Brahms’ Ein Deutsches Requiem with Kurt Masur and the New York Philharmonic; a Grammy Award-winning Mahler’s Symphony No. 3 with Leonard Bernstein; and Puccini’s Tosca and Berlioz’s Romeo and Juliet with Riccardo Muti and the Philadelphia Orchestra. In 2004, he was awarded a Grammy for the New York Choral Artists’ recording of John Adams’ On the Transmigration of Souls.

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Georgetown Visitation Chorus is a 70 voice non-auditioned all-female ensemble. The chorus is under the direction of David Nastal. Their performance style includes classic and contemporary repertoire. The ensemble has performed nationally and internationally.

National performances have included New York City, Williamsburg, VA, and various embassies in the Washington, DC metropolitan area. They have performed internationally in Venice, Florence, Assisi, Rome, Vienna and Salzburg.

Conductor David Nastal is actively involved in the field of music performance and theater education. During his fifteen years at Georgetown Visitation Preparatory School he has built a performing arts program to involve over 170 students participating in choral, orchestral, and theater. His work with children’s choirs has been respected throughout the Roman Catholic Church in America. He has written numerous articles on this subject in quarterly newsletters and journals. His book Children’s Choir Basics (Oregon Catholic Press) has become a standard pedagogical tool for children’s choir directors. He has been guest conductor for regional children’s choir festivals in the United States and Europe. He holds advanced degrees in Organ Performance, Choral Conducting, and Business Management.

Formed in 1998, the Lyric Brass Quintet (Robert Couto and Chris Shiley, trumpet; Larry Williams, horn; David Dochterman, trombone; and Andy Spang, tuba) has established itself as an exciting ensemble dedicated to bringing the rich traditions of brass chamber music to new audiences and forging new ground in the area of concert performance. Individually, members have performed with, or been members of, the Baltimore, San Francisco, Harrisburg, Maryland, Acadiana (LA), Memphis, and New World Symphony Orchestras,

BIOGRAPHIES Baltimore Chamber Orchestra, the United States Navy Band, Eastman Wind Ensemble, and Darrin Atwater’s Soulful Symphony, among other prominent ensembles.

The ensemble’s debut CD, Daydreams, Desires and Diversions, was released in 2000 to critical acclaim. Their second album, Christmas Around the World, was released for Christmas 2002, and their most recent recording is entitled Ancient Noëls. The Lyric Brass were winners of the 2001 Catch the Rising Stars Competition (Fairfax, VA) and, as winners of the 2000 Baltimore Chamber Music Competition, have repeatedly appeared as featured artists at ARTSCAPE (Baltimore’s Festival of the Arts). They have been sponsored by Stu’s Music Shop (Westminster, MD) and held residencies at Carroll Community College and with the American Studio Orchestra. Ardent supporters of music education, they were featured performers at the 2005 MENC All-Eastern Conference and the Maryland Music Educators Association Conference.

Edward M. Nassor, carillon, joined the music department of Washington National Cathedral in November, 1990, where he performs regularly for services and in concerts and recitals.

He has recorded for the Angel/EMI, Centaur and Gothic labels. His carillon performances have been featured on ABC Television’s Good Morning America and NBC Television’s The Today Show. In 1987, he was appointed Director-Carillonneur of the Netherlands Carillon in Arlington, Virginia by the National Park Service, where he performs in and schedules their annual recital series. Partly due to his affiliation with the Netherlands Carillon, he became the first American to be awarded a Fulbright scholarship to study at the Netherlands Carillon School, graduating with a Practical Diploma in 1992. He earned his B.Mus. degree from Virginia Commonwealth University, his M.M. and D.M.A. degrees from The Benjamin T. Rome School of Music at The Catholic University of America. In addition to his carillon duties, Nassor teaches music at a private school in Northern Virginia.

Todd Fickley is the Associate Music Director and Chorus Master of the Cathedral Choral Society. He is also the Acting Artistic Director of the Washington Bach Consort, Assistant Conductor and Keyboard Artist for The Choralis Foundation, and the Organist of The Falls Church (Anglican). A native Washingtonian, he began his organ studies at Washington National Cathedral under Bruce Neswick. At the age of twenty-three, Fickley was made a Fellow of the American Guild of Organists (AGO). He also holds the AGO Choirmaster Diploma and an M.A. in Organ Performance with High Distinction from the University of Wales. A prize-winning organist, Fickley has been featured numerous times on NPR and PRI and has performed and conducted throughout the United States, Israel, and Europe.

