Solitude and Joy Program by cathedralchoral

2017.18 CONCERT PROGRAM

SOLITUDE AND

Joy

SUNDAY, MARCH 4 4:00 PM WASHINGTON NATIONAL CATHEDRAL

Greetings, We are so pleased to welcome you to the third concert of our 2017.18 season! A year ago, I reached out to Donald Nally to invite him to join us as guest conductor for this concert. We had just completed a very successful collaboration with New York Polyphony and were hoping to again present a more intimate experience that would highlight the Cathedral Choral Society in this magnificent space. Donald Nally’s creativity and dedication in planning and preparing for today’s concert has been a gift to all of us. He has put together a musical journey of contemplative, awe-invoking music including two commissions for new works for chorus by Ēriks Ešenvalds and Alex Berko. Thank you for being here to enjoy this experience with us. I also invite you to turn to the back cover of your program. We are eagerly looking forward to our annual gala, Sing a New Song, on Friday, April 27 at Washington National Cathedral. The incredible opera singer Jessye Norman will be joining us as honorary chair, and the evening will include a silent auction, performances, receptionstyle dinner, an open bar, and dancing. We would love to have you join us. Please enjoy the concert!

Genevieve Twomey Executive Director

CONCERT DEDICATION We are honored to dedicate today’s concert in memory of Nevin Kuhl, a long-time subscriber, supporter, and friend of the Cathedral Choral Society. Nevin served as Director of Development at Washington National Cathedral in the 1980s, working to raise funds in the final decade of building this Cathedral. Nevin Edson Kuhl died quietly at home in Washington, DC on May 5, 2017. He was predeceased by his wife of 60 years Elizabeth DeLong Kuhl. Nevin was born in Dayton, Ohio on November 5, 1921. Nevin moved to Washington, DC in June of 1951 to work for the CIA. In 1958, the Kuhls were sent on assignment to Ankara, Turkey. After two years in Turkey, Nevin returned to Washington. For 10 years, he and his business partner operated the World Affairs Bookshop on Connecticut Ave. When his business partner passed away, Nevin became Director of Development for the Washington National Cathedral. Lizzie and Nevin traveled extensively and tirelessly, and enjoyed spending weekends at their cottage on the Eastern Shore of Maryland. Nevin is survived by his daughter, Elizabeth Kuhl Labadie (Liza); her husband, Andrew Charlton Labadie; and his grandchildren: Clara Labadie Jurczak and her husband Thomas Edward Jurczak, and Helen Shaver Labadie.

SOLITUDE AND

Joy

Donald Nally, guest conductor Thomas Mesa, cello Scott Dettra, organ Cathedral Choral Society

SUNDAY, MARCH 4, 4:00 PM WASHINGTON NATIONAL CATHEDRAL

“

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

“

–Pascal Quignard the test of time Creator of the stars of night Gabriel Jackson solitude Sanctus, from Night Mass Sebastian Currier a frightened stumbling Behold, O God our defender Herbert Howells isolation in melancholy Svyati John Tavener without Lincoln (world premiere)

Alex Berko

memory of animality I would be true Herbert Howells INTERMISSION excitation and retention A New Song James MacMillan the passion for silence Grãmata čellam

Pēteris Vasks

wandering Salve Regina Arvo Pärt a region of shade 85, (world premiere) from Sing-Song: a Nursery Rhyme Book by Christina Rossetti

Ēriks Ešenvalds

joy O, pray for the peace of Jerusalem

Herbert Howells

there is Notre Père

Maurice Duruflé

PROGRAM

When I was invited

to come spend time with the Cathedral Choral Society, I had just finished reading Pascal Quignard's rather haunting book, The Hatred of Music. It's not so much a book as it is a fragmented pile of thoughts from an extraordinary well-read and thoughtful mind pondering what the ubiquity of music in our culture has done to our listening. Listening is my world; it is everything even when it is nothing, hearing the music in silence. With this in mind, I set out to create a program that tells a kind of story in the abstract, loosely knit together by fragments of a passage from Quignard that particularly speaks to me: “Without solitude, without the test of time, without the passion for silence, without the excitation and retention of the whole body, without a frightened stumbling, without wandering into a region of shade and invisibility, without memory of animality, without melancholy, without isolation in melancholy, there is no joy.” I sent this quote to Ēriks Ešenvalds asking him to think about it in choosing what new work he would write for us to premiere today. He landed on one of Christina Rossetti's nursery rhymes that portrays elusion from the view of a child - a deductive account of the natural world in which we know the wind is because we hear the leaves rustle. Ēriks is a devout believer, like Rossetti, and he sees in this poem the essence of God - what we know, from the effect of what we cannot see. Or, in music, what we cannot hear. The works woven together as our program are themselves elusive: composers finding darkness where we might expect light, creating unanticipated worlds out of sound - a lone cello sighs, the organ mumbles, a singer reaches with her voice into this space that demands our attention, into this mesmerizing acoustic. Then came a summer of darkness for our country and a national discourse about DACA that left me searching again for meaning in these works, for meaning in my work. I felt I could not come to Washington without acknowledging this in our time together. And so the choir graciously invited a second commission and world premiere for which I asked Alex Berko to set the dedicatory plaque at the site of Lincoln’s statue in the Cathedral. In this new work, we are reminded that, despite our frightened stumbling, our solitude, our melancholy, and the test of time, there is a truth that marches on. There is, in fact, joy, under this darkness, waiting. - Donald Nally, guest conductor

the test of time Creator of the stars of Night (2000)

Gabriel Jackson (b. 1962)

This setting of verses, from an anonymous, seventh-century Latin chant, conjures a still and contemplative mood recollecting the plainsong, Conditor alme considerum, used at Vespers in Advent. The organ’s sparkling mixtures— twinkling stars at night—introduce a luminous Doxology; the Amen reprises the serenity and calm of the opening. Born in Bermuda, Gabriel Jackson spent three years as a chorister at Canterbury Cathedral, then studied composition at the Royal College of Music. His music has been commissioned, performed, and broadcast worldwide, and his works have been presented at many festivals, including Aldeburgh, Cheltenham, and the BBC Proms. This anthem was commissioned by Matthew Owens for the Choir of St Mary’s Cathedral, Edinburgh, which gave its premiere in December, 2000.

