Cathedral Choral Society Concert Program
Vivaldi Gloria with the Washington Bach Consort Sunday, Feb. 21 | 4:00 p.m. Washington National Cathedral
Greetings, We are so pleased to welcome you to the third concert of our 2015/16 Season! Today we welcome the Washington Bach Consort orchestra as our collaborators. Founded in 1977 by Cathedral Choral Society Music Director J. Reilly Lewis, the Washington Bach Consort is a critically acclaimed ensemble committed to the performance of works by Bach and his contemporaries, and has appeared at numerous festivals and made three European tours. Having these two ensembles share the stage is a rare treat. We are excited to have them here together for this joyful afternoon of Vivaldi’s jubilant, beautiful music. We are eagerly looking forward to our annual gala, Gala 1941, on Saturday, March 12 at the Mayflower Hotel. On the eve of our 75th season, we celebrate the Cathedral Choral Society’s founding. In 1941, the poster below was distributed to government offices, and singers from all professions were invited to audition. Please join us for a ritzy evening of 1940s fun with swing music, dancing, and a silent auction in support of our artistic programming and community engagement initiatives. Thank you for joining us this afternoon. Enjoy the concert!
Genevieve Twomey Executive Director
CATHEDRAL CHORAL SOCIETY’S
1941 Gala
SATURDAY, MARCH 12, 2016
THE MAYFLOWER HOTEL
It’s 1941. The Cathedral Choral Society is a dream about to be realized. Our first rehearsal takes place on December 1, 1941. War for the United States is just on the horizon. Join us at our spring gala for a ritzy evening of 1940s fun with big band swing, guest performers, dancing, and a silent auction. Reception-style gala with open bar, food stations, and passed hors d’oeuvres. It’ll be the cat’s meow!
2
! s u n i o J TICKETS $250
CATHEDRALCHORALSOCIETY.ORG OR CALL 202-537-5510
Cathedral Choral Society J. Reilly Lewis, Music Director
Vivaldi Gloria Sunday, February 21 | 4:00 p.m. Washington National Cathedral J. Reilly Lewis, conductor Cathedral Choral Society Washington Bach Consort Orchestra Concerto for Oboe and Trumpet in D Major, RV 563 Meg Owens, oboe Josh Cohen, trumpet
Antonio Vivaldi
Motet, Nulla in mundo pax sincera, RV 630 Antonio Vivaldi Jennifer Ellis Kampani, soprano Psalm 109, Dixit Dominus, RV 595 Antonio Vivaldi Robin Beckman, soprano Jennifer Ellis Kampani, soprano Roger Isaacs, countertenor Patrick Kilbride, tenor Karl Hempel, bass INTERMISSION Introduzione, Ostro picta, armata spina, RV 642 Antonio Vivaldi Jennifer Ellis Kampani, soprano Gloria in D Major, RV 589 Antonio Vivaldi Jennifer Ellis Kampani, soprano Robin Beckman, soprano Roger Isaacs, countertenor Patrons are kindly requested to turn off all noise-making devices during the performance. Any taking of photographs or unauthorized recording of this concert is prohibited. Cover Photo Credits Washington Bach Consort cellist - David Betts, Metropolitan Photography | All others - Paul B. Jones Photography
3
Texts and Translations Concerto for Oboe and Trumpet in D Major, RV 563 I. Allegro II. Grave III. Allegro
Motet, Nulla in mundo pax sincera, RV 630 (1735) I. Aria Nulla in mundo pax sincera sine felle, pura et vera, dulcis Jesu, est in te. inter poenas et tormenta vivit anima contenta casti amoris sola spe.
In this world there is no honest peace free from bitterness; pure and true (i.e. peace) sweet Jesus, lies in Thee. Amidst punishment and torment lives the contented soul, chaste love its only hope.
II. Recitative Blando colore oculos mundus decepit at occulto vulnere corda conficit; fugiamus ridentem, vitemus sequentem, nam delicias ostentando arte secura vellet ludendo superare.
This world deceives the eye by surface charms, but is corroded within by hidden wounds. Let us flee him who smiles, shun him who follows us, for by skillfully displaying its pleasures, this world overwhelms us by deceit.
III. Aria Spirat anguis inter flores et colores explicando tegit fel.
The serpent’s hiss conceals its venom, as it uncoils itself among blossoms and beauty.
Sed occulto tactus ore homo demens in amore saepe lambit quasi mel.
But with a furtive touch of the lips, a man maddened by love will often kiss as if licking honey.
IV. Alleluia
Alleluia. —Anonymous English translation
4
Texts and Translations PSALM 109, Dixit Dominus, RV 595 I. CHORUS Dixit Dominus Domino meo: Sede a dextris meis, II. CHORUS Donec ponam inimicos tuos scabellum pedum tuorum. III. SOPRANO I Virgam virtutis tuae emittet Dominus ex Sion: dominare in medio inimicorum tuorum. IV. SOPRANO I AND II principatus in die virtutis tuae, in splendoribus sanctis. Ex utero ante luciferum genui te.
The Lord said unto my Lord: Sit thou on my right hand, Until I make thine enemies, thy footstool. The Lord shall send the rod of thy power out of Sion: be thou ruler, even in the midst among thine enemies. In the day of thy power shall the people offer thee free-will offerings with an holy worship: the dew of thy birth is of the womb of the morning.
V. CHORUS Juravit Dominus et non paenitebit eum: Tu es sacerdos in aeternum secundum ordinem Melchisedech.
The Lord swore an oath, and will not repent: Thou art a priest for ever after the order of Melchisedech.
VI. SOPRANO I Dominus a dextris tuis, confregit in die irae suae reges.
The Lord upon thy right hand: shall wound even kings in the day of his wrath.
VII. CONTRALTO AND CHORUS Judicabit in nationibus, implebit ruinas, conquassabit capita in terra multorum.
He shall judge among the heathen; he shall fill the places with dead bodies: and smite in sunder the heads over many lands.
VIII. CONTRALTO De torrente in via bibet, propterea exaltabit caput.
He shall drink of the brook in the way: therefore shall he lift up his head.
IX. CONTRALTO, TENOR, AND BASS Gloria Patri, et Filio, et Spiritui Sancto,
Glory be to the Father, Son, and Holy Ghost.
X. CHORUS Sicut erat in principio, et nunc, et semper, et in saecula saeculorum. Amen.
As it was in the beginning, is now; and ever shall be, world without end. Amen. Psalm 109 (110 in Protestant Bibles) —English version, Book of Common Prayer, 1662
INTERMISSION
5
Texts and Translations Introduzione, Ostro picta, armata spina, RV 642 I. Aria Ostro picta, armata spina, summo mane quae superba, floruit pulchra, vaga rosa.
Purple-painted, armed with thorns, as splendid as anything in the morning, so bloomed the beautiful wild rose.
Iam declinans vespertina pallet, languet velut herba, nec odora nec formosa.
Now, wilting in the evening, it pales, drooping like grass, lacking scent, lacking figure.
II. Recitative Sic transiit vana et brevis Gloria mundi, et quae originem suam traxit ex alto, non fluxa sed aeterna, et quae sanctorum est Gloria divina semper crescit eundo. Virgo in matrem electa omnipotentei Filii, typus humilitatis, dum hodie visitatur, humilis, pura et pia mage exaltatur.
