2019.20 CONCERT PROGRAM Steven Fox, Music Director
JOY OF
Christmas
SATURDAY, DECEMBER 21, 2:00 & 7:00 PM SUNDAY, DECEMBER 22, 5:00 PM WASHINGTON NATIONAL CATHEDRAL
FEATURING
Seraph Brass Edward Nassor, carillon George Fergus, organ The MusicianShip Washington Youth Choir 1
Dear friends, Welcome to the Cathedral Choral Society’s Joy of Christmas concerts! This beloved tradition has taken place in Washington National Cathedral for the last forty-three years, and I am so delighted that you could join us to be a part of it. We are grateful to have an extraordinary group of guest artists who will be making music with us today. We welcome the MusicianShip Washington Youth Choir and their wonderful director, Greg Watkins. Over the last few years, MusicianShip has stood out in their performances at our Annual High School Choral Festival. I believe these are some of the most gifted young singers in Washington, DC, and we are so lucky to have them performing with us today. We are also so thrilled to welcome back the Seraph Brass ensemble, whose glorious playing made last year’s Christmas concerts so memorable. And we have the privilege of premiering a work that we have commissioned specially for this occasion by Alexander Levine – Christ’s Nativity, set to a poem by Henry Vaughan. Alexander is one of the most exciting European composers, and we are delighted to share his musical voice with American audiences during these Joy of Christmas concerts. Today’s program takes us from the solemnity and expectation of Advent, through the mystery of the Nativity, and finally, to a glorious celebration. We hope that this music for the season helps bring you joy and peace in the coming year. Sincerely,
Steven Fox Music Director
PROCESSION OF THE ADVENT WREATH The candles in this wreath represent Advent, the four weeks preceding Christmas. Three are violet. The fourth–a rose-colored candle on the third Sunday of Advent–symbolizes Gaudete, a day of rejoicing. Blanche L. Curfam continues the tradition of giving this wreath in memory of David R. Curfman and Florence Marie Schreck. 1
JOY OF
Christmas
SATURDAY, DECEMBER 21, 2:00 PM SATURDAY, DECEMBER 21, 7:00 PM SUNDAY, DECEMBER 22, 5:00 PM WASHINGTON NATIONAL CATHEDRAL
Cathedral Choral Society Steven Fox, conductor The MusicianShip Washington Youth Choir Greg Watkins, conductor Seraph Brass George Fergus, organ Edward Nassor, carillon
CARILLON PRELUDE BRASS PRELUDE Canzoni per sonar a Quattro Canzon seconda Christmas Pastorale from Messiah Break Forth, O Beauteous Heavenly Light I Wonder as I Wander Weihnachtslieder/Austrian Carols O come O come Emmanuel
Giovanni Gabrieli George Frideric Handel Johann Sebastian Bach arr. J.A.C. Redford
CAROL: Once in Royal David’s City (v. 106)
arr. David Willcocks
The Lamb Dadme albricias, hijos d’Eva Jesus Christ, the Apple Tree Christ’s Nativity (World Premiere)
John Tavener Anon. ed. Anders Stenberg Elizabeth Poston Alexander Levine
ORGAN SOLO: Fugue on the Magnificat, BWV 733
Johann Sebastian Bach
Have Yourself a Merry Little Christmas arr. Kirby Shaw The Most Wonderful Time of the Year arr. Pentatonix O Holy Night arr. Michael McElroy, Joseph Joubert, Buryl Red BRASS INTERLUDE: Dances from Danserye Tylman Susato La Mourisque Les Quatres Bransles Fagot Ronde Two Hymns to the Mother of God John Tavener On Christmas Night arr. Philip Ledger
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PROGRAM For Unto Us a Child is Born from Messiah
George Frideric Handel
Ave Maria [Bogoroditse Devo] I’ll Be Home for Christmas Greg Watkins, conductor Joy Schreier, piano Gloria in Ecelis Deo, from Christmas Cantata Lo, How a Rose E’er Blooming
Sergei Rachmaninoff arr. Paul Langford
CAROL: Hark! The Herald Angels Sing
Daniel Pinkham Michael Praetorius arr. David Willcocks
ORGAN POSTLUDE Bring a torch, Jeanette Isabella CARILLON POSTLUDE
These performances are made possible in part by the Richard Wayne Dirksen Endowment Fund. This fund supports our annual Christmas carol commission and our Joy of Christmas concerts.
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Keith Chapman
TEXTS AND TRANSLATIONS CAROL: Once in Royal David’s City
Melody, “Irby,” Henry Gauntlett vv. 1-5 harm. Arthur Henry Mann v. 6 arr. David Willcocks
Each Christmas Eve, millions tune into the annual live broadcast of the Festival of Nine Lessons and Carols sung by the Choir of King’s College, Cambridge. A single chorister—whose identity for this coveted assignment is closely held until just before the service—sings the first verse of Once in Royal David’s City. This association has indelibly identified this text with Christmas although Cecil Frances Alexander, one of Britain’s leading female hymn-writers, originally wrote the words to illustrate and explain the Apostles Creed to children. 1. Solo 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.
2. Choir 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.
3. All 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.
4. All 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.
5. All 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.
6. All 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; when, like stars, his children, crowned all in white shall wait around.
Melissa Fox, soprano
—Words, Cecil Frances Alexander (1818-1895) Hymns for Children, 1848
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TEXTS AND TRANSLATIONS The Lamb John Tavener
English poet and artist William Blake wrote “The Lamb” as part of Songs of Innocence, a collection of nineteen poems he published and illustrated in 1789—the year in which the United States Constitution was ratified. In the first verses, the questions are direct and childlike: “Little lamb, who made thee? Dost thou know who made thee?” In the second, the child answers his own questions more abstractly. The lamb represents “gentle Jesus, meek and mild.” Sir John Tavener said, “While being driven by my mother from South Devon to London, ‘The Little Lamb, who made thee? Dost thou know who made thee? Gave thee life, and bid thee feed, By the stream and o’er the mead; Gave thee clothing of delight, Softest clothing, woolly bright; Gave thee such a tender voice, Making all the vales rejoice? Little Lamb, who made thee? Dost thou know who made thee”
Little Lamb, I’ll tell thee, Little Lamb, I’ll tell thee: He is callèd by thy name, For he calls himself a Lamb. He is meek, and he is mild, He became a little child. I, a child, and thou a lamb, We are callèd by his name. Little Lamb, God bless thee! Little Lamb, God bless thee! —William Blake (1757-1827)
Villancicos de Navidad Dadne albricias (No. 37)
Anonymous ed. Anders Stenberg
The fifteenth-century Spanish villancico is derived from medieval dance forms. A villancico is a poetic form that begins and ends with a refrain, with intervening verses sung in the vernacular. Dadme albricias is contained in a collection known as Cançionero de Upsala [sic]. The sole surviving copy is held by the University Library in Uppsala, Sweden. It includes a small section of unaccompanied Christmas songs, featuring soprano solos and duets with tenor alternating with the chorus, that were performed at the court of Ferdinand of Aragon, the Duke of Calabria, in Valencia.
