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2016 | 17 SEASON

Greetings, We are so pleased to welcome you to the third concert of our 2016/17 Season! This is our 75th anniversary season. For 75 years audiences have witnessed our musicians perform with passion and joy. This season is a year-long celebration of this important anniversary. Today we welcome New York Polyphony to the Washington National Cathedral stage. It has been a wonderful collaboration developing today’s program which showcases both New York Polyphony and the Cathedral Choral Society. We are pleased to also welcome guest conductor Michael McCarthy. We are grateful for his work in preparing the chorus and for his creative leadership in finalizing the program that you will experience this afternoon. We are eagerly looking forward to our annual gala, our 75th Anniversary Jubilee, on Saturday, May 6 at the Omni Shoreham Hotel. Our Mistress of Ceremonies is the always entertaining actress Catherine Flye, and our special guest soloists will be Elizabeth Bishop, Colleen Daly, Ben Wager, and Robert Baker. We hope you will join us. Thank you for joining us this afternoon. Enjoy the concert!

Genevieve Twomey Executive Director

You’re Invited:

75th Anniversary Jubilee

SATURDAY, MAY 6, 2017 OMNI SHOREHAM HOTEL Celebrating 75 years since our founding in the 1941 | 42 season. Join us for our 75th Anniversary Jubilee! The evening will include a cocktail reception, silent auction, dinner, live auction and great entertainment. The late J. Reilly Lewis, our beloved Music Director of 31 years, will be honored. Individual tickets are $375.





SUNDAY, MARCH 19, 4:00 PM WASHINGTON NATIONAL CATHEDRAL Michael McCarthy, guest conductor PART I


Andrew Smith Dominus custodiet te


Adrian Willaert Pater noster Steven Stucky Whispers Igor Stravinsky Ave Maria Sergei Rachmaninoff Rejoice, O Virgin Francisco Guerrero Quae est ista | Surge propera Andrew Smith Levavi oculos meos Andrew Smith Amid a crowd of stars Gregorio Allegri Miserere mei, Deus

Michael McCarthy (arr.) Conditor alme siderum Thomas Tallis Loquebantur variis linguis Ivan Moody Vespers Sequence Ola Gjeilo The Spheres Antoine Brumel Lux aeterna John Tavener A Hymn to the Mother of God Andrew Smith Super flumina Babylonis Edward Elgar | John Cameron (arr.) Lux aeterna

Funded in part by the D.C. Commission on the Arts & Humanities, an agency supported in part by the National Endowment for the Arts. New York Polyphony in represented by Opus 3 Artists. Any taking of photographs or unauthorized recording of this concert is prohibited.


PROGRAM The music performed in this concert encompasses the full range of musical traditions, from earliest plainsong to the Renaissance, from the Romantic era to contemporary music. The Cathedral Choral Society and vocal quartet New York Polyphony sing separately and together, joined by a small string ensemble. “Set in the unique surrounding of Washington National Cathedral, ‘Amid a Crowd Of Stars’ is a program where we hope to glimpse something of the ineffable mystery of life. With a constellation of composers spanning a millennium we will experience moments of great elation and moments of profound sadness. All of this set, at least for a couple of hours, under a canopy of peace and tranquility.” - Michael McCarthy, guest conductor

PART I Dominus custodiet te (2015) Andrew Smith (b. 1970) Born in England, Andrew Smith lives and works in Norway, where Knut Nystedt (1915-2014) was the leading choral composer of the twentieth century. The comforting words of Psalm 121, verses 5-8 (the first of Smith’s three interludes composed in Nystedt’s memory) set the musical and spiritual tone for this concert. Dominus custodiet te, Dominus protectio tua super manum dexteram tuam. Per diem sol non percutiet te, neque luna per noctem. Dominus custodiet te ab omni malo: custodiat animam tuam Dominus. Dominus custodiet exitum tuum et introitum tuum amodo et usque in aeternum.

The Lord himself watches over you; the Lord is your shade at your right hand, So that the sun shall not strike you by day, nor the moon by night. The Lord shall preserve you from all evil; it is he who shall keep you safe, The Lord shall watch over your going out and your coming in, from this time forth for evermore. —Psalm 121 (120) vv. 5-8 English version, Book of Common Prayer, 1979

Pater noster Adrian Willaert (c. 1490–1562) Sixteenth-century Netherlandish Renaissance composer Adrian Willaert was maestro di cappella at St. Mark’s in Venice for nearly forty years. He was the first of many northern composers to transplant the polyphonic Franco-Flemish style to Italy. His setting of the Our Father, or Lord’s Prayer, closely paraphrases the plainsong original. Willaert’s Pater noster was included in a gift of music the city of Florence presented to King Henry VIII in 1526. Pater noster, qui es in coelis: Sanctificetur nomen tuum: Adveniat regnum tuum. Fiat voluntas tua sicut in coelo et in terra. Panem nostrum quotidianum da nobis hodie: Et dimitte nobis debita nostra, sicut et nos dimittimus debitoribus nostris. Et ne nos inducas in tentationem; sed libera nos a malo.

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 this day 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. —St. Matthew 6:9-13 English version, Book of Common Prayer, 1979


PROGRAM Whispers (2002) Steven Stucky (1949–2016) after William Byrd (1543-1623) Pulitzer Prize-winning composer Steven Stucky was one of America’s most frequently commissioned and performed composers. “Whispers,” he explained, “recalls fragments of William Byrd’s famous motet Ave verum corpus (1605), surrounding those fragments with my own setting of lines from Walt Whitman’s Whispers of Heavenly Death (1868). In both the Whitman and the Byrd, thoughts and images of death are so transmuted by the power of great art that the result is not sadness, but instead a kind of mystical exaltation.” Whispers of heav’nly death, murmur’d I hear; Labial gossip of night—sibilant chorals; Footsteps gently ascending—mystical breezes, wafted soft and low; Ripples of unseen rivers—tides of a current, flowing, forever flowing; [(Or is it the plashing of tears the measureless waters of human tears?)] I see, just see, skyward, great cloud-masses; Mournfully, slowly they roll, silently swelling and mixing; With, at times, a half-dimm’d, sadden’d, far-off star, Appearing and disappearing. [Some parturition, rather—some solemn immortal birth; On the frontiers, to eyes impenetrable, Some Soul is passing over.] —Walt Whitman (1819-1892), 1868

Ave verum corpus natum de Maria Virgine: vere passum [immolatum in cruce pro homine: cuius latus perforatum] unda fluxit sanguine. [Esto nobit praegustatum in mortis examine.] O dulcis, O pie, [O Jesu, Fili Mariae.] miserere mei. [Amen.]