Joy Schreier is Pianist and Vocal Coach of the Cathedral Choral Society. She has been presented in recital at Weill Recital Hall at Carnegie Hall, Lincoln Center, the White House, Kennedy Center, National Museum for Women in the Arts, National Portrait Gallery, Phillips Collection, Cosmos Club, Strathmore Hall, the embassies of Austria, Russia, and Poland, Anderson House on Embassy Row, and at recital halls throughout the country.

Internationally, she has performed throughout Europe and Asia. Schreier is assistant conductor for the Washington National Opera Domingo-Cafritz Young Artist Program and served as official pianist for the Washington International Voice Competition and Metropolitan Opera National Council Auditions. She received her doctorate in accompanying and chamber music in 2003 at the Eastman School of Music, where she was the recipient of the Barbara Koenig Award for excellence in vocal accompanying.

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BIOGRAPHIES Carson Cooman (b. 1982) is an American composer with a catalog of hundreds of works in many forms— from solo instrumental pieces to operas, and from orchestral works to hymn tunes. His music has been performed on all six inhabited continents in venues that range from the stage of Carnegie Hall to the basket of a hot air balloon. Cooman’s music appears on over forty recordings, including more than twenty complete CDs on the Naxos, Albany, Artek, Gothic, Divine Art, Métier, Diversions, Convivium, Altarus, MSR Classics, Raven, and Zimbel labels. Cooman’s primary composition studies were with Bernard Rands, Judith Weir, Alan Fletcher, and James Willey. As an active concert organist, Cooman specializes in the performance of contemporary music. Over 150 new compositions by more than 100 international composers have been written for him, and his organ performances can be heard on a number of CD recordings. Cooman is also a writer on musical subjects, producing articles and reviews frequently for a number of international publications. He serves as an active consultant on music business matters to composers and performing organizations, specializing particularly in the area of composer estates and archives.

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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 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 community engagement programs, including sing-along opportunities for the public and an annual High School Choir Festival featuring choirs from across Washington, DC.

CATHEDRAL CHORAL SOCIETY Todd Fickley, Associate Music Director and Chorus Master Joy Schreier, Pianist and Vocal Coach

** Section Coordinators * Alternates

Soprano I Anne Carman Tari Cooper* Marcia D’Arcangelo Cindy Drakeman Lesley Earl Melissa Fox RenÊe Gamache Kyla Kitamura Chana Kuhns Chris Markus Marianna Martindale Susan McDaid** Jocelyn Mullins Kimberly Pacala Meredyth Shinko Melanie Steinkamp Patricia Stephenson Megan Sullivan Laura Theby Elizabeth Owens Wakefield Nuska Zakrajsek

Soprano II Mary Amorosino Jessica Barness Susanna Beiser Joanne Casey Laura M. Connors Sheri Economou Emily German Lori Kurtyka Laura Landes Beth L. Law Wendy Lubarsky Emily McCullough Catherine Ort-Mabry Natalie Pho Frances H. Pratt** Kyra Reumann-Moore Julia Rothchild Melissa Ryan Cheryl Schock Cindy Shen Helen L. St. John Dianne Vandivier Jeannette Dea Warren-Anderson Margot T. Young*

Alto I Amanda Ayers Violet Baker Kathleen Brion Sandra Caracciolo Christine de Fontenay Kehan DeSousa Susan Grad* Jennifer Hawley Melissa A.L. Holman Laura Jackman Lisa Josey Ingrid Kauffman** Gwyneth Kelly Charlotte Maskelony Laura Miller Mary Olch Jane Roningen Margaret Shannon Maki Yasui