Dadme albricias, hijos d’Eva! di dequé dártelas han? Ques nasçido el nuevo Adám. O hy de Dios y qué nueva!
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Give me glad tidings, sons of Eve, Why should we give them to you? Born is He, the new Adam. Almighty God, what glad tidings!
TEXTS AND TRANSLATIONS Dádmelas y haved placer Pues esta noche es nascido,
Pay my boon, and sing for joy, For tonight is born our Savior,
El Mexías prometido, Dios y hombre, de muger.
The Messiah promised to us God and man, born of a woman
Y su naçer nos relieva del pecado y su ahán Pues nasçido el nuevo Adám. O hy de Dios y qué nueva!
By His birth, He gives us pardon For the sin and wrong we do. Born is He, the new Adam. Almighty God, what glad tidings! Cançionero de Upsala Printed by Girolamo Scotto, Venice, 1556
Jesus Christ, the Apple Tree
Elizabeth Poston
An English concert pianist, author, composer, and organist, Elizabeth Poston was director of music for the BBC’s European Service throughout World War II, working covertly in Political Intelligence to send coded messages to the Resistance in Europe using gramophone records. She never revealed sources or methods, which remain classified under the Official Secrets Act. Carols from Kings first broadcast her setting of Jesus Christ the Apple Tree in 1967. An unusual facet of this setting is its “white” character; that is, written in the key of C with no accidentals. In 1976, Poston edited The Apple Tree: Christmas Music from The Cambridge Hymnal, in which she published this American text, which first appeared in a 1784 New Hampshire collection by Joshua Smith, a lay Baptist minister. The text is thought to allude to the apple tree mentioned in Song of Songs 2:3. The tree of life my soul hath seen, laden with fruit and always green: the trees of Nature fruitless be compared with Christ, the apple tree.
I’m weary with my former toil, here I will sit and rest awhile: under the shadow I will be of Jesus Christ, the apple tree.
His beauty doth all things excel: by faith I know, but ne’er can tell, the glory which I now can see in Jesus Christ, the apple tree.
This fruit doth make my soul to thrive, it keeps my dying faith alive; which makes my soul in haste to be with Jesus Christ, the apple tree. —Words: Divine Hymns or Spiritual Songs Joshua Smith collection, New Hampshire, 1784
For happiness I long have sought, and pleasure dearly I have bought; I missed of all; but now I see, ’tis found in Christ, the apple tree.
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TEXTS AND TRANSLATIONS Christ’s Nativity World Premiere
Alexander Levine
The text comes from the pen of seventeenth-century Welsh poet Henry Vaughan, a leading metaphysical voice during the Commonwealth period (1649-1660), when the republican government of Oliver Cromwell banned the Anglican Church. “Christ’s Nativity” was commissioned by the Cathedral Choral Society of Washington D.C. with support from the Richard Wayne Dirksen Memorial Endowment Fund. The selected lyrics by Welsh poet of 17th Century Henry Vaughan fascinated me immensely and therefore prompted me to think about specific musical environment for the piece, best suited for merging the music into this wonderful poetic landscape. Apart from irresistible beauty of the text and its impeccable craftsmanship I discovered something else that sparked my imagination and thus suggested the strategy for composing this piece. This poetry brings about strong mixture of Evangelical mystery of Christ’s Nativity, mystically evocated by Nature, and at the same time reveals the optimism and drama of an ordinary individual that any human being can easily identify with. My endeavour and the creative task was focused on revealing and portraying in the music a symphonic mixture of human feelings that we all could share and celebrate through the festivity of the Event – the Birth of Jesus Christ our Saviour into this world. -Alexander Levine, composer
Awake, glad heart! get up and sing! It is the birth-day of thy King. Awake! awake! The Sun doth shake Light from his locks, and all the way Breathing perfumes, doth spice the day.
I would I had in my best part Fit rooms for thee! or that my heart Were so clean as Thy manger was! But I am all filth, and obscene; Yet, if thou wilt, thou canst make clean.
Awake! awake! hark how th’ wood rings; Winds whisper, and the busy springs Awake, awake! The Sun doth shake A concert make; Awake! awake! Man is their high-priest, and should rise To offer up the sacrifice.
Sweet Jesu! will then. Let no more This leper haunt and soil thy door! Cure him, ease him, O release him! And let once more, by mystic birth, The Lord of life be born in earth. —Henry Vaughan, Silex Scintillans, 1650 (1621-1695)
I would I were some bird, or star, Flutt’ring in woods, or lifted far Above this inn And road of sin! Then either star or bird should be Shining or singing still to thee.
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TEXTS AND TRANSLATIONS Fugue on the Magnificat, BWV 733
Johann Sebastian Bach
“Meine Seele erhebt den Herren” (My soul magnifies the Lord) is Martin Luther’s German translation of the Latin Magnificat (Luke 1: 46-55) the chief canticle for the Visitation of Mary, sung following the sermon in Vespers. This fugue may have served as a “praeambulo auf der Orgel” or, more likely, the fugue preceded a choral setting. The fugue’s subject is the Gregorian melody, or “tonus peregrinus.” First heard in four parts, the entrance of a fifth voice in the pedal—in augmentation, that is, the lengthening of the time values of the melodic subject—effectively “magnifies” the praise of God. George Fergus, organ
The Most Wonderful Time of the Year (1963) Words and music, Edward Pola and George Wyle arr. Pentatonix Recorded by pop singer Andy Williams for the first of his eight Christmas Albums, the song, with its reference to old-fashioned Victorian Christmas traditions, took years to reach Billboard magazine’s Top 10 Holiday Songs. Released on October 14, 1963, three weeks before the assassination of President Kennedy, the song has since been covered by many artists and parodied in commercials.
It’s the most wonderful time of the year. With the kids jingle belling And everyone telling you ,”Be of good cheer.” It’s the most wonderful time of the year. It’s the hap–, happiest season of all. With those holiday greetings and Gay, happy meetings When friends come to call, It’s the hap–, happiest season of all.
There’ll be parties for hosting, Marshmallows for toasting, And caroling out in the snow; There’ll be scary ghost stories And tales of the glories of Christmases long, long ago. It’s the most wonderful time of the year. There’ll be much mistletoeing, And hearts will be glowing When love ones are near. It’s the most wonderful time of the year.