Hail, true body, born of the Virgin Mary, truly you suffer, [offered in sacrifice on the cross for man; from whose pierced side] flowed the water and the blood. [May we have tasted of you when we come to the hour of death.] O gentle, loving [Jesus, Son of Mary.] have mercy upon me. [Amen.] —Fragments of William Byrd motet published 1605


PROGRAM Ave Maria (1934 | 1949) Igor Stravinsky (1882–1971) Stravinsky may be best remembered for his edgy and exotic Rite of Spring—there were riots in the concert hall at its premiere in Paris in 1913—that redefined music of the twentieth century. That said, the Russian exile was also a prolific composer of sacred choral music. Spurred by his memories of icons on the walls of the Russian Orthodox Church in which he had been raised, Stravinsky composed this unaccompanied motet in Paris on April 4, 1934, and in March 1949, translated it from Church Slavonic into Latin. Saying he “could only endure unaccompanied singing in the most harmonically primitive setting,” he composed this austere setting in the archaic Phrygian mode. Ave Maria, gratia plena, Dominus tecum: benedicta tu in mulieribus, et benedictus fructus ventris tui, Jesus.

Hail Mary, full of grace, The Lord is with you; Blessed are you among women, And blessed is the fruit of your womb, Jesus.

Sancta Maria, mater Dei ora pro nobis peccatoribus, nunc et in hora mortis nostrae. Amen.

Holy Mary, Mother of God, Pray for us sinners, Now and in the hour of our death. Amen. —Anonymous, antiphon for the Blessed Virgin Mary

Rejoice, O Virgin (1915) Sergei Rachmaninoff (1873–1943) The Great War (1914) and Russian Revolution (1917) forever changed the life of Russia’s last great Romantic composer. Despite vast success as a composer and concert pianist in the West, he longed for the sounds of the Russian Orthodox Church. In 1915, he composed in only two weeks his magisterial fifteen-movement All-Night Vigil, which the Cathedral Choral Society performed in Church Slavonic four years ago. This sixth movement is the Orthodox version of Ave Maria. “After giving due praise to God,” explains Russian musicologist Vladimir Morosan, “the Orthodox Church always pays homage to the Virgin Mary—the Theotokos (“the one who gave birth to God”). Bogoroditse Devo captures both the gentle simplicity of the angelic greeting and the awestruck glorification of her response to God.” Богородице Дево, радуйся, благодатная Марие, Господь с тобою. Благословена ты в женах, и благословен плод чрева твоего, яко Спаса родила еси душ наших.

Rejoice, O Virgin Theotokos, Mary, full of grace, the Lord is with You. Blessed are You among women, and blessed is the Fruit of Your womb, for You have borne the Savior of our souls. —Translation, Vladimir Morosan, 1991

Quae est ista | Surge propera (1555) Francisco Guerrero (1528–1599) A native of Seville, this renowned Spanish Renaissance composer flourished at the height of Spanish exploration and colonization of the Americas. New York Polyphony offers this diversion from liturgical settings with Guerrero’s vivid text painting of sensuous words from the Song of Solomon, “Rise up, my love, my fair one, my perfect one.” Quae est ista tam formosa, quae ascendit per desertum, quasi aurora consurgens; pulchra ut luna, electa ut sol.


Who is this so fair, who comes out of the desert like the rising dawn, beautiful as the moon, brilliant as the sun?

PROGRAM Surge, propera amica mea, formosa mea, immaculata mea, vulnerasti cor meum soror mea sponsa, vulnerasti cor meum in uno oculorum tuorum, et in uno crine colli tui.

Rise up, my love, my fair one, my perfect one: thou hast ravished my heart, my sister, my bride. thou has ravished my heart with one of thine eyes, With one hair of thy neck. —Song of Solomon 6:10; 2:10b–14

Levavi oculos meos (2015) Andrew Smith Smith has described “the dramatic Norwegian landscape, from mountains to fjords, stretching a thousand miles and marked by extremes of light and darkness. With its sparse population, the grandeur of nature towers over human life and society.” In the second of his three Nystedt meditations—Psalm 121 is part of the Burial Office—the chanted psalm floats above rising duplets in upper strings over a sustained bass pedal note—“He will not let your foot be moved.“ Levavi oculos meos in montes unde veniet auxilium meum. Auxilium meum a Domino factore caeli et terrae. Non det in commotionem pedem tuum: nec dormitet qui custodit te Ecce non dormitabit neque dormiet: qui custodiet Israel.

I lift up my eyes to the hills from where is my help to come? My help comes from the Lord the maker of heaven and earth. He will not let your foot be moved and he who watches over you will not sleep Behold, he who keeps watch over Israel shall neither slumber nor sleep. —Psalm 121 (120) vv. 1-4 English version, Book of Common Prayer, 1979

Amid a crowd of stars (2015) Andrew Smith Born in Dublin, the Irish poet and Nobel laureate William Butler Yeats penned “When You are Old” in October 1891 for the romantic muse of his life, Maud Gonne, the Anglo-Irish revolutionary, suffragette, and actress. The day will come, he predicted, when she will discover that only “one man loved the pilgrim soul in you.” His love was unrequited. New York Polyphony and Trinity University Chamber Singers premiered in 2015 this impressionistic setting, composed for four solo male voices and mixed choir. When you are old and grey and full of sleep, And nodding by the fire, take down this book, And slowly read, and dream of the soft look Your eyes had once, and of their shadows deep;

How many loved your moments of glad grace, And loved your beauty with love false or true, But one man loved the pilgrim soul in you, And loved the sorrows of your changing face;

And bending down beside the glowing bars, Murmur, a little sadly, how Love fled And paced upon the mountains overhead And hid his face amid a crowd of stars. —William Butler Yeats (1865-1939), 1891