So passes the empty and brief Glory of the world, and that which drew its root from the depth; not transient but eternal is the divine Glory of the saints which continually grew out of it. A virgin chosen as mother to the omnipotent Son, a model of humility as she is visited on this day, humble, chaste and holy, she is greatly exalted.
III. Aria Linguis favete, omnes silete, voces prophanae, et tantum resonet: Pax in terra, in coelo Gloria
Tongues be still, let all be silent, voices of profanity, and let this great thought resound: “Peace on earth, in heaven Glory.�
Iam fausti diei tam magnae rei currat festivitas; laeta solemnitas, Atque memoria, currat memoria
Now on this auspicious day of so great an event observed with festivities a solemn celebration and remembrance is observed. —Anonymous English translation
6
Texts and Translations Gloria in D Major, RV 589
I. CHORUS Gloria in excelsis Deo. II. CHORUS Et in terra pax hominibus bonae voluntatis. III. SOPRANO I AND II Laudamus te. Benedicimus te. adoramus te, glorificamus te. IV. CHORUS Gratias agimus tibi propter magnam gloriam tuam. V. SOPRANO Domine Deus, Rex coelestis, Deus pater omnipotens.
Glory be to God on high, And on earth peace, good will towards men. We praise thee, we bless thee. We worship thee, we glorify thee. We give thanks to thee for thy great glory. O Lord God, heavenly King, God the Father Almighty.
VI. CHORUS Domine Fili unigenite, Jesus Christe altissime.
O Lord, the only-begotten Son, Jesus Christ, the most high.
VII. CONTRALTO AND CHORUS Domine Deus, Agnus Dei Filius Patris Qui tollis peccata mundi, misere nobis.
O Lord God, Lamb of God, Son of the Father that takest away the sins of the world, have mercy upon us.
VIII. CHORUS Qui tollis peccata mundi, suscipe deprecationem nostram.
Thou that takest away the sins of the world, receive our prayer.
IX. CONTRALTO Qui sedes ad dexteram Patris, misere nobis.
Thou that sittest at the right hand of the Father, have mercy upon us.
X. CHORUS Quoniam tu solus sanctus, tu solus Dominus, Tu solus Altissimus, Jesu Christe.
For thou only art holy; thou only art the Lord; Thou only art most high, Jesus Christ.
XI. CHORUS Cum Sancto Spiritus in gloria Dei Patris. Amen.
With the Holy Ghost, in the glory of God the Father, Amen —Latin text, Great Doxology from the Roman Mass English version, Book of Common Prayer, 1928
7
Program ANTONIO VIVALDI (1678-1741) With his distinctive red hair, Antonio Lucio Vivaldi (1678-1741) was known in his day as il prete rosso (the red-headed priest). Although ordained in 1703, he was soon excused from saying Mass, probably because of bronchial asthma. He was one of six children born in Venice to Camilla Calicchio and Giovanni Battista Vivaldi, a barber and violinist who later founded an association of musicians. Antonio and his father often performed together. In September 1703, Antonio became the resident violin teacher at the orphanage called the Pio Ospedale della Pietà, one of four such institutions in Venice. Although he would travel extensively throughout Italy and Germany for the presentation of his operas, Vivaldi remained in service to the Pio Ospedale della Pietà di Venezia for almost forty years. Vivaldi had a strained relationship with the Board of Directors at the Ospedale. The annual vote to retain his services was often far from unanimous, and in 1709, it went against him, 7 to 6. In 1716, he was recalled by the Ospedale’s Board of Directors, and appointed its music director. His responsibilites in this role included composition of vocal works, which required him to produce at least two motets per month and two new Masses and Vespers annually. In 1717, he accepted a prestigious offer as Maestro di Cappella of the court of Prince Philip of Hesse-Darmstadt, governor of Mantua. He remained there three years, then moved to Rome in 1722, where his new style operas brought him great financial success and invitations to appear at the Vatican before Pope Benedict XIII. Vivaldi returned to Venice and the Ospedale in 1725, only to discover changing musical tastes had made his compositional style unfashionable. Hoping to be named court composer to Emperor Charles VI of Austria, Antonio and his father decamped to Vienna in 1730, selling off his manuscripts at bargain prices to finance the move. Inconveniently, Charles VI soon died, leaving Vivaldi without royal patronage or income. He returned to Venice once more, in 1735, to resume his duties at the Ospedale as music director, at his old salary, assuring the Governors he intended to remain in Venice. But, by June 28, 1741, the 63-year-old composer was back in Vienna, and on July 27, he died and was buried in a pauper’s grave, a sad coda to il prete rosso who once earned over 50,000 ducats annually. His musical legacy, however, remains priceless.
A typical Venetian Ospedale concert salon in Vivaldi’s time.
8
Program CONCERTO FOR OBOE AND TRUMPET, RV 563
MOTET, NULLA IN MUNDO PAX SINCERA, RV 630
Vivaldi’s legacy rests largely on his enormous output of instrumental compositions—concertos, sinfonias, sonatas—and no two of his more than 500 concerti are said to sound alike. His successful compositional style rested on simplicity and adaptability. The Concerto for Oboe and Trumpet in D Major, RV 563, originally written for two oboes and violin, is an excellent example of the new Italian concerto style that Vivaldi championed. It follows a threemovement structure (Allegro–Grave–Allegro) and features an exuberant interplay between the two solo instruments. It is unknown for whom and when it was arranged for oboe and trumpet, since the trumpet was not taught at the Ospedale.
Vivaldi’s non-liturgical motets, written for solo voice (soprano or alto) and string orchestra, are models of vocal virtuosity. A scholar writing in 1752 described this eighteenth-century Italian genre as a “sacred cantata with solos in Latin, consisting of two arias, two recitatives, and ending with an Alleluia, usually sung during mass, after the Credo, by one of the best singers.”
The Historically Informed Performance (HIP) movement emerged during the 1970s, when musicians and scholars questioned why works of the Baroque period were performed on modern instruments vastly different than those known by Buxtehude, Vivaldi, and Bach. “Textures have greater individuality so the orchestra entwines with the voices,” explains Music Director Reilly Lewis. “Baroque instruments provide the ability to achieve a more sculpted and delineated sound.” The Washington Bach Consort, founded by Lewis in 1977, adopted the exclusive use of Baroque instruments in 1995, in a performance of Handel’s Messiah.
Musicologist Denis Arnold, surveying Vivaldi’s church music, described the utility of these non-liturgical texts in his solo motets. “The problems which arise when putting words to music are largely avoided, firstly by choosing texts which have no pre-existence in the liturgy and thus can be selected (and presumably changed around if necessary) for their musical suggestiveness; and then by including an alleluia as the last section, where there is no real word setting at all. Some of these motets become virtual concertos for voice, with only minor concessions either to the requirements of the singer or the conventions of vocal music. . . . Motets are one thing, liturgical music is another.” The anonymous Latin text of this motet is based upon the proposition that “in this world there is no honest peace” but offers the hope of salvation, and concludes with a joyous Alleluia.