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TEXTS AND TRANSLATIONS O Holy Night Cantique de Noël From Great Joy, A Gospel Christmas
Adolphe-Charles Adam Additional music Michael McElroy, Joseph Joubert
Originally composed in 1847 by Adolphe Adams for the text “minuit, chrétiens” (Midnight, Christians) by French poet and wine merchant Placide Cappeau telling of the birth of Jesus and the redemption of mankind, this high-energy, cutting-edge gospel arrangement of the first verse comes from Great Joy, A Gospel Christmas. O holy night, the stars are brightly shining, It is the night of the dear Saviour’s birth; Long lay the world in sin and error pining, ‘Till he appeared and the soul felt its worth. A thrill of hope a weary world rejoices, For yonder breaks a new and glorious morn!
Chorus Fall on your knees, O hear the angel voices! O night divine! O night, when Christ was born! O night, O holy night, O night divine. It was a holy night. — Placide Cappeau (1808-1877) Trans. John Sullivan Dwight, c.1858 (1813-1893) Additional words , Buryl Red
Dances from Danserye La Mourisque — Les quatres branles — Fagot Ronde
Tylman Susato
A prolific Renaissance composer of instrumental music, Tylman Susato founded in 1543 the first music publishing house in Antwerp to use movable music type. His press was located “At the sign of the Crumhorn.” His third publication was a book of dance music printed in 1551 and entitled Danserye, Het derde musyck boexken or, Danserie, the third Music Book, subtitled Alderhande danserye, or All manner of dances. Most of the 59 four-part pieces are composed in dance forms such as allemandes, galliards, and rondes and are based on well-known French, Dutch, or German folk melodies.
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TEXTS AND TRANSLATIONS A Hymn to the Mother of God
John Tavener
John Tavener, Britain’s foremost composer of the late twentieth century, enjoyed a long relationship with this Cathedral. In 2006, the Cathedral Choral Society commissioned and premiered his carol, Remember O Thou Man. His best-known work, Song of Athene, accompanied the funeral cortège of Diana, Princess of Wales as it departed Westminster Abbey. Tavener composed A Hymn to the Mother of God in memory of his mother. “It is a radiant canonic setting of a text from the Greek Orthodox Liturgy of Saint Basil,” said Tavener. “It speaks to the almost cosmic power attributed to the Mother of God by the Orthodox Church,” which he embraced in later life. “Even though the piece is in English,” notes music director Steven Fox, “the sound world created by the overlapping choirs reminds me of Russian Orthodox music, and I personally believe that was intended by the composer.”
In You, O Woman full of Grace, In you, O Woman full of Grace, The angelic choirs and the human race, all creation rejoices. O sanctified Temple,
On Christmas Night
Mystical Paradise And glory of Virgins. In You, O Woman full of Grace, all creation rejoices. All praise be to You. —Liturgy of Saint Basil
English traditional arr. Philip Ledger
Known as the Sussex Carol, its name is taken from the region along the English coast where Ralph Vaughan Williams first heard and noted it down for use in his Fantasia on Christmas Carols. The youngest cathedral organist in the country when he was named Master of the Music at Chelmsford Cathedral in 1961, Sir Philip Ledger made this arrangement for unison voices alternating 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 David Willcocks. 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 ever more,” Amen. —after Bishop Luke Wadding, County Wexford (d. 1686) Smale Garland of Pious and Godly Songs, Ghent 1684 10
TEXTS AND TRANSLATIONS CAROL: O Come, All Ye Faithful John F. Wade’s Cantus Diversi arr. Willcocks Sir David Willcocks, whose name is synonymous with English choral music in the post-war twentieth century, was director of music at King’s College, Cambridge from 1957 to 1973. His brass and organ carol arrangements, which brought international fame to the live Christmas Eve broadcasts from King’s College Chapel, 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, esu, to thee be glory given; Word of the Father, Now in flesh appearing; O come let us adore him, Christ the Lord. —tr. Frederick Oakeley (1802-1880)
For Unto Us A Child is Born From Messiah, HWV 56, 1741 (no. 12)
George Frideric Handel
“Of the many distinguished musicians who have made England their home in days gone by, surely none can have been greater than George Frideric Handel,” wrote Leonard Ellinwood for the Society’s 1968 Messiah performance in which twenty-three year-old Jessye Norman made her first professional appearance. In 1741, Handel composed the oratorio that would become the best-loved work in the choral repertoire—Messiah. Using Charles Jennens’s libretto, “Handel began work on the score on August 22, 1741 working in a white heat with an inspiration that scarcely let him leave the pages until he could put the date—September 12—on the final sheet of 256 pages of score.” The exuberant chorus, “For unto us a children is born,” is “an opportunity to enter into this great religious masterpiece as Handel himself must have felt it during those twenty-four intensive days of creation more than 275 years ago.”
For unto us a child is born, unto us a son is given, and the government shall be upon his shoulder; and his name shall be called Wonderful, Counselor, The Mighty God, The Everlasting Father, The Prince of Peace. —Isaiah 9:6
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TEXTS AND TRANSLATIONS Bogoróđitse Devo/Rejoice, O Virgin From All-Night Vigil, op. 37, no. 6
Sergei Rachmaninoff
The Great War (1914) and Russian Revolution (1917) forever changed the life of Russia’s last great Romantic composer. Despite vast success as a composer and concert pianist in the West, Rachmaninoff longed for the sounds of the Russian Orthodox Church. Over two weeks in 1915, he composed his magisterial fifteenmovement All-Night Vigil, sung in Old Church Slavonic, the liturgical language of the Russian Orthodox Church. The sixth movement is the Orthodox version of Ave Maria. “After giving due praise to God,” explains Russian musicologist Vladimir Morosan, “the Orthodox Church always pays homage to the Virgin Mary—the Theotokos (‘the one who gave birth to God’). Bogoróđitse Devo captures both the gentle simplicity of the angelic greeting and the awestruck glorification of her response to God.” Богородице Дево, радуйся, благодатная Марие, Господь с тобою. Благословена ты в женах, и благословен плод чрева твоего, яко Спаса родила еси душ наших.
