Cathedral Choral Society Concert Program
Joy of Christmas Saturday, Dec. 12 | 4:00 p.m. Sunday, Dec. 13 | 4:00 p.m. Washington National Cathedral
Greetings, Welcome to our annual Joy of Christmas concert! We are so pleased that you are joining us this afternoon to celebrate the holiday season with your friends and family. We are glad to welcome the Children’s Chorus of Washington and Lyric Brass Quintet as our special guests. Together we have prepared a program of well-loved carols and beautiful Christmas music that 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 new 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
Coming Up...
Vivaldi Gloria
with the Washington Bach Consort Sunday, February 21 | 4:00 p.m. A jubilant all-Vivaldi program featuring his Concerto for Oboe and Trumpet, Nulla in mundo pax sincera, Dixit Dominus, and Gloria in D Major.
Fantastic Beethoven Sunday, May 15 | 4:00 p.m.
An energetic and grand all-Beethoven concert with the Leonore Overture, Choral Fantasy with piano solo, and Mass in C Major.
Cathedral Choral Society J. Reilly Lewis, Music Director
Joy of Christmas Saturday, December 12 | 4:00 p.m. Sunday, December 13 | 4:00 p.m. Washington National Cathedral
Cathedral Choral Society J. Reilly Lewis, conductor Children’s Chorus of Washington Joan Gregoryk, conductor Lyric Brass Quintet Edward Nassor, carillon Todd Fickley, organ
Our Joy of Christmas concerts are dedicated to the memory of Andrew Soto. 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.
Patrons are kindly requested to turn off all noise-making devices during the performance. Any taking of photographs or unauthorized recording of this concert is prohibited.
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.
CHORAL INTROIT
Lo how soft the light (1976)
Richard Wayne Dirksen (1921-2003)
These words are carved in the oak screen of the tiny Chapel of the Good Shepherd in this Cathedral. Dean Francis B. Sayre, Jr., wrote this prayer for the chapel’s dedication in 1976. Cathedral organist and choirmaster Richard Wayne Dirksen set the words to music for two equal voices and hand bells. Lo how soft the light in the mystery of evening, at the promise of the dawn; glows in the wonder of a soul and in the Shepherd’s love. —The Very Rev. Francis Bowes Sayre, Jr. (1915-2008)
Emily German, Jeremy Gosbee, Patricia Stephenson, hand bells
PROCESSION
Spirit, moving over chaos (2002, 2012) David Ashley White (b. 1944) This highly evocative piece won the 2015 Raabe Prize for excellence in sacred composition. “The [Prize] committee found the piece to be well-crafted, compositionally interesting, creative and fresh,” with one judge adding that it “engages the music of our time, and its text…fits the poetry of our time too.” Although musically complex— improvisation plays a central role—the Committee singled out its unison vocal line as congruent with German theologian Dietrich Bonhoeffer’s belief in the spiritual power of unison singing. David Ashley White has been a professor of music at the University of Houston Moores School of Music since 1977. Spirit, moving over chaos, bringing light where there was none, be to us a light, revealing where the work is to be done. Praise to God, among us dwelling, praise the Spirit giving light.
Power, Lifeforce, Inspiration, blowing, breathing, brooding here, call, enliven, and empower for your work, both far and near. Praise to God, among us dwelling, praise the Spirit giving strength.
Breath, instilling animation, giving life, informing soul, breathe into all our beings life that makes the Body whole. Praise to God, among us dwelling: praise the Spirit giving life.
Spirit, moving over chaos, bringing light where there was none, be to us a light, revealing where the work is to be done.
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—Patricia Blaze Clark, 1997 © Gemini Press. All rights reserved.
Program ALL STAND AND SING CAROL: O Come, All Ye Faithful
John F. Wade’s Cantus Diversi, 1751 arr. David Willcocks (1919-2015)
Sir David Willcocks, whose carol arrangements for organ and brass are well-loved Christmas traditions, was director of music at King’s College, Cambridge, from 1957 to 1974. He turned its Christmas Eve live broadcast of A Festival of Nine Lessons and Carols into annual listening for millions around the world. He also served as music director of The Bach Choir of London for 38 seasons. 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, Jesus, 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)
PART I — CATHEDRAL CHORAL SOCIETY In dulci jubilo (1607)
Michael Praetorius (1571-1621)
In dulci jubilo is one of the earliest and best-known Christmas melodies. According to a fourteenth-century German manuscript, this joyous carol was sung to a Dominican monk by angels who visited him in his sufferings. It has been associated with Good Christian Men, Rejoice since John Mason Neale wrote the carol based on this melody in 1853. This is one of the best examples of a “macaronic,” or mixed language, text. Latin, the language of the Church, was frequently used in carols sung in the vernacular upper German dialect. This setting for double mixed-chorus is one of at least five attributed to Michael Praetorius, whose prolific output included the nine-volume Musae Sioniae, a collection of 1,244 chorale and song arrangements. 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! Alpha es et O!
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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 You are Alpha and Omega.
— Musae Sioniae, Part II, No. 5 (Jena, 1607)
In the bleak mid-winter (1967)
Gustav Holst (1874-1934) arr. Dale Wood (1934-2003)
The English lyric poet Christina Rossetti, sister of pre-Raphaelite painter Dante Gabriel Rossetti, wrote this Christmas poem for publication in the January 1872 issue of Scribner’s Monthly. When Ralph Vaughan Williams was searching for high-quality texts and tunes to include in The English Hymnal of 1906, of which he was an editor, he turned to fellow English composer Gustav Holst to write the music that would be named in 2011 the “world’s greatest Christmas carol.” American composer Dale Wood envelops Holst’s haunting and wistful melody in a contemplative arrangement, colored by what the one-time theatre organist called his sometimes “overripe harmonies.” In the bleak mid-winter, 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 mid-winter, Long ago.
Angels and archangels May have gathered there, Cherubim and seraphim Thronged the air; Only his mother In her maiden bliss, Worshipped the beloved With a kiss.
Heaven cannot hold him, Nor earth sustain; Heaven and earth shall pass away When He comes to reign. In the bleak mid-winter A stable place sufficed The Lord God Almighty, Jesus Christ.
What can I give Him, 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 Him, Give my heart. —Christina Rossetti (1830-1894), alt.
While shepherds watched their flocks by night (1785)
Daniel Read (1757-1836)
This is one of the earliest carols introduced to America. In 1701, Durham Parish, one of the thirty-two original Anglican parishes in Colonial Maryland, received a rare parochial library from the English abolitionist, Dr. Thomas Bray. Among its contents was A Supplement to the New Version of the Psalms by Dr Brady and Mr Tate, published in 1700. The slender volume included “While shepherds watched their flocks by night,” a text by Ireland’s poet laureate, Nahum Tate. Massachusetts native Daniel Read, who together with William Billings formed the First New England school of music, set Tate’s text in the then-popular “fuguing” style with the melody in the tenor voice. First published under the tune name “Sherburne” in the American Singing-Book of 1785, the title honored the First Congregational Church in Sherburne—known today as Nantucket. While shepherds watched their flocks by night, all seated on the ground, the angel of the Lord came down, and glory shone around.