Baroque Instruments Baroque woodwinds are made exclusively of wood; Baroque brass instruments have no valves. There is greater parity of sound between a Baroque trumpet and oboe than between similar modern instruments. Baroque Pitch “Concert pitch” in modern orchestras is set at 440 Hz for the A above middle C. The Baroque pitch standard of 415 Hz is roughly a semitone lower than modern concert pitch.
9
This caricature, one of the three known portraits of Vivaldi, was made in Rome in 1723 by Pier Leone Ghezzi.
Program PSALM 109, DIXIT DOMINUS, RV 595 Psalm 109 Dixit Dominus, Psalm 109 (110 in Protestant Bibles) is the only one of five required psalms prescribed for every Vespers service on Sundays or feast days, which accounts for the numerous ceremonial settings by composers, including Mozart, Handel, and Vivaldi. (Richard Rogers even set fragments of Dixit Dominus for the opening sequence of The Sound of Music.) Vivaldi’s Rediscovered Dixit Dominus Until the late 1960s, only one setting of Dixit Dominus, (RV 594, for double choir) was known to exist. Then, Vivaldi scholar Michael Talbot discovered a second large-scale setting (RV595), for five voices (soprano divisi), in the National Library of Prague. “This new Dixit Dominus was almost certainly composed for the Pietà before 1717,” according to Talbot’s liner notes for a 1977 recording. “No fewer than three of the movements of RV 595 are closely based on material borrowed from other men. Vivaldi’s personal collection of sacred vocal music by other composers... provided an irresistible temptation for him whenever he decided...to include a movement in the stile antico style (neo-Palestrinian) for which he had little training.” The opening movement, Dixit Dominus, is an exultant chorus in D major, followed by Donec ponam, a chorus that unfolds slowly in B minor and culminates with sublime harmonies over a sustained pedal point. The soprano solo, Virgam virtutis, is followed by Tecum principium, with its unusual instrumentation for two solo cellos paired with sopranos, a frequently used device at the Pietà. The climactic fifth movement, Juravit Dominus, features the text in which “The Lord swore an oath, and will not repent: Thou art a priest for ever after the order of the Melchisedech.” Here, the alto acts as cantor to whom the other three voices respond. Tu es sacerdos is, according to Talbot, borrowed from an anonymous Dixit Dominus dated 1708. The soprano aria, Dominus a dextris tuis, gives fair warning “even to kings in the day of his wrath.” The Last Judgment arrives in Judicabit, “He shall judge among the heathen.” In De torrente, “he shall drink of the brook,”
10
the contralto is accompanied by unison violins depicting a babbling brook. The Psalm is followed by the requisite Lesser Doxology. In Talbot’s words, “First we have a charming choral terzet for alto, tenor, and bass, almost in the style of seventeenthcentury bel canto. This is a cunning paraphrase of the martial opening section of Lotti’s Inganni dell’ umanita. . . . The terzet leads straight into the Sicut erat in principio, which, acting out a familiar musical pun, is an abridged restatement of the opening movement. The triumphant concluding fugue on Et in saecula saeculorum is a re-scored and cleverly expanded version of its counterpart in an anonymous Laudate pueri Dominum, RVAnh. 29, which dates right back to 1690.” Sacred Music in Eighteenth-Century Venice The Swiss historian Philippe Monnier, in his study of Venice in the Eighteenth Century first published in 1910, offered this colorful and illuminating description of church music in Venice during the time of Vivaldi. Venetian churches are places for high-society meetings, where, under the clear frescos of Tiepolo, we come to listen to beautiful music, look at pretty women, clown with a dog during the sermon, read a Gothic inscription on the tomb of a captain, make noise or love, and taste, when we can taste it, the superior voluptuousness of giving pleasure the savor of sin. (…) [There are] few days in which no musical solemnity takes place in the church, around a procession of doges, a heroic anniversary, a sacred feast, around all sacred or secular events of the Serenissima. More than the sermon, it is music that fills the churches; it is through music that one communes with God. Venice rushes to these ceremonies as to a free pleasure and a spiritual feast. (Source: Philippe Monnier, Venise au XVIIIe siècle, London: Chatto & Windus, 1910).
INTERMISSION
Program INTRODUZIONE, OSTRO PICTA, RV 642
GLORIA IN D MAJOR, RV 589
In the seventeenth century, the introduzione, or virtuoso solo motet, was used to set the stage for a major work, such as the Gloria, to follow. The motet might also serve as a fanfare for the entrance of nobility or princes of the church. Eight of Vivaldi’s introduzione survive. Of these, four consist of two arias and a central recitative, including Ostro picta, armata spina, which is scored for solo soprano, strings, and continuo.
This setting of the Gloria is Vivaldi’s best-known choral work. “The first bar . . . with its octave leaps in the violins,” declares Vivaldi scholar Michael Talbot, “is perhaps the most famous and instantly recognized motive based on the interval of an octave in the whole of musical literature.”
That Ostro picta was written for the patronal festival of the Pietà, the Visitation of the Blessed Virgin, is confirmed by a textual reference in its central recitative —“dum hodie vistatur” (as she is visited on this day). The Gospel of Luke 1:39-56 records the visit of Mary and Elizabeth. From 1263 to 1969, this Festival was fixed on July 2nd. The first verse (aria) of this anonymous, non-liturgical text mingles Arcadian and Christian imagery in describing the “beautiful, wild rose of the morning” that wilts in the evening like grass. The second verse (recitative) contrasts the transient “empty and brief glory of the world” with the eternal glory of the Virgin mother. The third verse (aria) references “this auspicious day the celebration of so great an event is observed; a joyous custom and commemoration is observed,” i.e., the patronal festival of the Visitation of the Blessed Virgin. This final movement is also a bridge to the Gloria, with its quotation of the opening phrases from the Gloria—pax in terra and in coelo gloria. Although this introduzione is not clearly associated with a particular work, as Vivaldi Scholar Michael Talbot has pointed out, its key (D major) and the leaping octave figure in the opening movement are sufficient evidence to suggest its association with the Gloria, RV 589.
11
The origins of this Gloria remain as obscure as the manuscript itself before its rediscovery in the 1920s. Few of Vivaldi’s liturgical compositions can be positively dated through written or stylistic evidence. He is believed to have composed at least two other settings of the Gloria, only one of which (RV 588) has survived. Scholars speculate that, based on the scoring for two female soloists, this setting dates to his early years at the Ospedale between 1713 and 1717. Talbot discovered that ‘[t]he paper and stave-rulings of the autograph score match those found in the score of [an opera] performed at Vicenza in May 1713,” leading to conjecture that the Gloria was most likely composed for the Feast of the Visitation of the Blessed Virgin, the patron of the Pietà, on July 2. The year 1713 also corresponds to a time when Vivaldi was briefly chorus master at the Ospedale della Pietà. The text of the Gloria is the second section of the Roman Mass and is known as the Great Doxology, as distinguished from the Lesser (Gloria Patri), which is appended to Psalms in liturgical settings, such as Psalm 109, Dixit Dominus. The Gloria text dates to at least the third century A.D. The first verse, Gloria in excelsis Deo, comes from Luke 2:14 and is the hymn sung by the angels to announce Jesus’s birth. As was fashionable at that time in Italy, Vivaldi’s sacred music was often divided into several short movements. This is an independent work of twelve movements, scored for oboe, trumpet, strings, and continuo with soprano and alto soloists, and mixed chorus.