O Virgin Theotokos, Rejoice, Mary, full of grace, the Lord is with You. Blessed are You among women, and blessed is the Fruit of Your womb, for You have borne the Savior of our souls. —Trans. Vladimir Morosan
I’ll Be Home for Christmas
Walter Kent arr. Paul Langford
Just as Rachmaninoff longed for the familiar sounds of home during the Great War, so too in 1943 more than 7.2 million Americans in uniform dreamed of home as World War II entered its fourth year and the Western Allies prepared the largest amphibious invasion in history against Occupied Europe. On 4 October 1943, Bing Crosby recorded I’ll Be Home for Christmas (If Only in My Dreams),” composed by Juilliard-trained Walter Kent. In December 1965, astronauts Frank Borman and James Lovell returned to Earth aboard their Gemini 7 spacecraft. To relieve the monotony of their record-breaking fourteen-day flight, the astronauts requested NASA flight control to play Crosby’s recording of I’ll Be Home for Christmas. I am dreaming tonight of a place I love, even more than I usually do. And although it seems it’s a long road back, I promise you: I’ll be home for Christmas. You can count on me. Please have snow and mistletoe and presents under the tree. Christmas Eve will find me where the love light gleams. I’ll be home for Christmas, if only in my dreams. —Words, James Kimble (Kim) Cannon (1900-1974) Greg Watkins, conductor Joy Schreier, piano 12
TEXTS AND TRANSLATIONS Gloria in Excelsis Deo From Christmas Cantata (1957)
Daniel Pinkham
For almost a half century Daniel Pinkham was to Boston what Bach was to Leipzig—resident teacher, composer, conductor, organist, and harpsichordist. In 1958, he was named director of music at King’s Chapel in Boston, a post he held for forty-two years. The New England Conservatory Chorus gave the world premiere of his three-movement Christmas Cantata, subtitled Sinfonia sacra for Chorus and Double Brass Choir, on December 1, 1957. The first movement is a dialogue with the Shepherds; the second evokes the medieval chant associated with the Feast of the Nativity. This third movement alternates between the angels’ refrain, Gloria in excelsis Deo and the Psalm, Jubilate De0.
Refrain Gloria in excelsis Deo, et in terra pax hominibus, bonae voluntatis.
Refrain Glory to God in the highest, And peace to his people on Earth.
Jubilate Deo omnis terra, Servite Dominum in laetitia.
O be joyful in the Lord all ye lands. Serve the Lord with gladness,
Introite in conspectu ejus, In exultatione.
And come before his presence with a song. a song.
Scitote quoniam Dominus ipse est Deus: Ipse fecit nos, et non ipsi nos. Alleluia.
Be ye sure that the Lord he is God: It is he that hath made us and not we ourselves. Alleluia. —Psalm 100: 1-3 for Laudes, Feast of the Nativity English text, Book of Common Prayer
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TEXTS AND TRANSLATIONS Lo, How a Rose E’er Blooming Es ist ein Ros’ Entsprungen (1609)
Michael Praetorius
The imagery of the rose as Mary was common in medieval thought. Many carols are rooted in this vision, including this well-known sixteenth-century chorale first appearing in print in 1599. German composer Michael Praetorius, whose prolific output includes a nine-volume collection of 1,244 chorale and song arrangements, made this harmonization of the first two verses, which are based on St. Luke I, II and Isaiah XI: 1-2. American musicologist Theodore Baker translated them into English as “Lo, How a Rose E’er Blooming.” Lo! how a Rose e’er blooming From tender stem hath sprung! Of Jesse’s lineage coming As men of old have sung. It came, a flow’ret bright, Amid the cold of winter, When half-spent was the night.
Isaiah ‘twas foretold it, The Rose I have in mind. With Mary we behold it, The Virgin Mother kind. To shew God’s love aright She bore to men a Saviour When half-spent was the night. — Speyer Hymnboo, Cologne, 1599 Trans. Theodore Baker, 1894, (1851-1934)
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TEXTS AND TRANSLATIONS 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 Adapt. William Cummings arr. Willcocks
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!
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!
Bring a Torch, Jeanette, Isabella
—Charles Wesley (1707-1788), alt.
Fourteenth-century Provence Carol arr. Keith Chapman
Virtuoso organist Keith Chapman presided at the world’s largest operational pipe organ, located in Philadelphia’s John Wanamaker store, for twenty-three years, until he was killed in the crash of his private plane he was piloting. He created this rollicking arrangement of the fourteenth-century tune Un flambeau, Jeanette, Isabelle—one of many Provençal carols French children, often dressed as shepherds, sing as they walk to Midnight Mass in torchlight processions on Christmas Eve.
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BIOGRAPHIES Steven Fox is Music Director of the Cathedral Choral Society and Artistic Director of The Clarion Choir and The Clarion Orchestra in New York. He founded Musica Antiqua St. Petersburg as Russia’s first periodinstrument orchestra at the age of 21, and from 2008 to 2013 he was an Associate Conductor at New York City Opera. He has also served as Assistant Conductor for the Metropolitan Opera Lindemann Young Artists Program and for Juilliard Opera. He has appeared as a guest conductor with many renowned ensembles such as Philharmonia Baroque Orchestra in San Francisco, Handel and Haydn Society in Boston, Juilliard415 at Lincoln Center, the Charleston Symphony Orchestra, the Quebec Symphony Orchestra, Opéra de Québec, Music of the Baroque in Chicago, and the Tucson Symphony Orchestra. Upcoming engagements include the Rochester Philharmonic, Cappella Romana, and a residency at the University of Toronto. His performances have also taken him to some of the most prestigious halls internationally, such as the Grand Philharmonic Hall and Hermitage Theater in St. Petersburg, Russia, the Rachmaninoff Hall in Moscow, the Duke’s Hall of London, and the Vatican.
He has given master classes and clinics at The Royal Academy of Music, Dartmouth College, The Juilliard School and Yale University, where he served for two years as preparatory conductor of the Yale Schola Cantorum.
He has been called ‘an esteemed director’ by The New Yorker and ‘visionary’ by BBC Music Magazine. Of a recent Clarion performance, The New York Times praised his ‘deft guidance’ and wrote: ‘an inspired interpretation. Mr. Fox revealed the drama of the score with vivid dynamic shadings. Intonation and pacing were exemplary throughout the performance.’ In 2017, Steven and The Clarion Orchestra mounted the organization’s first fullystaged opera production, Mozart’s Magic Flute. The production, staged by renowned Canadian director Alain Gauthier, was called ‘a deft reach across two centuries’ by The New York Times and ‘a delight, on all fronts’ by Operamagazine (UK).
George earned the Master of Music degree in organ performance and Certificate in Church Music Studies from the Yale Institute of Sacred Music, and a Bachelor of Music degree from St. Olaf College. Upon graduation from Yale in 2016, George was awarded the Gerre Hancock Fellowship in Church Music by the Association of Anglican Musicians, which he served at Washington National Cathedral before being appointed to the full-time music staff there. Prior to his appointment in Washington, he served as Organ Scholar at Grace Church in New York, and Choirmaster and Organist of Berkeley Divinity School at Yale.
George Fergus serves as the Associate Director of Music and Assistant Organist at Washington National Cathedral. He maintains an active schedule of rehearsals and services in the cathedral’s music program, as well as appearing on the cathedral’s online stream of worship services and recitals, including the annual Christmas Day, Easter Day, and Independence Day concerts. He accompanied the Cathedral Choristers on their concert tour to England in 2017, and the Girls Cathedral Choir on their concert tour to Texas in 2018. He has appeared on concerts with Washington Choral Arts Society, the Cathedral Choral Society, and the American University Chorus. During his tenure at the National Cathedral, he played for the funeral services of Senator John McCain and President George H. W. Bush.