PROGRAM Creator of the stars of night, Thy people’s everlasting light, Jesu, Redeemer, save us all, And hear Thy servants when they call.

At Thy great name, exalted now, All knees must bend, all hearts must bow; And things in heav’n and earth shall own, That Thou art Lord and King alone.

Thou camest, Bridegroom of the Bride, As drew the world to evening-tide; Proceeding from a virgin shrine, The spotless Victim all divine.

To God the Father, God the Son, And God the Spirit, Three in One, Laud, honour, might, and glory be From age to age eternally. Amen. —anonymous, seventh century Advent antiphon at Vespers vv. 1, 3 and 4, adapted from The New English Hymnal

solitude IV. Sanctus from Night Mass (2003)

Sebastian Currier (b. 1959)

Sebastian Currier was born into a family of talented musicians in Providence, Rhode Island. He earned degrees from The Juilliard School (where he later taught) and Manhattan School of Music. In 2013, the Institute for Advanced Study at Princeton announced his appointment as Artist-in-Residence. Currier’s music has been described by The Washington Post as “lyrical, colorful, firmly rooted in tradition, but absolutely new.” Night Mass follows the ordinary sequence of movements in the Latin mass. The Sanctus is scored for unaccompanied, seven-part choral divisi, and solo cello. The Composer’s Note: I’ve always loved the musical form of the mass, particularly when in the hands of Old Masters....But in setting a mass myself, I felt the need to bring something of the world I live in now into contact with this beautiful old text. And for me, that something was the way my view of the world was formed by science. When I see the night sky littered with stars I know that they are at unfathomable distances from earth, that some of these faint pinpricks of light are themselves entire galaxies made of billions of stars, that all these lights are rushing away from each other at incredible speeds, and that despite their remoteness I am intimately connected to them....It’s this sense of awe about the world we live in that I felt was somehow in tune with the religious awe that inspired the text of the mass, written so long ago....Belief forms the core of the Latin mass. At the heart of Night Mass is a mixture of wonder and doubt.” Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt caeli et terra gloria tua. Hosanna in excelsis. Benedictus qui venit in nomine Domini. Hosanna in excelsis.

Holy, holy, holy, Lord God of hosts. Heaven and earth are full of your glory. Hosanna in the highest. Blessed is he who comes in the name of the Lord. Hosanna in the highest. —Roman Catholic Latin Mass English version, The Book of Common Prayer, 1979

PROGRAM a frightened stumbling Behold, O God our defender (1952)

Herbert Howells (1892-1983)

The English composer, Herbert Howells, is represented by three pieces in this concert. “Once neglected or taken for granted in the sweep of twentieth-century music,” said George Guest, organist and choirmaster at St. John’s College, “Howells wrote so much music of supreme value that is characterized by an intensely personal melodic and harmonic style.” Having written the fanfare, “King’s Heralds,” for the coronation of King George VI in 1937, Howells was again invited to compose music for the 1953 Coronation of Her Majesty Queen Elizabeth II. “Behold, O God our defender,” the Psalm text of the introit before the communion service, has been part of English coronation music since at least James II and Queen Mary in 1685. Howells completed his carefully calibrated setting on Christmas Day 1952. Originally composed for orchestra and the 400 voices of the combined choirs in Westminster Abbey, this concert version features a smaller choir and organ accompaniment.

Behold, O God our defender : and look upon the face of thine Anointed. For one day in thy courts : is better than a thousand. —Psalm 84: 9-10 King James Bible, 1611

isolation in melancholy Свѧтый (1995) Svyati

John Tavener (1944-2013)

John Tavener’s Свѧты́й (O Holy One), for mixed choir and solo cello, was first performed on October 1, 1995, by the Kiev Chamber Choir with Steven Isserlis, cello. This is Tavener’s own composer’s note: The text is in Church Slavonic, and it is used at almost every Russian Orthodox service, perhaps most poignantly after the congregation have kissed the body in an open coffin at an Orthodox funeral. The choir sings as the coffin is closed and borne out of the church, followed by the mourners with lighted candles. The cello represents the Priest or Ikon of Christ, and should play at a distance from the choir, perhaps at the opposite end of the building. As in Greek drama, choir and priest are in dialogue with each other. Since the cello represents the Ikon of Christ, it must be played without any sentiment of a Western character, but should derive from the chanting of the Eastern Orthodox Church.”

Свѧты́й Бо́же, Свѧты́й Крѣ́пкый Свѧты́й Безсме́ртный, поми́луй на́съ.

Holy God, Holy and Strong, Holy and Immortal, have mercy upon us.

PROGRAM without Lincoln world premiere

Alex Berko (b. 1995)

On this date, March 4, in 1861, Abraham Lincoln took the Constitutional oath of office as sixteenth president of the United States. On Monday, February 11th, at eight AM, the president-elect had left Springfield, Illinois, for Washington. Standing on the train’s platform in a pouring rain, he removed his hat, asked for silence, and bid his neighbors farewell. “Without the assistance of the Divine Being who ever attended [George Washington], I cannot succeed. With that assistance I cannot fail. Trusting in Him who can go with me, and remain with you and be every where for good, let us confidently hope that all will yet be well. To His care commending you, as I hope in your prayers you will commend me, I bid you an affectionate farewell.” These poignant words are incised upon the wall in this Cathedral’s Lincoln Bay, underwritten in part by the Lincoln family. The bay’s seven bosses (ornamental keystones) depict verses of the Battle Hymn of the Republic and give shelter to American sculptor Walker Hancock’s larger-than-life bronze statue of Lincoln giving his Farewell Address. On Lincoln’s birthday in 1984, Lincoln Bay was formally consecrated, including the Dedication Tablet graven with words composed by the Very Rev. Francis B. Sayre Jr., cathedral dean emeritus and grandson of another wartime president, Woodrow Wilson. The music of Alex Berko, an Ohio-born composer, pianist, and arranger, has been performed in Asia and throughout the United States. He currently attends Indiana University’s Jacobs School of Music, pursuing a degree in composition with an outside concentration in piano.