“The heavenly babe you there shall find to human view displayed, all meanly wrapped in swaddling bands, and in a manger laid.”
“Fear not,” said he, (for mighty dread had seized their troubled mind,) “Glad tidings of great joy I bring to you and all mankind.”
Thus spoke the seraph; and forthwith appeared a shining throng of angels, praising God on high, and thus addressed their song:
“To you, in David’s town, this day is born in David’s line, the Savior, who is Christ the Lord, and this shall be the sign:”
“All glory be to God on high, and to the earth be peace; Good-will henceforth from heaven to men, begin and never cease.” —Nahum Tate (1652-1715)
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Ding, dong! Merrily on high (2007)
Sixteenth-century French Tune arr. Mack Wilberg (b. 1955)
This carol derives from a sixteenth-century French circle-dance tune, Branle de l’Official, first published in Thoinot Arbeau’s Orchésographie in 1588. The tune became associated with Christmas in the twentieth century when Anglican priest George Ratcliffe Woodward translated the Old French . He adopted the medieval tradition of macaronic (polylingual) texts—here, English and Latin—and employed Old English words such as “riven,” “swungen,” and “sungen.” Musical collaborator Charles Wood harmonized the melody for the Cambridge Carol-Book of 1924. The Latin refrain, “Gloria! Hosanna in excelsis,” features a bell-like melismatic sequence. Mack Wilberg, current music director of the Mormon Tabernacle Choir, made this arrangement, which was premiered in 2007 by the Choir of King’s College Choir, Cambridge. Ding! dong! merrily on high in heaven the bells are ringing! Ding! dong! verily the sky is riven with angels singing! Gloria! Hosanna in excelsis!
Pray you, dutifully prime your matin chime, ye ringers! May you beautifully rime your evetime song, ye singers! Gloria! Hosanna in excelsis!
E’en so here below, below, let steeple bells be swungen, And “I-o, i-o, i-o!” by priest and people sungen! Gloria! Hosanna in excelsis!
—George Ratcliffe Woodward (1848–1934)
Prime - prepare to ring the bell Matin - medieval canonical hour ending at dawn I-o - a contraction of Latin “in excelsis Deo” Evetime - evensong
PART II — CHILDREN’S CHORUS OF WASHINGTON Joan Gregoryk, Founder and Artistic Director
Hey! Now (1995)
Bob Chilcott (b. 1955)
Commissioned by the Toronto Children’s Chorus, this sprightly setting of a colorful late fifteenth-century verse sparkles with playfulness. Bob Chilcott, a former member of The King’s Singers, is one of Britain’s most active composers and choral conductors today, having begun his musical career as a chorister in the Choir of King’s College, Cambridge. Principal guest conductor of the BBC Singers, he has also conducted many other leading choirs around the world. Hey! now, now, now. Sweet Jesus is come to us, this good time of Christmas. Wherefore with praise sing we always, “Welcome our Messiah!” The God Almight, and King of Light, whose power is over all, Give us, of grace, for to purchase His realm celestial. Where his angels and archangels do sing incessantly, His principates and potestates make great harmony.
The cherubims and seraphims, with their tunikès merry, [tunes] The tronès all, most musical, Sing the heavenly kery [Kyrie], The vertues clear their tunès bare, their choir for to repair; Whose song to hold was manifold of dominations fair. With one accord serve we that Lord With laudes and oraisons The which hath sent, by good assent, To us his only son. Hey! Now, now, now. —Late fifteenth-century English verse
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The Snow, Op. 26, No. 1 (1894)
Edward Elgar (1857-1934)
The music of Edward Elgar, Master of the King’s Musick, came to define a nation. Yet, not until after his marriage in 1889 did his reputation as a composer extend beyond the provincial orchestras and choruses of Victorian England. Caroline Alice Elgar was an English poet and novelist with independent literary ambitions. Her epic poem, Isabel Trevithoe, a love story set in Cornwall, predated their marriage. Drawing from its Winter section, Elgar set “The Snow” as a three-part song for female voices. “[It captures] in the space of a few minutes a full range of emotions from a haunting bleakness to an emphatic joie de vivre,” notes the Elgar Foundation. “Of all his part-songs, probably none retains public affection as much as ‘The Snow’—written before he achieved national fame.” O snow, which sinks so light, Brown earth is hid from sight O soul, be thou as white as snow, O snow, which falls so slow, Dear earth quite warm below; O heart, so keep thy glow Beneath the snow.
O snow, in thy soft grave Sad flowers the winter brave; O heart, so sooth and save, as does the snow. The snow must melt, must go, Fast, fast as water flow. Not thus, my soul, O sow Thy gifts to fade like snow.
O snow, thou’rt white no more, Thy sparkling too, is o’er; O soul, be as before, Was bright the snow. Then as the snow all pure, O heart be, but endure; Through all the years full sure, Not as the snow. —Caroline Alice Elgar (1848-1920)
This Little Babe (1942)
Benjamin Britten (1913-1976)
A Ceremony of Carols, scored for three-part trebles, solo voices, and harp, is one of the best-loved choral works performed at Christmas. “This Little Babe” is the sixth of nine poems included in Britten’s masterful setting, suffused with elements of a traditional English Christmas—medieval English poetry, ancient plainsong, church bells, and a boys’ choir. A Ceremony of Carols was first performed on December 5, 1942, in the library of Norwich Castle, sung by the women’s voices of the Fleet Street Choir. This little Babe so few days old, Is come to rifle Satan’s fold; All hell doth at his presence quake, Though he himself for cold do shake; For in this weak unarmèd wise The gates of hell he will surprise.
His camp is pitchèd in a stall, His bulwark but a broken wall; The crib his trench, haystalks his stakes; Of shepherds he his muster makes; And thus, as sure his foe to wound, The angels’ trumps alarum sound.
With tears he fights and wins the field, His naked breast stands for a shield; His battering shot are babish cries, His arrows looks of weeping eyes, His martial ensigns Cold and Need, And feeble Flesh his warrior’s steed.
My soul, with Christ join thou in fight; Stick to the tents that he hath pight. Within his crib is surest ward; This little Babe will be thy guard. If thou wilt foil thy foes with joy, Then flit not from this heavenly Boy. —Robert Southwell (ca. 1561-1595)
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Personent hodie (1997)
German Melody, 1360 arr. John Rutter (b. 1945)
The melody of this medieval carol first appeared in Piae Cantiones, a collection of sacred songs published in 1582 in Sweden by a Finnish student then studying in Germany. In the original medieval song about St. Nicholas, the thricerepeated notes in the refrain suggest the importance of the Trinity in the life of St. Nicholas. Arranger John Rutter notes that both melody and text derive from a much earlier German collection, the Moosburg Gradual of 1355–60. Personent hodie Voces puerulae, Laudantes jucunde Qui nobis est natus, Summo Deo datus, Et de virgineo ventre procreatus.
On this day earth shall ring With the song children sing To the Lord, Christ our King, Born on earth to save us; Him the Father gave us. Born of a Virgin’s womb.
In mundo nascitur, Pannis in volvitur, Praesepi ponitur Stabulo burtorum, Rector supernorum, Perdidit spolia princeps in infernorum.