PROGRAM Miserere mei, Deus (~1630s | 1976) Gregorio Allegri (c. 1582–1652) Part I concludes with Allegri’s sublime Miserere mei, Deus, a haunting version of Psalm 51, one of the seven penitential psalms. Composed during the reign of Pope Urban VIII, Allegri’s lament is sung during Holy Week in the Vatican’s Pontifical Chapel. The nine-part setting is scored for a five-part main choir and a solo group positioned antiphonally. Chant passages alternate between the polyphonic sections. St. John’s Cambridge choirmaster George Guest (19242002), editor of the present edition, said “its unique appeal lies in two factors: first, the particular acoustic of the [Sistine Chapel] in which it was traditionally performed and, second, the abbellimenti [embellishments] with which the verses sung by the four-part choir were adorned.” Allegri’s earliest edition—without the high C— was recently rediscovered in the Vatican Archives (Sistine codex 1661)m although a 14-year old Mozart heard it on April 11, 1770, and promptly transcribed it from memory. Miserere mei, Deus secundum magnam misericordiam tuam. Et secundum multitudinem miserationum tuarum: dele iniquitatem meam? Amplius lava me ab iniquitate mea et a peccato meo munda me: Quoniam iniquitatem meam ego cognosco: Et peccatum meum contra me est semper. Tibi soli peccavi et malum coram te feci Ut justificeris in sermonibus tuis, et vincas cum judicaris Ecce enim in iniquitatibus conceptus sum: et in peccatis concepit me mater mea. Ecce enim veritatem dilexisti: Incerta et occulta sapientiae tuae manifestasti mihi. Asperges me hyssopo et mundabor: lavabis me et super nivem dealbabor. Auditui meo dabis gaudium et laetitiam et exsultabunt ossa humiliata. Averte faciem tuam a peccatis meis: et omnes iniquitates meas dele. Cor mundum crea in me deus: et spiritum rectum innova in visceribus meis. Ne projicias me a facie tua et spiritum sanctum tuum ne auferas a me. Redde mihi laetitiam salutaris tui et spiritu principali confirma me. Docebo iniquos vias tuas: et impii ad te convertentur. Libera me de sanguinibus Deus, Deus salutis meae et exsultabit lingua mea justitiam tuam Domine labia mea aperies: et os meum annuntiabit laudem tuam.

Have mercy upon me, O God, according to thy lovingkindness: according unto the multitude of thy tender mercies blot out my transgressions Wash me through and through from my wickedness, and cleanse me from my sin. For I know my transgressions: and my sin is ever before me Against you only have I sinned and done what is evil in your sight: And you are justified when you speak, and upright in your judgment. Indeed, I have been wicked from my birth, a sinner from my mother’s womb. For behold, you look for truth deep within me, and will make me understand wisdom secretly. Purge me from my sin, and I shall be pure; wash me, and I shall be clean indeed. Make me hear of joy and gladness; that the body you have broken may rejoice. Hide your face from my sins, and blot out all my iniquities. Create in me a clean heart, O God; and renew a right spirit within me. Cast me not away from thy presence; and take not your Holy Spirit from me. Give me the joy of your saving help again and sustain me with your bountiful Spirit. I shall teach your ways to the wicked, and sinners shall return to you. Deliver me from death, O God, O God, thou God of my salvation: and my tongue shall sing of your righteousness. Open my lips, O Lord, and my mouth shall proclaim your praise.


PROGRAM Quoniam si voluisses sacrificium dedisse utique holocaustis non delectaberis. Sacrificium Deo spiritus contribulatus cor contritum et humiliatum Deus non despicies. Benigne fac Domine in bona voluntate tua Sion ut aedificentur muri Jerusalem. Tunc acceptabis sacrificium justitiae, oblationes et holocausta Tunc imponent super altare tuum vitulos.

Had you desired it, I would have offered sacrifice, But you take no delight in burnt-offerings. The sacrifice of God is a troubled spirit; a broken and a contrite heart, O God, you will not despise. Be favorable and gracious to Zion: and rebuild the walls of Jerusalem. Then you will be pleased with the appointed sacrifices, with burnt offering and oblations; then shall they offer bullocks upon your altar. —Psalm 51 (50) English version, Book of Common Prayer, 1979

INTERMISSION PART II Conditor alme siderum (world premiere) Plainsong, Eleventh Century arr. Michael McCarthy (b. 1966) As Cathedral director of music, British native Michael McCarthy frequently arranges music for the Cathedral choirs. The second half opens with the eleventh-century Advent plainsong, Conditor alme siderum, arranged especially for this concert. “Creator of the stars of night” bids light to shine in the darkness. McCarthy’s arrangement for chorus, solo quartet, and string ensemble revels in the spatial glory of this, the world’s sixth largest Gothic cathedral. Interpolated between each verse are quasi-French string and organ interludes in quintuple meters. Verse five features close harmony in the lower voices; the final verse restates the chant in glorious unison. Conditor alme siderum, aeterna lux credentium Christe, redemptor omnium exaudi preces supplicum.

Creator of the stars of night, your people’s everlasting light, O Christ, Redeemer of us all, we pray you hear us when we call.

Qui concolens interitu mortis perire saeculum, salvasti mundum languidum, donans reis remedium.

In sorrow that the ancient curse should doom to death a universe, you came, O Savior, to set free your own in glorious liberty.

Vergente mundi vespere uti sponsus de thalamo egressus honestissima Virginis matris clausula.

When this old world drew on toward night, you came; but not in splendor bright, not as a monarch, but the child of Mary, blameless mother mild.

Cujus forti potentiæ genu curvantur omnia; cælestia terrestria a nutu fatentur subdida.

At your great Name, O Jesus, now, all knees must bend, all hearts must bow; all things on earth with once accord, like those in heaven, shall call you Lord.


PROGRAM Te, sancte, fide quaesumus venture judex sæculi conserva nos in tempore hostis a telo perfidi.

Come in your holy might, we pray, redeem us for eternal day; defend us while we dwell below, from all assaults of our dread foe.

Sit, Christe, rex piissime, tibi Patrique gloria cum Spiritu Paraclito in sempiterna sæcula. Amen.

To God the Father, God the Son, and God the Spirit, Three in One, praise, honor, might, and glory be from age to age eternally. —English version, Hymnal 1940, alt.

Loquebantur variis linguis Thomas Tallis (c. 1505–1585) The sixteenth-century organist and composer, Thomas Tallis, is considered the defining voice of English church music. He survived the changing tastes in the courts of Protestant and Catholic sovereigns Henry VIII, Edward VI, and Elizabeth I. This jubilant seven-part motet is one of several Tallis works apparently intended for a joint performance by the Chapel Royal of the Queen Mary and the Capilla Flamenca of Spain’s Phillip II, possibly for their wedding. With the cantus firmus assigned to the tenor, the six other voices embrace it in polyphony, culminating with an ecstatic Alleluia. The text is the responsory for Pentecost, the Christian liturgical season that begins on the seventh Sunday after Easter and marks the descent of the Holy Spirit on Jesus’s disciples. Loquebantur variis linguis Apostoli, magnalia Dei, prout Spiritus Sanctus dabat eloqui illis, alleluia. Repleti sunt omnes Spiritu Sancto, et coeperunt loqui. Alleluia. Gloria Patri et Filio, et Spiritui Sancto.