The Composer’s Note: Lincoln is a reflection on the power of the individual. It explores the idea that change is not linear but gradual, and infused with an extreme amount of personal courage. This non-linear nature of change is embedded into the structure of the composition, for the setting of the text was crafted in a way that would reflect the overall affect of the poetry itself. Through the reiteration of each line of text, it is almost as though the repetition empowers the individual to continue on to the next line. It isn’t until the very end when the entire poem is recited in its purest form, ending the composition on a feeling of unity and togetherness. ABRAHAM LINCOLN WHOSE LONELY SOUL GOD KINDLED IS HERE REMEMBERED BY A PEOPLE THEIR CONFLICT HEALED BY THE TRUTH THAT MARCHES ON.

—The Very Rev. Francis Bowes Sayre Jr. (1915-2008) Dean, Washington National Cathedral (1953-1977)

PROGRAM memory of animality I would be true (c. 1978)

Herbert Howells

“He romped through Princeton, clutching class and scholastic honors left and right, graduating cum laude,” recorded the university. From Japan, where he taught English in 1906, Howard Arnold Walter sent his mother a poem as a Christmas present; it went viral after she submitted “My Creed” to Harper’s Magazine, which published the poem in its May 1907 issue. While assistant minister at the Asylum Hill Congregational Church in Hartford, Conn., Walter decided to devote his life to service in India, despite a heart ailment. He died at 35 during the 1918 flu pandemic. An itinerate Methodist minister named Joseph Peek, to whom Walter showed the poem, created the primitive melody sung in Sunday Schools for generations. At the funeral of Diana, Princess of Wales, the text was sung to the tune of Londonderry Air. “My Creed” also provided inspiration for Herbert Howells’s final composition. In this setting for chorus and organ, the familiar words take on renewed, and urgent, meaning. I would be true, for there are those who trust me; I would be pure, for there are those who care; I would be strong, for there is much to suffer; I would be brave, for there is much to dare.

I would be friend of all—the foe, the friendless; I would be giving, and forget the gift; I would be humble, for I know my weakness; I would look up, and laugh, and love, and live. —Howard Arnold Walter (1883-1918), 1906

INTERMISSION

excitation and retention A New Song (1997)

James MacMillan (b. 1959)

James MacMillan is the pre-eminent Scottish composer of his generation. He read music at Edinburgh University and completed doctoral studies in composition at Durham University. Internationally active as a conductor, MacMillan was appointed in 2000 Composer/Conductor with the BBC Philharmonic. This celebratory “New Song” reflects MacMillan’s interest in Scottish folk music, Gaelic psalmody, and plainsong. The unison theme is followed by a choral stretto, whose overlapping lines are embellished in a quasi-improvisational manner. In contrast, the next section is built upon drone-like pedal points, reminiscent of bagpipes. After a return to the ornate contrapuntal tutti sections, a brief organ postlude concludes the work in a fortissimo flurry that calls forth the full and substantial resources of the Cathedral’s Great Organ. “A New Song” is included on the Cathedral Choral Society’s recording, Music for a Sacred Space.

PROGRAM

O sing unto the Lord a new song sing unto the Lord all the whole earth. Sing unto the Lord and praise His Name, be telling of His salvation from day to day. For He cometh to judge the earth and with righteousness to judge the world, and the people with His truth. —Psalm 96, vv. 1, 2, 13 The Coverdale Bible, 1535

the passion for silence Grãmata čellam (1978)

Pēteris Vasks (b. 1946)

The Book for cello solo I. Fortissimo II. Pianissimo

Most people today no longer possess beliefs, love and ideals. The spiritual dimension has been lost. My intention is to provide food for the soul and this is what I preach in my works.

Pēteris Vasks, the son of a well-known Baptist pastor in Latvia, began his studies at a local music school. By age ten, he had composed a freedom-fighting choral song in response to the sufferings of those who had been expelled from their houses and sent to detention camps overnight. Years of double-bass studies led to his orchestral appointments with the Latvian Philharmonic Orchestra, Lithuanian Philharmonic Chamber Orchestra, and the Latvian Radio and Television Orchestra. In 1970, he began his mandatory, one-year, military service in the Soviet Army. Since 1989, he has taught composition at his alma mater, the Emīls Dārziņš Music School in Riga. Vasks incorporates folklore elements from Latvian music within a dynamic and challenging relationship with the language of contemporary music. Grāmata čellam, an exploration of the relationship between the cello and the human voice, is divided into two movements, the first being “very intense and tragic,” the second “very soft, sad.” The first Fortissimo, writes Calum MacDonald in his review for BBC Music Magazine, “opens with screaming sirens in the cello’s upper register, devolving into a fevered anxiety that rarely lets up. The following Pianissimo movement breathes tranquility, with a literal singing line, again featuring wordless crooning by the cellist. The fusillade of effects and freelynotated rhapsodizing of the Grāmata čellam, in which the cellist’s own solo voice eventually joins the instrument in ecstatic duet, introduces an element of polyphony.” In the composer’s words, “the soul can breathe; it can sing.” That is indeed food for the soul.

