2017.18 CONCERT PROGRAM
Mozart
REQUIEM
SUNDAY, OCTOBER 15, 4:00 PM WASHINGTON NATIONAL CATHEDRAL
Greetings, We are so pleased to welcome you to the first concert of our 2017.18 season! Perhaps now more than ever, we are all seeking experiences that remind us of our shared humanity. Music is uniquely suited to do just that. This afternoon’s concert is full of profound, stunningly beautiful music by Morten Lauridsen and Mozart. Thank you for joining us. We are very pleased to welcome our guest conductor Kent Tritle today. Called “the brightest star in New York’s choral music world” by The New York Times, Kent is Director of Cathedral Music and Organist at the Cathedral of St. John the Divine in New York City; Music Director of Musica Sacra; and Music Director of the Oratorio Society of New York. It has been a privilege to have him working with our chorus since early September. We would love to welcome you back for the rest of our concerts this season! We are committed to creating concert experiences that are engaging and relevant to today. Our well-loved Joy of Christmas concerts in December will be a highlight of your holiday season, and a brilliant program led by guest conductor Donald Nally in March will inspire you. We are particularly looking forward to our May program, which remembers Leonard Bernstein in his centennial year. We’ll focus on his work as an active advocate for peace and nuclear disarmament, highlighting his famous 1973 Concert for Peace in this Cathedral. Enjoy the concert!
Genevieve Twomey Executive Director
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Mozart REQUIEM SUNDAY, OCTOBER 15, 4:00 PM
WASHINGTON NATIONAL CATHEDRAL
Kent Tritle, guest conductor Danielle Talamantes, soprano Sara Murphy, mezzo-soprano John Matthew Myers, tenor Matt Boehler, bass Cathedral Choral Society Lux Aeterna I. II. III. IV. V.
Introitus In Te, Domine, Speravi O Nata Lux Veni, Sancte Spiritus Agnus Dei - Lux Aeterna
Requiem in D Minor, K. 626 I. II. III. IV. V. VI. VII. VIII.
Morten Lauridsen
Wolfgang Amadeus Mozart
Introitus Requiem Kyrie Sequenz No. 1 Dies irae No. 2 Tuba mirum No. 3 Rex tremendae No. 4 Recordare No. 5 Confutatis No. 6 Lacrimosa Offertorium No. 1 Domine Jesu No. 2 Hostias Sanctus Benedictus Agnus Dei Communio Lux aeterna
Any taking of photographs or unauthorized recording of this concert is prohibited.
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PROGRAM Lux Aeterna (1997)
Morten Lauridsen (b. 1943)
I simply wanted to write a beautiful, quiet meditation on the theme of illumination, so that it would have a transformative experience and connect people with something beyond. Often called one of the twentieth century’s most influential choral composers, Morten Lauridsen composes on a secluded island “in the company of seagulls, eagles, and lapping waves.” Located off the coast of Washington State in the San Juan Archipelago—with no grid electricity or municipal water supply—Waldron Island (population 104) is a throwback to simpler times. His affinity for Waldron dates to his childhood, when an aunt and uncle summered there. In 1975, he bought ‘Crum’s Castle,’ the old ramshackle general store, and had a fifty-dollar piano brought by barge across the water. In the solitude of Crum’s Castle, he has created many of his most recognized choral works, including Lux Aeterna, O Magnum Mysterium, and Sure on This Shining Night. Lux Aeterna, for chorus and chamber orchestra, was composed for the Los Angeles Master Chorale and its music director Paul Salamunovich (1927-2014), who premiered the work at the Dorothy Chandler Pavilion on April 13, 1997. Here, in his own words penned on Waldron Island in the summer of 2008, Lauridsen explains the origin of Lux Aeterna and each of its five connected movements. “I composed Lux Aeterna in response to my Mother’s final illness and found great personal comfort and solace in setting to music these timeless and wondrous words about Light, a universal symbol of illumination at all levels—spiritual, artistic, and intellectual.” “In each of my eight vocal cycles I have designed the musical materials to complement the style and content of the texts, ranging from atonal songs on abstract Lorca poems about time and night to the complex, thorny harmonies of the passionate Madrigali to the softer chords and tuneful melodies of Rilke’s Les Chansons des Roses. For the Lux Aeterna I chose as my point of departure the sacred music of the late Renaissance, especially that of Josquin des Prez, to create a quiet, direct, and introspective meditation on Light, using primarily the consonant harmonies, intricate counterpoint, formal procedures, and chant-like melodic lines of that era. “The work opens and closes with the beginning and ending of the Requiem Mass, with the central three movements drawn respectively from the Te Deum, O Nata Lux, and Veni, Sancte Spiritus. The opening Introitus introduces several themes that recur later in the work and includes an extended canon on “et lux perpetua.” In Te, Domine, Speravi contains, among other musical elements, the cantus firmus “Herzliebster Jesu” (from the Nuremberg Songbook, 1677) and a lengthy inverted canon on “fiat misericordia.” O Nata Lux and Veni, Sancte Spiritus are paired songs, the former an a cappella motet at the center of the work and the latter a spiritual, jubilant canticle. A quiet setting of the Agnus Dei precedes the final Lux Aeterna, which reprises the opening section of the Introitus and concludes with a joyful and celebratory Alleluia.” Morten Lauridsen is Distinguished Professor of Composition at the University of Southern California Thornton School of Music, whose faculty he joined in 1967. He was composer-in-residence of the Los Angeles Master Chorale from 1994 to 2001. His works, including eight vocal cycles and a series of sacred motets, are regularly performed throughout the world and have been recorded on over 200 CDs, several of which have received Grammy nominations. Named an “American Choral Master” by the National Endowment for the Arts in 2005, he was awarded the 2007 National Medal of Arts, the highest artistic award in America, “for his composition of radiant choral works combining musical beauty, power, and spiritual depth.”
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PROGRAM I. INTROITUS Requiem aeternam dona eis, Domine: et lux perpetua luceat eis. Te decet hymnus Deus in Zion, et tibi redetur votum in Jerusalem: exaudi orationem mean, ad te omnis caro veniet. Requiem aeternam dona eis, Domine: ex lux perpetua luceat eis. II. IN TE, DOMINE, SPERAVI Tu ad liberandum suscepturus hominem non horruisti Virginis uterum. Tu devicto mortis aculeo, aperuisti credentibus regna coelorum. Exortum est in tenebris lumen rectis. Miserere nostri, Domine, miserere nostri. Fiat misericordia tua, Domine, super nos quemadmodum speravimus in te. In te Deomine, speravi: non confundar in aeternum. III. O NATA LUX O nata lux de lumine, Jesu redemptor saeculi, dignare clemens supplicum laudes preces que sumere. Qui carne quondam contegi dignatus es pro perditis, Nos membra confer effici, Tui beati corporis.