The Apostles spoke in many languages of the great works of God, as the Holy Spirit gave them the gift of speech, alleluia. They were all filled with the Holy Spirit and began to speak. (Acts 2:4) Glory be to the Father and to the Son and to the Holy Spirit. —Responsory after 2nd lesson at Matins on 3rd day of Pentecost

Vespers Sequence (2016) Ivan Moody (b. 1964) On January 21st of this year, at the Church of St. Mary the Virgin, New York Polyphony presented the world premiere of Ivan Moody’s eight-movement Vespers Sequence. About his music, the British composer has written: “Much of my work as a composer has been concerned with bringing the concepts and principles underlying Orthodox spirituality as expressed through its various musical traditions into dialogue with modernity. Vespers Sequence continues this chain of ideas, in that it exploits both the tremendous skills of the ensemble so evident in their performances of renaissance polyphony and their interest in exploring new territory in their championing of contemporary repertoire. In addition, it aims to contribute to the creation of a specifically Orthodox para-liturgical repertoire that brings together liturgy and concert.


PROGRAM “To this end, the sequence adopts the basic structure and dramatic curve of the vespers service of the Byzantine rite. The musical material for all the movements in the Sequence is derived from three Orthodox chant traditions, Russian, Serbian and Greek, and another aspect of the sequence is its multi-lingual character. While setting both English and Slavonic, the one language “commenting” on the other, other movements also make use of liturgical Greek, and continue the interaction between these languages, as a symbol both of the plurality of languages in contemporary Orthodox worship and of the multicultural character of the contemporary world.” Three of the four movements sung in today’s concert are Marian anthems: the first two are Greek, the final movement is the Russian Orthodox version of Ave Maria. The third movement is the Prayer of St. Symeon, or Nunc Dimittis. IV. Theotokion Pos mi thavmasomen. How can we not marvel at thine Offspring, who is both God and man, O all honoured one? For knowing not man, O all-undefiled one, thou gavest birth in the flesh to a Son without a father, Begotten from the Father, before the ages, without a mother, Undergoing no change, fusion or separation, but preserving completely both natures. Dhio mitroparthene Dhespina, afton eketeve. Therefore, O sov’reign Lady, Virgin Mother, Theotokon omologhoundon se. Implore Him that the souls of those who with right belief acknowledge thee as Mother of God may be saved. VI. Doxastikon Idhou peplirote i tou Isaiou prorisis. Behold, the prophecy of Isaiah is fulfilled. As a virgin thou gavest birth, and after giving birth thou didst remain as before. For it was God was born, and the nature of mankind was thereby restored. O Mother of God, have compassion on us, thy servants, thou who bearest in thine arms the Compassionate One, And intercede that our souls may be saved. VII. Prayer of St. Symeon Lord, now lettest Thou Thy servant depart in peace, according to Thy word. Nyne otpushchayesi raba Tvoyego, yako videsta ochi moi spaseniye Tvoye. For mine eyes have seen Thy salvation, which Thou hast prepared before the face of all people: Svet vo otkrovenie i slavu lyudey Toikh Izrailya. to be a light to enlighten the Gentiles, and the glory of Thy people Israel. VIII. Rejoice, Virgin Theotokos Bogoroditse Devo, raduysya. Rejoice, Virgin Theotokos, Mary full of grace, the Lord is with thee. Gospod stoboyu. Blagoslovenna ty v zhenakh, Spasa rodila yesi dush nashikh. Blessed art thou among women and blessed is the fruit of thy womb, for thou has borne the Saviour of our souls.


PROGRAM The Spheres (2008) Ola Gjeilo (b. 1978) Manhattan-based Norwegian composer and pianist Ola Gjeilo trained at the Norwegian Academy of Music in Oslo, the Royal College of Music in London, and The Juilliard School in New York. His Sunrise Mass for choir and strings was commissioned and premiered by the Majorstua Kammerkor in Oslo in 2008. The first movement (Kyrie), sung in this concert, is scored for double choir and string ensemble. “I wanted the musical evolution of the Mass to go from the most transparent and spacey, to something completely earthy and grounded,” he explained. “So I used a kind of overlapping fade-in-fade-out effect, to give a sense of floating in space, in darkness and relative silence, surrounded by stars and planets light-years away. It eventually gathers into a clear, choral version of the theme.” Kyrie eleison. Christe eleison. Kyrie eleison. Todd Fickley, organ

Lord have mercy. Christ have mercy Lord have mercy. —Ordinary of the Mass

Lux aeterna Antoine Brumel (c. 1460–c. 1512) New York Polyphony sings Lux aeterna, the Communion antiphon from a sixteenth-century setting of the Missa pro defunctis, or Mass for the Dead, one of the earliest Requiems known to have survived. French composer Antoine Brumel was choirmaster at St. Peter’s in Geneva until 1492. A leader of the Franco-Flemish school of the Renaissance, he was the first composer to apply polyphony to the psalms sung at mass. Lux aeterna luceat eis, Domine cum santis tuis in aeternum quia pius es.

May light eternal shine on them, Lord, with thy saints forever, for thou art merciful.

Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

Grant them rest eternal, Lord, and may perpetual light shine on them. — Communion antiphon, Missa pro defunctis

A Hymn to the Mother of God (1985) John Tavener (1944–2013) John Tavener is one of Britain’s most distinguished contemporary composers. This hymn for double choir, written in memory of his mother, is a radiant canonic setting of a text from the Greek Orthodox Liturgy of Saint Basil. “It speaks,” he said, “to the almost cosmic power attributed to the Mother of God by the Orthodox Church,” which he embraced in later life. His Song for Athene, sung for the funeral of Diana, Princess of Wales, was heard around the world. In You, O Woman full of Grace The angelic choirs, And the human race, all creation rejoices.


O sanctified Temple, Mystical Paradise And glory of Virgins.