His the doom, ours the mirth; When he came down to earth Bethlehem saw his birth; Ox and ass beside him From the cold would hide him The prince of hell has lost his spoils.
Magi tres venerunt, Parvulum inquirunt, Bethlehem adeunt, Stellulam sequendo, Ipsum adorando Aurum, thus, et myrrham ei offerendo.
God’s bright star, o’er his head, Wise Men three to him led; Kneel they low by his bed, Lay their gifts before him, Praise him and adore him. Offering him gold, frankincense and myrrh.
Omnes clericuli, Pariterpueri, Cantent ut angeli: Advenisti mundo, Laudes tibi fundo. Ideo, gloria in excelsis Deo.
On this day angels sing; With their song earth shall ring, Praising Christ, heaven’s King, Born on earth to save us; Peace and love he gave us. Therefore sing “Glory to God in the highest.” — Translation Jane M. Joseph, alt.
Go where I send thee! (1995)
Traditional Negro Spiritual arr. Paul Caldwell and Sean Ivory
There are many versions of this African-American spiritual, a cumulative song that assigns a Biblical meaning to each number. Among the many popular artists who have recorded this Spiritual in many different styles and forms are Nina Simone and Peter, Paul, and Mary. This gospel-style arrangement uses a “walking bass” and modulates through all twelve musical keys. Arrangers Paul Caldwell and Sean Ivory are, respectively, director of the Grand Rapids Symphony Youth Chorus and Artistic Director of the Youth Choral Theater of Chicago. Children, go where I send thee! How shall I send thee? I’m gonna send thee One by one for the little bitty baby born in Bethlehem. Two by two, two as Paul and Silas, Three for the Hebrew children, Four for the Gospel writers, Five for the bread they did divide,
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Six by six for the days the world was fixed, Seven for the day God laid down his head, Eight for the eight the flood couldn’t take, Nine for the angel choirs divine, Ten for the Ten Commandments, ’leven of ’em singin’ in heaven, Twelve by twelve for the twelve disciples.
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 Saturday: Joan Gregoryk Sunday: Dale Chakarian Turza, in honor of her mother Dorothy Chakarian Hartmann, who turns 100 on January 17, 2016
PART III — CATHEDRAL CHORAL SOCIETY A boy is born (1967)
Earl George (1924-1994)
This unaccompanied Christmas song, written for the Hendricks Chapel Choir and its conductor Arthur Poister, features the hushed incantation of treble voices surrounded with Alleluias sung by mixed chorus. The sparse text is embedded within the increasingly dense and layered choral texture. Composer Earl George, a native of Milwaukee, studied at Eastman School of Music under its founder Howard Hanson. A longtime professor of music at Syracuse University, he won many awards, among them a Guggenheim, a Fulbright, and the Gershwin Prize. A boy is born to us today; The sun and stars rise up to say Alleluia.
The ox and ass before Him bow. All creatures know His glory now. Alleluia.
The angels cry it from above: The birthday of the King of Love! Alleluia. —Earl George
WORLD PREMIERE Veni et illumina
James Whitbourn (b. 1963)
“O Oriens” (O Dayspring) is the fifth of the seven Antiphons, said each day before and after the Magnifcat at Vespers during the week before Christmas. Each Antiphon addresses the coming Messiah under one of many titles ascribed in Holy Scripture and includes the Scriptural imperative to “Come.” The singing of the “Great Antiphons” was a solemn affair in cathedrals and medieval monasteries. Interwoven throughout this luminous setting for mixed choir, soprano and alto choir, and organ is the Gregorian chant, “O Oriens,” the antiphon for December 21. A graduate of Magdalen College, Oxford, James Whitbourn began his career in music at the BBC, where he worked as composer, conductor, producer, and presenter. He has produced the famed Carols from King’s College for more than twenty years.
O Oriens, splendor lucis æternæ, et sol justitiæ: Veni, et illumina sedentes in tenebris, et umbra mortis.
O Dayspring, splendor of light eternal and sun of righteousness: Come, and enlighten those who dwell in darkness and the shadow of death. —John 1:5
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BRASS INTERLUDE
Wexford Carol (1981)
Traditional Irish Carol, arr. Richard Price (b. 1946)
This evocative arrangement of the Wexford Carol calls to mind, says Grammy Award-winning arranger Richard Price, “the political and religious strife in Ireland.” For fifteen years, Price was a professional horn player with the Borealis Wind Quintet and Galliard Brass Ensemble. He was music director of the Danbury Concert Chorus from 2002 to 2010.
I saw three ships (1985)
Fifteenth-century Traditional Carol arr. Richard Lloyd (b. 1933)
The anonymous fifteenth-century text of this traditional English story-telling carol is based on the legend that the bodies of the Three Magi were carried on three ships to Constantinople. The traditional English words first appeared in the second edition of John Forbes’ Cantus in 1666, and were included in William Sandys’ Christmas Carols, Ancient and Modern, published in 1833. Richard Lloyd served as organist and master of choristers at Durham Cathedral from 1974 to 1985. His merry 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. I saw three ships come sailing in, On Christmas Day in the morning.
And what was in those ships all three? . . .
O, they sailed into Bethlehem, . . .
Then let us all rejoice amain! On Christmas Day, on Christmas Day. Then let us all rejoice amain! On Christmas Day in the morning.
And all the bells on earth shall ring, . . . And all the angels in heav’n shall sing, . . . And all the souls on earth shall sing, . . .
Rocking (2002)
Our Saviour Christ and his lady, . . . Pray, whither sailed those ships all three? . . .
—John Forbes’ Cantus, 1666
Traditional Czech Carol arr. Edward Higginbottom (b. 1946)
The Czech carol, “Hajej, nynej, Jezisku,” a lullaby to the baby Jesus, was first collected by Martin Shaw and translated by Percy Dearmer for inclusion in their first edition of the Oxford Book of Carols. The custom of cradle rocking dates to medieval German tradition. Julie Andrews introduced this carol to American audiences in a 1963 recording. Others have followed, including the New Swingle Singers and Chanticleer. Edward Higginbottom made this arrangement for the New College Choir at Oxford, where he was director of music for thirty-eight years. Little Jesus, sweetly sleep, do not stir; We will lend a coat of fur, We will rock you, rock you, rock you: See the fur to keep you warm, Snugly round your tiny form.
Mary’s little baby, sleep, sweetly sleep, Sleep in comfort, slumber deep; We will rock you, rock you, rock you. We will serve you all we can, Darling, darling little man. —translated by Percy Dearmer (1867-1936), 1928
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On Christmas night (1978) “Sussex Carol”
Traditional English Carol arr. Philip Ledger (1937-2012)
The Sussex Carol takes its name from the region along the English coast where Ralph Vaughan Williams first heard it sung and noted it down. Philip Ledger, the youngest cathedral organist in the country when he was named master of the music at Chelmsford Cathedral in 1961, made this arrangement for unison voices in alternation with as many as six-part harmonies. A graduate of King’s College, Cambridge, Ledger returned to his alma mater in 1974 as director of music, succeeding Sir David Willcocks until 1982 when he was appointed principal of the Royal Scottish Academy of Music and Drama. On Christmas night all Christians sing, To hear the news the angels bring. News of great joy, news of great mirth, News of our merciful King’s birth.