Program
Detail of the Angels, ‘Gloria in excelsis Deo’ in D. Ghirlandaio, Adoration of the Shepherds, 1488, empera on wood, Spedale delgi Innocenti, Florence.
The festive trumpet embellishes the opening and closing movements. Et in terra pax—with its pulsating bass lines over which the choral line rises and falls with the smallest of intervals on the words terra and pax—is an example of the Baroque emphasis on a single human affect in a given work or movement. Laudamus te, a lively duet for two sopranos, is followed by Gratias agimus, a grand, homophonic congregational statement (“we give thee thanks”), which devolves into the contrapuntal texture of Propter magnam gloriam tuam. Lilting siciliano rhythms characterize Domine Deus, Rex caelestis, a soprano and violin duet. The exuberant Domine Fili unigente contrasts with the slower Domine Deus, in which the contralto soloist joins with the chorus. After the anguished choral cry, Qui tollis peccata (“thou who takest away the sin of the world”), the contralto returns in Qui sedes ad dexteram Patri. A significantly truncated reprise of the opening movement in Quoniam tu solus sanctus precedes the double fugue on Cum Sancto Spiritu. Following generally accepted eighteenth-century convention, Vivaldi borrowed this concluding fugue from a similar Gloria composed in 1708 by the contemporary Veronese composer Giovanni Maria Ruggieri. The overall effect of Vivaldi’s Gloria is one of brilliant sunlight, of regal pomp and exuberance—the epitome of Baroque splendor.
In the years following his death, Vivaldi’s music fell into oblivion. The great majority of his 750 works known today, including nearly all of his sacred choral music, lay fallow, unpublished and unperformed, for nearly two centuries in the dusty archives of Italian nobility until their spectacular rediscovery in Turin in 1921. Even then, it was years before his music was heard. The first modern performance of Vivaldi’s Gloria, albeit a version edited and conducted by Italian composer Alfredo Casella, took place during the Settimana Celebretiva di Antonio Vivaldi, a weeklong festival in Siena, which marks the beginning of the modern revival of Vivaldi. Paradoxically, the world first heard the rediscovered Vivaldi Gloria as part of a radio broadcast on September 20,1939—the very moment at which Italy enshrouded herself in the curtains of despotism. After World War II, this Gloria was the first of Vivaldi’s sacred choral works to be recorded, contributing to its immense popularity. The first performance of the original version, published in 1957, was as part of the First Festival of Baroque Choral Music at Brooklyn College in New York. According to Washington Post archives, several churches performed the 1939 version as early as 1943, but the first post-1957 performance was at St. John’s, Georgetown, featuring contralto Florence Verta, also longtime librarian of the Cathedral Choral Society, which gave its first performance of the Gloria in 2002 under the baton of Music Director J. Reilly Lewis. —Program notes by Margaret Shannon © 2016
12
Biographies Music Director J. Reilly Lewis, a native of Washington, DC, began his musical career at the age of eight as a member of the Junior Boy’s Choir at Washington National Cathedral. He received his bachelor’s degree from Oberlin Conservatory and master’s and doctoral degrees from The Juilliard School. In 1985, he was selected as music director of the Cathedral Choral Society. He has presided over nine of its current recordings as well as many notable performances at the Cathedral, the Kennedy Center, Strathmore, and Wolf Trap. One of the world’s leading Bach specialists, Lewis is the founder and music director of the internationally acclaimed Washington Bach Consort. As a keyboard artist and conductor, he has performed at the Aspen Music Festival, the International Handel and Bach festivals held in Halle and Leipzig, respectively, the Cologne New Music Festival, and in Washington, DC, with the Smithsonian Chamber Players and the Folger Consort. Some of his most recent awards include the Washingtonian Magazine “Washingtonian of the Year,” The Mayor’s Arts Award, the University Club of Washington’s Distinguished Washingtonian Award,Yale University’s Cultural Leadership Citation, the Choralis GRACIE Award for Outstanding Contributions to Choral Music, and an honorary doctorate from the Virginia Theological Seminary. Oboist Meg Owens appears with many of North America’s baroque orchestras, including American Bach Soloists, Handel and Haydn Society, Opera Lafayette, Tafelmusik, Tempesta di Mare, and Washington Bach Consort. This season’s concerts include solo appearances with REBEL Baroque Ensemble, the Chamber Music Society of Central Virginia, the Berkshire Bach Society, and the Staunton (VA) Music Festival. New ventures in chamber music include upcoming performances with Kleine Kammermusik and Bläserband, of which Owens is a founding member. Hailing from
13
eastern North Carolina, Owens earned degrees in oboe performance at the University of North Carolina at Greensboro, the Manhattan School of Music, and the City University of New York. She teaches historical oboes at Indiana University, modern oboe at George Mason University, and directs Mason’s baroque chamber orchestra. Owens plays a baroque oboe by Randall Cook (Basel, 2014), after Jonathan Bradbury (London, early 18th century). Trumpeter Josh Cohen, a native of the Washington, DC area, is sought after by many leading early music ensembles throughout North America. For the past seven seasons, Josh has been principal baroque trumpet with the Washington Bach Consort. He has also performed as principal and solo baroque trumpet for ensembles such as Studio de Musique Ancienne de Montreal, Arion, Bach Sinfonia, Aston Magna, Musica Maris, Houston Bach Society, and Ensemble Telemann. Most recently, Cohen recorded J.S. Bach’s Brandenburg Concerto No. 2 with Montreal-based Ensemble Caprice. He can be heard in the Washington Bach Consort’s recording of J.S. Bach’s Cantata No. 51 with soprano Elizabeth Futral. Two of Josh’s recordings with prominent Canadian ensembles Tempo Rubato and Ensemble Caprice were nominated for the 2009 Juno awards. In the fall of 2013, he toured the United States with Apollo’s Fire performing Bach’s Brandenburg Concerto No. 2. Josh received a M.M. from McGill University and a B.M. from the New England Conservatory of Music. Soprano Jennifer Ellis Kampani is emerging as one of the leading interpreters of the Baroque repertoire. She recently made her debut with the Washington Bach Consort, the Bach Choir of Bethlehem, and the New York Collegium with Andrew Parrott conducting. This season she was featured artist in “Le Tournoi de Chauvency” a medieval opera production with Francesca Lattuada and Ensemble Aziman which toured through Europe. Opera highlights include