In You, O Woman full of Grace all creation rejoices. All praise be to You. —Liturgy of Saint Basil

PROGRAM Super flumina Babylonis (2015) Andrew Smith The third of Smith’s Nystedt choral interludes draws from Psalm 137, which expresses the longing of exiled Jews to return to Jerusalem after the Babylonian conquest in 607AD. The choir chants the psalm as the string ensemble plays a 6/8 dance rhythm and a dropped-fifth figure depicts weeping. Written in the unusually dark key of G-flat minor (six flats), its descending melodic lines underscore the disconsolate heart of the exile, unable to sing in an alien land. Super flumina Babylonis ibi sedimus et flevimus cum recordaremur Sion. Super salices in medio ejus suspendimus citharas nostras. [quoniam ibi interrogaverunt nos qui captivos duxerunt nos verba carminis et qui adfligebant nos laeti canite nobis de canticis Sion.] Quomodo cantabimus canticum Domini in terra aliena?

By the waters of Babylon we sat down and wept, when we remembered you, O Zion. As for our harps, we hung them up on the trees in the midst of that land. [For those who led us away captive asked us for a song, and our oppressors called for mirth “Sing us one of the songs of Zion.”] How shall we sing the Lord’s song upon an alien soil? —Psalm 137 (136) vv. 1-2, 4 English version, Book of Common Prayer, 1979

Lux aeterna (1899 | 1996) Edward Elgar (1857-1934) arr. John Cameron (b. 1944) Edward Elgar is most widely known as the preeminent British composer of music for royal occasions. His first major success was Variations on a Theme, or Enigma Variations, composed in 1896. He dedicated his fourteen variations “to my friends pictured within,” each variation portraying a close friend. By far the best known is the ninth, Nimrod, said to depict a late evening stroll with his best friend, Augustus J. Jaeger, during which they discussed Beethoven’s slow movements. Like Samuel Barber’s Adagio for Strings in America, Nimrod has become Great Britain’s de facto elegiac hymn, played at state funerals and other solemn occasions, including Remembrance Sunday. Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternum, quia pius es.

May light eternal shine on them, Lord, with thy saints forever, for thou art merciful.

Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

Grant them rest eternal, Lord, and may perpetual light shine on them. —Communion antiphon, Mass for the Dead

Todd Fickley, organ

—Program notes ©2017 Margaret Shannon


BIOGRAPHIES Condcutor Michael McCarthy is the director of music at Washington National Cathedral, where he oversees the Cathedral’s expanding music program, as well as serves as principal choirmaster. McCarthy was the founder and director of the London Oratory School Schola. Founded in 1996, the Schola quickly became one of London’s premier boys’ concert choirs, performing regularly on the London concert platform and in the studio for both the recording and film industries. Michael directed the Schola in recordings for films including Sleepy Hollow, The Lord of the Rings cycle,and Harry Potter. A graduate of Guildhall School of Music and Drama, Michael has worked with numerous professional choirs including the Sixteen, the Gabrieli Consort, and the Monteverdi Choir. In January 2002 he became the choir manager for the Monteverdi Choir. His experience directing young choristers includes duties as lay clerk at Christ Church Cathedral, Oxford, and Saint Alban’s Abbey in Hertfordshire. He also served as master of music at Saint Benedict’s Abbey, Ealing, prior to beginning the London Oratory School. New York Polyphony is one of the foremost vocal chamber ensembles active today.The four men give vibrant, modern voice to repertoire ranging from Gregorian chant to cuttingedge compositions. Their dedication to innovative programming, as well as a focus on rare and rediscovered Renaissance and medieval works, has not only earned New York Polyphony two GRAMMY nominations and wide acclaim, but also helped to move early music into the classical mainstream. Commissioning new works has been central to the mission of New York Polyphony since their founding in 2006. Both in performance and on recording, the ensemble has demonstrated a commitment to presenting contemporary compositions that explore the boundaries between


ancient and modern music. In January 2017, as part of Miller Theatre at Columbia University’s Early Music Series, New York Polyphony premiered The Vespers Sequence, a multi-movement setting of the Byzantine evening prayer service composed for the ensemble by Ivan Moody. Future projects include The Bitter Good by American composer Gregory Spears, for which the quartet was awarded a 2016 Commissioning Grant from Chamber Music America. The ensemble’s growing discography includes two GRAMMY-nominated releases and albums that have topped the “best of” lists of The New Yorker, Gramophone, and BBC Music Magazine. In August 2016, New York Polyphony released Roma aeterna, a program highlighted by two masses of the High Renaissance by Giovanni Pierluigi da Palestrina and Tomás Luis de Victoria. The album, their seventh overall and fourth on BIS Records, debuted at #4 on Billboard magazine’s Traditional Classical Album chart. Called a “spacious, radiant retreat” by The New York Times and selected as a “must have” in its Holiday Gift Guide, 2014’s release Sing thee Nowell scored New York Polyphony its second GRAMMY nomination in the Best Chamber Music/ Small Ensemble Performance category. With the 2013 release of Times go by Turns, the ensemble’s fourth album, New York Polyphony continued “to claim a spot as one of the finest small vocal groups performing today” (Audiophile Audition). Commended as “a complex, clear-eyed yet still painfully beautiful tapestry,” (Gramophone) Times go by Turns amassed substantial critical acclaim. In addition to being named one of iTunes 10 Best Classical Releases of 2013, the album garnered a GRAMMY nomination. New York Polyphony tours extensively, participating in major concert series and festivals around the world. Noteworthy engagements include debut performances at London’s Wigmore Hall and The Royal Concertgebouw in Amsterdam, residencies at Dartmouth College and Stanford University, concerts under the aegis of the Festival Oude Muziek Utrecht (Netherlands), and the European premiere of the Missa Charles Darwin—a newly commissioned secular Mass setting based on texts of Charles Darwin by composer Gregory Brown—at the Museum für Naturkunde in Berlin. Elsewhere New York Polyphony has performed as part of the Tage Alter Musik Regensburg; Rheingau Musik Festival,