When sin departs before his grace, Then life and health come in its place. Angels and men with joy may sing, All for to see the new-born King.
Then why should men on earth be so sad, Since our Redeemer made us glad? When from our sin he set us free, All for to gain our liberty?
All out of darkness we have light, Which made the angels sing this night: “Glory to God and peace to men, Now and for evermore, Amen.”
Still, still, still (1995)
Tyrolean Folk Carol arr. Andrew Gant (b. 1963)
The Tyrolean folk carol (“Salzburg Melody”) was written down in 1819 and first appeared in an 1865 collection of Salzburg folk songs edited by V. M. Süss. This arrangement, evoking the very essence of “stillness,” is by Andrew Gant, who read music at St. John’s College, Cambridge. In 2000, he was appointed organist, choirmaster, and composer at Her Majesty’s Chapels Royal, having previously held posts at Westminster Abbey, The Royal Military Chapel, and Worcester College, Oxford. His recently published book, Christmas Carols: From Village Green to Church Choir, recounts the history of familiar carols with refreshing commentary, clever anecdotes, and droll humor. Still, still, still: let all God’s world be still. While Mary’s holy child lies sleeping, angels guard are quietly keeping; still, still, still, let all God’s world be still.
Love, love, love, my heart is filled with love. The world from night is slowly turning, still my heart with love is yearning; love, love, love, my heart is filled with love.
Still, still, still, let all God’s world be still. In gentle Mary’s sweet caressing, Jesus gives his silent blessing: still, still, still, let all God’s world be still. —English translation, Andrew Gant
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Rejoice and be merry (2003)
John Rutter (b. 1945)
The text of this carol was found in an old Dorset west-gallery songbook and published in the English Carol Book of 1919. The Cathedral Choral Society commissioned this jaunty setting by John Rutter for its 2003 Joy of Christmas concerts. A native of London, Rutter studied music at Clare College, Cambridge, to which he later returned as director of music. He formed the Cambridge Singers as a professional chamber choir primarily dedicated to recording, and now divides his time between composition and conducting. “I love Christmas. It’s the child in me,” said Rutter in a “60 Minutes” interview that included excerpts from the Society’s world premiere. “Maybe I’ve never quite grown up,” he confessed. “I still feel just for those few magic days a year, that we have the world as it might be.” Rejoice and be merry in songs and in mirth, O praise our Redeemer, all mortals on earth: For this is the birthday of Jesus our King, Who brought us salvation: his praises we’ll sing!
A heavenly vision appeared in the sky, Vast numbers of angels the shepherds did spy, Proclaiming the birthday of Jesus our King, Who brought us salvation, His praises we’ll sing!
Likewise a bright star in the sky did appear, Which led the wise men from the East to draw near; They found the Messiah, sweet Jesus our King, Who brought us salvation, His praises we’ll sing!
And when they were come, they their treasures unfold, And unto him offered myrrh, incense and gold. So blessed for ever be Jesus our King, Who brought us salvation, His praises we’ll sing —Traditional English, Old Dorset West-Gallery songbook
ORGAN INTERLUDE
In dulci jubilo BWV 729
Johann Sebastian Bach (1685-1750)
This concert opened with Praetorius’s 1607 double-choir setting of the melody, In dulci jubilo. A century later, young Johann Sebastian Bach wrote this radiant setting as one of seven “Arnstadt congregational chorales,” so called because of their alleged association with his reprove by the Arnstadt Consistory on February 21, 1706, “for having hitherto made many curious variations in the chorales and mingled many strange notes in them, with the result that the congregation has been confused.” Shortly thereafter, Bach decamped to Weimar. BWV 729 has been performed annually since 1938 as the first organ voluntary at the close of the BBC’s Christmas Eve live broadcast of A Festival of Nine Lessons and Carols from King’s College, Cambridge.
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Infinite Light (2000)
Traditional English Melody, arr. Paul Halley (b. 1952)
The 2015 Joy of Christmas concludes as it began—with the invocation of infinite light. The text was written expressly for the 1928 Oxford Book of Carols. A light and lively traditional English melody combines with a fluid yet rhythmic organ part and culminates in a soaring, signature Halley descant. English-born Paul Halley was director of music at the Cathedral Church of St. John the Divine in New York City for thirteen years, and a member, composer, and arranger of the famed Paul Winter Consort. Since 2007, the four-time Grammy-winning composer, conductor, and performer has been music director at the University of King’s College Chapel in Halifax, Nova Scotia. Refrain: The Light of the World in the darkness has shone, And grows in our sight as the ages flow on. The greatness of God in his love has been shown, The light of his life on the Nations is thrown; And that which the Jews and the Greeks did divine Is come in the fullness of Jesus to shine: Refrain
And though we have sinned like the Prodigal Son, His love to our succour and welcome will run. His gospel of pardon of love and accord, Will master oppression and shatter the sword: Refrain
He rolls the grim darkness and sorrow away, And brings all our fears to the light of the day: The idols are fallen of anger and blood, And God is revealed as the loving and good: Refrain
The light of the World is more clear to our sight As errors disperse and men see him aright: In lands long in shadows, his Churches arise, And blaze for their neighbors the Way of the Wise: Refrain —Text, B.M.G., Oxford Book of Carols, 1928
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 © 2015 Margaret Shannon
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Biographies Music Director J. Reilly Lewis, a native of Washington, DC, began his musical career at the age of eight as a member of the Junior Boy’s Choir at Washington National Cathedral. He received his bachelor’s degree from Oberlin Conservatory and master’s and doctoral degrees from The Juilliard School. In 1985, he was selected as music director of the Cathedral Choral Society. He has presided over nine of its current recordings as well as many notable performances at the Cathedral, the Kennedy Center, Strathmore, and Wolf Trap. One of the world’s leading Bach specialists, Dr. Lewis is the founder and music director of the internationally acclaimed Washington Bach Consort. As a keyboard artist and conductor, he has performed at the Aspen Music Festival, the International Handel and Bach festivals held in Halle and Leipzig, respectively, the Cologne New Music Festival, and in Washington, D.C., with the Smithsonian Chamber Players and the Folger Consort. Some of his most recent awards include the Washingtonian Magazine “Washingtonian of the Year,” The Mayor’s Arts Award, the University Club of Washington’s Distinguished Washingtonian Award,Yale University’s Cultural Leadership Citation, the Choralis GRACIE Award for Outstanding Contributions to Choral Music, and an honorary doctorate from the Virginia Theological Seminary. This season, the Children’s Chorus of Washington (CCW) celebrates 20 years of choral excellence and the vision of founder Joan Gregoryk. Widely recognized as one of the country’s leading youth choruses, CCW provides outstanding choral music education to young vocalists, ages 6-18, from throughout metropolitan Washington, DC, regardless of their background, economic status, or prior experience, emphasizing artistic excellence, responsibility, and personal development. CCW’s five auditioned ensembles perform frequently in self-produced concerts and a variety of public and private engagements throughout greater Washington, DC. These include a number of performances with leading music organizations at venues such as Strathmore Music Hall, The Kennedy