Rest eternal grant to them, O Lord, and let perpetual light shine upon them, A hymn befits thee, O God in Zion, and to thee a vow shall be fulfilled in Jerusalem: Hear my prayer, for unto thee all flesh shall come. Rest eternal grant to them, O Lord, and let perpetual light shine upon them. —From the Requiem Mass To deliver us, you became human. and did not disdain the Virgin’s womb. Having blunted the sting of death, You opened the kingdom of heaven to all believers. A light has risen in the darkness for the upright. Have mercy upon us, O Lord, have mercy upon us. Let thy mercy be upon us, O Lord, as we have trusted in thee. In thee, O Lord, I have trusted: let me never be confounded. —From the Te Deum O born light of light, Jesus, redeemer of the world, mercifully deem worthy and accept the praises and prayers of your supplicants. Thou who once deigned to be clothed in flesh for the sake of the lost ones, grant us to be made members of your holy body. —Office Hymn at Lauds on the Feast of the Transfiguration
IV. VENI, SANCTE SPIRITUS Veni, Sancte Spiritus, Et emitte coelitus Lucis tuae radium. Veni, pater pauperum, Veni, dator munerum, Veni, lumen cordium.
Come, Holy Spirit, Send forth from heaven The ray of thy light. Come, Father of the poor, Come, giver of gifts, Come, light of hearts.
Consolator optime, Dulcis hospes animae, Dulce refrigerium. In labore requies, In aestu temperies, In fletu solatium.
Thou best of Consolers, Sweet guest of the soul, Sweet refreshment. In labor, thou art rest, In heat, the tempering, In grief, the consolation.
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PROGRAM O lux beatissima, Reple cordis intima Tuorum fidelium. Sine tuo numine, Nihil est in homine, Nihil est innoxium.
O Light most blessed, Fill the inmost heart Of all thy faithful. Without your grace, There is nothing in us, Nothing that is not harmful.
Lava quod est sordidum, Riga quod est aridum, Sana quod est saucium. Flecte quod est rigidum, Fove quod est frigidum, Rege quod est devium.
Cleanse what is sordid, Moisten what is arid, Heal what is hurt. Flex what is rigid, Fire what is frigid, Correct what goes astray.
Da tuis fidelibus, In te confidentibus, Sacrum septenarium. Da virtutis meritum, Da salutis exitum, Da perenne gaudium.
Grant to thy faithful, Those trusting in thee, Thy sacred seven-fold gifts. Grant the reward of virtue, Grant the deliverance of salvation, Grant everlasting joy. —Sequence for Mass at Pentecost
V. AGNUS DEI - LUX AETERNA Agnus Dei, qui tollis peccata mundi, dona eis requiem.
Lamb of God, who takest away the sins of the world, grant them rest.
Agnus Dei, qui tollis peccata mundi, dona eis requiem.
Lamb of God, who takest away the sins of the world, grant them rest.
Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam.
Lamb of God, who takest away the sins of the world, grant them rest everlasting.
Lux aeterna luceat eis, Domine: Cum sanctis tuis in aeternum: quia pius es.
May light eternal shine upon them, O Lord, in the company of thy Saints for ever and ever; for thou art merciful.
Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.
Rest eternal grant to them, O Lord, and let perpetual light shine upon them.
Alleluia. Amen.
Alleluia. Amen. —From the Requiem Mass Translation © Copyright 1988 by earthsongs. Reprinted by permission.
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PROGRAM Requiem in D Minor, KV 626
W. A. Mozart (1756-1791) Completed by Franz Xaver Süssmayr (1766-1803)
Did I not say before, that I was writing this Requiem for myself? The Stranger Legend has it that a mysterious stranger called on Mozart in July 1791—the last year of his life—while the composer was completing the final scenes of The Magic Flute, which would become his greatest operatic success. The stranger delivered an anonymous letter offering a generous honorarium for the composition of a requiem mass. In truth, the commission was from Count Franz Walsegg zu Stuppach, a wealthy Viennese musical dilettante who liked to pass off other composers’ work as his own, and who desired a requiem mass to honor the memory of his twenty-oneyear-old wife, who had died five months earlier. The timing was opportune: in May, Mozart had agreed to become Domkapellmeister (Master of the Music) at St. Stephen’s Cathedral. The Requiem would signal his return to sacred music. “And now I must go . . . ” Mozart had asked for four weeks to complete the Requiem, but he returned from Prague exhausted by Leopold II’s coronation as king of Bohemia in September. The intermediary is said to have reappeared, granted him another four weeks and more ducats. Mozart became obsessed with the idea the stranger was a messenger bearing intimations of his mortality. He was sure he had been poisoned. As he became increasingly ill during succeeding months, Mozart worked with a desperate intuition that he was composing his own memorial. Not until 1977 was there scholarly confirmation of the stranger’s tale: Mozart had indeed “beheld a pale horse, and he that sat upon him his name was Death . . .” (Rev. 6:8) And now I must go just as it had become possible for me to live quietly. Now I must leave my art just as I have freed myself from the slavery of fashion, had broken the bonds of speculators, and won the privilege of following my own feelings and composing freely and independently whatever my heart prompted! I must away from my family, from my poor children in the moment when I should have been able better to care for their welfare! (attributed to Mozart on his deathbed) Sister-in-law Sophie Haibel recorded Mozart’s death at fifty-five minutes past midnight on Monday, 5 December 1791. “The requiem lay on the quilt and Mozart was explaining to [Süssmayer] how, in his opinion, he ought to finish it, when he was gone...His last movement was an attempt to express with his mouth the drum passages in the Requiem.” Recent scholarship has also debunked the myth that Mozart was buried in a pauper’s grave. In his preface to the 2017 Bärenreiter score, Harvard musicologist Christoph Wolff cites “newly discovered documents relating to Mozart’s burial, the cost of which...was borne by Mozart’s most loyal patron Baron Gottfried van Swieten.” On the sixth of December, the funeral cortège to St. Stephen’s Cathedral was “led by a cross-bearer, four pall-bearers and four choirboys carrying lanterns. What is particularly important...is the substantiation we have that a requiem mass was celebrated in St. Michael’s Church for the Imperial Royal Chamber Musician and Court Composer Mozart on 10 December 1791. This performance just a few days after Mozart’s death must have been confined to the completed first movement of the Requiem.” The Unfinished Score Mozart’s destitute widow, Constanze, fearing that not only would the remainder of the Count’s honorarium be withheld but that she might be forced to return the amount already paid (and spent), sought someone to complete the Requiem surreptitiously. After she had tried to enlist several other musicians, most notably Joseph Eybler, the work was finally undertaken by twenty-five-year-old Franz Xaver Süssmayr, who had been a pupil of Mozart. The Requiem was completed, paid for, and performed on 14 December 1793, under Count Walsegg’s direction—as his own work—in the Cistercian monastic church at Wiener Neustadt. Almost simultaneously, Constanze Mozart arranged for its performance