Steven was named an Associate of the Royal Academy of Music, London, in 2010 ‘for significant contributions to his field in music,’ and has received GRAMMY nominations for his first two recordings with The Clarion Choir: Steinberg’s Passion Week (2016) and Kastalsky’s Memory Eternal (2018). In May 2018, Steven conducted The Clarion Choir in a performance with Madonna at the Met Gala, including the world premiere of ‘Dark Ballet’. 16
BIOGRAPHIES The Moscow-born composer Alexander Levine (b. 1955) studied piano, clarinet and guitar, and whilst a student at the Gnessin Academy of Music became Principal Guitarist in the Russian National Radio and Television orchestra. As a composer in Russia he worked with highly acclaimed national artists, and won prestigious awards from the Russian National Radio and Television. In 1992 he moved to the UK where he was awarded a scholarship to study for a Masters in composition with Gary Carpenter and Simon Bainbridge at the Guildhall School of Music and Drama. He started his UK career working on a number of theatre projects. As a composer, arranger and music director in the UK Alexander Levine has worked on theatre productions including The Beggar’s Opera and Love’s Labour’s Lost. His 1994 commission to write music for the Barbican Centre’s production of War and Peace was a critical success. The Times wrote: “It is not often you go to the theatre and get an orchestra thrown in: not providing cues for numbers but underscoring dialogue with a grand swell, like a soundtrack for the big screen.” He has collaborated with artists as diverse as The Mariinsky Opera Choir, The Russia State Orchestra “Novaia Rossia”, Maria Freedman, Christian Forshaw, The Stanzeleit/Jacobson Duo, Darragh Morgan, Mary Dullea, The Fidelio Trio, Konstantin Boyarsky, Jonathan Powell, The Tippett Quartet, The Orlando Consort, The BBC Singers, The 21st Century Choir, Tenebrae, VOCES8, The King’s Singers, Paul Phoenix and Apollo5, St George’s Cathedral Consort Perth and The Bel Canto Chorus of Milwaukee. His music has been recorded by the Quartz Saxophone Quartet, the BBC Singers, and by the chamber choir The BBC Singers recorded his major choral work ‘Kolokola’ on the Albany Records, and the Tenebrae choir who have recorded two of his major choral works on the Signum Classics label: Prayers for Mankind and The Divine Liturgy of St John Chrysostom. Alexander Levine’s works are published by Edition Peters, with the catalogue expanding alongside his commissions.
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Winner of the 2019 American Prize, Seraph Brass is a dynamic brass ensemble drawing from a roster of America’s top female brass players. Winner of a Silver Medal Global Music Award, Seraph Brass released its debut album, Asteria, on Summit Records. Seraph Brass will begin their first residency at the Walton Art Center’s Artosphere Festival in June 2019 alongside the Dover Quartet in the festival orchestra. Seraph has toured throughout the U.S., Mexico, and Europe. Seraph has performed multiple concerts at the Lieksa Brass Week in Finland, and it was the featured ensemble at the International Women’s Brass Conference. Other performance highlights include the Forum Cultural Guanajuato in León, Mexico, Dame Myra Hess Concerts in Chicago (IL), Gettysburg Concert Association (PA), and the Norton Museum of Art in West Palm Beach (FL). Seraph has toured extensively as Allied Concert Services artists. Members of Seraph have performed with Adele on her 2016 U.S. tour. Seraph has commissioned works by Catherine McMichael and Rene Orth, featured on Asteria. Seraph has also premiered Lucy Pankhurst’s Ouroboros with euphonium soloist Hélène Escriva at the International Women’s Brass Conference, and has many original arrangements by trumpeter Jeff Luke, featured on their two albums.
BIOGRAPHIES Edward M. Nassor is the carillonneur of Washington National Cathedral in Washington, D.C., and the DirectorCarillonneur of the Netherlands Carillon in Arlington, Virginia. Nassor plays weekly recitals and preludes for Sunday and special services on the 53-bell Kibbey carillon at the Cathedral. Last year he played for Senator John McCain’s funeral, the interment of Matthew Shepard, and the state funeral for President George H.W. Bush. In performance with the Cathedral Choral Society, Nassor has played the carillon for the Coronation Scene in Mussorgsky’s opera, Boris Godunov, Tchaikovsky’s 1812 Overture, and the premier of a Christmas carol commissioned by the Cathedral Choral Society from Sir David Willcocks, Hark! How all the welkin rings. Nassor’s performances have been featured on the Cathedral Choral Society recordings, The Joy of Christmas, Welcome All Wonders, and Hymns Through the Centuries, Volumes I and II. Outside of his work at the Cathedral, as the DirectorCarillonneur of the Netherlands Carillon, Nassor schedules and performs in a summer recital series sponsored by the National Park Service. He also performs for special events at the Netherlands Carillon, including an annual wreathlaying ceremony at the tower by the Royal Embassy of the Netherlands. Nassor began his carillon studies at Virginia Commonwealth University under Lawrence Robinson, later qualifying as a Carillonneur member of the Guild of Carillonneurs in North America after studying with Frank P. Law, of Valley Forge, Pennsylvania, before finishing his studies as a Fulbright scholar at the Netherlands Carillon School in Amersfoort, The Netherlands, studying with Todd Fair and Jacques Maassen. Nassor earned his Bachelor of Music degree at Virginia Commonwealth University and his Master of Music and Doctorate of Musical Arts Degree at the Benjamin T. Rome School of Music at The Catholic University of America. Nassor is also the Music Director at Merritt Academy in Fairfax, Virginia, where he teaches music and directs the Merritt Academy Handbell Choir. His carillon arrangements and compositions are published by American Carillon Music Editions and the Guild of Carillonneurs in North America. He has recorded for Angel/EMI, Centaur and Gothic Records. His live carillon
performances have been featured on ABC Television’s Good Morning America, NBC Television’s The Today Show, and the Voice of America. Led by Artistic Director Greg Watkins, The MusicianShip Washington Youth Choir is an artistically elite vocal ensemble dedicated to educating high school students and inspiring audiences. They have performed with notable greats such as Diana Ross, Garth Brooks and India Arie while also gracing the stage for organizations like Booz Allen Hamilton, National Geographic and Microsoft! This is their first appearance with Cathedral Choral Society after appearing at the Annual High School Choir Fest for the past 8 years. Instagram Page: @washingtonyouthchoir
High School Choir Festival
WEDNESDAY, JANUARY 29 WASHINGTON NATIONAL CATHEDRAL We are thrilled to present our 15th annual DC High School Choir Festival, featuring over 300 students from public, private, and charter schools across DC. In the evening, all participating choirs present a concert which culminates their work together. All are welcome to attend! 7:30 pm. Free. 18
BIOGRAPHIES Assistant Conductor and Pianist Joy Schreier is praised by Plácido Domingo as an “orchestra at the piano” and The Washington Post as a “responsive accompanist” and “ideal support” at the piano. She has been presented in recital at Carnegie Hall, Lincoln Center, Merkin Hall, the White House, Kennedy Center, Corcoran Gallery, National Gallery of Art, National Museum for Women in the Arts, National Portrait Gallery, Phillips Collection, Cosmos Club, Strathmore Hall, the Embassies of Austria, Australia, Bulgaria, Germany, Italy, Korea, Poland, Russia, Taiwan, Anderson House, and recital halls throughout the country. Internationally, she has performed throughout Europe and Asia. Upcoming recording releases include a CD of songs and vocal chamber works with soprano Laura Strickling. Concert engagements include a sold-out Carnegie Hall debut at Weill Recital Hall with soprano Danielle Talamantes and a recital series with mezzo-soprano Isabel Leonard for the Marilyn Horne Foundation. An avid chamber musician, since 2010 Schreier has been official pianist of the Washington International String & Voice Competitions at the Kennedy Center. She served as official pianist for the Metropolitan Opera National Council Auditions, Assistant Conductor at the Washington National Opera and coach for the Domingo-Cafritz Young Artist Program, as well as Keyboard Artist of the Washington Bach Consort. She received her Doctorate in Accompanying and Chamber Music at the Eastman School of Music under Dr. Jean Barr where she was the recipient of the Barbara Koeng Award for Excellence in Vocal Accompanying.