Alto II Stephanie Cabell Laurene Church Robin Costanza Noemi Danao-Schroeder Holly Filipiak Margaret Gonglewski Kim Harris Pam Hazen Mary Hiebert-White Elizabeth Hoffmann Sarah B. Holmes Beth A.V. Lewis Marti Olson Jennifer Griffiths Orudjev Larisa Prisacari Christopher G. Riggs* Kate Shooltz Teresa A. Spencer Susan Stanford Natalie Torentinos Kathleen M. Welling**

Tenor I Alex A. Belohlavek Gregg M. Breen David Dietly John W. Harbeson Nicholas Houhoulis 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 James Clay** David Costanza Brett Ewer Luke W. Fisher Jeremy Gosbee Jeremy Kane Michael McCarthy James M.E. Mixter, Jr.* John E. Moyer Martyn Smith Jonathan Terrell

Bass I Eric P. Andersen Kelly Cameron Everitt Clark John Hewes Giles Howson Tony King Andrew Madar Nathaniel Miller Nicholas Petersen Marcus Pfeifer Stephen S. Roberts* James Schaller L. Bradley Stanford** Richard Wanerman Peter G. Wolfe Christopher Woolley

Bass II Ernest Abbott* Dale Boyd Chris Buechler** Thomas Chapman Glenn Sherer Griffiths, OSL Karl Hempel Gene Kaye Ian M. Matthews Scott McCorkindale Ellis Wisner

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GUEST ENSEMBLES Georgetown Visitation Preparatory School Choir David Nastal, conductor Natalie Arndt Lauren Ashkenzai Grace Atiyeh Taylor Baker Annie Barbour Adrienne Becker Niani Benjamin Sofia Bergoglio Cate Biegun Charlotte Brightbill Caroline Caraci Emily Carchia Izzy Carroll Emily Clancy Maria Colosi Sophia Colosi Catherine Connell

Alexis Dash Gina DeChristopher Annemaire Dougherty Rosemary Drake-Brockman Grace Dwyer Grace Ellsworth Brigie English Emma Farren Deborah Fenta Barrett Fife Jacqueline Friskey Charolette Galbreath Matisse Gilmore Dalia Hamilton Livi Jung-Moss Malyia Kelly Isabella Khalaf

Eleanor Kinyon Mary Kolesar Ellie Koroulakis Emily Kwiatkowski Chelsea Lee Allie Lee Hoffman Mary Mei Longano Brigid Lyons Maggie Marynard Madison McGovern Rosemary McGovern Emma Medley Maria Merkle Brooke Miller Caroline Mukerjee Megan Munter Ginnie Murphy

Grace Murphy Frannie Neill Kelly Owczarski Analiese Pappas Cate Paxton Marie Claire Paxton Macey Porter Katie Rinaldi Claire Sague Hannah Shea Olivia Silveri Katy Smislova Theresa Thomas Jane Vourlekis Katie Wickham Jackie Woldemariam Caitie Belle Yevoili

Lyric Brass Quintet Robert Couto, trumpet Chris Shiley, trumpet Larry Williams, horn

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David Dochterman, trombone Andy Spang, tuba Mark Lortz, timpani and percussion

THANK YOU The Cathedral Choral Society is pleased to acknowledge the following contributors to our Annual Fund Campaign between August 16, 2015 and November 16, 2016. Gifts made in Memory or Honor of another person are listed on page 24 and 25.

Thank you. Your ongoing and generous contributions support our vision to inspire and nurture our community through the joy of choral singing and exceptional choral performances.

Paul Callaway Associates $20,000+ Ernest*^ and Catherine Abbott Sustaining Patrons $10,000+ Thomas P. Gallagher^ John E. Moyer*^ and Jane Passman Thomas C. Mugavero*^

Bradley J. and Martha A.*^ Olson Gerald W.^ and Alice Padwe Frances H. Pratt*

Stephen S. Roberts* Martin Rosenthal*^ and Corinne Axelrod

Guarantor Patrons $5,000+ Kathleen Brion*^ Diana Dykstra^ Patricia D. Hevner^ Paul Juergensen II^

Richard* and Cecilia Larkin Virginia C. Mars^ Lolly and Jim*^ Mixter Mary B. Olch*

Catherine E. Ort-Mabry* and Brian Mabry Raymond Rhinehart* and Walter Smalling, Jr. T. Michael and Linda Shortal