PROGRAM wandering Salve Regina (2001)

Arvo Pärt (b. 1935)

Arvo Pärt studied at Talinn Conservatory and, with his music in the serialist and collage styles, soon gained the reputation of an enfant terrible in his native Estonia, then part of the former Soviet Union. In 1968, the Soviet authorities banned his overtly religious Credo. For eight years he retreated into silence during which he studied and experimented with ancient musical models and converted to the Russian Orthodox Church. Starting with early music as a reference point, the style he ultimately constructed reestablished the historical connections between sacred music and contemplative spirituality—and silence. Salve Regina is one of four seasonal Marian antiphons dating from the twelfth century. It has been incorporated more recently into non-liturgical settings, most notably, the powerful finale of Francis Poulenc’s Dialogues des Carmélites, in which the nuns march to the guillotine singing the ancient hymn. Pärt’s setting was commissioned by, and first performed in, Essen Cathedral in 2002 to commemorate 1150 years since the establishment of Essen Abbey and the City. In 2011, Pärt rescored the composition for choir, celesta, and string orchestra to celebrate 150 years of Italian unity. “Salve Regina is a slow and majestic procession, its subtle motion mainly due to the changing sound colors,“ writes James Jordan of Westminster Choir College.”[T]he choir begins in unison, gradually building to reach an eight-part polyphonic texture. In the composer’s own words— Musically, Salve Regina could be compared to a funnel—and, like a funnel, the work begins with large circles, slowly turning and becoming more and more concentrated and grave until it reaches the deepest point. The mighty sonic mass on the one hand and the very sparsely used ‘simple’ musical material in constant three-quarter meter on the other finally condense in the coda, as in an undertow, until they reach the point of greatest possible concentration.”

Salve, Regina, mater misericordiae: Vita, dulcedo, et spes nostra, salve. Ad te clamamus, exsules, filii Evae. Ad te suspiramus, gementes et flentes in hac lacrimarum valle.

Mary, we hail thee, Mother and Queen compassionate Mary, our comfort, life and hope, We hail thee. To thee we exiles, children of Eve, lift our crying; To thee we are sighing, as mournful and weeping we pass through this vale of sorrow.

Eia ergo, Advocata nostra, illos tuos misericordes oculos ad nos converte. Et Iesum, benedictum fructum ventris tui, nobis, post hoc exsilium ostende. O clemens: O pia: O dulcis Virgo Maria.

Turn thou therefore, O our intercessor, Those thine eyes of lovingkindness upon us sinners, Show us Jesus, the blessed fruit of thy womb. Hereafter, when our earthly exile shall be ended; O gentle, O tender, O gracious Virgin Mary. —anonymous, twelfth-century Latin English version, Canon Charles Winfred Douglas, 1923

PROGRAM a region of shade 85 world premiere

Ēriks Ešenvalds (b. 1977)

One of the most sought-after composers working today, Ēriks Ešenvalds was born in Priekule, Latvia. He studied at the Latvian Baptist Theological Seminary, earned his master’s degree in composition from the Latvian Academy of Music, spent nine years as a member of the State Choir Latvija, then was named a Fellow Commoner in Creative Arts at Trinity College, Cambridge in 2011. He has returned to the Latvian Academy of Music as a composition teacher. Growing up under Soviet occupation where religion was officially illegal, he remains deeply religious and has set many sacred texts. English poet Christina Rossetti is best known for two beloved Christmas carols—In the Bleak Mid-Winter and Love Came Down at Christmas. She also wrote several works for children, including Sing-Song: a Nursery Rhyme Book (1872).

The Composer’s Note: Simple numbers title each poem in the manuscript of nursery rhymes written by Christina Rossetti from which “85” is taken. The poems seem as simple as these number titles, so honest and with a feeling of unedited thought coming direct from Rossetti’s mind straight onto the page. While reading the lines and gazing at what looks like fast-hand sketching, the past suddenly became the present and I felt as if I was standing next to her ready with a cup of tea as she finished the page. “Who has seen the wind?”, the poem begins. Her scratching of “85” echoes around Washington National Cathedral through the sounds of the cello’s shimmering tremolos.

Who has seen the wind? Neither I or you: But when the leaves hang trembling, The wind is passing through.

Who has seen the wind? Neither you or I: But when the trees bow down their heads, The wind is passing by. —Christina Rossetti (1830-1894) No. 85, Sing-Song: a Nursery Rhyme Book, 1872

joy O, pray for the peace of Jerusalem No. 1 from Four Anthems for Chorus and Organ (1941)

Herbert Howells

On the night of September 7th, 1940 during the first week of the London Blitz, a single, off-course Luftwaffe bomber dropped a high-explosive bomb on Station Road, devastating Barnes Common seven miles from Central London and destroying Howells music library. “Our house [Redmarley] was blitzed and bashed and ruined one awful night,” he recalled. “Only by lucky chance [no one was home] did we escape certain death.” He had taken refuge at Cheltenham in his native Gloucestershire.

PROGRAM “January, 1941. Cold, with frequent snow,” forecast the Meteorological Office. Over the New Year, Howells was snowed in. Beginning on January 5th, he composed four anthems, one a day, which he originally entitled In Time of War. The first was a heartfelt, vibrant setting of O, pray for the peace of Jerusalem. In an address celebrating Howells’s ninetieth birthday in 1982, a colleague appraised the anthem composed on a cold and snowy January day in wartime England: “I have always felt that the music establishes a contemplative mood—it feels as if the composer is reminiscing, whilst with a change of key in the more urgent middle section he recalls something of a journey as the music passes through new keys—at once both a pilgrimage and a prayer.” O pray for the peace of Jerusalem, they shall prosper that love thee. Peace be within thy walls, and plenteousness within thy palaces. —Psalm 122 vv. 6, 7

there is Notre-Père, Op. 14 (1977) Our Father

Maurice Duruflé (1902-1986)

Maurice Duruflé began his musical training in the cathedral choir in Rouen, France. He studied at the Paris Conservatoire and was an organ student of Marcel Dupré. In 1930 at age 28, Duruflé was appointed organist at Saint Étienne-du-Mont in Paris, a post he held for the rest of his life. From his earliest days, he was influenced by the music of the Roman Catholic Church, with its plainsong style and modal harmonies. Duruflé’s music fused two streams: the modality from his plainsong training and the harmonic colors of Fauré and others, most notably in his much-loved Requiem. According to Duruflé biographer James Frazier, this setting of the Lord’s Prayer, his final composition, was commissioned for unison voices and organ by a vicar at Saint Étienne-du-Mont and intended to be sung by the congregation. Notre-Père is his only non-Latin text and one of the few not based on plain chant. Duruflé made this arrangement for four-part, a cappella choir in 1977, dedicating it to his wife Marie-Madeleine Duruflé. Notre Père qui es aux cieux, que ton nom soit sanctifié, que ton règne vienne, que ta volonté soit faite sur la terre comme au ciel. Donne-nous aujourd’hui notre pain de ce jour, Pardonne-nous nos offenses comme nous pardonnons aussi à ceux qui nous ont offensés. et ne nous soumets pas à la tentation, mais délivre-nous du mal.