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The Cathedral Choral Society is the resident symphonic chorus of Washington National Cathedral. Founded in 1941 by Paul Callaway, the 120-voice chorus is the oldest symphonic choral group in Washington, DC. From 1985 to 2016, J. Reilly Lewis served as its second Music Director, leading performances ranging from symphonic choral masterpieces to world premieres. Steven Fox is the organization’s third Music Director. The Cathedral Choral Society presents a concert series with four programs at Washington National Cathedral. In addition to its concert series, the chorus has performed around the city and on nationwide radio and television. The Cathedral Choral Society has appeared at the Kennedy Center with The Washington Ballet, the Juilliard Orchestra, in performances sponsored by Washington Performing Arts Society, and with the National Symphony Orchestra under Leonard Slatkin and other conductors. In 2014, the chorus performed Bernstein’s Chichester Psalms with the Baltimore Symphony Orchestra at Meyerhoff Symphony Hall in Baltimore and Strathmore in Bethesda. The chorus has a remarkable history of championing new music, including eight major commissions for new symphonic choral works and an annual commission for a new Christmas carol. Each season the chorus builds on a tradition of showcasing emerging soloists as well as internationally known artists. The Cathedral Choral Society’s discography features ten recordings made at Washington National Cathedral. The Cathedral Choral Society offers education programs, including an annual High School Choir Festival featuring choirs from across Washington, DC.
CATHEDRAL CHORAL SOCIETY SOPRANO Amanda Ayers Jessica Barness** Victoria Barrow Joanne Casey Tari Cooper* Marcia D’Arcangelo Lesley Earl Kaylee Folsom Melissa Fox Ariana Frascatore Renee Gamache Hope Hukkeri Elizabeth Hutcheson Elizabeth Konneker Chana Kuhns Carys Kunze Lori Kurtyka Boyoung Lee
ALTO Molly Lowder Wendy Lubarksy Chris Markus Marianna J. Martindale Emily McCullough Jenny Nathans Fotina Neumenko Catherine Ort-Mabry Kimberly Pacala Felicia Pagden Frances H. Pratt* Rebecca Shipan Helen St. John Megan Sullivan** Dianne Vandivier Jelena Vranic Elizabeth Owens Wakefield Celeste Wanner
TENOR Scott Alman Douglas K. Barry Steven Blondo Ross Bradford* Gregg Breen David Costanza David Dietly Brett Ewer Jeremy Gosbee John W. Harbeson Joshua Hermias Peter Lee
Salma Al-Shami Dr. Violet Baker Hannah Baslee Vanessa Bateman Ivy Bostock George Branyan Kathleen Brion Laurene Church Laura Connors Robin Costanza Kayli Davis Catie DeLiso Kehan DeSousa Cindy Drakeman Holly Filipiak Susan Grad** Jennifer Griffiths Orudjev Kim Harris
Pam Hazen** Sarah B. Holmes Kyla Kitamura Beth L. Law Sheila N. McJilton Julie Meadows Laura Miller* Mary Olch Sarah Petroni Sarah Phillips Teresa A. Polinske Larisa Prisacari Eleanor Slota Susan Stanford Patricia Stephenson Cecelia Tamburro Kathy Welling*
BASS James M. E. Mixter, Jr. Jack Moyer** Thomas Mugavero Christine Mulligan* Robert Porter Robert Reeves Martin Rosenthal** John Schaettler Martyn Smith MatthewTaylor D.C. Washington
Ernest Abbott Joshua Blume Christopher L Buechler* Kelly Cameron Jack Campbell Casey Cook David D’Auria David Dalton John Doyon Glenn S. Griffiths** Lee Larson Ian Matthews Michael McCarthy Scott McCorkindale Armand R. Peterson Richard Rattan
Raymond Rhinehart Christopher G. Riggs Stephen Roberts Gary Roebuck Deion Roulhac James Schaller David Shilton Arthur Smith** L. Bradley Stanford Richard Wanerman* Nicholas Wathen Richard Weinberg Emerson Wells Clifton West III Ellis Wisner
* Section Coordinators ** Alternates
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GUEST ENSEMBLES THE MUSICIANSHIP WASHINGTON YOUTH CHOIR
SERAPH BRASS
Greg Watkins, Artistic Director John Kennibrew, Assistant Director Shekinah Hockenhull, Program Manager/Event Liaison
Amy McCabe, trumpet Jean Laurenz, trumpet Rachel Velvikis, horn Hana Beloglavec, trombone Gretchen Renshaw, tuba Sidonie McCray, percussion
Malachi Johnson Kyresha Bowman Joshua Lynch Jobari Yarborough Isaiah King Antonio Hammett Dachauna Johnson Eli White Alana Harris Amya Foster Romont Randolph William Parris Dashia Drummond Nathalie Jones DeAndre Williams ShaKayla White Benjamin Rikhoff, bass
Support the Cathedral Choral Society by joining AmazonSmile! AmazonSmile is a simple and automatic way for you to support your favorite charitable organization every time you shop, at no cost to you. Simply visit SMILE.AMAZON.COM, login to your account, and search for the “Cathedral Choral Society” in the charity name field. Then, save smile.amazon.com in your bookmarks and return to it when you need to make an Amazon purchase. You’ll find the exact same experience as Amazon.com, with the added bonus that Amazon will donate a portion of the purchase price to the Cathedral Choral Society. 21
THANK YOU The Cathedral Choral Society is pleased to acknowledge the following contributors to our Annual Fund Campaign between August 26, 2018 - November 26, 2019. Gifts made in Memory or Honor of another person are listed on page 18. Thank you. Your ongoing and generous contributions support our vision to engage people in the extraordinary power of FOUNDER’S CIRCLE $10,000+ Anonymous Ernest*^ and Catherine Abbott Thomas P. Gallagher