Kevin Rosengren^ L. Bradley Stanford*^

Guy and Margaret Steuart Margot T. Young*

Unsung Heroes $1,000+ Eric P. Andersen* and W. David Young II Margaret M. Ayres and Stephen Case Jessica Barness* Betty J. Beard Brian and Donna Bogart Joanne Casey* Edison and Sally Dick Walter^ and Joanne Doggett Charles Leonard Egan Cary C. Fuller

Genevieve^ and Sean Twomey Mary-T.^ and Spencer Gordon Susan Grad* Anne R. Harris William B.†and Ruth L. Harwood Sarah B. Holmes* & John B. Morris Jr. Judith Hope Ann Ingram J. Reilly†and Beth A.V.* Lewis Nevin E. Kuhl

William M. Leach George Londeree Christina M. Markus* Susan McDaid* Harold I. and Frances G. Pratt James* and Madeleine Schaller John and Dariel Van Wagoner Kevin and Andrea Wade Robert and Betty Wallace Nancy Wiecking

Patrons $500+ Violet Baker* Jessica Barness* Catherine H. Beauchamp Jeanne Buster Laura M. Connors* Christine C. De Fontenay* Lynn B. Dutton Margaret Gonglewski and John Heins Jeremy Gosbee*

Lynne N. and Joseph F. Horning Robert W. Jerome and William J. Courville Pam and Don Lassell Peter* and Lauralyn Lee Jennifer*^ and Alec Orudjev Robert* and Lissa Reeves Lynn Rhomberg Richard and Linda Roeckelein John Schaettler*

John and Judy Shenefield Leslie C. Taylor Susan Fifield Mentley and James David Toews James and Elinor Vaughter Virginia L. White Sinclair Winton John Ellis Knowles Wisner* Evelyn D. Woolston-May

Chorus Section Patrons $2,500+ Blanche L. Curfman Arthur L. and Connie Eggers Nancy M. Folger

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THANK YOU Sponsors $250+ Caren* & John Backus Robert M. and Laura S. Barlow Andrew and Kaye Boesel Herman Bostick Christopher L. Buechler* James W. Clay* Holly* and Trevor Filipiak Sally A. Fiske Pam Gibert Glenn S.* and Judith M. Griffiths

George E. Groninger Louis E. and Ruth H. Kahn Ingrid Kauffman* Richard and May Lea Keating Janice L. Lockard Wendy Lubarsky* Alex E. Martin Leander and Stephanie McCormick-Goodhart Barbara and John McGraw

Robert T. Mead Scott and Nancy Pinckney Robert* and Elaine Porter Theodora K. Radcliffe Jane Roningen* Suzanne H. Rooney Laurel Towers C. Thomas van Alen Elizabeth Owens Wakefield* Dorothy M. Woodcock

Donors $100+ Anonymous (3) Nancy Maes Aherne James J. and Anne Cesare Albertine Mary Amorosino* Estate of Richard S. and Alayne C. Antes D. Philip Baker Harvey and Carolyn Bale Jane C. Bergner Gordon L. Biscomb Dale Boyd* Gregg M. Breen* Michael F. Butler Stephanie Cabell* Kelly* and Theresa Cameron Timothy W. and Patricia R. Carrico Everitt Clark* Marilyn and Warren Clark Nancie S. Coan Vera I. Connolly Terry D. Copeland and Martha Beard Copeland Roberta and Philip Cronin Marcia D’Arcangelo* Ruth and Nelson Denlinger Alice M. Denney Sharrill Dittmann Cynthia L. Drakeman*^ Kathleen A. Felton Luke W. Fisher* Peter B. and Karin L. Fontneau John G. Ford Mary Cox Garner

Neil and Carolyn Goldman Hilton Lee Graham Joan and David Green William and Margaret Greer Anne Brooks Gwaltney George Hanc John Harbeson* Jennifer Hawley* David R. Hearn Neil Hedlund Frederick S. Hird Robert and Parma Holt Cathy Jackma Peter and Carol Jensen Erika R. Joyce Cronin-Keegan Family Charitable Fund Mary Ruth Keller Dolores M. Kirby Gary W. and Judy Kushnier C. F. Muckenfuss III and Angela Lancaster Steven and Monica Leach Richard C. Lee Gary D. Leggett Rosemary D. Lyon Alaster MacDonald Kathleen E. and James W. Madden David S. Marsh Marianna Martindale* Scott* and Linda McCorkindale Ann F. McCormick Andrea Merrill Corinne Mertes