Our Father who art in Heaven, hallowed be Thy name. Thy kingdom come, Thy will be done, on earth as it is in Heaven. Give us our daily bread, and forgive us our trespasses, as we forgive those who trespass against us. And lead us not into temptation, but deliver us from evil. —Matthew 6: 9-13 La Bible, 1911

- Program Notes by Margaret Shannon

BIOGRAPHIES Conductor Donald Nally is responsible for imagining, programming, commissioning, and conducting at The Crossing, the Grammy-nominated, internationally recognized new-music choir in Philadelphia. He is also the John W. Beattie Chair in Music and director of choral organizations at Northwestern University. He has held distinguished tenures as chorus master for Lyric Opera of Chicago, Welsh National Opera, Opera Philadelphia, Spoleto USA, The Chicago Bach Project, and for many seasons at the Spoleto Festival in Italy. He has served as artistic director of the Vocal Arts Ensemble of Cincinnati and the Choral Arts Society of Philadelphia. Among the many ensembles Donald has guest conducted are the Latvian State Choir in Riga, the Grant Park Symphony Chorus in Chicago, the Philharmonic Chorus of London, and the Santa Fe Desert Chorale. His ensembles have sung with the Philadelphia Orchestra, the Pennsylvania Ballet, Spoleto USA, the BBC Symphony Orchestra, Sinfonia Cymru, RAI National Symphony Orchestra, and ICE; his work is heard on numerous recordings on the Chandos, Cantaloupe, Navona, Albany, and Innova record labels. Donald is the recipient of the distinguished alumni merit award from Westminster Choir College. Chorus America has awarded him the Louis Botto Award for Innovative Action and Entrepreneurial Zeal, as well as the Michael Korn Founders Award for Development of the Professional Choral Art; he is the only conductor to have two ensembles receive the Margaret Hillis Award for Excellence in Choral Music - in 2002 with The Choral Arts Society of Philadelphia, and in 2015 with The Crossing. His book, Conversations with Joseph Flummerfelt, was published in 2011.

Thomas Mesa, Cuban-American cellist, is quickly establishing himself as one of the most charismatic and versatile performers of his generation with a wide variety of solo engagements across the United States. Thomas is a Winner of the Astral Artists Auditions (2017), the Sphinx Competition (2016), Thaviu Competition for String Performance (2013), and the Alhambra Orchestra Concerto Competition (2006). Concerto engagements for this season and future seasons include The Cleveland Orchestra, The LA Philharmonic at The Hollywood Bowl, Erie Chamber Orchestra, Firelands Symphony, and Elgin Symphony Orchestra. Recent recital engagements, past and present, include the Mainly Mozart Festival, Nantucket Musical Arts Society, Bargemusic, Myra Hess Memorial Concert Series, Columbia University, Carnegie Hall, The Supreme Court of The United States, The Heifetz Institute, Meadowmount School of Music, Strad for Lunch Series in NYC, International Beethoven Project, Perlman Music Program Alumni Recital as well as universities across the United States. As an enthusiastic interpreter of music for choir and cello, Thomas was one of the featured instrumentalists on the Crossing Choir’s album called “Bonhoeffer” that was nominated for a Grammy Award in 2017. Led by Donald Nally, this multiple award-winning ensemble has invited Thomas as the featured soloist at The Metropolitan Museum of Art, Longwood Gardens, The Winter Garden (broadcast on WNYC), and the Theological Seminary in New York City. Scott Dettra is one of the leading American concert organists of his generation. He combines an active performance schedule with his post as Director of Music and Organist at the Church of the Incarnation in Dallas. Before coming to Dallas, Dettra was Principal Organist of Washington National Cathedral.

BIOGRAPHIES Dettra’s playing is known for its poetry, rhythmic intensity and musical elegance, and has been widely acclaimed. Of his solo recital at the 2014 national convention of the American Guild of Organists in Boston, The American Organist described it as “music making of absolute authority and sophisticated expression, one of the week’s high points.” Recent and upcoming performances include appearances in New York, Los Angeles, Chicago, Boston, Washington, Atlanta, Houston, San Diego, Phoenix, Kansas City, Barbados, Canada, and Germany. Festival appearances include the Lincoln Center Festival, the Carmel Bach Festival, the Arizona Bach Festival, the Bermuda Festival of the Performing Arts, and the Piccolo Spoleto Festival. He has performed at national conventions of the American Guild of Organists, the Association of Anglican Musicians, and the Association of Lutheran Church Musicians. A native of Wilmington, Delaware, Dettra studied at Manhattan School of Music and Westminster Choir College. 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 Geoffrey Silver has toured and recorded internationally since the age of ten. He has performed live on BBC radio and television and was one of the founders of New York Polyphony. He has appeared on stage with Gotham Chamber Opera, Mark Morris Dance Group, and the Rolling Stones. Soloist highlights include Carnegie Hall and Lincoln Center with Julian Wachner; with Drew Minter in Purcell’s The Fairy Queen; the premiere of the Missa Charles Darwin by Gregory Brown, featured in the latest Dan Brown novel; George Steel and Vox Vocal Ensemble at the Guggenheim; Steven Fox and the Clarion Music Society; Andrew Megill at Carmel Bach Festival; and Harry Bicket and The English Concert. As a conductor, Geoffrey Silver has prepared choruses for Daniele Callegari, Christoph Eschenbach, Grant Gershon, Matthew Halls, Nicholas McGegan, Steven Reineke, and Julian Wachner. In his previous role as Chorus Master of The Washington Chorus, Geoffrey was honored to conduct at the Obama White House. He is the newly appointed Interim Music Director of Church of the Redeemer, Bethesda. His classical recording label, Acis, has won many accolades, including the New Yorker top ten CDs of the year, and The New York Times music critics’ top recordings of the year, twice. Ēriks Ešenvalds is one of the most sought-after composers working today, with a busy commission schedule and performances of his music heard on every continent. After study at the Latvian Baptist Theological Seminary and the Latvian Academy of Music, he was a member of the State Choir Latvija. In 2011 he was awarded the two-year