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Center, Library of Congress, numerous foreign embassies, and Washington Nationals Park. Recent engagements include a concert at the White House for President Barack Obama and the First Lady, Mahler’s Symphony No. 8 with Valery Gergiev and the Mariinsky Orchestra, Bernstein’s Symphony No. 3 “Kaddish” with John Axelrod and the National Symphony Orchestra, and Britten’s War Requiem with The Washington Chorus and Julian Wachner. Recognizing the tremendous need for high-quality vocal training, CCW also extends its artistic excellence to the broader DC community through its outreach programs: SING DC! for underserved DC elementary and middle school students, PREP Class for first-time singers, and Teacher Workshops. CCW powerfully influences the evolution of youth choral repertoire through its history of commissions including Wonderful Day Out With Nature by Emmy Award-winning composer Nathan Wang, premiered by CCW during its 10-day China tour in July 2013. CCW regularly tours domestically and internationally and has just toured France for the first time, singing in venues such as Notre-Dame Cathedral in Paris and Chartres Cathedral. In 2012 and again in 2014, CCW was recognized by the Washington Area Music Awards (“Wammies”) – Best Choral Group – and Greater Washington Area Choral Excellence Awards (“Ovations”) – Best Educational Outreach. CCW is the winner of the 2014 DC Mayor’s Arts Awards. For more information, visit childrenschorus.com. Joan Gregoryk, Founder and Artistic Director of the Children’s Chorus of Washington (CCW), is internationally recognized as a leader in the field of children’s vocal music. After developing a children’s chorus at Chevy Chase Elementary school, which often performed with the National Symphony Orchestra, she founded CCW in 1995 with the goal of providing outstanding choral music education for children from throughout metropolitan Washington, DC. She has prepared choruses for performances with leading conductors such as Mstislav Rostropovich, Leonard Slatkin, Valery Gergiev, and Christoph Eschenbach. Gregoryk is in constant demand as a workshop leader and guest conductor throughout Northern America and Europe. She has conducted numerous district and state children’s honors choruses and the American Choral Directors Association Children’s Honors Chorus in the Southern, Southwestern, and Eastern Divisions. Gregoryk has received many honors
Biographies including Outstanding Arts Educator in the United States from the Rockefeller Brothers Funds Awards in Arts Education, the Maryland Outstanding Elementary Music Educator Award, the Conservatory Medal of Excellence from Shenandoah University, and the 2015 DC Area Choral Excellence “Ovation” Award for her outstanding contributions to choral music. Formed in 1998, the Lyric Brass Quintet (Kevin Dines & Christopher Shiley, trumpets; Larry Williams, horn; Milton Aldana, trombone; and Andrew Spang, tuba) has established itself as anexciting 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, Baltimore Chamber Orchestra, the United States Navy Band, Eastman Wind Ensemble, and Darrin Atwater’s Soulful Symphony, among other prominent ensembles. Together, 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 features unique and powerful arrangements of holiday music from all over the globe. The 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). The Lyric Brass 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 DirectorCarillonneur 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 Assistant Conductor and Keyboard Artist for the Washington Bach Consort, as well as for The Choralis Foundation, and is the Organist of The Falls Church (Anglican). A native Washingtonian, he began his organ studies at Washington National Cathedral under Bruce Neswick. At the age of twenty-three, Mr. Fickley was made a Fellow of the American Guild of Organists (AGO). He also holds the AGO Choirmaster Diploma and an M.A. in Organ Performance with High Distinction from the University of Wales. A prize-winning organist, Fickley has been featured numerous times on NPR and PRI and has performed and conducted throughout the United States, Israel, and Europe. In 2014 Fickley launched “The Bach Project,” a cycle of concerts performing and recording all of Bach’s organ works, the first time in almost a quarter of a century that such a project has been undertaken in the D.C. area. The first volume was recently released on the MSR Classics
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Biographies label and was praised in Fanfare Magazine as “some of the most enthralling Bach organ playing you are likely to hear anywhere by anyone.” Joy Schreier is Pianist and Vocal Coach of the Cathedral Choral Society. She has been presented in recital at Weill Recital Hall at Carnegie Hall, Lincoln Center, the White House, Kennedy Center, National Museum for Women in the Arts, National Portrait Gallery, Phillips Collection, Cosmos Club, Strathmore Hall, the embassies of Austria, Russia, and Poland, Anderson House on Embassy Row, and at recital halls throughout the country. Internationally, she has performed throughout Europe and Asia. Schreier has coached for the Washington National Opera Domingo-Cafritz Young Artist Program and served as official pianist for the Washington International Voice Competition and Metropolitan Opera National Council Auditions. She received her doctorate in accompanying and chamber music in 2003 at the Eastman School of Music, where she was the recipient of the Barbara Koenig Award for excellence in vocal accompanying.
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The Cathedral Choral Society is the resident symphonic chorus of Washington National Cathedral. Founded in 1941 by Paul Callaway, the 140-voice chorus is the oldest symphonic choral group in Washington, DC. Since 1985, J. Reilly Lewis has served as its second Music Director, leading performances ranging from symphonic choral masterpieces to world premieres. The Cathedral Choral Society presents a concert series with four programs at Washington National Cathedral. In addition to its concert series, the chorus has performed around the city and on nationwide radio and television. The Cathedral Choral Society has appeared at the Kennedy Center with The Washington Ballet, the Juilliard Orchestra, in performances sponsored by Washington Performing Arts Society, and with the National Symphony Orchestra under Leonard Slatkin and other conductors. The group has sung with Russian baritone Dmitri Hvorostovsky and the Philharmonia of Russia at the Kennedy Center and at Lincoln Center. The Cathedral Choral Society has a remarkable history of championing new music, including eight major commissions for new symphonic choral works and an annual commission for a new Christmas carol. Each season the chorus builds on a tradition of showcasing emerging soloists as well as internationally known artists. The Cathedral Choral Society’s discography features ten recordings made at Washington National Cathedral. The Cathedral Choral Society offers community engagement programs, including Cathedral Sings, sing-along opportunities for the public and an annual High School Choir Festival featuring choirs from across Washington, DC.