Biographies leading roles in Handel’s Acis and Galatea, Blow’s Venus and Adonis, Pergolesi’s La Serva Padrona, Handel’s “Semele,” and Purcell’s Dido and Aeneas. She has been heard in many concert series and festivals including Aston Magna, Houston Early Music, Music Before 1800, Miami Tropical Baroque, Connecticut Early Music, Carmel Bach, and the Berkeley and Boston Early Music Festivals. Kampani has recorded Villancicos y Cantadas and The Essential Giuliani for Koch, The Works of Cozzolani (Gramophone editors pick, August 2002) for Musica Omnia, and Carissimi Motets and Cantatas for Hungaroton. She is a graduate of the University of Michigan and the Guildhall School of Music in London. Soprano Robin Beckman enjoys an active career as a soloist, chorister, educator, and pianist. She appears regularly with the Washington Bach Consort, Washington Master Chorale, and Chantry. As a pianist, she accompanies the Alexandria Choral Society and River Road Unitarian Universalist Congregation. Recent career highlights include performances at the Boston Early Music Fringe Festival, the Festival Internazionale di Musica e Arte Sacra in Rome, and the Dumbarton Oaks Concert Series with chamber ensemble Third Practice, of which she is a founding member. As a soloist, she has recently sung Handel’s Messiah, Orff’s Carmina Burana, and Bach’s Magnificat. She graduated from Shenandoah Conservatory and currently studies with Elizabeth Daniels. Countertenor Roger O. Isaacs hails from Cape Town, South Africa where he completed his music education at the University of Cape Town. He enjoyed a successful solo career in his native country performing a wide range of repertoire from early music to works by twentieth-century composers. He has performed as soloist with many of the most prominent choral organizations on the East Coast in venues from the Kennedy Center and Washington National
14
Cathedral to St. Thomas 5th Avenue in New York City. Among others, Isaacs has performed with The Folger Consort, The Cathedral Choirs at Washington National Cathedral, Cathedra, The Washington Bach Consort, The Raven Consort, The Bach Sinfonia, Opera Lafayette, Cantate Chamber Singers, Choralis, The Tiffany Consort, The Washington Chorus, Boston Cecilia, and the National Gallery of Art Vocal Ensemble. Tenor Patrick Kilbride is a soughtafter interpreter of Monteverdi, Bach, Vivaldi, Handel, Mozart, and Britten. Currently residing in Washington, DC, he pursued his undergraduate studies in voice at Northwestern University, and his graduate studies at the University of Maryland Opera Studio. He was a fellow for Tanglewood Music Festival and Aspen Music Festival and School, as well as a Young Artist with the Boston Early Music Festival and Victoria Bach Festival. Kilbride recently made his operatic debut in the United States in a new production of Monteverdi’s Il Ritorno d’Ulisse in Patria with the Boston Early Music Festival. As a winner of the 24th International Concours de Chant CentreLyrique d’Auvergne in Clermont-Ferrand, France, Kilbride will makes European debut singing the role of Damon in a new production of Handel’s Acis and Galatea in France throughout 2015 and 2016. Bass B. Karl Hempel performs as a member and soloist with the Washington National Cathedral Choir of Men. He also sings with several Washington, DC, and Baltimore area professional ensembles, including Cathedra, the Washington Bach Consort, the Baltimore Opera Chorus, The District Eight, and others. Karl has toured and studied extensively throughout Europe and Russia, singing in celebrated venues such as the Great Hall at Moscow Conservatory, Capella Hall in St. Petersburg, St. Mark’s Basilica in Venice, St. Stephen’s Cathedral in Vienna, Tirana Opera House in Albania, and St. John’s Smith Square and Westminster Abbey in London.
Biographies He has been coached by such renowned professors as Dale Moore, Craig Timberlake, Dorothy Richardson, and Louise McClelland. Hempel received his Graduate Performance Diploma from Peabody Conservatory, studying opera in the studio of Stanley Cornett. Todd Fickley is the Associate Music Director and Chorus Master of the Cathedral Choral Society. He is also Assistant Conductor and Keyboard Artist for the Washington Bach Consort, as well as for The Choralis Foundation, and is the Organist of The Falls Church (Anglican). A native Washingtonian, he began his organ studies at Washington National Cathedral under Bruce Neswick. At the age of twenty-three, Fickley was made a Fellow of the American Guild of Organists (AGO). He also holds the AGO Choirmaster Diploma and an M.A. in Organ Performance with High Distinction from the University of Wales. A prize-winning organist, Fickley has been featured numerous times on NPR and PRI and has performed and conducted throughout the United States, Israel, and Europe. In 2014 Fickley launched “The Bach Project,” a cycle of concerts performing and recording all of Bach’s organ works, the first time in almost a quarter of a century that such a project has been undertaken in the DC area. The first volume was recently released on the MSR Classics label and was praised in Fanfare Magazine as “some of the most enthralling Bach organ playing you are likely to hear anywhere by anyone.” Joy Schreier is Pianist and Vocal Coach of the Cathedral Choral Society. She has been presented in recital at Weill Recital Hall at Carnegie Hall, Lincoln Center, the White House, Kennedy Center, National Museum for Women in the Arts, National Portrait Gallery, Phillips Collection, Cosmos Club, Strathmore Hall, the embassies of Austria, Russia, and Poland, Anderson House on Embassy Row, and at recital halls throughout the country. Internationally, she has performed throughout Europe and
15
Asia. Schreier has coached for the Washington National Opera Domingo-Cafritz Young Artist Program and served as official pianist for the Washington International Voice Competition and Metropolitan Opera National Council Auditions. She received her doctorate in accompanying and chamber music in 2003 at the Eastman School of Music, where she was the recipient of the Barbara Koenig Award for excellence in vocal accompanying. The Cathedral Choral Society is the resident symphonic chorus of Washington National Cathedral. Founded in 1941 by Paul Callaway, the 140-voice chorus is the oldest symphonic choral group in Washington, DC. Since 1985, J. Reilly Lewis has served as its second Music Director, leading performances ranging from symphonic choral masterpieces to world premieres. The Cathedral Choral Society presents a concert series with four programs at Washington National Cathedral. In addition to its concert series, the chorus has performed around the city and on nationwide radio and television. The Cathedral Choral Society has appeared at the Kennedy Center with The Washington Ballet, the Juilliard Orchestra, in performances sponsored by Washington Performing Arts Society, and with the National Symphony Orchestra under Leonard Slatkin and other conductors. In 2014, the chorus performed Bernstein’s Chichester Psalms with the Baltimore Symphony Orchestra at Meyerhoff Symphony Hall in Baltimore and Strathmore in Bethesda. The chorus has a remarkable history of championing new music, including eight major commissions for new symphonic choral works and an annual commission for a new Christmas carol. Each season the chorus builds on a tradition of showcasing emerging soloists as well as internationally known artists. The Cathedral Choral Society’s discography features ten recordings made at Washington National Cathedral. The Cathedral Choral Society offers community engagement programs, including sing-along opportunities for the public and an annual High School Choir Festival featuring choirs from across Washington, DC.