BIOGRAPHIES Thüringer Bachwochen (Germany); Abvlensis International Music Festival (Spain); Stiftskonzerte Oberösterreich (Austria); Festival de Música de Morelia (Mexico); and the Elora Festival (Canada), among others. They have been featured on Performance Today for American Public Media, Footprints to Paradise: A Medieval Christmas for Public Radio International, and BBC Radio 3’s In Tune. In December 2011, New York Polyphony made its national television debut on The Martha Stewart Show. Todd Fickley is the Associate Music Director and Chorus Master of the Cathedral Choral Society. He is also the Acting Artistic Director of the Washington Bach Consort, Assistant Conductor and Keyboard Artist for The Choralis Foundation, and 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. Joy Schreier is Pianist and Vocal Coach of the Cathedral Choral Society. She has been presented in recital at Weill Recital Hall at Carnegie Hall, Lincoln Center, the White House, Kennedy Center, National Museum for Women in the Arts, National Portrait Gallery, Phillips Collection, Cosmos Club, Strathmore Hall, the embassies of Austria, Russia, and Poland, Anderson House on Embassy Row, and at recital halls throughout the country. Internationally, she has performed throughout Europe and Asia. Schreier is assistant conductor 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 145-voice chorus is the oldest symphonic choral group in Washington, DC. From 1985 to 2016, J. Reilly Lewis served as its second Music Director, leading performances ranging from symphonic choral masterpieces to world premieres. The Cathedral Choral Society presents a concert series with four programs at Washington National Cathedral. In addition to its concert series, the chorus has performed around the city and on nationwide radio and television. The Cathedral Choral Society has appeared at the Kennedy Center with The Washington Ballet, the Juilliard Orchestra, in performances sponsored by Washington Performing Arts Society, and with the National Symphony Orchestra under Leonard Slatkin and other conductors. In 2014, the chorus performed Bernstein’s Chichester Psalms with the Baltimore Symphony Orchestra at Meyerhoff Symphony Hall in Baltimore and Strathmore in Bethesda. The chorus has a remarkable history of championing new music, including eight major commissions for new symphonic choral works and an annual commission for a new Christmas carol. Each season the chorus builds on a tradition of showcasing emerging soloists as well as internationally known artists. The Cathedral Choral Society’s discography features ten recordings made at Washington National Cathedral. The Cathedral Choral Society offers 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 Todd Fickley, Associate Music Director and Chorus Master Joy Schreier, Pianist and Vocal Coach

** Section Coordinators * Alternates

Soprano I Megan Burt Anne Carman Tari Cooper* Marcia D’Arcangelo Cindy Drakeman Lesley Earl Melissa Fox RenÊe Gamache Kyla Kitamura Kelsey Kolasa Chana Kuhns Chris Markus Marianna Martindale Susan McDaid** Jocelyn Mullins Kimberly Pacala Meredyth Shinko Melanie Steinkamp Patricia Stephenson Megan Sullivan Laura Theby Elizabeth Owens Wakefield Nuska Zakrajsek

Soprano II Mary Amorosino Jessica Barness Susanna Beiser Joanne Casey Laura M. Connors Sheri Economou Emily German Lori Kurtyka Laura Landes Beth L. Law Wendy Lubarsky Emily McCullough Catherine Ort-Mabry Natalie Pho Frances H. Pratt** Kyra Reumann-Moore Julia Rothchild Melissa Ryan Cheryl Schock Cindy Shen Helen L. St. John Dianne Vandivier

Jeannette Dea Warren-Anderson Margot T. Young*

Tenor I Alex A. Belohlavek Gregg M. Breen David Dietly John W. Harbeson Nicholas Houhoulis Kevin Josey Patrick Kilbride 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 Chris Williams

Tenor II Scott Alman Douglas K. Barry J. Austin Bitner Ross Bradford James Clay** David Costanza Brett Ewer Luke W. Fisher Jeremy Gosbee Jeremy Kane Gerald Kavinski Mike Kelleher Michael McCarthy James M.E. Mixter, Jr.* John E. Moyer Martyn Smith Jonathan Terrell

Bass I Eric P. Andersen John Boulanger Jack Campbell Kelly Cameron Everitt Clark John Hewes Giles Howson Tony King Andrew Madar Nathaniel Miller Nicholas Petersen Marcus Pfeifer Stephen S. Roberts* James Schaller L. Bradley Stanford** Richard Wanerman Clifton N. West III Peter G. Wolfe Christopher Woolley


Alto I Amanda Ayers Violet Baker Kathleen Brion Sandra Caracciolo Christine de Fontenay Kehan DeSousa Susan Grad* Jennifer Hawley Melissa A.L. Holman Laura Jackman Lisa Josey Ingrid Kauffman** Gwyneth Kelly Charlotte Maskelony Laura Miller Mary Olch Sarah Phillips Jane Roningen Margaret Shannon Maki Yasui

Alto II Stephanie Cabell Laurene Church Robin Costanza Noemi Danao-Schroeder 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 Larisa Prisacari Christopher G. Riggs* Kate Shooltz Teresa A. Spencer Susan Stanford Natalie Torentinos Kathleen M. Welling**

Bass II Ernest Abbott* Dale Boyd Chris Buechler** Thomas Chapman Casey Cook Glenn Sherer Griffiths, OSL Eugene Kaye Ian M. Matthews Scott McCorkindale Ellis Wisner

SPECIAL GUESTS NEW YORK POLYPHONY Geoffrey Williams, countertenor Steven Caldicott Wilson, tenor Christopher Dylan Herbert, baritone Craig Phillips, bass

STRING ENSEMBLE Violin I Chris Franke Sheng-Tsung Wang

Viola Chris Shieh Tam Tran

Violin II Janet Bailey Foster Wang

Cello Marcio Botelho Char Prescott


Bass Aaron Clay

You make the difference... Make a donation and you make a difference. Your support sustains a welcoming choral community, exciting and vibrant concerts, and outreach programs that inspire everyone to sing! Keep the singing going for another 75 years.

Visit our annual fund table | donate online | donate by mail


THANK YOU The Cathedral Choral Society is pleased to acknowledge the following contributors to our Annual Fund Campaign between December 2, 2015 – March 2, 2017. Gifts made in Memory or Honor of another person are listed on page 24 and 25. 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+ Ernest*^ and Catherine Abbott Sustaining Patrons $10,000+ Anonymous Thomas P. Gallagher^

Gerald W.^ and Alice Padwe Frances H. Pratt*

Stephen S. Roberts* Martin Rosenthal*^ and Corinne Axelrod

Guarantor Patrons $5,000+ Kathleen Brion*^ Diana Dykstra^ Patricia D. Hevner^ Paul Juergensen II^ Richard* and Cecilia Larkin

Virginia C. Mars Lolly and Jim*^ Mixter John E. Moyer*^ and Jane Passman Thomas C. Mugavero*^ Mary B. Olch*

Bradley J. and Martha A.* Olson Catherine E. Ort-Mabry* and Brian Mabry Raymond Rhinehart* and Walter Smalling, Jr. T. Michael and Linda Shortal

Chorus Section Patrons $2,500+ Brian and Donna Bogart Blanche L. Curfman Charles Leonard Egan