Cathedral Choral Society J. Reilly Lewis, Music Director Paul Callaway Conducting Chair Todd Fickley, Associate Music Director and Chorus Master Joy Schreier, Pianist and Vocal Coach Soprano I Kathleen Alvania Anne Carman Nicole B Collins Tari Cooper* Marcia D’Arcangelo Lesley Earl Melissa Fox RenÊe Gamache Liz Harvey Chana Kuhns Chris Markus Marianna Martindale Susan McDaid** Sarah Mitchell Jocelyn Mullins Kimberly Pacala Melanie Steinkamp Patricia Stephenson Megan Sullivan Elaine Teng Elizabeth Owens Wakefield Sophie Wohltjen
Soprano II Mary Amorosino Jessica Barness Susanna Beiser Joanne Casey Laura M. Connors Sheri Economou Emily German Lori Kurtyka Beth L. Law Wendy Lubarsky Catherine Ort-Mabry Natalie Pho Frances H. Pratt** Kyra Reumann-Moore Melissa Ryan Cheryl Schock Cindy Shen Helen L. St. John Dianne Vandivier Jeannette Dea WarrenAnderson Margot T. Young*
Alto I Amanda Ayers Caren Backus Violet Baker Kathleen Brion Christine de Fontenay Kehan DeSousa Susan Grad Jennifer Hawley Melissa A.L. Holman Laura Jackman Jane Jurkevics* Ingrid Kauffman** Gwyneth Kelly Charlotte Maskelony Laura Miller Mary Olch Campbell Rogers Jane Roningen Margaret Shannon Nadezhda V. Volchansky Maki Yasui
Alto II Stephanie Cabell Laurene Church Robin Costanza Cindy Drakeman Holly Filipiak Margaret Gonglewski Kim Harris Pam Hazen Mary Hiebert-White Elizabeth Hoffmann Sarah B. Holmes Beth A.V. Lewis Marti Olson Jennifer Griffiths Orudjev Christopher G. Riggs* Teresa A. Spencer Natalie Torentinos Kathleen M. Welling** Susan Pruett Williams
Tenor I Gregg M. Breen David Dietly John W. Harbeson Kevin Josey Dick Larkin Thomas Mugavero Christine H. Mulligan** Joel Phillips Rob Porter Robert Reeves Raymond Rhinehart* Martin S. Rosenthal John Schaettler D.C. Washington
Tenor II Scott Alman Douglas K. Barry Ross Bradford Mark Bublitz James Clay** David Costanza Luke W. Fisher Jeremy Gosbee Jeremy Kane Jason Kingman Pietro Miozzo James M.E. Mixter, Jr.* John E. Moyer Jonathan Rajaseelan
Bass I Eric P. Andersen Kelly Cameron Alfred J. Chiplin, Jr. Everitt Clark Thomas Czerwinski John Hewes Tony King Andrew Madar 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 Gabriel Kane Ian M. Matthews Scott McCorkindale David Peyton Ellis Wisner
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** Section Coordinators * Alternates
Guest Ensembles Children’s Chorus of Washington
Joan Gregoryk, Founder and Artistic Director Lilyana Acharya Allie Alfonso Grace Barnes Grace-Ann Bartlow Miara Bonner Isabel Brecher Simone Bucany Elizabeth Budin Isabella Calingaert Corina Capuano Chloe Cattaneo Theresa Colston Sophia Colon Roosevelt Gauri Dandi Chloe Djomessi- Siakam Grace Elkan Clara Ferrari
Lucy Goldberg Damian Hanshew Addele Hargenrader Liza Harold Olympia Hatzilambrou Anna Herman Carly Hufford Isabella Impavido Celia Johnson Eugene Kimelman Elizabeth King Andrew Kolebuck Elizabeth Lee Thomas Lynch Katie Manyin Zachary Martel
Keshini Maynard Lindsay McNavage Carolyn Miller Delaney Moore Raina Newsome Zak Oehlerking Julianne Page Ella Pino Jack Rennie Rebecca Rich Sophie Sperduto Sedona Stone Margaret Taylor Nina Thomson Maddy Vieth Eleanor Wright
Horn Larry Williams
Tuba Andrew Spang
Trombone Milton Aldana
Percussion Mark Lortz
Lyric Brass Quintet Trumpet Kevin Dines Christopher Shiley
e h t e v a S Date!
CATHEDRAL CHORAL SOCIETY’S
1941 Gala
SATURDAY, MARCH 12, 2016
THE MAYFLOWER HOTEL
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Join us for a ritzy evening of 1940s fun with big band swing. It’ll be the cat’s meow!
Thank You The Cathedral Choral Society is pleased to acknowledge the following contributors to our Annual Fund Campaign between August 24, 2014 to November 23, 2015. Thank you. Your ongoing and generous contributions support out vision to inspire and nurture our community through the joy of choral singing and exceptional choral performances. Paul Callaway Associates $20,000+ Ernest*^ and Catherine Abbott
The Estate of Mr. David Willard Cook
Sustaining Patrons $10,000+ Anonymous (1) Thomas P. Gallagher^
Bradley J. and Martha A.*^ Olson Gerald W.^ and Alice Padwe
Grace and David Pratt
Guarantor Patrons $5,000+ Anne R. Harris^ Richard* and Cecilia Larkin
John E. Moyer*^ and Jane Passman Thomas C. Mugavero*^
Mary B. Olch* Martin Rosenthal*^ and Corinne Axelrod
Chorus Section Patrons $2,500+ Arthur and Constance Eggers Nancy M. Folger and Sidney L. Werkman Paul Juergensen II ^ Virginia C. Mars^ Christine* and James Mulligan
Catherine E. Ort-Mabry* and Brian Mabry Frances H. Pratt* Stephen S. Roberts* Raymond Rhinehart* and Walter Smalling, Jr.
L. Bradley Stanford*^ Dale and Peter Turza Kevin and Andrea Wade Margot T. Young*
Unsung Heroes $1,000+ Eric P. Andersen* and W. David Young II Estate of Richard S. and Alayne C. Antes Margaret M. Ayres and Stephen Case Betty J. Beard Beaty Family Fund Brian J. and Donna J. Bogart Blanche L. Curfman Edison and Sally Dick Walter B.^ and Joanne Doggett
Sheri* and George Economou Charles Leonard Egan Mary-T.^ and Spencer Gordon Susan Grad* Judith R. Hope Ann Ingram J. Reilly^ and Beth A.V.* Lewis Nevin E. and Elizabeth D. Kuhl William M. Leach
Christina M. Markus* Susan McDaid* Lolly and Jim*^ Mixter Harold I. and Frances G. Pratt James* and Madeleine Schaller T. Michael and Linda Shortal Genevieve^ and Sean Twomey Robert and Betty Wallace Nancy H. Wiecking
Patrons $500+ Jessica Barness* Catherine Beauchamp Kathleen Brion*^ Jeanne Buster Joanne Casey* Christine C. De Fontenay* Jeremy Gosbee* Jennifer Griffiths Orudjev*^ Susan J. Henry Sarah B. Holmes* and John B. Morris Jr.