Cathedral Choral Society J. Reilly Lewis, Music Director Paul Callaway Conducting Chair Todd Fickley, Associate Music Director and Chorus Master Joy Schreier, Pianist and Vocal Coach Soprano I Kathleen Alvania Anne Carman Nicole B Collins Tari Cooper* Marcia D’Arcangelo Lesley Earl Melissa Fox RenÊe Gamache Liz Harvey Chana Kuhns Chris Markus Marianna Martindale Susan McDaid** Sarah Mitchell Jocelyn Mullins Kimberly Pacala Melanie Steinkamp Patricia Stephenson Megan Sullivan Elaine Teng Elizabeth Owens Wakefield Sophie Wohltjen Nuska Zakrajsek
Soprano II Mary Amorosino Jessica Barness Susanna Beiser Joanne Casey Laura M. Connors Sheri Economou Emily German Lori Kurtyka Beth L. Law Wendy Lubarsky Catherine Ort-Mabry Natalie Pho Frances H. Pratt** Kyra Reumann-Moore Melissa Ryan Cheryl Schock Cindy Shen Helen L. St. John Dianne Vandivier Jeannette Dea Warren Anderson Margot T. Young*
Alto I Amanda Ayers Caren Backus Violet Baker Kathleen Brion Christine de Fontenay Kehan DeSousa Susan Grad Jennifer Hawley Melissa A.L. Holman Laura Jackman Lisa Josey Jane Jurkevics* Ingrid Kauffman** Gwyneth Kelly Charlotte Maskelony Laura Miller Mary Olch Campbell Rogers Jane Roningen Margaret Shannon Maki Yasui
Alto II Stephanie Cabell Laurene Church Robin Costanza Cindy Drakeman Holly Filipiak Margaret Gonglewski Kim Harris Pam Hazen Mary Hiebert-White Elizabeth Hoffmann Sarah B. Holmes Beth A.V. Lewis Marti Olson Jennifer Griffiths Orudjev Christopher G. Riggs* Kate Shooltz Teresa A. Spencer Natalie Torentinos Kathleen M. Welling** Susan Pruett Williams
Tenor I Gregg M. Breen David Dietly John W. Harbeson Kevin Josey Dick Larkin Thomas Mugavero Christine H. Mulligan** Joel Phillips Rob Porter Robert Reeves Raymond Rhinehart* Martin S. Rosenthal John Schaettler D.C. Washington
Tenor II Scott Alman Douglas K. Barry Ross Bradford Mark Bublitz James Clay** David Costanza Luke W. Fisher Jeremy Gosbee Jeremy Kane Jason Kingman Pietro Miozzo James M.E. Mixter, Jr.* John E. Moyer Jonathan Rajaseelan
Bass I Eric P. Andersen Kelly Cameron Alfred J. Chiplin, Jr. Everitt Clark Thomas Czerwinski John Hewes Giles Howson Tony King Andrew Madar Nathaniel Miller Nicholas Petersen Marcus Pfeifer Stephen S. Roberts* James Schaller L. Bradley Stanford** Richard Wanerman Peter G. Wolfe Christopher Woolley
Bass II Ernest Abbott* Dale Boyd Chris Buechler** Thomas Chapman Glenn Sherer Griffiths Gabriel Kane Ian M. Matthews Scott McCorkindale David Peyton Ellis Wisner
16
** Section Coordinators * Alternates
Washington Bach Consort Violin I Tatiana Chulochnikova* Matvey Lapin Gail HernĂĄndez Rosa Leslie Nero Carolyn Foulkes William Tortolano Violin II Risa Browder Fiona Hughes Rebecca Harris Michael De Sapio Caroline Levy Pamela Lasell
Viola Annie Loud Paul Miller Marta Soderberg Howard Scott McCormick Cello Douglas Poplin Nancy Jo Snider Amy Domingues Bass Jessica Powell Eig Shawn Alger
Oboe Meg Owens** Fatma Daglar Bassoon Anna Marsh Trumpet Josh Cohen** Theorbo William Simms Organ Todd Fickley***
*Concertmaster ** Soloist ***CCS personnel
Today’s concert is made possible by...
Our Singer Members
and Our Donor Members
Give to the Cathedral Choral Society and become a member today. Giving is Easy! Online: cathedralchoralsociety.org, By phone: 202-537-5510 By mail: 3101 Wisconsin Ave NW, Washington DC, 20016
17
Honors The Cathedral Choral Society Honors Committee is pleased to announce the recipients of our 2016 awards 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. Thomas P. Gallagher The Cathedral Choral Society is pleased to recognize Thomas P. Gallagher for his enthusiastic leadership as Board Trustee, Board President, Interim Executive Director, and now as Past President. Tom has led the organization through challenges and transitions with a positive and nurturing energy. He has been generous with his time, resources, actions, and advice. Tom is always the first to help, to praise, to give, and to celebrate the Cathedral Choral Society. Congratulations and thank you, Tom!
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. Martha A. Olson The Cathedral Choral Society is pleased to recognize Martha A. Olson for her excellence and dedication. Alto, Board Trustee, Gala Chair, Robes Coordinator, Gala Auction Chair, volunteer, and friend. Marti is a generous, kind, and cheerful advocate and champion for the Cathedral Choral Society. Congratulations and thank you, Marti!
Commendation for Volunteer Service The Commendation for Volunteer Service recognizes noteworthy and exceptional volunteer service. Patricia A. Stephenson The Cathedral Choral Society is pleased to recognize Patricia A. Stephenson. Patty has been our Music Librarian for many years. She is consistent, proactive, detailed, incredibly helpful, and is an absolute joy to work with. Patty is also an enthusiastic singer and is very welcoming to new singers. Congratulations and thank you, Patty! Christopher G. Riggs The Cathedral Choral Society is pleased to recognize Christopher G. Riggs. Chris has volunteered for almost everything CCS does, from the gala to the cabaret to even setting up water. Chris has volunteered as a Board Trustee, Chorus Affairs Committee Chair, leading community engagement events, and as a singer section coordinator. Chris is an outstanding volunteer for CCS. Congratulations and thank you, Chris!
18
Thank You The Cathedral Choral Society is pleased to acknowledge the following contributors to our Annual Fund Campaign between October 24, 2014 to January 29, 2016. Thank you. Your ongoing and generous contributions support our vision to inspire and nurture our community through the joy of choral singing and exceptional choral performances. Paul Callaway Associates $20,000+ Ernest*^ and Catherine Abbott
The Estate of Mr. David Willard Cook
Sustaining Patrons $10,000+ Anonymous (1) Thomas P. Gallagher^
Richard* and Celia Larkin Bradley J. and Martha A.*^ Olson
Gerald W.^ and Alice Padwe David and Grace Pratt
Thomas C. Mugavero*^ Mary B. Olch* Catherine E. Ort-Mabry* and Brian Mabry Raymond Rhinehart* and Walter Smalling, Jr.