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PROGRAM in Vienna at a memorial concert. Subsequently, the Requiem was performed annually on All Saints Day in the Austrian Imperial Chapel. Fragments: Mozart or Süssmayr? Controversy and speculation raged for many years as to how much of the total work had been composed by Mozart. Now, distilled by time and scholarship, the evidence shows that Mozart had completely scored only the opening chorus and had composed the vocal parts and continuo for all of the Sequence. The orchestration of the entire Sequence is the work of Süssmayr. Mozart also had composed, but not orchestrated, the Offertory. The Sanctus and Agnus Dei are entirely the work of Süssmayr. For the Communio, beginning Lux aeterna luceat eis, Süssmayr chose to adapt much of the opening chorus, using Mozart’s own music and orchestration. The Requiem Today After the opening phrases of the Introitus, Mozart used the ancient liturgical psalm tone Tonus peregrinus for the soloist’s entrance on the words “Te decet hymnus,” from Psalm 65. The motif of the fugue that follows bears a strong resemblance to one used in Handel’s 1737 Funeral Anthem for Queen Caroline. As Christoph Wolff points out, “The choral arrangement in Handel’s movement quotes the well-known melody of the two Lutheran songs for the dying: ‘Wenn mein Stündlein vorhanden ist’ and ‘Herr Jesu Christ, du höchstes Gut.’ The Requiem theme has its origins in the first line of the latter sixteenth-century melody.” Contrapuntal devices are deployed throughout the work. The fugues in the opening chorus, “Requiem aeternam” and “Kyrie eleison,” are repeated in the final chorus and two fugues occur in the Domine Jesu Christe chorus at “Ne absorbeat eas” and “Quam olim Abrahae.” The latter is followed by “Hostias et preces tibi,” a quiet prayer written in simple homophonic style, which in turn is followed by a repetition of the “Quam olim Abrahae” fugue. Süssmayr’s fugue at “Hosanna in excelsis” in the Sanctus is also repeated. First Hearings Boston’s Handel and Haydn Society, founded in 1815, is credited with the first American performance in 1826. Audiences in the nation’s capital first heard Mozart’s Requiem during the All Souls Eve service at the Cathedral of St. Matthew the Apostle in 1856. The Evening Star reported an “excellent choir, aided by a most efficient orchestra, commenced that grand chef d’oeuvre of Mozart, The Requiem, never before performed in Washington.” A sermon on the doctrine of Purgatory followed! The Cathedral Choral Society first presented Mozart’s Requiem on May 26, 1946, with the National Gallery Orchestra under the baton of its young founder Richard Bales (1915-1998), one of the Society’s three wartime conductors. The Requiem was repeated a week later in the National Gallery of Art’s East Garden Court. Founding music director, Paul Callaway (1909-1995), conducted four performances during his tenure. The Mozart Requiem was featured in the Callaway memorial concert, led by his successor, J. Reilly Lewis (1944-2016). In 1988, the Society performed Richard Maunder’s newly released edition, based entirely on Mozart’s incomplete autograph and using none of Süssmayr’s contributions. In subsequent concerts, Dr. Lewis returned to the Süssmayr edition, which he likened to “coming home to an old friend.” For this concert, guest conductor Kent Tritle has also chosen the Süssmayr version. —© 2017 Margaret Shannon, program annotator
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PROGRAM I. INTROITUS Requiem aeternam dona eis Domine: et lux perpetua luceat eis. Te decet hymnus, Deus in Sion, et tibi reddetur votum in Jerusalem: Exaudi orationem meam, ad te omnis caro veniet.
Rest eternal grant unto them, O Lord, And let perpetual light shine upon them. Thou, O God, are to be praised in Sion, And unto thee shall the vow be performed in Jerusalem. Thou who hears the prayer, Unto thee shall all flesh come.
II. KYRIE Kyrie eleison. Christe eleison. Kyrie eleison.
Lord, have mercy upon us. Christ, have mercy upon us. Lord, have mercy upon us.
III. SEQUENZ No. 1 Dies irae Dies irae, dies illa, solvet saeclum in favilla: teste David cum Sibylla.
Day of wrath! O day of mourning! See fulfilled the prophets’ warning! Heaven and earth in ashes burning!
Quantus tremor est futurus, quando judex est venturus, cuncta stricte discussurus.
Oh, what fear man’s bosom rends, When from heaven the Judge descends, On whose sentence all depends.
No. 2 Tuba mirum Tuba mirum spargens sonum per sepulchra regionum, coget omnes ante thronum.
Wondrous sound the trumpet flings, Through earth’s sepulchers it rings, All before the throne it brings.
Mors stupebit et natura, cum resurget creatura, judicanti responsura.
Death is struck, and nature quaking, All creation is awaking, To its judge an answer making.
Liber scriptus proferetur, in quo totum continetur, unde mundus judicetur.
Lo! The book exactly worded, Wherein all hath been recorded; Thence shall judgment be awarded.
Judex ergo cum sedebit, quidquid latet apparebit: nil inultum remanebit.
When the Judge his seat attains, and each hidden deed arraigns, Nothing unavenged remains,
Quid sum miser tunc dicturus? Quem patronum rogaturus? cum vix justus sit securus.
What shall I, frail man, be pleading, Who for me be interceding, When the just are mercy needing?
No. 3 Rex tremendae Rex tremendae majestatis, qui salvandos salvas gratis, salva me, fons pietatis.
King of majesty tremendous, who dost free salvation send us, fount of pity, then befriend us.
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PROGRAM No. 4 Recordare Recordare Jesu pie, quod sum causa tuae viae: ne me perdas illa die.
Think, good Jesus! My salvation cost thy wondrous incarnation; leave me not to reprobation.
Quaerens me sedisti lassus: redemisti crucem passus: tantus labor non sit cassus.
Faint and weary, thou hast sought me, on the cross of suffering bought me; shall such grace be vainly brought me:
Juste judex ultionis, donum fac remissionis ante diem rationis.
Righteous judge! For sin’s pollution grant thy gift of absolution before the day of retribution.
Ingemisco tanquam reus: culpa rubet vultus meus supplicanti parce Deus.
Guilty, now I pour my moaning, all my shame with anguish owning; pare, O God, thy suppliant groaning.
Qui Mariam absolvisti, et latronem exaudisti, mihi quoque spem dedisti.
Thou the sinful woman saved; thou the dying thief forgave; and to me a hope vouchsafed,
Preces meae non sum dignae: sed tu, bonus, fac benigne, ne perenni cremer igne.