Georgia Koenig Pam A. and Don Lassell Janice L. Lockard George Londeree Dorothy C. Mergner Kimberly Pacala* Scott and Nancy Pinckney Charles Pratt and Alexandra England Robert* and Lissa Reeves Lynn Rhomberg
John and Judy Shenefield Margaret C. and Robert D. Stillman Joyce H. Thornhill Estate of M. Elizabeth Tidball Elinor G. Vaughter Richard and Virginia Wagner Sinclair and Julia Winton John Ellis Knowles Wisner* Dorothy M. Woodcock
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Thank You
Sponsors $250+ Nancy Maes Aherne and Marko Zlatich Violet Baker* Robert and Laura Barlow Jane C. Bergner Andrew and Kay Boesel Kate and Will Breytspraak Anne* and James Carman Timothy W. and Patricia R. Carrico James W. Clay* Alice M. Denney Martha Duggan Lynn B. Dutton
Katherine Gammill Mary Cox Garner Pam Gibert Margaret Gonglewski* George E. Groninger Ruth Mary Hall George and Rosina Hanc M. Douglas Lakey Angela Lancaster and C.F. Muckenfuss III Wendy Palmby Lubarsky* Rosemary D. Lyon Samuel Miller
Robert* and Elaine Porter Theodora Radcliffe Richard and Linda Roeckelein John Schaettler* William P. Snow Patricia Stephenson* Joanne and Greg Stopka Anne D. Stubbs and Thomas Bolle J. David Sulser and Patricia Jungreis Thomas Tesoriero and Robert Bertram J. D. Toews Nick and Caroline Van Wagoner
Donors $100+ Anonymous (1) Mary Amorosino* Mark J. Andrews D. Philip Baker James Bauman Elise and Jim Blair Herman Bostick Dale* and Gloria Boyd Gregg M. Breen* Michael and Mary Ann Bridges Michael F. Butler Kelly* and Theresa Cameron Everitt Clark* Marilyn Clark Vera I. Connolly Laura M. Connors* Roberta and Philip Cronin Ruth and Nelson Denlinger Sharrill Dittmann Elise Fisher and Doug Pulak Luke W. Fisher* Sally A. Fiske Gladys Foxe Cary C. Fuller Lillian R. Gigliotti Neil and Carolyn Goldman D. Ruth Goodchild Hilton Lee Graham Joan and David Green William and Margaret Greer
Marilee L Hall John and Ann Harbeson* Bill and Ruth Harwood Jennifer Hawley* Frederick S. Hird Embry and Joseph Howell Madeline and Rufus Iannucci Erika R. Joyce Louis E Kahn Ingrid Kauffman* Richard and May Lea Keating Dorothy Kent Gary W. and Judy Kushnier Steven & Monica Leach Susanne Leach Robert M. Leddy, Jr. Alaster MacDonald James W. Madden Paula Marchetti Margot T. Young* David S. Marsh Nancy McBride Scott* and Linda McCorkindale Leander and Stephanie McCormick-Goodhart Wesley O. and Judy McGee Barbara and John McGraw Robert T. Mead Michael Mercier Andrea T. Merrill
Eiko Narita Trenton Osborne Donald and Nancy Peck B. Dwight and Suzanne Perry Nicholas Jon Petersen* David Young Peyton* Warren and Marianne Pfeiffer Rondi K. Pillette and Steven A. Levin Joan A. Pirie Lisa Poole Jackie Prince Jane Roningen* Suzanne H. Rooney Carla L. Rosati Milton and Ingrid Rose Helen Rosemont Hubert and Charlotte Schlosberg Ann Imlah Schneider Patrick D. Shannon Lynwood and Thalia Sinnamon Jacqueline K. Stover Keiko Stusnick J.M. and P.S. Taylor James T. and Anne C. Townsend Samuel Van Culin Jean Van Der Tak Alice T. Wagner Phyllis C. Wertime Evelyn Woolston-May *Chorus Member
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^Board Trustee
†Deceased
Thank You The Cathedral Choral Society is pleased to recognize Government, Foundation, and Corporate support to our Annual Fund Campaign between August 24, 2014 to November 23, 2015.
Thank you to our Government and Foundation Supporters U.S. Commission of Fine Arts: National Capital Arts and Cultural Affairs Program Alice & Russell True Foundation Clark-Winchcole Foundation The Community Foundation for the National Capital Region
Dallas Morse Coors Foundation Dimick Foundation Mars Foundation
Meredith Foundation Richard Eaton Foundation United Way of the National Capital Area
Thank you to our Corporate Supporters Corporate Champion $2,000+ Bank of America Exxon Mobil Foundation
Pepco Holdings Inc.
Corporate Investor $1,500+ American Gas Association Clark Construction Group, LLC
IBM
Corporate Leader $1,000+ UBS Financial Services
Sentinel Wealth Management, Inc.
Wiener and Garg
Corporate Advocate $500+ The Benevity Community Impact Fund E*Trade Financial
Offit Kurman Attorneys at Law
Corporate Supporter $100+ Ameriprise Financial – Kim, Hopkins & Associates
Messina, Canal & Moawad, DDS
Willis Metro DC
Gifts in Honor In Honor of Dr. Violet Baker David R. Hearn
In Honor of Frances H. Pratt Josephine T. and Morton S. Roberts
In Honor of Mary T. Gordon Hubert and Charlotte Schlosberg
In Honor of Margot T. Young James D. Campbell and Janet M. Hall Patricia Stephenson* Kathleen and Walter Weld Anonymous Blanche L. Curfman David Dietly*
In Honor of Virginia C. Mars Beaty Family Fund Shirley M. Fine Dorothy and William McSweeny
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Sheri* and George Economou Jean Jawdat John E. Moyer* and Jane Passman Christopher L. Buechler* Lolly and Jim*^ Mixter Lindsay Sheridan Marguerite Toscano* and Richard Stumpf
Concert Dedication We are honored to dedicate our Joy of Christmas concerts to the memory of Andrew Soto (1962 - 2015). Andrew Soto was a member of our Bass 1 section for over 20 years. He was an outstanding member of the chorus both musically and as a volunteer, and served on the Board of Trustees. Outside of the chorus, Andrew was Vice President, Regulatory Affairs with the American Gas Association. This season we send Christmas wishes to his wife P.J. Soto, daughter Jenna, and son Jesse and to the many other members of his extended family. Andrew loved the Joy of Christmas concerts. We would also like to recognize Andrew’s generous legacy gift to our Richard Wayne Dirksen Endowment Fund. This fund was established in 2007 in memory Richard Wayne Dirksen who was the Andrew Soto singing a solo at a Joy Organist and Choirmaster for Washington National Cathedral. The fund supports our annual Christmas carol commission and our Joy of Christmas concerts. of Christmas concert.