Stephen S. Roberts* Kevin Rosengren^ Martin Rosenthal*^ and Corinne Axelrod
Christine* and James Mulligan Frances H. Pratt* T. Michael and Linda Shortal L. Bradley Stanford*^
Guy and Margaret Steuart Dale and Peter Turza Kevin and Andrea Wade Margot T. Young*
Walter B.^ and Joanne Doggett Sheri* and George Economou Susan Grad* Sarah B. Holmes* and John B. Morris Jr. Judith R. Hope Ann Ingram J. Reilly^ and Beth A.V.* Lewis Nevin E. and Elizabeth D. Kuhl William M. Leach
Christina M. Markus* Susan McDaid* Jennifer Griffiths Orudjev*^ Harold I. and Frances G. Pratt James* and Madeleine Schaller Genevieve^ and Sean Twomey John and Dariel Van Wagoner Robert and Betty Wallace Nancy H. Wiecking
Georgia Koenig Pam A. and Don Lassell Janice L. Lockard George Londeree Dorothy C. Mergner Kimberly Pacala* Theodora K. Radcliffe Robert* and Lissa Reeves Lynn Rhomberg John and Judy Shenefield
Margaret C. and Robert D. Stillman Leslie C. Taylor Joyce H. Thornhill Estate of M. Elizabeth Tidball Elinor G. Vaughter Richard and Virginia Wagner Virginia L. White Sinclair and Julia Winton John Ellis Knowles Wisner* Dorothy M. Woodcock
Guarantor Patrons $5,000+ Arthur and Constance Eggers Anne R. Harris Lolly and Jim*^ Mixter John E. Moyer*^ and Jane Passman Chorus Section Patrons $2,500+ Charles Leonard Egan Nancy M. Folger and Sidney L. Werkman Mary-T.^ and Spencer Gordon Paul Juergensen II ^ Virginia C. Mars Unsung Heroes $1,000+ Eric P. Andersen* and W. David Young II Margaret M. Ayres and Stephen Case Betty J. Beard Beaty Family Fund Brian J. and Donna J. Bogart Jeanne Buster Blanche L. Curfman Christine C. De Fontenay* Edison and Sally Dick Patrons $500+ Anonymous (1) Violet Baker* Robert M. and Laura S. Barlow Jessica Barness* Catherine Beauchamp Kathleen Brion*^ Joanne Casey* Lynn B. Dutton Jeremy Gosbee* Susan J. Henry Dr. Robert W. Jerome
19
Thank You Sponsors $250+ Anonymous (1) Nancy Maes Aherne and Marko Zlatich Jane C. Bergner Andrew and Kay Boesel Kate and Will Breytspraak Anne* and James Carman Timothy W. and Patricia Carrico James W. Clay* Ruth and Nelson Denlinger Alice M. Denney Martha Duggan Katherine Gammill Mary Cox Garner Donors $100+ Anonymous (4) Mary Amorosino* Mark J. Andrews Mr. D. Philip Baker James Bauman Gordon L. Biscomb Herman Bostick Dale* and Gloria Boyd Gregg M. Breen* Michael and Mary Ann Bridges Christopher L Buechler* Michael F. Butler Kelly* and Theresa Cameron Everitt Clark* Marilyn and Warren Clark Vera I. Connolly Laura M. Connors* Roberta and Philip Cronin Sharrill Dittmann Cynthia L. Drakeman*^ Elise Fisher and Doug Pulak Luke W. Fisher* Sally A. Fiske Peter B. and Karin L. Fontneau Gladys Foxe Cary C. Fuller Lillian R. Gigliotti Neil and Carolyn Goldman D. Ruth Goodchild Hilton Lee Graham Joan and David Green William and Margaret Greer George E. Groninger
Pam Gibert Margaret Gonglewski* Ruth Mary Hall M. Douglas Lakey Angela Lancaster and C.F. Muckenfuss III Wendy Palmby Lubarsky* Rosemary D. Lyon Barbara and John McGraw Samuel Miller Scott and Nancy Pinckney Robert* and Elaine Porter Richard and Linda Roeckelein
Jane Roningen* John Schaettler* William P. Snow Patricia Stephenson* Joanne and Greg Stopka Anne D. Stubbs and Thomas Bolle J. David Sulser and Patricia Jungreis Thomas Tesoriero and Robert Bertram Susan Fifield Mentley Nick and Caroline Van Wagoner Elizabeth Owens Wakefield Evelyn Woolston-May
Anne Brooks Gwaltney Marilee L Hall George and Rosina Hanc John Harbeson* Bill†and Ruth Harwood Jennifer Hawley* Patricia D. Hevner Frederick S. Hird Robert and Parma Holt Embry and Joseph Howell Madeline and Rufus Iannucci Erika R. Joyce Mr. and Mrs. Louis E Kahn Ingrid Kauffman* Cronin-Keegan Family Charitable Fund Mary Ruth Keller Dorothy Kent Gary W. and Judy Kushnier Steven & Monica Leach Gary Leggett Alaster MacDonald Andrew Madar* Kathleen E. and James W. Madden Paula Marchetti David S. Marsh Alex E. Martin Nancy McBride Scott* and Linda McCorkindale Leander and Stephanie McCormickGoodhart Wesley O. and Judy McGee Robert T. Mead Michael Mercier
Andrea T. Merrill Eiko Narita Trenton Osborne Donald and Nancy Peck B. Dwight and Suzanne Perry Nicholas Jon Petersen* David Young Peyton* Warren and Marianne Pfeiffer Rondi K. Pillette and Steven A. Levin Joan A. Pirie Lisa Poole Jackie Prince Jonathan Puth Leon Reed Terese Ricci Christopher Riggs* Suzanne H. Rooney Carla L. Rosati Milton and Ingrid Rose Helen Rosemont Hubert and Charlotte Schlosberg Ann Imlah Schneider Patrick D. Shannon Elaine Katherine Shocas Lynwood D. and Thalia J. Sinnamon Jacqueline K. Stover Keiko Stusnick James T. and Anne C. Townsend Samuel Van Culin Jean Van Der Tak Alice Wagner Kathleen M. Welling Phyllis C. Wertime
*Chorus Member
20
^Board Trustee
†Deceased
Thank You The Cathedral Choral Society is pleased to recognize Government, Foundation, and Corporate support to our Annual Fund Campaign between October 24, 2014 to January 29, 2016.
Thank you to our Government and Foundation Supporters U.S. Commission of Fine Arts: National Capital Arts and Cultural Affairs Program Alice and Russell True Foundation Clark-Winchcole Foundation The Community Foundation for the National Capital Region
Dallas Morse Coors Foundation Dimick Foundation Mars Foundation
Meredith Foundation The Richard Eaton Foundation United Way of the National Capital Area
Thank you to our Corporate Supporters Corporate Champion $2,000+ Bank of America Corporate Investor $1,500+ American Gas Association Clark Construction Group, LLC Corporate Leader $1,000+ UBS Financial Services
Exxon Mobil Foundation
Pepco Holdings Inc.
IBM
Sentinel Wealth Management, Inc.
Wiener and Garg
Corporate Advocate $500+ The Benevity Community Impact Fund E*Trade Financial
Offit Kurman Attorneys at Law
Corporate Supporter $100+ Ameriprise Financial – Kim, Hopkins & Associates
Messina, Canal & Moawad, DDS
Willis Metro DC
Harmonia Society The Cathedral Choral Society was founded in 1941. Founding Music Director, Paul Callaway, championed the idea of a large symphonic chorus that would welcome the community to come together and sing in the Cathedral. Four decades later the Harmonia Society was founded by twenty-two charter members to recognize those who have, with special thought and foresight, included the Cathedral Choral Society in their estate plans. Their wish was to build an endowment that would continue the work begun by this visionary gentleman for generations to come. Anonymous Donors Ernest*^ and Catherine Abbott Catherine H. Beauchamp Judy Davis Charles Leonard Egan Arthur and Connie Eggers Charles W. and Jane R. Ervin Thomas P. Gallagher^ Mary-T Gordon^ Anne Harris
Bill† and Ruth Harwood Patricia D. Hevner Ruth G. Hofmeister Ann Ingram Richard* and Celia Larkin William M. Leach J. Reilly^ and Beth A.V.* Lewis Rosemary D. Lyon James* and Lolly Mixter Martha A. Morris
Mark W. Ohnmacht Bradley J. and Martha A.*^ Olson Gerald W.^ and Alice Padwe Carla L. Rosati Martin S. Rosenthal*^ Margaret Shannon* T. Michael and Linda Shortal Steven and Nancy Smith Andrew Soto† John and Dariel Van Wagoner
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.