Worthless are my prayers and sighing, yet, Good Lord, in grace complying, rescue me from fires undying.
Inter oves locum praesta, et ab haedis me sequestra, statuens in parte dextra.
With thy favored sheep O place me, nor among the goats abase me, but to thy right hand upraise me.
No. 5 Confutatis Confutatis maledictis, flammis acribus addictis, voca me cum benedictis.
While the wicked are confounded, doomed to flames of woe unbounded, call me with thy saints surrounded.
Oro supplex et acclinis, cor contritum quasi cinis: gere curam, mei finis. No. 6 Lacrimosa Lacrimosa dies illa, qua resurget ex favilla judicandus homo reus. Huic ergo parce Deus. Pie Jesu Domine, dona eis requiem. Amen.
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Low I kneel, with heart submission, See like ashes my contribution; Help me in my last condition.
Ah! That day of tears and mourning, from the dust of earth returning. Man for judgment must prepare him. Spare, O God, in mercy spare him! Lord all pitying, Jesus blest. Grant them thine eternal rest. Amen.
PROGRAM IV. OFFERTORIUM No. 1 Domine Jesu Domine Jesu Christe, Rex gloriae, libera animas fidelium defunctorum de poenis inferni et de profundo lacu: Libera eas de ore leonis, ne absorbeat eas tartarus, ne cadant in obscuru : sed signifer sanctus Michael repraesentet eas in lucem sanctam: Quam olim Abrahae promisisti, et semini ejus. No. 2 Hostias Hostias et preces tibi Domine, laudis offerimus: tu suscipe pro animabus illis, quarum hodie memoriam facimus: fac eas, Domine, de morte transire ad vitam. Quam olim Abrahae promisisti, et semini ejus. V. SANCTUS Sanctus, sanctus, sanctus Dominus Deus Sabaoth! Pleni sunt caeli et terra gloria tua. Osanna in excelsis.
O Lord Jesus Christ, King of Glory, deliver the soul of all the faithful departed from the pains of hell, and from the pit of destruction; Deliver them from the lion’s mouth, that the grave devour them not, that they go not down to the realms of darkness. But let thy standard-bearer Saint Michael bring them to the holy light which thou has promised in ages past to Abraham and his seed.
Sacrifice and prayer do we offer unto thee, O Lord, with praises. Do thou accept them for the souls departed, in whose memory we make this oblation. Grant them, O Lord, to pass from death into life everlasting As thou has promised in ages past to Abraham and his seed.
Holy, holy, holy, Lord God of hosts. Heavens and earth of full of thy glory. Hosanna in the highest.
VI. BENEDICTUS Benedictus qui venit in nomine Domini. Osanna in excelsis
Blessed is he that cometh in the name of the Lord. Hosanna in the highest.
VII. AGNUS DEI Agnus Dei, qui tollis peccata mundi: dona eis requiem. Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam.
Lamb of God, who takest away the sins of the world, grant them rest. Lamb of God, who takest away the sins of the world, Grant them eternal rest.
VIII. COMMUNIO Lux aeterna luceat eis, Domine: cum sanctis tuis in aeternum, quia pius es. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis. cum sanctis tuis in aeternum, quia pius es.
May light eternal shine upon them, O Lord, With thy blessed ones forever, for thou art gracious. Rest eternal grant unto them, O Lord, and let perpetual light shine upon them. With thy blessed ones forever, for thou art gracious. © 2017 by Bärenreiter-Verlag, Kassel
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BIOGRAPHIES Kent Tritle is one of America’s leading choral conductors. Called “the brightest star in New York’s choral music world” by The New York Times, he is Director of Cathedral Music and Organist at the Cathedral of St. John the Divine in New York City; Music Director of the Oratorio Society of New York, the acclaimed 200-voice volunteer chorus; and Music Director of Musica Sacra, New York’s longest continuously performing professional chorus. In addition, Kent is Director of Choral Activities at the Manhattan School of Music and is a member of the graduate faculty of The Juilliard School. An acclaimed organ virtuoso, he is also the organist of the New York Philharmonic and Chair of the Organ Department of the Manhattan School of Music. Kent’s 2017-18 season is highlighted by the world premieres of two works with the Oratorio Society of New York: Sanctuary Road, an oratorio about the Underground Railroad by Paul Moravec, libretto by Mark Campbell, commissioned by the OSNY, and Behzad Ranjbaran’s We Are One. Concerts with the Cathedral Choir of St. John the Divine include a program celebrating the immigrant history of New York in collaboration with early/world music group Rose of the Compass that includes the world premiere of a commissioned work by Robert Sirota, and a program of Kodály, Stravinsky, and Pärt’s Miserere; he leads programs of repertoire ranging from Gregorian chant to Morten Lauridsen with Musica Sacra, and programs including Carissimi’s Jephte with ensembles and soloists from the Manhattan School of Music. Kent Tritle founded the Sacred Music in a Sacred Space concert series at New York’s Church of St. Ignatius Loyola, and led it to great acclaim from 1989 to 2011. From 1996 to 2004, he was Music Director of New York’s The Dessoff Choirs. Kent hosted “The Choral Mix with Kent Tritle,” a weekly program on New York’s WQXR, from 2010 to 2014. Kent Tritle’s discography includes recordings on the Telarc, AMDG, Epiphany, Gothic, Pro Organo, VAI, and MSR Classics labels.