Margarita Ossorio-Goldman^ and Daniel Goldman
Stephen S. Roberts*
Sarah B. Holmes*^ and John B. Morris Jr. Celeste Avril Letourneau Lolly and Jim* Mixter Thomas C. Mugavero*^ Gerald W. and Alice Padwe
John E. Moyer* and Jane R. Passman Martin Rosenthal*^ and Corinne Axelrod L. Bradley* and Susan*^ Stanford Gene^ and Sheryl Tunison
CONDUCTOR’S CIRCLE $5,000+ Walter^ and Joanne Doggett Cynthia L. Drakeman* and Richard Wanerman* Jeremy Gosbee*^ Patricia D. Hevner^ CHORUS’ CIRCLE $2,500+ Susan E. Carmel Charles Leonard Egan Connie Eggers† Susan Grad* Richard and Cecilia Larkin
Virginia C. Mars^ Catherine E. Ort-Mabry* and Brian Mabry Frances H. Pratt* Raymond Rhinehart* and Walter Smalling, Jr. Gary B. Roebuck*^
ENCORE LEVEL $1,000+ Jeanne Buster Laura M. Connors* Blanche L. Curfman Alice M. Denney Nancy M. Folger Cary C. Fuller Mary-T^ and Spencer Gordon
Robert W. Jerome and William J. Courville C. F. Muckenfuss III and Angela Lancaster J. Reilly† and Beth Lewis Samuel and Tsai-Hong Miller Mary B. Olch* Robert* and Lissa Reeves John F. Schaettler*
James* and Madeleine Schaller T. Michael and Linda Shortal Guy and Margaret Steuart Elinor and James Vaughter Andrea Wade Nancy Wiecking * Chorus member ^ Board Trustee † Deceased
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THANK YOU SUSTAINER LEVEL $500+ American Fundraising Foundation, Inc. Violet Baker* Jessica Barness* Kathleen A. Brion* Jack Campbell* and Family Alice M. Denney Lynn B. Dutton Brett Ewer* Holly* and Trevor Filipiak
Embry Howell Peter* and Lauralyn Lee Barbara and John McGraw Kimberly* and Mark Pacala Dale and Anthony Pappas Scott and Nancy Pinckney Harold I. and Frances G. Pratt Lynn Rhomberg
Linda and Richard Roeckelein Eric P. Andersen and W. David Young II Megan Sullivan*^ Mr. Leslie C. Taylor C. Thomas Van Alen Thomas and Linda Veblen Ellis Wisner* Margot T. Young
Glenn S.* and Judith M. Griffiths Paul and Ellen Hoff Robert and Parma Holt The Keating Foundation Gary and Judy Kushnier Wendy Palmby Lubarsky* Leander and Stephanie McCormick Goodhart Bob Kline and Elaine Mills Mark W. Ohnmacht Joan and Robert Pirie
Lise M. Pommois Jacqueline K. Prince Georgene Rasmusson Suzanne and Robert Rooney Ann Imlah Schneider David* and Mary Shilton James D. Toews Elizabeth Owens Wakefield* D. C. Washington* Kathleen M. Welling* Sinclair Winton
George E. Groninger Douglas Gustafson George Hanc Frederick S. Hird Rosella G. Homan Oliver B. John Martha and W. Robert Johnson Martha Jones Mr. and Mrs. Louis E. Kahn Mary Ruth Keller Richard and Jeanne Lambert George Londeree Rosemary D. Lyon Alaster MacDonald James W. and Kathleen E. Madden Yardley M. Manfuso Christina M. Markus* Ann McCormick Robert Turner Mead Martha Miller Christine* and James Mulligan Coleman H. and Elizabeth B. O’Donoghue Warren and Marianne Pfeiffer
Rondi K. Pillette and Steven and Jake Levin Robert* and Elaine Porter Markley Roberts Charles and Joanne Schwarz Patrick Shannon James and Linda Sheridan Carol Hill Sox Patricia Stephenson* Keiko Stusnick Alice Sziede Matt Taylor* Ann Tickner Dianne Vandivier* Richard and Virginia Wagner Rob and Linda Wanerman Phyllis C. Wertime Virginia L. White Evelyn D. Woolston-May
PATRON LEVEL $250+ Anonymous Michael Mazzuchi and Anne Andrews Margaret M. Ayres and Stephen Case D. Philip Baker Catherine H. Beauchamp David and Jane Berteau Gregg M. Breen* Helen Carras James W. Clay Vera I. Connolly Michael and Susan Eanes DONOR LEVEL $100+ Anonymous (2) Marjorie Abbot Doug Barry* and Liz Eder Gordon L. Biscomb Andrew and Kaye Boesel Herman Bostick Christopher L. Buechler* Michael F. Butler Timothy and Patricia Carrico Marilyn Clark June Colilla Frances D. Cook Roberta and Philip Cronin John Da Camara Marcia D’Arcangelo* Christine C. De Fontenay George W. Denlein Sharrill Dittmann John Doyon* Mary Fisher Georgina Leslie Geiger Cynthia Livingstone Gibert Neil and Carolyn Goldman
* Chorus member ^ Board Trustee † Deceased
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THANK YOU The Cathedral Choral Society is pleased to acknowledge the following contributions made in memory or honor to our Annual Fund Campaign between August 26, 2018 - November 26, 2019. GIFTS IN HONOR In Honor of Ellis Wisner Judith Hope
In Honor of Kathleen Welling Nivedita Niyogi
In Honor of Tom Mugavero Anonymous
In Honor of Mary-T. Gordon Tom Beaty and Anne Mettringer
In Honor of Todd Fickley Laurene* and Colin Church
In Honor of Tom and Patti Mugavero Elizabeth Sherfy
In Honor of Margot T. Young Kathleen W. and Walter Weld In Honor of Frances H. Pratt Chuck Pratt and Alex England
In Honor of Ann Ingram Laurene* and Colin Church In Honor of Beth Lewis Laurene* and Colin Church
In Honor of Kehan Desousa Susan T. Grant In Honor of Brad Stanford Mary Dodson
GIFTS IN MEMORY In Memory of Charles S. Tidball Mary B. Olch* Blanche L. Curfman Linda Lear
In Memory of John D. Van Wagoner Beth Lewis Mary-T^ and Spencer Gordon Blanche L. Curfman
In Memory of Donald and Nancy Peck Stephen and Maryam Peck
In Memory of Ruth Harwood Mary-T^ and Spencer Gordon
In Memory of John and Friede Brion Kathleen Brion*
In Memory of Warren Johnson Bill Koerner
In Memory of Steven Brion-Meisels Kathleen Brion*
In Memory of James W. Stone Crawford Feagin Stone