BIOGRAPHIES position of Fellow Commoner in Creative Arts at Trinity College, University of Cambridge. Ēriks has won multiple awards for his work and undertakes many international residencies working on his music and lecturing. Recent premieres include Lakes Awake at Dawn for the Boston Symphony and City of Birmingham Symphony Orchestra, Whispers on the Prairie Wind for the Utah Symphony and Salt Lake Vocal Artists, St Luke Passion for the Latvian Radio Choir and Sinfonietta Riga, and the major multimedia symphony Nordic Light in the US, Canada, and Germany. His full-scale opera The Immured was premiered at the Latvian National Opera in 2016 to great acclaim. His writing continues with commissions from the Gewandhaus Leipzig and Grant Park Music Festival Chicago. 2018 sees the premiere of his next multimedia symphony based on volcanoes. His compositions appear on recordings from Trinity College Choir, Cambridge on Hyperion; Portland State Chamber Choir on Naxos; Latvian Radio Choir and Sinfonietta Riga on Ondine; ORA on Harmonia Mundi; and VOCES8 on Decca Classics, amongst others. Alex Berko is an American composer, pianist, and arranger whose music has been performed in Asia, Canada, and throughout the United States. Berko has received performances by The Crossing Choir, Del Sol String Quartet, NOTUS Contemporary Vocal Ensemble, Cape Symphony Orchestra, and many others. His music has been heard at the Green Music Center, the American Choral Directors Association Central Division Conference, the Jazz Education Network Conference, RED NOTE New Music Festival, BGSU New Music Festival, Atlantic Music Festival, and the NYU/ ASCAP Film Scoring Institute. In addition, he has received recognition from ASCAP/SCI (Three-time ASCAP Morton Gould Finalist; SCI Commission Competition Award), BMI (Finalist), the American Choral Directors Association (Brock Memorial Award), the Cleveland Institute of Music (Carl E. Baldassarre Award), and the Minnesota Orchestra Composer’s Institute (Honorable Mention), among others. Berko currently attends Indiana University’s Jacobs School

of Music, pursuing a BM in composition with an outside concentration in piano and entrepreneurship. Primary teachers include David Dzubay, Claude Baker, Keith Fitch, Aaron Travers, Don Freund (composition) and Jean-Louis Haguenauer, Edmund Battersby, and Sandra Shapiro (piano). The Cathedral Choral Society is the resident symphonic chorus of Washington National Cathedral. Founded in 1941 by Paul Callaway, the 145-voice chorus is the oldest symphonic choral group in Washington, DC. From 1985 to 2016, J. Reilly Lewis served as its second Music Director, leading performances ranging from symphonic choral masterpieces to world premieres. The Cathedral Choral Society has announced Steven Fox as its third Music Director starting in the 2018.19 season. The Cathedral Choral Society presents a concert series with four programs at Washington National Cathedral. In 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 Anne Carman Joanne Casey Laura Cooman Tari Cooper* Marcia Dâ&#x20AC;&#x2122;Arcangelo Lesley Earl Melissa Fox RenĂŠe Gamache Marian Gamboa Abigale Hobbs Kyla Kitamura Kelsey Kolasa Chana Kuhns Laura Laforest Chris Markus Marianna Martindale Susan McDaid** Kimberly Pacala Meredyth Shinko Melanie Steinkamp Patricia Stephenson 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 Megan Sullivan Dianne Vandivier Margot T. Young*

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

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

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

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

Bass I Jared Berry Nathaniel Buttram Kelly Cameron Jack Campbell Michael Droettboom Giles Howson Tony King Lee Larson 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 Andrew Bolden Chris Buechler** Thomas Chapman Casey Cook Benjamen Douglas Raymond Ghattas Glenn Sherer Griffiths, OSL* Scott McCorkindale David Shilton Gregory Watson Ellis Wisner

** Section Coordinators * Alternates

HONORS The Cathedral Choral Society Honors Committee is pleased to announce the recipients of our 2018 honors and recognitions. THE ORDER OF MERIT FOR OUTSTANDING LEADERSHIP The Order of Merit for Outstanding Leadership recognizes the transformational achievement of an individual who has served the Cathedral Choral Society in a leadership capacity. Paul Juergensen We are pleased to recognize Paul with the Order of Merit. Paul served on the Board of Trustees for 8 years (2 terms). During that time he served as Chair of the Investment Committee and was instrumental in reviewing and strengthening investments and endowment practices. Paul also advised on planned giving and questions relating to Harmonia Society. He served as chair of the Executive Director Search Committee, the Personnel Committee, and served on the Executive and Development Committees. THE M. ELIZABETH AND CHARLES S. TIDBALL AWARD The M. Elizabeth and Charles S. Tidball Award recognizes extraordinary and meritorious volunteer service over many years. Dick Larkin We are pleased to recognize Dick with the Tidball Award. Dick has been a member of the Cathedral Choral Society for 39 years (tenor 1). During his nearly four decades in the chorus he has served on the Board and has been a steady member of the Finance Committee, Investment Committee, and the Audit Committee. He advises generously during the annual audit process and is an ambassador for CCS working to ensure that our finances are strong. COMMENDATION FOR VOLUNTEER SERVICE The Commendation for Volunteer Service recognizes noteworthy and exceptional volunteer service. Kathy Brion We are pleased to recognize Kathy for her dedication as a volunteer. Kathy has worked tirelessly as a Board Trustee (singer representative), Chorus Affairs Committee member, past Gala auction co-chair, and all-around volunteer. Emily German, Jeremy Gosbee, and Chris Markus We are pleased to recognize these three chorus members who served on the Music Director Search Committee. They were wonderful ambassadors for CCS, each taking on a leadership role at various points in the process and ensuring that our process was excellent throughout. COMMENDATION FOR SIGNIFICANT CONTRIBUTIONS This commendation recognizes individuals and organizations who have helped the Cathedral Choral Society achieve important objectives that could not otherwise be obtained. Cathedral Sextons We are pleased to recognize the Cathedral Sextons, whose work behind the scenes facilitates all that we do. Every concert and event set up is made possible by the sextons who arrive early, stay late, and keep the Cathedral pristine for all to enjoy.