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Soprano Danielle Talamantes is an international recitalist who made her Carnegie Hall debut in a sold-out solo recital in 2007. Talamantes’ 2017.18 season highlights include a concert entitled “Fanfare for the Uncommon Woman!” with Close Encounters with Music at the Manchester Music Festival; and the world première of Bartoldus’s Magnificat with the City Choir of Washington. Further 2017.18 engagements include performances with the Spokane Symphony, National Philharmonic, Austin Symphony, United States Naval Academy, and Symphony of Northwest Arkansas, and recitals and masterclasses with El Paso Pro-Musica and Catawba College. Additionally, she will return to the Metropolitan Opera for their production of The Exterminating Angel. Last season, Talamantes performed with the Metropolitan Opera as Anna in Nabucco and Frasquita in Carmen and also performed title roles with Opera Roanoke and Finger Lakes Opera. As a concert artist she has appeared on stage with the National Philharmonic, Manchester Symphony Orchestra, Phoenix Symphony Orchestra, the Gamut Bach Ensemble and Philadelphia Chamber Music Society, and the Fairfax Symphony. Mezzo-soprano Sara Murphy is a vocal artist who has been called “absolutely unforgettable for her versatility and ability to conquer any sensitive soul” (El Nacional, Dominican Republic). Murphy’s current season includes Mahler’s 8th Symphony and Handel’s Messiah at Carnegie Hall, where she is a frequent soloist, and a debut with the RAI Orchestra as Mary in Wagner’s Der fliegende Holländer conducted by James Conlon. Past season highlights include engagements with the Opera Theater of Rome, Cincinnati Symphony, and the American Symphony Orchestra, as well as the Chicago Symphony Orchestra at Ravinia, for which she won acclaim from the Chicago Tribune: “a rich, voluminous mezzo
BIOGRAPHIES voice, excellent diction and an acute feeling for words and music.” In addition, Opera News named the release of Hindemith’s The Long Christmas Dinner, in which Sara portrays Mother Bayard and Ermengarde, one of the “Top Ten Opera Recordings of 2015.” She is a first-prize winner of the Oratorio Society of New York Solo Vocal Competition and a grant recipient of Inter-Cities Performing Arts and the Wagner Society of New York. Tenor John Matthew Myers has been declared an “artist to watch” by Opera News. Currently a resident artist at the Academy of Vocal Arts in Philadelphia, he has garnered acclaim for his “insightful and beautifully nuanced performances” (Fort Worth Star-Telegram). He has collaborated with the Verbier Festival, Santa Fe Opera, LA Opera, Long Beach Opera, and Chicago Opera Theater, and made his Los Angeles Philharmonic debut in 2017 as Mao in John Adams’s Nixon in China. Further engagements in 2017.2018 include performances of Mahler’s 8th Symphony with the Canterbury Choral Society at Carnegie Hall; Beethoven’s 9th Symphony with the Grand Rapids Symphony Orchestra; Mozart’s Requiem with the Southwest Florida Symphony; and an evening of opera arias with the Allentown Symphony Orchestra. He will continue his collaboration with the Academy of Vocal Arts as Bacchus in Ariadne auf Naxos in March 2018. The winner of Vocal Arts DC’s 2017 Art Song Discovery Competition, he will give recitals this season at the Kennedy Center for the Performing Arts and the Phillips Collection. Bass Matt Boehler enjoys busy schedules on both the operatic stage and the concert platform. He recently joined the rosters of Lyric Opera of Chicago and The Metropolitan Opera, covering roles at both houses. He has been featured in productions with Minnesota Opera, Opera Theater of Saint Louis, Chicago Opera Theater, Wolf Trap Opera, Opera Lyra Ottawa,
Central City Opera, Florentine Opera, Spoleto Festival USA, Hawaii Opera Theatre, Opera New Jersey, and Festival Lyrique-en-mer. In concert, Boehler has performed with the New York Philharmonic, Baltimore Symphony Orchestra, American Symphony Orchestra, Musica Sacra, Orpheus Chamber Orchestra, Jacksonville Symphony, Portland Baroque Orchestra, and the Oratorio Society of New York. A frequent collaborator in the contemporary music world, Boehler has performed world premieres with the New York Festival of Song and the Center for Contemporary Opera. His discography includes recordings of Bastianello and Lucrezia with NYFOS and a disc of songs by Stefan Wolpe with pianist Ursula Oppens.
2017.18
Season
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SATURDAY, DEC. 16, 2:00 & 7:00 PM SUNDAY, DEC. 17, 4:00 PM
SOLITUDE AND
Joy
SUNDAY, MARCH 4, 4:00 PM
Bernstein
THE HUMANITARIAN SUNDAY, MAY 20, 4:00 PM
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BIOGRAPHIES Program Advisor and Pianist Joy Schreier has been praised by Plácido Domingo as an “orchestra at the piano,” and by The Washington Post as a “responsive accompanist” and an “ideal support” at the piano. Schreier has been presented in recital at Carnegie Hall, Lincoln Center, Merkin Hall, the White House, the Kennedy Center, Corcoran Gallery, National Gallery of Art, National Museum for Women in the Arts, National Portrait Gallery, Phillips Collection, Cosmos Club, Strathmore Hall, the Embassies of Austria, Australia, Bulgaria, Germany, Poland, Russia, Taiwan, Anderson House on Embassy Row and recital halls throughout the country. Internationally, she has performed throughout Europe and Asia. Upcoming recording releases include a CD of songs and vocal chamber works with soprano Laura Strickling. Schreier has served as Assistant Conductor at the Washington National Opera, coach for the DomingoCafritz Young Artist Program and is official pianist of the Washington International Voice Competition. In 2003, she received her Doctorate in Accompanying and Chamber Music at the Eastman School of Music under Dr. Jean Barr where she was the recipient of the Barbara Koeng Award for Excellence in Vocal Accompanying. Guest Assistant Conductor Casey Cook is a dynamic choral musician and educator, moving fluently between the fields of conducting, composition, and vocal performance. He serves as Musician in Residence at American University and as Director of the American University Chorus. He frequently collaborates with the Maryland Lyric Opera, The Reston Chorale, and the Piedmont Symphony Orchestra, and is increasingly sought after as an adjudicator, clinician, and guest conductor. Cook was awarded a Doctor of Musical Arts degree in choral conducting from the University of Arizona for his research efforts into the compositional completion of Gerald Finzi’s Requiem da Camera. He
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holds a Bachelor’s degree in music education from Miami University and a Master’s degree in choral conducting from the University of South Florida. The Cathedral Choral Society is the resident symphonic chorus of Washington National Cathedral. Founded in 1941 by Paul Callaway, the 145-voice chorus is the oldest symphonic choral group in Washington, DC. From 1985 to 2016, J. Reilly Lewis served as its second Music Director, leading performances ranging from symphonic choral masterpieces to world premieres. The Cathedral Choral Society presents a concert series with four programs at Washington National Cathedral. In addition to its concert series, the chorus has performed around the city and on nationwide radio and television. The Cathedral Choral Society has appeared at the Kennedy Center with The Washington Ballet, the Juilliard Orchestra, in performances sponsored by Washington Performing Arts Society, and with the National Symphony Orchestra under Leonard Slatkin and other conductors. In 2014, the chorus performed Bernstein’s Chichester Psalms with the Baltimore Symphony Orchestra at Meyerhoff Symphony Hall in Baltimore and Strathmore in Bethesda. The chorus has a remarkable history of championing new music, including eight major commissions for new symphonic choral works and an annual commission for a new Christmas carol. Each season the chorus builds on a tradition of showcasing emerging soloists as well as internationally known artists. The Cathedral Choral Society’s discography features ten recordings made at Washington National Cathedral. The Cathedral Choral Society offers education programs, including an annual High School Choir Festival featuring choirs from across Washington, DC.