Martha Miller Nathaniel Miller* Trenton Osborne Nicholas Jon Petersen* David Young Peyton* Warren and Marianne Pfeiffer Rondi K. Pillette and Steven A. Levin Charles Pratt and Alexandra England Grace and David Pratt Jacqueline K. Prince James Quinn Leon Reed Terese Ricci Milton and Ingrid Rose Melissa Ryan* Ann Imlah Schneider Patrick D. Shannon James & Linda Sheridan Hal and Carol Sox Herald Speiser Teresa A. Spencer* Marianne Splitter and Thomas Morante Patricia Stephenson* Margaret C. Stillman Jacqueline K. Stover Keiko Stusnick J. David and Patricia Sulser Jean van Der Tak Alice Wagner Richard O. G. Wanerman* Kathleen M. Welling*

*Chorus Member

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^Board Trustee

†Deceased

THANK YOU The Cathedral Choral Society is pleased to recognize Government, Foundation, and Corporate support to our Annual Fund Campaign between August 16, 2015 and November 16, 2016.

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

Thank you to our Foundation Supporters The Community Foundation for the National Capital Region Dallas Morse Coors Foundation

Dimick Foundation Mars Foundation

The Meredith Foundation The Richard Eaton Foundation

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

Exxon Mobil Foundation

PEPCO

Corporate Investor $1,500+ Clark Construction Group, LLC

IBM

Sentinel Wealth Management

Corporate Leader $1,000+ E*Trade Financial

UBS Financial Services

Union Pacific

Corporate Advocate $500+ Capital One Bank Corporate Supporter $100+ Ameriprise Financial - Kim, Hopkins & Associates

Dental Group At Reston Station

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THANK YOU Gifts in Memory of J. Reilly Lewis Ernest*^ and Catherine Abbott Anne R. Harris W. Reid and Mary M. Thompson Hank and Charlotte† Schlosberg George and Sheri* Economou Thomas P. Gallagher^ Mary-T.^ and Spencer Gordon James D. Campbell and Janet M. Hall Judith Richards Hope Christine* and James Mulligan Bradley J. and Martha A.*^ Olson Gerald^ and Alice Padwe Raymond Rhinehart* and Walter Smalling, Jr. Eric P. Andersen* and W. David Young II Violet Baker* Kathleen Brion*^ Laurie* and Colin Church Laura P. and Timothy C. Coughlin Blanche L. Curfman Cary C. Fuller Giles Howson* Elizabeth and Jan Lodal Virginia C. Mars Lolly and Jim*^ Mixter Thomas Morante and Marianne Splitter John E. Moyer*^ and Jane Passman

Thomas C. Mugavero*^ Kimberly* and Mark Pacala Richard and Linda Roeckelein Kevin Rosengren^ T. Michael and Linda Shortal L. Bradley Stanford*^ Patricia Stephenson* Guy and Margaret Steuart John and Dariel van Wagoner Nancy Aherne and Marko Zlatich Mark J. Andrews Robert and Laura Barlow David and Jane Berteau Anne* and James Carman Sara Hale Henry and Austin Henry Leslie and Keith Kruse C. F. Muckenfuss III and Angela Lancaster Steven A. Levin and Rondi K. Pillette Susan McDaid* Victor Shargai John Ellis Knowles Wisner* Jessica Barness* Betty J. Beard Catherine H. Beauchamp Joanne Casey* James W. Clay* Children’s Chorus of Washington Classical Movements Jill T. Cochran Judith Cecilia Dodge Marilyn Flood