Arthur L. and Connie Eggers Nancy M. Folger William M. Leach

Guy and Margaret Steuart Margot T. Young*

William B.† and Ruth L. Harwood Ruth G. Hofmeister Sarah B. Holmes* and John B. Morris Jr. Judith Hope Ann Ingram Robert W. Jerome and William J. Courville Nevin E. Kuhl J. Reilly† and Beth A.V.* Lewis Christina M. Markus* Susan McDaid* Jennifer*^ and Alec Orudjev

Kevin Rosengren^ John Schaettler* James* and Madeleine Schaller L. Bradley Stanford*^ Mr. Leslie C. Taylor Genevieve^ and Sean Twomey John and Dariel† Van Wagoner Kevin and Andrea Wade Robert and Betty Wallace Virginia L. White Nancy Wiecking

Peter* and Lauralyn Lee George Londeree Wendy Lubarsky* Barbara and John McGraw Samuel Miller Scott and Nancy Pinckney Robert* and Elaine Porter Harold I. and Frances G. Pratt

Robert* and Lissa Reeves Lynn Rhomberg John and Judy Shenefield Susan Fifield Mentley and James David Toews James and Elinor Vaughter Ellis Wisner*

Unsung Heroes $1,000+ Margaret M. Ayres and Stephen Case Jessica Barness* Betty J. Beard Joanne Casey* Laura M. Connors* Edison and Sally Dick Walter^ and Joanne Doggett Lynn B. Dutton Cary C. Fuller Mary-T.^ and Spencer Gordon Susan Grad* Anne R. Harris Patrons $500+ Eric P. Andersen* and W. David Young II Violet Baker* Jeanne Buster Cynthia L. Drakeman*^ Margaret Gonglewski* and John Heins Jeremy Gosbee * Lynne N. and Joseph F. Horning Pam and Don Lassell


THANK YOU Sponsors $250+ Caren* and John Backus Robert M. and Laura S. Barlow Catherine H. Beauchamp Andrew and Kaye Boesel Herman F. Bostick Gregg M. Breen* Kris Brown Coleman^ Christopher L. Buechler* James W. Clay* Vera I. Connolly Alice M. Denney

Donors $100+ Anonymous (3) Nancy Maes Aherne James J. and Anne Cesare Albertine Mary Amorosino* Estate of Richard S. and Alayne C. Antes Carolyn Arpin and Benjamin Sacks Frances D. Cook D. Philip Baker Harvey and Carolyn Bale Doug Barry* and Liz Eder Jane C. Bergner Gordon L. Biscomb Dale Boyd* Thornton W. Burnet Michael F. Butler Stephanie Cabell* Stephen and Sandra* Caracciolo Helen Carras* Timothy W. and Patricia R. Carrico Marilyn Clark Nancie S. Coan Terry D. Copeland and Martha Beard Copeland Roberta and Philip Cronin Marcia D’Arcangelo* Ruth and Nelson Denlinger Sharrill Dittmann Peter B. and Karin L. Fontneau Mary Cox Garner Cynthia L. Gibert Neil and Carolyn Goldman

Holly* and Trevor Filipiak Sally A. Fiske Pam Gibert Glenn S.* and Judith M. Griffiths George E. Groninger Ingrid* and Dean Kauffman The Keating Foundation Celeste Avril Letourneau^ Janice L. Lockard Alex E. Martin Leander and Stephanie McCormick-Goodhart

Michael Mercier Richard and Linda Roeckelein Jane* and Vernon Roningen Suzanne H. Rooney David and Mary Shilton Patricia Stephenson* Jacqueline K. Stover Laurel Towers C. Thomas Van Alen Sinclair Winton Evelyn D. Woolston-May

Hilton Lee Graham Joan and David Green William and Margaret Greer Anne Brooks Gwaltney James D. Campbell and Janet M. Hall George Hanc John W.* and Ann E. Harbeson David R. Hearn† Neil Hedlund Frederick S. Hird Robert and Parma Holt Peter and Carol Jensen Erika R. Joyce Louis E. and Ruth H. Kahn Karen R. and Norman A. Kane Cronin-Keegan Family Charitable Fund Mary Ruth Keller C. F. Muckenfuss Ill and Angela Lancaster Richard C. Lee Rosemary D. Lyon Alaster MacDonald Kathleen E. and James W. Madden David S. Marsh Marianna Martindale* Ann F. McCormick Robert Turner Mead Andrea Merrill Corinne Mertes Martha Miller Nathaniel Miller*

Coleman H. and Elizabeth B. O’Donoghue Warren and Marianne Pfeiffer Rondi K. Pillette and Steven A. Levin Charles Pratt and Alexandra England Jacqueline K. Prince Jonathan Puth James Quinn Theodora Radcliffe Leon Reed Terese Ricci Milton and Ingrid Rose Melissa Ryan* Alan and Geraldine Schechter Ann Imlah Schneider Patrick D. Shannon James and Linda Sheridan Elaine Katherine Shocas Hal and Carol Sox Herald Speiser Teresa Polinske* Marianne Splitter and Thomas Morante Margaret C. Stillman Keiko Stusnick Dianne Vandivier* Thomas and Linda Veblen Alice Wagner Richard L. Wagner, Jr. and Virginia R. Wagner Richard Wanerman* Phyllis C. Wertime

*Chorus Member

^Board Trustee



THANK YOU The Cathedral Choral Society is pleased to recognize Government, Foundation, and Corporate support to our Annual Fund Campaign between December 2, 2015 – March 2, 2017.

Thank you to our Government Supporters U.S. Commission of Fine Arts: National Capital Arts and Cultural Affairs Program DC Commission on the Arts and Humanities

Thank you to our Foundation Supporters Dallas Morse Coors Foundation Dimick Foundation

The Richard Eaton Foundation Mars Foundation

The Meredith Foundation

Thank you to our Corporate Supporters Corporate Champion $2,000+ Bank of America Exxon Mobil Foundation Corporate Investor $1,500+ Clark Construction Group, LLC Corporate Leader $1,000+ E*Trade Financial Sahouri Insurance & Financial

JMR Concrete Construction



Sentinel Wealth Management

UBS Financial Services

Union Pacific

Dental Group At Reston Station

Signature Estate and Investment Advisors

Corporate Advocate $500+ Capital One Bank Corporate Supporter $100+ Ameriprise Financial - Kim, Hopkins & Associates