CATHEDRAL CHORAL SOCIETY Soprano I Megan Burt Anne Carman Joanne Casey Tari Cooper* Marcia D’Arcangelo Lesley Earl Melissa Fox RenÊe Gamache Marian Gamboa Kyla Kitamura Kelsey Kolasa Chana Kuhns Laura Laforest Chris Markus Marianna Martindale Susan McDaid** Kimberly Pacala Meredyth Shinko Melanie Steinkamp Patricia Stephenson Megan Sullivan Laura Theby Elizabeth Owens Wakefield Celeste Wanner
Soprano II Mary Amorosino Jessica Barness Susanna Beiser Laura M. Connors Sheri Economou Emily German Lori Kurtyka Beth L. Law Wendy Lubarsky Emily McCullough Catherine Ort-Mabry Frances H. Pratt** Kyra Reumann-Moore Melissa Ryan Cindy Shen Helen L. St. John Dianne Vandivier Margot T. Young*
Alto I Violet Baker Kathleen Brion Sandra Caracciolo Kayli Davis Kehan DeSousa Kalyah Alaina Ford Susan Grad* Lisa Josey Ingrid Kauffman** Gwyneth Kelly Dagny LeMunyon Laura Miller Mary Olch Felicia Pagden Sarah Phillips Jane Roningen Margaret Shannon Eleanor Slota Maki Yasui
Alto II George Branyan Stephanie Cabell Laurene Church Robin Costanza Noemi Danao-Schroeder Cindy Drakeman Holly Filipiak Margaret Gonglewski Kim Harris Pam Hazen Mary Hiebert-White Elizabeth Hoffmann Sarah B. Holmes Beth A.V. Lewis Jennifer Griffiths Orudjev Teresa A. Polinske Larisa Prisacari Christopher G. Riggs* Kate Shooltz Susan Stanford Natalie Torentinos Kathleen M. Welling**
Tenor I Gregg M. Breen David Dietly John W. Harbeson Kevin Josey Dick Larkin Peter Lee Thomas Mugavero Christine H. Mulligan** Joel Phillips Rob Porter Robert Reeves Raymond Rhinehart* Martin S. Rosenthal John Schaettler D.C. Washington
Tenor II Scott Alman Douglas K. Barry J Austin Bitner Ross Bradford** David Costanza Brett Ewer Luke W. Fisher Jeremy Gosbee Nicholas Houhoulis Gerald Kavinski Mike Kelleher Michael McCarthy James M.E. Mixter, Jr.* John E. Moyer Martyn Smith
Bass I Andrew Bawden Jared Berry Andrew Bolden Kelly Cameron Jack Campbell Michael Droettboom John Hewes Giles Howson Tony King Andrew Madar Nicholas Petersen Marcus Pfeifer Stephen S. Roberts* James Schaller Arthur Smith L. Bradley Stanford** Richard Wanerman Clifton N. West III Christopher Woolley
Bass II Ernest Abbott Daniel Banko-Ferran Chris Buechler** Thomas Chapman Raymond Ghattas Glenn Sherer Griffiths, OSL* Eugene Kaye Scott McCorkindale Gregory Watson Ellis Wisner
** Section Coordinators * Alternates
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ORCHESTRA Violin I Laura Miller, Concertmaster Sandy Choi Jennifer Rickard Saskia Florence Annie Loud Mia Lee Karin Kelleher Violin II Paula Sweterlitsch* Bill Tortolano Amelia Giles Daniel Parrish Jennifer Wade Pamela Lassell Viola Ann Steck* Cathy Amoury Mary Dausch Jerome Gordon
Cello Danielle Cho* Barbara Brown Drew Owen Bass T. Alan Stewart* Jessica Powell Eig Flute Elizabeth McGinniss* Oboe Katelyn Kyser* Clarinet Suzanne Gekker* Edna Huang Bassoon Sean Gordon* Jeffrey Ward
Help us to achieve our mission
Horn Gregory Miller* Erika Lote Trumpet Matthew Misener* Susan Rider Trombone Bryan Bourne* Zenas Kim Banther Jerry Amoury Timpani Gregory Herron Organ George Fergus Personnel Pamela Lassell *Principal
When you make a donation to the Cathedral Choral Society, you play a key role in sustaining and strengthening our artistic and education programs. Support from individuals covers 40% of programming expenses and truly makes this chorus possible.
Please consider making a donation to the Cathedral Choral Society today!
WWW.CATHEDRALCHORALSOCIETY.ORG/GIVE | 202-537-5510 16
THANK YOU The Cathedral Choral Society is pleased to acknowledge the following contributors to our Annual Fund Campaign between June 21, 2016 – September 21, 2017. Gifts made in Memory or Honor of another person are listed on page 20 and 21. Thank you. Your ongoing and generous contributions support our vision to engage people in the extraordinary power of choral music.
Sustaining Patrons $10,000+ Anonymous Ernest*^ and Catherine Abbott
Thomas P. Gallagher Gerald W.^ and Alice Padwe
Frances H. Pratt*
Guarantor Patrons $5,000+ D. Philip Baker Kathleen Brion*^ Diana Dykstra^ Patricia D. Hevner^ Paul Juergensen II William M. Leach
Virginia C. Mars^ Lolly and Jim*^ Mixter John E. Moyer* and Jane Passman Thomas C. Mugavero*^ Mary B. Olch* Bradley J. and Martha A.* Olson
Raymond Rhinehart* and Walter Smalling, Jr. Stephen S. Roberts* Martin Rosenthal*^ and Corinne Axelrod T. Michael and Linda Shortal
Chorus Section Patrons $2,500+ Arthur L. and Connie Eggers Nancy M. Folger
Richard* and Cecilia Larkin Catherine E. Ort-Mabry* and Brian Mabry
Kevin and Andrea Wade
Ruth G. Hofmeister Sarah B. Holmes*^ & John B. Morris, Jr. Judith Richards Hope Ann Ingram Celeste Avril Letourneau Christina M. Markus* Susan McDaid* Christine* and James Mulligan Jennifer*^ and Alec Orudjev
Kevin Rosengren^ L. Bradley Stanford*^ Guy and Margaret^ Steuart Leslie C. Taylor Genevieve^ and Sean Twomey John and Dariel†Van Wagoner Robert and Betty Wallace Nancy Wiecking Margot T. Young*
C. F. Muckenfuss III and Angela Lancaster Samuel Miller Kimberly and Mark Pacala Harold I. and Frances G. Pratt Lynn Rhomberg John Schaettler*
John and Judy Shenefield Susan Fifield Mentley and James David Toews Elinor G. Vaughter Virginia L. White
Unsung Heroes $1,000+ Brian and Donna Bogart Jeanne R. Buster Laura M. Connors* Blanche L. Curfman Edison and Sally Dick Charles Leonard Egan Cary C. Fuller Mary-T^ and Spencer Gordon Susan Grad* Anne R. Harris
Patrons $500+ Margaret M. Ayres and Stephen Case Violet Baker* Cynthia L. Drakeman* Lynn B. Dutton Jeremy Gosbee Robert W. Jerome
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THANK YOU Sponsors $250+ Catherine H. Beauchamp Kris Brown Coleman^ Anne* and James Carman James W. Clay* Alice M. Denney Glenn S.* and Judith M. Griffiths Ingrid* and Dean Kauffman