John L. and Elizabeth W. Gardner Genevieve^ and Sean Twomey D. Ruth Goodchild Barbara Greene, City Choir of Washington Bill Grossman Fund Ann Ingram Jean Jawdat Landis and Arnita Jones Louis E. and Ruth H. Kahn Elizabeth E. Kelley Gary and Judy Kushnier Richard C. Lee Jake Levin Janice L. Lockard Michael Lodico Wendy Lubarsky* Robert Turner Mead Andrea Merrill Judith Parkinson Suzanne M. and B. Dwight Perry Natalie* and Hung Q. Pho Harold and Martha Quayle Jane* and Vernon Roningen Gus & Susan Schumacher Charles and Joanne Schwarz Margot S. Semler Lynwood and Thalia Sinnamon Crawford Feagin Stone J. David and Patricia Sulser Philip Trainor Robert and Betty Wallace Jeannette Warren-Anderson*

D. C. Washington* Cheryl L. Williams Ellen Adajian Ross M. Bradford* Gloria A. Collier Richard Dodd Frederick S. Hird Lois Martin Warren and Marianne Pfeiffer The Estate of Mary Louise Pusch Suzanne and Robert Rooney Elizabeth Sanford Albert Small Elisabeth Smith Megan Sullivan* C. Thomas van Alen Caroline and Dick van Wagoner Robert and Barbara Verdile Sam Yoon Jenny Bilfield and Joel Friedman Barbara L. Cambridge Marianna Costanza Sandra Cushner Denise Duplain Peter Fontneau Sharon and David Foster Cathleen C. Hatchell C. Paul Heins Cheryl A. Kempler Cindy Shen* Helen L. St. John* Peter G. Wolfe

J. Reilly Lewis was Music Director of the Cathedral Choral Society for 31 years.

Under his leadership, the chorus delivered notable performances at the Cathedral, Kennedy Center, Strathmore, and Wolf Trap. He died unexpectedly on Thursday, June 9 at the age of 71. Reilly was beloved in the Washington, DC music community, and known for his generosity of spirit and joyful soul by everyone with whom he came into contact.

He was committed to developing the careers of young soloists and composers, and commissioned over twenty-one works for chorus. Today’s commission by composer Carson Cooman is dedicated to his memory.

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THANK YOU Gifts in Honor In Honor of Dr. Violet Baker David R. Hearn

In Honor of Martha Olson David Dietly*

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

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

In Honor of Jeremy Kane Karen R. and Norman A. Kane

In Honor of Frances H. Pratt Susan J. Henry

In Honor of Virginia C. Mars Shirley M. Fine

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

In Honor of the Wedding of Susan Williams and Brad Stanford Arlene and David Christian In Honor of Barry and Lori Wolfman Cynthia L. Drakeman In Honor of Margot T. Young Kathleen and Walter Weld James T. and Anne C. Townsend

Gifts in Memory In Memory of Jean Miller Galeone and Elizabeth Clemons Bains Sharon and David Foster In Memory of William B. Harwood Mary-T.^ and Spencer Gordon William M. Leach Blanche L. Curfman In Memory of Benjamin Hutto Mary-T.^ and Spencer Gordon William M. Leach

In Memory of Ann H. Hyde Mary-T.^ and Spencer Gordon

In Memory of Zebarney Thorne Phillips Ronald C. Perera

In Memory of David Krohne William M. Leach

In Memory of Charlotte Schlosberg Mary-T.^ and Spencer Gordon

In Memory of Marion D. Leach William M. Leach In Memory of Thomas E. Morrison Mary-T.^ and Spencer Gordon

In Memory of Rena Stephenson Patricia Stephenson*

In Memory of Frederic C. Towers Mary-T.^ and Spencer Gordon In Memory of Anthony White Mary-T.^ and Spencer Gordon In Memory of Coral J. Wigent The Lassell Family

In Memory of Lessie Garber Sutherland Mary-T.^ and Spencer Gordon

*Chorus Member

^Board Trustee

†Deceased

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THANK YOU Harmonia Society The Cathedral Choral Society was founded in 1941. Founding Music Director, Paul Callaway, championed the idea of a large symphonic chorus that would welcome the community to come together and sing in the Cathedral. Four decades later the Harmonia Society was founded by twenty-two charter members to recognize those who have, with special thought and foresight, included the Cathedral Choral Society in their estate plans. Their wish was to build an endowment that would continue the work begun by this visionary gentleman for generations to come. Here we recognize the current members of the Harmonia Society.