THANK YOU The Cathedral Choral Society is pleased to acknowledge the following contributors to our Annual Fund Campaign between November 13, 2016 to February 13, 2018. Gifts made in Memory or Honor of another person are listed on page 20. Thank you. Your ongoing and generous contributions support our vision to engage people in the extraordinary power of choral music. Paul Callaway Associates $20,000+ The Estate of Mr. Nevin E. Kuhl Sustaining Patrons $10,000+ Anonymous

Ernest*^ and Catherine Abbott

Gerald W^ and Alice Padwe

Guarantor Patrons $5,000+ D. Philip Baker Diana Dykstra^ Arthur L. and Connie Eggers Thomas P. Gallagher Patricia D. Hevner^

Sarah B. Holmes*^ and John B. Morris Jr. Richard* and Cecilia Larkin Celeste Avril Letourneau^ Lolly and Jim*^ Mixter Thomas C. Mugavero*^

Mary B. Olch* Bradley J. and Martha A. Olson Stephen S. Roberts* Martin Rosenthal*^ and Corinne Axelrod

Virginia C. Mars^ Susan McDaid* John E. Moyer* and Jane Passman Margarita Ossorio-Goldman^ and Daniel Goldman

Frances H. Pratt* T. Michael and Linda Shortal Kevin and Andrea Wade

Unsung Heroes $1,000+ Eric P. Andersen* and W. David Young II Margaret M. Ayres and Stephen Case Brian and Donna Bogart Jeanne Buster Laura M. Connors* Edison and Sally Dick Walter^ and Joanne Doggett Lynn B. Dutton George and Sheri* Economou Cary C. Fuller

Genevieve^ and Sean Twomey Mary-T^ and Spencer Gordon Susan Grad* Anne R. Harris^ Ruth G. Hofmeister Judith Richards Hope Robert W. Jerome and William J. Courville C. F. Muckenfuss III and Angela Lancaster Christina M. Markus* Samuel C. Miller

James and Christine* Mulligan Jennifer*^ and Alec Orudjev W. Robert Reeves Kevin Rosengren^ James* and Madeleine Schaller L. Bradley Stanford*^ Guy and Margaret^ Steuart Mr. Leslie C. Taylor John and Darielâ&#x20AC; van Wagoner Nancy Wiecking

Patrons $500+ Violet E. S. Baker* Jessica Barness* Joanne Casey* Blanche L. Curfman Alice M. Denney Cynthia L. Drakeman*

Jeremy Gosbee* Ingrid* and Dean Kauffman Kimberly* and Mark Pacala Harold I. and Frances G. Pratt Lynn Rhomberg John Schaettler*

Susan Fifield Mentley and James David Toews Elinor G. Vaughter Kathleen W. and Walter Weld Virginia L. White Dorothy M. Woodcock

Chorus Section Patrons $2,500+ Charles Leonard Egan Nancy M. Folger Paul Juergensen II William M. Leach

THANK YOU Sponsors $250+ Catherine H. Beauchamp Kris Brown Coleman^ Stephen and Sandra* Caracciolo Anne* and James Carman Mr. and Mrs. T.W. Carrico James W. Clay* Vera I. Connolly Holly* and Trevor Filipiak Glenn S.* and Judith M. Griffiths George Robert Lamb

George Londeree Wendy Lubarsky* Leander and Stephanie McCormick-Goodhart Barbara and John McGraw Michael Mercier Scott and Nancy Pinckney Robert* and Elaine Porter Chuck Pratt and Alexandra England

Richard and Linda Roeckelein Suzanne and Robert Rooney David and Mary Shilton Gene and Sheryl Tunison C. Thomas Van Alen Tom and Linda Veblen Richard and Virginia Wagner Ellis Wisner* Evelyn D. Woolston-May

Donors $100+ Anonymous (3) Mary Amorosino* Carolyn Arpin and Benjamin Sacks Frances D. Cook Harvey and Carolyn Bale Doug Barry* and Liz Eder Elizabeth Bartholomew Gordon L. Biscomb Andrew and Kaye Boesel Herman Bostick Gregg M. Breen* Kathleen Brion*^ Thornton W. Burnet Michael F. Butler Marilyn Clark Roberta and Philip Cronin Holly Cumberland John Da Camara Sharrill Dittmann Augusta T. Getchell Cynthia L. Gibert Neil and Carolyn Goldman 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 John Hewes Frederick S. Hird Paul and Ellen Hoff Lee McGraw Hoffman Robert and Parma Holt Erika R. Joyce Louis E. and Ruth H. Kahn Karen R. and Norman A. Kane Michael Emile Karam Laurie Keegan Mary Ruth Keller Gary and Judy Kushnier Janice L. Lockard Elizabeth Lowenstein Alaster and Sue MacDonald James W. and Kathleen E. Madden Paula Marchetti Scott* and Linda McCorkindale Robert Turner Mead Joseph and Rebecca Metro

Denise Bell Miller Mindy Nash Coleman H. and Elizabeth B. Oâ&#x20AC;&#x2122;Donoghue Susan D. Ohnmacht Warren and Marianne Pfeiffer Rondi K. Pillette and Steven A. Levin Christine Pintz Joan A. Pirie Jacqueline Prince Theodora Radcliffe Georgene Rasmusson Jane Roningen* Alan and Geraldine Schechter Ann Imlah Schneider Patrick Shannon Patricia Stephenson* Jacqueline K. Stover Keiko Stusnick Alice Sziede Judith Ann Tickner Dianne Vandivier* Richard Wanerman* Sinclair Winton Sam Yoon

*Chorus Member

^Board Trustee

â&#x20AC; Deceased

THANK YOU The Cathedral Choral Society is pleased to recognize Government, Foundation, and Corporate support to our Annual Fund Campaign between November 13, 2016 to February 13, 2018.