Donors $100+ Anonymous (2) Mary Amorosino* Estate of Richard S. and Alayne C. Antes Carolyn Arpin and Benjamin Sacks Frances D. Cook Harvey and Carolyn Bale Jessica Barness* Doug Barry* and Liz Eder Jane C. Bergner Gordon L. Biscomb Andrew and Kaye Boesel Herman F. Bostick Gregg M. Breen* Thornton W. Burnet Michael F. Butler Stephen and Sandra Caracciolo Timothy W. and Patricia R. Carrico Marilyn Clark Vera I. Connolly Roberta and Philip Cronin Sharrill Dittmann Augusta T. Getchell Cynthia L. Gibert Neil and Carolyn Goldman
Wendy Lubarsky* Leander and Stephanie McCormick-Goodhart Barbara and John McGraw Michael Mercier Scott and Nancy Pinckney Robert* and Elaine Porter
Richard and Linda Roeckelein David and Mary Shilton C. Thomas van Alen Richard L. Wagner, Jr. and Virginia R. Wagner Ellis Wisner* Dorothy M. Woodcock
D. Ruth Goodchild Hilton Lee Graham Joan and David Green William and Margaret Greer George E. Groninger James D. Campbell and Janet M. Hall George Hanc Neil Hedlund John Hewes Frederick S. Hird Robert and Parma Holt Erika R. Joyce Louis E. and Ruth H. Kahn Karen R. and Norman A. Kane Laurie Keegan Mary Ruth Keller George Robert Lamb Janice L. Lockard Rosemary D. Lyon Alaster and Sue MacDonald Paula Marchetti Marianna Martindale* Robert Turner Mead
Martha Miller Coleman H. and Elizabeth B. O’Donoghue Warren and Marianne Pfeiffer Rondi K. Pillette & Steven A. Levin Joan A. Pirie Chuck Pratt and Alexandra England James Quinn Theodora Radcliffe Georgene Rasmusson Jane Roningen Suzanne H. Rooney Alan and Geraldine Schechter Ann Imlah Schneider Patrick Shannon Carol Hill Sox Patricia Stephenson* Margaret C. Stillman Jacqueline K. Stover Keiko Stusnick Dianne Vandivier* Richard Wanerman* Sinclair Winton Evelyn D. Woolston-May
*Chorus Member
^Board Trustee
†Deceased
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.
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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.
THANK YOU The Cathedral Choral Society is pleased to recognize Government, Foundation, and Corporate support to our Annual Fund Campaign between June 21, 2016 – September 21, 2017.
Thank you to our Government Supporters DC Commission on the Arts and Humanities US Commission of Fine Arts: National Capital Art and Cultural Affairs Program
Thank you to our Foundation Supporters Anonymous Dallas Morse Coors Foundation
Dimick Foundation Mars Foundation
The Meredith Foundation The Richard Eaton Foundation
Thank you to our Corporate Supporters Corporate Champion $2,000+ Bank of America Clark Construction Group, LLC
Reed Smith, LLP Exxon Mobil Foundation
Corporate Investor $1,500+ IBM
Sentinel Wealth Management
Corporate Leader $1,000+ Bogart Wealth Management
Sahouri Insurance
JMR Concrete Construction Pepco, an Exelon Company
UBS Financial Services
Corporate Advocate $500+ Starbrite Dental, the Office of Dr. Maryam Seifi Corporate Supporter $100+ Ameriprise Financial - Kim, Hopkins & Associates
Dental Group At Reston Station
Signature Estate and Investment Advisors
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THANK YOU Gifts in Memory of J. Reilly Lewis Anne R. Harris Mary Prussing W. Reid and Mary M. Thompson Edison and Sally Dick Judith Richards Hope Embry and Joseph Howell Violet Baker* Laura P. and Timothy C. Coughlin Blanche L. Curfman Paul and Ellen Hoff Elizabeth and Jan Lodal Virginia C. Mars^ Lynn C. Rhomberg Richard and Linda Roeckelein T. Michael and Linda Shortal Guy and Margaret^ Steuart John and Dariel van Wagoner Nancy Aherne and Marko Zlatich Robert and Laura Barlow David and Jane Berteau Margaret Gonglewski* Earl and Phyllis Hannum Leslie and Keith Kruse Susan McDaid* Bob Kline and Elaine Mills Robert and Betty Wallace
Ellis Wisner* Jessica Barness* Kris Brown Coleman^ and Jonathan Coleman Stephanie Cabell Joanne Casey* James W. Clay Jill T. Cochran Judith Cecilia Dodge John L. and Elizabeth W. Gardner D. Ruth Goodchild Louis E. and Ruth H. Kahn Gary and Judy Kushnier Richard C. Lee Janice L. Lockard Janice L. Lockard Michael Lodico Alaster and Janet MacDonald Andrea Merrill Mark W. Ohnmacht Judith Parkinson Suzanne M. and B. Dwight Perry Natalie and Hung Q. Pho Harold and Martha Quayle Stephen S. Roberts* Suzanne and Robert Rooney Gus & Susan Schumacher
Crawford Feagin Stone J. David and Patricia Sulser Margot T. Young* Peter Fontneau Frederick S. Hird Lois Martin Warren and Marianne Pfeiffer The Estate of Mary Louise Pusch Theodora Radcliffe Caroline and Dick van Wagoner Sharon and David Foster Ernest*^ and Catherine Abbott Thomas P. Gallagher Christine* and James Mulligan Bradley J. and Martha A.* Olson Gerald^ and Alice Padwe Eric P. Andersen* and W. David Young Il Laurie* and Colin Church Cary C. Fuller Giles Howson* John E. Moyer* and Jane Passman Kimberly* and Mark Pacala Kevin Rosengren^
Patricia Stephenson* Anne* and James Carman Steven A. Levin and Rondi K. Pillette Victor Shargai Marilyn Flood Bill Grossman Fund Ann Ingram Jean Jawdat Landis and Arnita Jones Jake Levin Robert Turner Mead Lynwood and Thalia Sinnamon D. C. Washington Ellen Adajian Ross M. Bradford* Richard Dodd Megan Sullivan* C. Thomas van Alen Jenny Bilfield & Joel Friedman Marianna Costanza Cathleen C. Hatchell Cindy Shen* Helen L. St. John* Peter G. Wolfe
THE J. REILLY LEWIS CHORUS ENRICHMENT FUND The Cathedral Choral Society is pleased to announce this new endowment fund in memory of our second Music Director, J. Reilly Lewis, who was beloved by chorus members throughout his 31-year tenure. Income from this fund will enrich the chorus through workshops, training, vocal coaching, artists in residence, and more.