In Memory of Jane Lester Laurene* and Colin Church
In Memory of Charles W. McClendon Leslie McClendon
In Memory of J. Reilly Lewis Beth Lewis Louis E. and Ruth H. Kahn Patricia Stephenson* In Memory of Dariel Van Wagoner Beth Lewis In Memory of Milton Rose Ingrid R. Rose
In Memory of Glen Mitchell Mary-T^ and Spencer Gordon
In Memory of Lee Tidball Laurene* and Colin Church
In Memory of my Grandmother Sylvia Hope Hukkeri
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THANK YOU HARMONIA SOCIETY The Cathedral Choral Society’s Harmonia Society recognizes those individuals who have, with special thought and foresight, included the Cathedral Choral Society in their estate plans. Their wish and vision is to ensure the stabilty and success of this choral organization for the next generation of singers and audiences. We are grateful to each member of the Harmonia Society for their vision and generous support. Anonymous (2) Ernest*^ and Catherine Abbott Catherine H. Beauchamp Laurene Church* Judy Davis David Dietly* Charles Leonard Egan Arthur and Connie Eggers Thomas P. Gallagher^ Mary-T Gordon^ Anne R. Harris ^
William B.† and Ruth L.† Harwood Patricia D. Hevner^ Ann Ingram Richard* and Cecilia Larkin William M. Leach J. Reilly† and Beth A.V.* Lewis Susan McDaid* Lolly and Jim*^ Mixter Martha A. Morris Gerald W.^ and Alice Padwe Raymond Rhinehart*
Carla L. Rosati Martin Rosenthal*^ and Corinne Axelrod Margaret Shannon* T. Michael and Linda Shortal John† and Dariel† Van Wagoner Nancy Wiecking Martha Wilson Evelyn D. Woolston-May
If you have remembered the Cathedral Choral Society in your estate planning and do not see your name above, please let us know. To reach us or to learn more about the Harmonia Society, contact Christopher Eanes at 202-537-5524.
The Cathedral Choral Society is pleased to recognize Government, Foundation, and Corporate support to our Annual Fund Campaign between August 26, 2018 - November 26, 2019. THANK YOU TO OUR GOVERNMENT SUPPORTERS DC Commission on the Arts and Humanities U.S. Commission of Fine Arts: National Capital Arts and Cultural Affairs Program
THANK YOU TO OUR FOUNDATION SUPPORTERS Anonymous Dallas Morse Coors Foundation Dimick Foundation
Edelman Community Foundation Mars Foundation
The Meredith Foundation The Richard Eaton Foundation
THANK YOU TO OUR CORPORATE SUPPORTERS Corporate Champion $2,000+ Exxon Mobil Foundation Omni Shoreham Hotel Deloitte
Corporate Investor $1,500+ IBM Sentinel Wealth Management
Corporate Advocate $500+ River Oaks Veterinary Clinic Starbrite Dental, the Office of Dr. Maryam Seifi American Fundraising Foundation
Corporate Supporter $100+ Messina, Canal, & Moawad, DDS Amazon Smile Foundation
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Corporate Leader $1,000+ Bogart Wealth Managment, LLC
THANK YOU BOARD OF TRUSTEES Ernie Abbott Theresa Caragol David Dietly Walter B. Doggett III, President Christopher Eanes, ex officio Steven Fox, ex officio
Jeremy Gosbee, Secretary Patricia Hevner Sarah Holmes, Vice President Tom Mugavero Margarita Ossorio-Goldman Andrew Prior
Gary Roebuck Martin S. Rosenthal Susan Stanford Nick Stokes Megan Sullivan Gene Tunison, Treasurer
HONORARY TRUSTEES
Mary-T. Gordon
Virginia C. Mars
CATHEDRAL CHORAL SOCIETY STAFF Emily Buttram, Development Manager Morgan Callwood, Operations Coordinator Christopher Eanes, Executive Director Steven Fox, Music Director
Anna Lipowitz, Director of Artistic Operations Courtney Ruckman, Marketing Coordinator Joy Schreier, Pianist & Assistant Conductor
CONCERT SUPPORT LIBRARY COMMITTEE Patricia Stephenson Violet Baker Joanne Casey
Kimberly Pacala Robert Porter
PROGRAM ANNOTATOR Margaret Shannon
SPECIAL THANKS The Cathedral Choral Society would like to recognize and thank the following people for making today’s concert possible: WASHINGTON NATIONAL CATHEDRAL STAFF The Very Rev. Randolph Marshall Hollerith, Dean Cannon Michael McCarthy, Director of Music Valerie Ciccone, Director, Office of Event Management Aneisha Persuad, Deputy Director, Office of Event Management Sarah Rockwood, Deputy Director, Patron Services Kerry Fergus, Volunteer and Events Manager
Mark Huffman, Technical Director/Audio Engineer Matt Echave, Director or Video Services Gary Ford, Director, Sextons and Housekeeping Sara Kirsch, Events Operations Manager Torrence Thomas, Head Verger Linda Roeckelein, Altar and Flower Guilds Manager
ACOLYTES, WASHINGTON NATIONAL CATHEDRAL Edward Bartram Gabrielle Cestari Colin McLuckie
Rowan Tsao Arrieanna Solomon
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2019.20
Season High School
CHOIR FESTIVAL
WEDNESDAY, JANUARY 29, 7:30PM FREE AND OPEN TO THE PUBLIC
MARCH OF THE
Women
SUNDAY, MARCH 22, 5:00 PM
Fanny Mendelssohn - Ruth Crawford Seeger - Ethel Smyth Lisa Bielawa (world premiere) - Jessie Montgomery (world premiere) Augusta Read Thomas (world premiere)
2019 GALA
La Dolce Vita FRIDAY, APRIL 17, 5:00 PM OMNI SHOREHAM HOTEL
Save the date!
Rossini MESSE SOLENNELLE SUNDAY, MAY 17, 5:00 PM Best-known as a brilliant opera composer, Rossini writes a mass which retains the composer’s flair for high drama. His Petite Messe Solennelle offers moments of energetic spiit and profound, melodic beauty.
Let’s
connect!
@cathedralchoral 27
202-537-2228 CATHEDRALCHORALSOCIETY.ORG