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

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

THANK YOU The Cathedral Choral Society is pleased to acknowledge the following contributions made in memory or honor to our Annual Fund Campaign between November 13, 2016 to February 13, 2018.

Gifts in Memory In Memory of J. Reilly Lewis Mary Prussing Edison and Sally Dick Embry and Joseph Howell Paul and Ellen Hoff Clara J. Ohr Lynn C. Rhomberg Margaret Gonglewski* Earl and Phyllis Hannum Bob Kline and Elaine Mills Robert and Betty Wallace Kris Brown Coleman^ and Jonathan Coleman Stephanie Cabell* Alaster and Janet MacDonald Mark W. Ohnmacht Suzanne M. and B. Dwight Perry Stephen S. Roberts* Suzanne and Robert Rooney Margot T. Young* Peter Fontneau Barbara Oldroyd Theodora Radcliffe

In Memory of Dariel Van Wagoner Mary-T^ and Spencer Gordon Robert and Laura Barlow Sandra Person Burns CCS Alto II Section Erika R. Joyce William M. Leach Virginia C. Mars^ Margot T. Young* Chancel Choir at Clarendon United Methodist Church Blanche L. Curfman Cynthia G. Plante Roxanne Rhinehart In Memory of Marion Drew Leach Sally Fiske In Memory of Richard M. Skinner 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 Karl Walter Ohnmacht Mary-T^ and Spencer Gordon In Memory of Barbara Dobson Mary-T^ and Spencer Gordon Jean Jawdat In Memory of Theodore R. Bledsoe, M.D. Mary-T^ and Spencer Gordon In Memory of Laura Faller Mary-T^ and Spencer Gordon

In Memory of David Hearn Mary-T^ and Spencer Gordon In Memory of Linda Morgan Michael Emile Karam In Memory of Marion Leach Steven and Monica Leach In Memory of James Farrand Ann Marie Marie Plubell In Memory of James W. Stone Crawford Feagin Stone In Memory of Jim Owens Elizabeth Owens Wakefield* In Memory of Tom McQuillan Ann McCormick-McQuillan

In Memory of Gertrude Ohnmacht Mary-T^ and Spencer Gordon

Gifts in Honor In Honor of Mary-T. Gordon John T. Beaty, Jr. In Honor of Susan and Brad Stanford Karen and Jim Fort In Honor of Frances H. Pratt Susan J. Henry

In Honor of Ernie Abbott Joshua Gotbaum and Joyce Thornhill In Honor of Marti Olson Margaret Gonglewski* In Honor of Margot T. Young Kathleen W. and Walter Weld James Townsend

In Honor of Ann Ingram Roberta J. Duffy Christie Kramer and Charles Kirby In Honor of Virginia C. Mars Shirley M. Fine In Honor of Anna Skinner Thread Creative

In Honor of Susanna Beiser David and Joan Green In Honor of Robert and Elaine Porter Susan Klauck In Honor of Margaret Gonglewski Elisabeth Gonglewski

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 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 John and Dariel† Van Wagoner Nancy Wiecking Martha Wilson Evelyn D. Woolston-May

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

Bernstein

THE HUMANITARIAN

SUNDAY, MAY 20, 4:00 PM

WASHINGTON NATIONAL CATHEDRAL

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 C Major, Hob. XXII:9 (Mass in Time of War) Bernstein, “Make Our Garden Grow” from Candide Bernstein, Halil Beethoven, Symphony No. 9 in D Minor (“Choral”), IV. Presto Our 2017.18 season closes with this celebration of Leonard Bernstein in his centennial year. Bernstein was an active advocate for peace and nuclear disarmament throughout his life. Through music, video, photos, and spoken word, we honor Bernstein, the humanitarian.

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

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

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

Honorary Trustees Mary-T. Gordon

Virginia C. Mars

Cathedral Choral Society Staff Emily Alcorn, Annual Fund & Events Coordinator Laura Crook Brisson, Operations Coordinator Steven Fox, Music Director Designate Anna Lipowitz, Operations & Education Programs Manager

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

Concert Support Margaret Shannon, Program Annotator Patricia Stephenson, Librarian

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

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

Mark Huffman, Technical Director/Audio Engineer Sarah Rockwood, Front of House Manager Torrence Thomas, Head Verger

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

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

You are invited to our annual gala in celebration of song!

FRIDAY, APRIL 27, 2018, 7:00 PM

WASHINGTON NATIONAL CATHEDRAL The act of singing and raising voices together is a vital and joyful part of the human experience. Join Honorary Chair Jessye Norman as we pay tribute to chorus members then and now, celebrate the work of our High School Choir Festival teacher leaders, and introduce our new Music Director, Steven Fox.

ABOUT THE EVENING Our gala evening will include a cocktail reception for sponsors, silent auction, performances, receptionstyle dinner (reserved seating for sponsors only), entertainment, and dancing.

SPONSOR TICKET $400 (tax deductible benefit $260) Sponsor recognition, reserved table seating, and an invitation to the cocktail reception and auction preview. For levels and benefits, visit our website or call 202-537-5510.

GALA TICKET $220 (tax deductible benefit $120)

PARTY TICKET $80 9:00 pm admission to the Cathedral, dessert, and dancing

ENTERTAINMENT FOOD/DRINK

Hot Club of Baltimore Susan Gage Caterers

Join us!

To find out more and reserve your tickets today, visit

WWW.CATHEDRALCHORALSOCIETY.ORG

As an 18-year-old college student, Ms. Norman sang at the Cathedral. Her voice soared out, drawing the attention of all those around. Five years later, she performed with the Cathedral Choral Society as a soloist in a performance of Handelâ&#x20AC;&#x2122;s Messiah at Constitution Hall. This concert is a highlight of our history.