Ernest*^ and Catherine Abbott Catherine H. Beauchamp Blanche L. Curfman 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* Lewis Lolly and Jim*^ Mixter Anonymous 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 M. Elizabeth† and Charles Tidball Frederic Towers† 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.

75 2016/17 ANNUAL FUND CAMPAIGN

You make the difference...

Make a donation and you make a difference. Your support sustains a welcoming choral community, exciting and vibrant concerts, and outreach programs that inspire everyone to sing! Keep the singing going for another 75 years.

Visit our annual fund table | donate online | donate by mail

CATHEDRALCHORALSOCIETY.ORG | 202-537-5510

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THANK YOU 75th ANNIVERSARY LEADERSHIP CIRCLE We are pleased to recognize and thank the members of our 75th Anniversary Leadership Circle who have generously provided their support to our 2016|17 Season and to our general endowment.

75

Ernest and Catherine Abbott Blanche Curfman Charles Leonard Egan Thomas P. Gallagher Mary-T and Spencer Gordon Anne R. Harris Patricia D. Hevner Ann Ingram Richard and Cecilia Larkin William M. Leach J. Reilly †and Beth A. V. Lewis

Lolly and Jim Mixter Bradley J. and Martha A. Olson Gerald W. and Alice Padwe John E. Moyer and Jane Passman Frances H. Pratt Raymond Rhinehart and Walter Smalling Jr. Stephen S. Roberts Martin Rosenthal and Corrine Axelrod T. Michael and Linda Shortal

Join the Circle: If you would like to learn more about supporting the Cathedral Choral Society and joining our 75th Anniversary Leadership Circle please contact Genevieve Twomey, Executive Director at gtwomey@cathedral.org or 202-537-5524.

Hold the date for our

75th Anniversary Jubilee SATURDAY, MAY 6, 2017 Celebrating 75 years since our founding in the 1941 | 42 season.

CATHEDRALCHORALSOCIETY.ORG/75th-ANNIVERSARY-JUBILEE

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75

Celebrating 75 Years

Exhilarating. Inspiring. Uniquely beautiful.

For the past 75 years, audiences have witnessed our musicians perform with passion and joy.

The first rehearsal of the Cathedral Choral Society occurred on December 1, 1941. War for the United States was on the horizon.

The population of Washington, DC was expanding rapidly and founding Music Director Paul Callaway saw the chorus as a way to welcome the community to the Cathedral to sing. The original recruitment poster, seen here, was distributed to government offices across the city.

The Cathedral Choral Society has a rich and important history as DC’s longest singing symphonic chorus. During its 75-year history, the chorus has helped the nation mark important moments in its history and championed American music and composers. Today, the 145-voice chorus is proud to continue as the symphonic chorus-inresidence at Washington National Cathedral.

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1941

December 1: The first Cathedral Choral Society rehearsal takes place.

1942

May 13: Inaugural concert, Verdi’s Requiem, with founding Music Director Paul Callaway.

1942

December 18: CCS presents its 2nd concert, Mendelssohn’s Elijah, with William Strickland as guest conductor.

1957

November 18: Leo Sowerby’s Throne of God is premiered to commemorate the 50th anniversary of the laying of the Cathedral’s foundation stone.

1960

Paul Hindemith conducts his Walt Whitman elegy, commissioned by Robert Shaw after the death of Franklin Delano Roosevelt in 1945.

1963 November 26: Beethoven’s Missa Solemnis is performed in memory of

John F. Kennedy.

1968

March 31: A performance of Bach’s St. Matthew Passion takes place three days after the assassination of Martin Luther King. Music Director Paul Callaway makes cuts in the music to abide by curfews.

1973

Leonard Bernstein conducts the Concert for Peace at the Cathedral. CCS is part of the mass choir and Paul Callaway performs the organ prelude.

1976 The first Joy of Christmas concerts are performed.

1985

October 20: CCS welcomes J. Reilly Lewis as its new Music Director in an all Handel program.

1995

June 11/12: CCS presents jazz pianist Dave Brubeck.

1998

March 30: In remembrance of the 30th Anniversary of the assassination of Martin Luther King, Bach’s St. Matthew Passion is performed. Coretta Scott King is in attendance.