21
Thank You Gifts in Memory In Memory of Mary F. Bradford Ross M. Bradford
Countryside Village Residents Association Margaret Shannon*
In Memory of David W. Cook Donna M. Christian Mary-T. ^ and Spencer Gordon Susan C. Stover
In Memory of Andrew Soto Ernest*^ and Catherine Abbott The Staff of the Office of Administrative Law Judges Christopher J. Barr and Patricia M. Jayne Carl and Kay Chapman Ronald D. Christian Bradley J. and Martha A.*^ Olson John E. Shelk Alliant Energy Corporation The Laclede Group Covington Office of Administrative Law Judges George and Linda Baily Kathleen Brion*^ Peter Connor Crothall Patient Transport Edison Electric Institute Damian Finio Leslie Ellis and Ben Francis San Francisco Office of Administrative Law Judges Brenda Gardiner, Beth Carty, and Holly Still
In Memory of Sir Martin Gilbert Margaret Shannon* In Memory of Benjamin Hutto Mary-T.^ and Spencer Gordon In Memory of Ann H. Hyde Mary-T.^ and Spencer Gordon In Memory of Steve Prestegard Tom van Alen Samuel van Culin In Memory of Mary Louis Pusch Olson and Pusch Families Members of the Alto 2 Section Margot T. Young* Kathleen and Warren Mugnolo
Thomas J. and Celeste B. Goodwin Mary-T.^ and Spencer Gordon Charles L. Grizzle Ralph E. Horvath Carol M. and Robert C. Jones Thomas Jones Cheryl Lafleur and William Kuncik Lani and Mike Longarzo Robert and Christine Phillips Questar Friends: Ron Jibson, Colleen Bell, Tina Faust and Barrie McKay Jean Marc Robinson Lee J. Romero Justin and Debra Thornton Lori Traweek Wilkinson, Barker, Knauer, LLP Colleen Geraghty Cincinnati Office of Administrative Law Judges Terry S. and Rhona S. Arbit Jessica Barness* Laura A. Brown Thomas M. and Linda T. Burke Lisa F. and James E. Davenport Margaret Ann Ferry Marie A. Finio
Gary Wayne Gardner Steven and Rosemarie Gluck Alison Millerick Adele H. Odegard Jane Raymond Daniel K. Roketenetz Kristin M. Smith Theresa D. Thoman Linda Huehn Steve Lango Julie Simon Tari Cooper* and Michael D. Scott Timm Abendroth Darcy Rossman Daniel and Patricia Solomon Friends at the Energy Solutions Center In Memory of Susan Urban Spaulding Mary-T. ^ and Spencer Gordon In Memory of Rena Stephenson Patricia Stephenson* In Memory of Lessie Garber Sutherland Mary-T.^ and Spencer Gordon
Gifts in Honor In Honor of Dr. Violet Baker David R. Hearn
In Honor of Martha Olson David Dietly*
In Honor of Mary-T. Gordon John T. Beaty, Jr. Hubert and Charlotte Schlosberg
In Honor of Frances H. Pratt Josephine T. and Morton S. Roberts
In Honor of Jeremy Kane Karen R. and Norman A. Kane In Honor of Virginia C. Mars Beaty Family Fund Shirley M. Fine Dorothy and William McSweeny
22
In Honor of Barry and Lori Wolfman Cynthia L. Drakeman In Honor of Margot T. Young Anonymous (1) James D. Campbell and Janet M. Hall Kathleen and Walter Weld Blanche L. Curfman
Sheri* and George Economou Jean Jawdat John E. Moyer* and Jane Passman Bradley J. and Martha A.*^ Olson Christopher L. Buechler* David Dietly* Lindsay Sheridan Marguerite Toscano* and Richard Stumpf Lolly and Jim*^ Mixter Patricia Stephenson*
Acknowledgements Board of Trustees Ernest Abbott, President Kathleen Brion Kristi S. Brown Cynthia Drakeman Walter B. Doggett III Diana F. Dykstra Thomas P. Gallagher
Paul Juergensen II, Vice President Thomas Mugavero J. Reilly Lewis, Music Director James M.E. Mixter, Jr. Treasurer Jack Moyer Martha A. Olson
Jennifer Griffiths Orudjev Gerry Padwe, Secretary Kevin Rosengren Martin S. Rosenthal L. Bradley Stanford Genevieve C. Twomey, Executive Director
Honorary Trustees Mary-T. Gordon
Virginia C. Mars
Cathedral Choral Society Staff Kate Breytspraak, Director of Operations & Community Engagement Laura Crook Brisson, Operations Coordinator Nina Elhassan, Executive & Development Assistant Todd Fickley, Associate Music Director & Chorus Master
J. Reilly Lewis, Music Director Mimi Newcastle, Finance Manager Joy Schreier, Pianist & Vocal Coach Lindsay Sheridan, Director of Marketing & Communications Genevieve C. Twomey, Executive Director
Personal Assistant to the Music Director Adam Jackson
Concert Support Margaret Shannon, Program Annotator Patricia Stephenson, Librarian
Library Committee: Joanne Casey, David Dietly, Kim Pacala, Jennifer Hawley, Ian Matthews, Robert Reeves
Washington National Cathedral Staff Valerie Ciccone, Manager, Volunteers & Events Gary Ford, Supervisor Sexton / Housekeeping Daniel Rose, Director, Office of Event Management Mark Huffman, Technical Director & Audio Engineer Sarah Rockwood, Front of House Manager
Robert Sokol, Chief Operating Officer Kevin Thomas, Asst. to the Director of Worship & Administrative Verger Torrence Thomas, Verger
With special thanks for all the staff and volunteers of Washington National Cathedral and the Protestant Episcopal Cathedral Foundation
23
2015 | 16 A Singular Season
Fantastic Beethoven
J. Reilly Lewis, Music Director
Cathedral Choral Society
Sunday, May 15 | 4:00 p.m.
Beethoven, Leonore Overture, No. 2, Op. 72 Beethoven, Choral Fantasy, Op. 80 Beethoven, Mass in C Major, Op. 86
Cathedral Sings Schubert is Great
Sunday, June 12 | 7:30 p.m. Schubert, Great is Jehovah, the Lord Schubert, Mass No. 2 in G, D. 167
For Our Community
High School Choir Festival
Wednesday, Feb. 24 | 7:30 p.m. Join us for our free festival concert, featuring eight choirs from DC public, private, and charter schools with the DC Youth Orchestra led by U.S. Army Chorus Music Director Captain Curtis N. Kinzey.
75th Season Stay tuned for our 2016/17 season announcement in May!
cathedralchoralsociety.org | 202-537-2228