Gifts in Memory In Memory of Mary F. Bradford Ross M. Bradford* In Memory of David W. Cook Donna M. Christian Susan C. Stover In Memory of Sir Martin Gilbert Margaret Shannon* In Memory of Ann H. Hyde Mary-T.^ and Spencer Gordon In Memory of Mary Louise Pusch Olson / Pusch Families Members of the Alto 2 Section Margot T. Young* Countryside Village Residents Association Kathleen and Warren Mugnolo
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In Memory of Steve Prestegard Tom Van Alen Samuel van Culin In Memory of Andrew Soto Ernest*^ and Catherine Abbott Vectren Foundation, Inc. Carl and Kay Chapman Ronald D. Christian The Staff of the Office of Administrative Law Judges John E Shelk The Laclede Group Alliant Energy Corporation George and Linda Baily Kathleen Brion*^ Peter Connor Edison Electric Institute Damian Finio Office of Administrative Law Judges, San Francisco Office Staff Thomas J. and Celeste B. Goodwin
Charles L. Grizzle Ralph E. Horvath Carol M. and Robert C. Jones Thomas Jones Cheryl Lafleur and William Kuncik Lani and Mike Longarzo Robert and Christine Phillips Questar Friends Ron Jibson, Colleen Bell, Tina Faust and Barrie McKay Jean Marc Robinson Lee J. Romero Brenda Gardiner, Beth Carty and Holly Still Justin and Debra Thornton Lori Traweek Wilkinson, Barker, Knauer, LLP Crothall Patient Transport Timm Abendroth American Gas Association Terry S. and Rhona S. Arbit Jessica Barness* Laura A. Brown Thomas M. and Linda T. Burke
Lisa F. and James E. Davenport Friends At the Energy Solutions Center Margaret Ann Ferry Marie A. Finio Gary Wayne Gardner Colleen Geraghty Steven and Rosemarie Gluck Linda Huehn Steve Lango Adele H. Odegard Jane Raymond Daniel K. Roketenetz Darcy Rossman Julie Simon Kristin M. Smith Daniel and Patricia Solomon Theresa D. Thoman Cincinnati Office of Administrative Law Judges In Memory of Lee Tidball Erika R. Joyce
Acknowledgements 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. Anne Harris Anonymous Donors Catherine H. Beauchamp Charles Leonard Egan Arthur and Connie Eggers Charles W. and Jane R. Ervin Thomas P. Gallagher^ Mary-T Gordon^ William B. and Ruth L. Harwood Ann Ingram
Richard* and Cecilia Larkin William M. Leach J. Reilly^ and Beth A.V.* Lewis Rosemary D. Lyon James*^ and Lolly Mixter Martha A. Morris Mark W. Ohnmacht Bradley J. and Martha A.*^ Olson Gerald W.^ and Alice Padwe
Carla L. Rosati Martin S. Rosenthal^* Margaret Shannon* T. Michael and Linda Shortal Steven and Nancy Smith Andrew Soto†M. Elizabeth†and Charles Tidball Nancy Wiecking Evelyn Woolston-May
If you have remembered the Cathedral Choral Society in your estate planning and do not see your name above, please let us know. To reach us or to learn more about the Harmonia Society, contact Genevieve Twomey at 202-537-5524.
your gift keeps us vibrant
Please consider a year-end gift to the Cathedral Choral Society this Season. Giving is Easy! Online: cathedralchoralsociety.org, By phone: 202-537-5524 By mail: 3101 Wisconsin Ave NW, Washington DC, 20016ashington, DC 24
Acknowledgements Board of Trustees Ernest Abbott, President Kathleen Brion Kristi S. Brown Cynthia Drakeman Walter B. Doggett III Diana F. Dykstra Thomas P. Gallagher
Paul Juergensen II, Vice President Thomas Mugavero J. Reilly Lewis, Music Director James Mixter, Treasurer Jack Moyer Martha A. Olson
Jennifer Griffiths Orudjev Gerry Padwe, Secretary Kevin Rosengren Martin Rosenthal L. Brad Stanford Genevieve C. Twomey, Executive Director
Honorary Trustees Mary-T Gordon
Virginia C. Mars
Cathedral Choral Society Staff Kate Breytspraak, Director of Operations & Community Engagement Laura Crook Brisson, Operations Coordinator Todd Fickley, Associate Music Director & Chorus Master J. Reilly Lewis, Music Director
Mimi Newcastle, Finance Manager Joy Schreier, Keyboard Artist & Vocal Coach Lindsay Sheridan, Director of Marketing & Communications Genevieve C. Twomey, Executive Director
Personal Assistant to the Music Director Adam Jackson
Concert Support Margaret Shannon, Program Annotator Patricia Stephenson, Librarian
Library Committee: Joanne Casey, David Dietly, Kim Pacala, Jennifer Hawley, Ian Matthews, Robert Reeves
Washington National Cathedral Staff Valerie Ciccone, Manager, Volunteers & Events Gary Ford, Supervisor Sexton / Housekeeping Daniel Rose, Director, Office of Event Management Mark Huffman, Technical Director & Audio Engineer Sarah Rockwood, Front of House Manager
Robert Sokol, Chief Operating Officer Kevin Thomas, Asst. to the Director of Worship & Administrative Verger Torrence Thomas, Verger
With special thanks for all the staff and volunteers of Washington National Cathedral and the Protestant Episcopal Cathedral Foundation
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Love to sing? Singers ages 6–18: Check out our programs Join the finest children’s chorus in the Nation’s Capital!
childrenschorus.com • 202-237-1005
Next concert: “Holiday Favorites” Sunday, December 20, 2015 at 4 pm Lisner Auditorium • lisner.gwu.edu
Cathedral Sings
Music for Kings and Queens Sunday, January 24 | 7:30 p.m.
Handel, Zadok the Priest Handel, The King Shall Rejoice Moart, Mass in C Major, “Coronation,” K. 317
Schubert is Great Sunday, June 12 | 7:30 p.m.
Schubert, Great is Jehovah, the Lord Schubert, Mass No. 2 in G, D. 167
Interested in singing with us? Our next round of auditions will be in January 2016. Visit cathedralchoralsociety.org/sing to find out more.To set up an audition, contact Kate at auditions@cathedral.org. 26
Join the Cathedral Choral Society for community sing-alongs at Washington National Cathedral! ALL abilities welcome.
TICKETS MAKE GREAT GIFTS!
Andile Ndlovu by Dean Alexander
Springtime, love, lust and fortune in a visual and auditory celebration. Carmina Burana is a powerful interpretation of Carl Orff’s raucous retelling of drinking songs by wayward monks. Featuring 100 voices of the Cathedral Choral Society under the direction of Dr. J. Reilly Lewis. Program also includes Balanchine’s iconic Theme and Variations: Classical ballet at its most magnificent.
APRIL 13–17 | KENNEDY CENTER EISENHOWER THEATER
WASHINGTONBALLET.ORG | 202.467.4600
Give a Gift of Great Music! Gift Certificates
Cathedral Choral Society gift certificates can be purchased at any amount, and are a personal, flexible present. They are redeemable through June 17, 2016.
Stocking Stuffers For the musician (of any level!) in your life: sing into the New Year with a $10 ticket to Cathedral Sings: Music for Kings and Queens on Sunday, January 24, 7:30 p.m. or Cathedral Sings: Schubert is Great on Sunday, June 12, 7:30 p.m. at Washington National Cathedral.
Both of these thoughtful gifts can be purchased online at cathedralchoralsociety.org or by calling 202-537-2228. 27
J. Reilly Lewis, Music Director
Cathedral Choral Society
2015 | 16 A Singular Season
Vivaldi Gloria
with the Washington Bach Consort
Sunday, February 21 | 4:00 p.m. Vivaldi, Concerto for Oboe and Trumpet, RV 563 Vivaldi, Nulla in mundo pax sincera, RV 630 Vivaldi, Dixit Dominus, RV 595 Vivaldi, Gloria in D Major, RV 589
Fantastic Beethoven
Sunday, May 15 | 4:00 p.m.
Beethoven, Leonore Overture, No. 2, Op. 72 Beethoven, Choral Fantasy, Op. 80 Beethoven, Mass in C Major, Op. 86
Cathedral Sings Music for Kings and Queens Sunday, January 24 | 7:30 p.m. Handel, Zadok the Priest Handel, The King Shall Rejoice Moart, Mass in C Major, “Coronation,� K. 317
Schubert is Great
Sunday, June 12 | 7:30 p.m. Schubert, Great is Jehovah, the Lord Schubert, Mass No. 2 in G, D. 167
cathedralchoralsociety.org | 202-537-2228