2010

CCS celebrates and recognizes J. Reilly Lewis on 25 seasons as Music Director.

2014

In November, CCS performs Bernstein’s Chichester Psalms with the Baltimore Symphony and Music Director, Marin Alsop.

2016

In April, CCS performs Orff’s Carmina Burana with The Washington Ballet for the third time at the Kennedy Center.

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2016/17

COMMUNITY EVENTS

COMMUNITY SING-ALONG In honor of our 75th season, we are taking our popular Cathedral Sings programs out into the community! All abilities welcome, and scores are provided. Tickets $10.

Schubert

MASS IN G

Gretchen Kuhrmann, guest conductor

SUNDAY, JUNE 11 | 7:30 PM | CHEVY CHASE PRESBYTERIAN

HIGH SCHOOL CHOIR

Festival

WEDNESDAY, FEB. 22 | 7:30 PM | BASILICA OF THE NATIONAL SHRINE Stanley J. Thurston, guest festival director. We are proud to present our 12th annual high school choir festival, featuring students from public, private, and charter schools across DC. Free concert in evening.

TICKETS AND CLASSES MAKE GREAT GIFTS!

November 26 & 27 December 1 – 24

GISELLE March 1 – 5

KYLIÁN, PECK, FORSYTHE March 29 – April 2

BALANCHINE, RATMANSKY, THARP April 26 – 30

TUDOR, ASHTON, WORLD PREMIERE May 25 – 27 Studio Company

ALADDIN

March 18 & 19, 2017

Tickets, enrichment events, dance classes and full information:

WASHINGTONBALLET.ORG | 202.362.3606 X 605

Maki Onuki by Dean Alexander

THE NUTCRACKER

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Folger Consort “Hauntingly and mellifluously sung by the…voices of the Orlando Consort, this music still sounds as flavorsome as it must have done 650 years ago.”

l

l lluminations

–The Daily Telegraph

January 6-7 At WAshington nAtionAl CAthedrAl

Medieval

With the OrlandO COnsOrt

202.544.7077 | folger.edu/consort

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ACKNOWLEDGEMENTS

Board of Trustees Ernest Abbott, President Kathleen Brion Kristi S. Brown Walter B. Doggett III Cynthia Drakeman Diana F. Dykstra Anthony Flournoy

Patricia Hevner Thomas P. Gallagher Paul Juergensen II

James M.E. Mixter, Jr. Treasurer Jack Moyer Thomas Mugavero, Vice President Martha A. Olson

Jennifer Griffiths Orudjev Gerry Padwe, Secretary Kevin Rosengren Martin S. Rosenthal L. Bradley Stanford Genevieve C. Twomey, Executive Director

Honorary Trustees Mary-T. Gordon

Virginia C. Mars

Cathedral Choral Society Staff Kate Breytspraak, Director of Operations & Community Engagement Laura Crook Brisson, Operations Coordinator Nina Elhassan, Executive & Development Assistant Todd Fickley, Associate Music Director & Chorus Master

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

Concert Support Margaret Shannon, Program Annotator Patricia Stephenson, Librarian

Library Committee: Joanne Casey, Kim Pacala,

Jennifer Hawley

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.

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75 2016 | 17 SEASON

Finale

AMID A CROWD OF TE DEUM

Stars

WITH NEW YORK POLYPHONY

SUNDAY, MARCH 19 | 4:00 PM Including plainsong and works by Tallis, Elgar, Tavener, Willaert, Guerrero, Stucky, Andrew Smith, and Ola Gjeilo.

Michael McCarthy, guest conductor

SUNDAY, MAY 21 | 4:00 PM

Vaughan Williams, The Lark Ascending Vaughan Williams, Five Mystical Songs Nico Muhly, New Work for Symphonic Chorus

and Orchestra Dvořák, Te Deum, Op. 103 Patrick Dupré Quigley, guest conductor

Give a gift

OF GREAT MUSIC!

Cathedral Choral Society gift certificates can be purchased at any amount, and are a personal, flexible present. They are redeemable through June 16, 2017. Buy online or by phone today and receive in time for the holidays!

CATHEDRALCHORALSOCIETY.ORG | 202-537-2228