We invite you
to consider making a pledge to this fund.
Visit cathedralchoralsociety.org/endowment-and-harmonia-society or contact Genevieve Twomey at 202-537-5524 for more information. 20
THANK YOU Gifts in Honor In Honor of Mary-T. Gordon John T. Beaty, Jr.
In Honor of Ann Ingram Roberta J. Duffy Christie Kramer and Charles Kirby
In Honor of Susan and Brad Stanford Karen and Jim Fort In Honor of Marti Olson Margaret Gonglewski* In Honor of Margot T. Young Kathleen W. and Walter Weld James T. and Anne C. Townsend
In Honor of Virginia C. Mars Shirley M. Fine In Honor of Anna Skinner Thread Creative
In Honor of Han and Phan Pho Natalie and Hung Q. Pho In Honor of Earl and Linda Seip Natalie and Hung Q. Pho In Honor of Margaret Gonglewski Elisabeth Gonglewski
In Honor of Thomas Mugavero Anonymous
Gifts in Memory In Memory of Dariel Van Wagoner Mary-T^ and Spencer Gordon Robert and Laura Barlow Sandra Person Burns CCS Alto II Section William M. Leach Virginia C. Mars^ Margot T. Young* Chancel Choir at Clarendon United Methodist Church Blanche L. Curfman Cynthia G. Plante Roxanne Rhinehart Sharon Harmon Centreville Regional Library Maggie Wrobel
In Memory of Richard M. Skinner III Thread Creative Mary-T^ and Spencer Gordon Jacqueline K. Stover Hugh Winkler Alma and Robert Eisele George E.J. Singleton and M. Jane Williams
In Memory of David Hearn Mary-T^ and Spencer Gordon
In Memory of Marion Leach Steven and Monica Leach
In Memory of Gertrude Ohnmacht Mary-T^ and Spencer Gordon
In Memory of James Farrand Ann Marie Marie Plubell
In Memory of Laura Faller Mary-T^ and Spencer Gordon
In Memory of Jean Miller Galeone Sharon and David Foster
In Memory of Barbara Dobson Mary-T^ and Spencer Gordon Jean Jawdat
In Memory of Karl Walter Ohnmacht Mary-T^ and Spencer Gordon
In Memory of Elizabeth Clemons Bains Sharon and David Foster
*Chorus Member
^Board Trustee
†Deceased
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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. Ernest*^ and Catherine Abbott Catherine H. Beauchamp David W. Cook Blanche L. Curfman Judy Davis David Dietly* Charles Leonard Egan Arthur and Connie Eggers Thomas P. Gallagher^ Mary-T^ and Spencer Gordon
Anne R. Harris William B.† and Ruth L. Harwood Patricia D. Hevner^ Ann Ingram Richard* and Cecilia Larkin William M. Leach J. Reilly† and Beth A.V.* Lewis Lolly and Jim*^ Mixter Martha A. Morris
Gerald W.^ and Alice Padwe Carla L. Rosati Martin Rosenthal*^ and Corinne Axelrod Margaret Shannon* T. Michael and Linda Shortal Andrew† and Patricia Soto John and Dariel† van Wagoner Nancy H. Wiecking Evelyn D. Woolston-May
If you have remembered the Cathedral Choral Society in your estate planning and do not see your name above, please let us know. To reach us or to learn more about the Harmonia Society, contact Genevieve Twomey at 202-537-5524.
Hold the date
FOR OUR 2017.18 GALA FRIDAY, APRIL 27, 2018 WASHINGTON NATIONAL CATHEDRAL
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ACKNOWLEDGEMENTS Board of Trustees Ernest Abbott Kathleen Brion Kristi S. Brown, Secretary Walter B. Doggett III, Treasurer Diana F. Dykstra Holly Filipiak Patricia Hevner
Sarah Homes Celeste A. Letourneau James M.E. Mixter, Jr. Thomas Mugavero, President Jennifer Griffiths Orudjev Margarita Ossorio-Goldman Gerry Padwe
Kevin Rosengren Martin S. Rosenthal L. Bradley Stanford Margaret Steuart Genevieve C. Twomey, Executive Director
Honorary Trustees Mary-T. Gordon
Virginia C. Mars
Cathedral Choral Society Staff Emily Alcorn, Executive & Development Assistant Laura Crook Brisson, Operations Coordinator Anna Lipowitz, Operations & Education Programs Manager Mimi Newcastle, Finance Manager
Joy Schreier, Pianist & Vocal Coach Lindsay Sheridan, Director of Marketing & Communications Genevieve C. Twomey, Executive Director
Concert Support Margaret Shannon, Program Annotator Patricia Stephenson, Librarian
Library Committee: Violet Baker, Joanne Casey Kimberly Pacala, Jane Roningen
Washington National Cathedral Staff Valerie Ciccone, Deputy Director, Office of Event Management Matt Echave, Director of Video Services Gary Ford, Supervisor, Sextons and Events Set-up Daniel Rose, Director, Event Management Mark Huffman, Technical Director/Audio Engineer
Sarah Rockwood, Front of House Manager Robert Sokol, Chief Operating Officer Kevin Thomas, Asst. to the Canon Precentor & Administrative Verger Torrence Thomas, Head Verger
With special thanks for all the staff and volunteers of Washington National Cathedral and the Protestant Episcopal Cathedral Foundation.
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2017.18
Season JOY OF
Christmas
SATURDAY, DECEMBER 16, 2:00 & 7:00 PM SUNDAY, DECEMBER 17, 4:00 PM Betsy Burleigh, guest conductor - Lyric Brass Quintet Washington Latin Public Charter School, Melissa Nevola, conductor Christmas favorites and a newly commissioned carol by Paul Mealor
SOLITUDE AND SUNDAY, MARCH 4, 4:00 PM
Joy
Donald Nally, guest conductor - Thomas Mesa, cello A musical journey following lyrical prose by writer Pascal Quignard. Works by Gabriel Jackson, Sebastian Currier, Howells, Tavener, James MacMillan, Pēteris Vasks, and Arvo Pärt, plus a newly commissioned work by Ēriks Ešenvalds.
Bernstein THE
HUMANITARIAN
SUNDAY, MAY 20, 4:00 PM Lawrence Loh, guest conductor - Demarre McGill, flute Alexandra Loutsion, soprano - Laurel Semerdjian, mezzo-soprano William Davenport, tenor - Reginald Smith, Jr., baritone Copland, Fanfare for the Common Man - Haydn, Mass in Time of War Bernstein, “Make Our Garden Grow” from Candide - Bernstein, Halil Beethoven, Symphony No. 9 in D Minor (“Choral”), IV. Presto
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