THANK YOU Gifts in Memory of J. Reilly Lewis Ernest*^ and Catherine Abbott Anne R. Harris Mary Prussing W. Reid and Mary M. Thompson George and Sheri* Economou Thomas P. Gallagher^ Mary-T^ and Spencer Gordon James D. Campbell and Janet M. Hall Judith Richards Hope Embry and Joseph Howell Christine* and James Mulligan Bradley J. and Martha A.*^ Olson Gerald^ and Alice Padwe Raymond Rhinehart* and Walter Smalling, Jr. Hank and Charlotte† Schlosberg Eric P. Andersen* and W. David Young II Violet Baker* Kathleen Brion*^ Laurie* and Colin Church Laura P. and Timothy C. Coughlin Blanche L. Curfman Cary C. Fuller Paul and Ellen Hoff Giles Howson* Elizabeth and Jan Lodal Virginia C. Mars^ Lolly and Jim*^ Mixter Thomas Morante and Marianne Splitter John E. Moyer*^ and Jane Passman

Thomas C. Mugavero*^ Kimberly* and Mark Pacala Lynn C. Rhomberg Richard and Linda Roeckelein Kevin Rosengren^ T. Michael and Linda Shortal L. Bradley Stanford*^ Patricia Stephenson* Guy and Margaret Steuart John and Dariel† Van Wagoner Nancy Aherne and Marko Zlatich Mark J. Andrews Robert and Laura Barlow David and Jane Berteau Anne* and James Carman Earl and Phyllis Hannum Sara Hale Henry and Austin Henry Leslie and Keith Kruse C. F. Muckenfuss Ill and Angela Lancaster Steven A. Levin and Rondi K. Pillette Susan McDaid* Bob Kline and Elaine Mills Suzanne M. and B. Dwight Perry Victor Shargai Robert and Betty Wallace Ellis Wisner* Jessica Barness* Betty J. Beard Catherine H. Beauchamp Kris Brown Coleman^ and Jonathan Coleman Joanne Casey* James W. Clay* Jill T. Cochran

Judith Cecilia Dodge Marilyn Flood John L. and Elizabeth W. Gardner D. Ruth Goodchild Barbara Greene, City Choir of Washington Bill Grossman Fund Ann Ingram Jean Jawdat Landis and Arnita Jones Louis E. and Ruth H. Kahn Elizabeth E. Kelley Children’s Chorus of Washington Gary and Judy Kushnier Richard C. Lee Jake Levin Janice L. Lockard Michael Lodico Wendy Lubarsky* Alaster and Janet MacDonald Robert Turner Mead Andrea Merrill Mark W. Ohnmacht Judith Parkinson Natalie* and Hung Q. Pho Harold and Martha Quayle Stephen S. Roberts* Jane* and Vernon Roningen Suzanne and Robert Rooney Gus & Susan Schumacher Charles and Joanne Schwarz Margot S. Semler Lynwood and Thalia Sinnamon Crawford Feagin Stone J. David and Patricia Sulser Philip Trainor Genevieve^ and Sean Twomey

Jeannette Warren-Anderson* D. C. Washington* Cheryl L. Williams Margot T. Young* Ellen Adajian Ross M. Bradford* Gloria A. Collier Richard Dodd Peter Fontneau Frederick S. Hird Lois Martin Warren and Marianne Pfeiffer The Estate of Mary Louise Pusch Theodora Radcliffe Elizabeth Sanford Albert Small Elisabeth Smith Megan Sullivan* C. Thomas van Alen Caroline and Dick van Wagoner Robert and Barbara Verdile Sam Yoon Jenny Bilfield & Joel Friedman Barbara L. Cambridge Marianna Costanza Sandra Cushner Denise Duplain Sharon and David Foster Cathleen C. Hatchell C. Paul Heins Cheryl A. Kempler Cindy Shen* Helen L. St. John* Peter G. Wolfe*

J. Reilly Lewis was Music Director of the Cathedral Choral Society for 31 years. Under his leadership, the chorus delivered notable performances at the Cathedral, Kennedy Center, Strathmore, and Wolf Trap. He died unexpectedly on Thursday, June 9 at the age of 71. Reilly was beloved in the Washington, DC music community, and known for his generosity of spirit and joyful soul by everyone with whom he came into contact.


THANK YOU Gifts in Honor In Honor of Mary-T. Gordon John T. Beaty, Jr.

In Honor of Barry and Lori Wolfman Cynthia L. Drakeman

In Honor of Earl and Linda Seip Natalie* and Hung Q. Pho

In Honor of Fran Pratt Susan J. Henry

In Honor of Virginia C. Mars Shirley M. Fine

In Honor of Han and Phan Pho Natalie* and Hung Q. Pho

In Honor of Margot T. Young Kathleen W. and Walter Weld James T. and Anne C. Townsend

In Honor of Ann Ingram Christie Kramer and Charles Kirby

In Honor of Margaret Gonglewski Elisabeth Gonglewski

In Honor of the Wedding of Susan Williams and Brad Stanford Arlene and David Christian

In Honor of Thomas Mugavero Anonymous

Gifts in Memory In Memory of Dariel Van Wagoner Mary-T.^ and Spencer Gordon Robert and Laura Barlow Sandra Person Burns CCS Alto II Section William M. Leach Virginia C. Mars^ Chancel Choir at Clarendon United Methodist Church Blanche L. Curfman Cynthia G. Plante Roxanne Rhinehart Sharon Harmon Centreville Regional Library Margot T. Young* Maggie Wrobel In Memory of William B. Harwood Mary-T.^ and Spencer Gordon

In Memory of Marion D. Leach William M. Leach Steven and Monica Leach In Memory of Coral J. Wigent The Lassell Family In Memory of Thomas E. Morrison Mary-T.^ and Spencer Gordon In Memory of Charlotte Schlosberg Mary-T.^ and Spencer Gordon In Memory of Barbara Dobson Mary-T^ and Spencer Gordon Jean Jawdat In Memory of Anthony White Mary-T.^ and Spencer Gordon

In Memory of Frederic C. Towers Mary-T.^ and Spencer Gordon

In Memory of William B. Harwood Blanche L. Curfman

In Memory of David Hearn Mary-T.^ and Spencer Gordon

In Memory of Jean Miller Galeone and Elizabeth Clemons Bains Sharon and David Foster

In Memory of Gertrude Ohnmacht Mary-T.^ and Spencer Gordon In Memory of Laura Faller Mary-T.^ and Spencer Gordon In Memory of David Krohne William M. Leach In Memory of Ben Hutto William M. Leach In Memory of William Harwood William M. Leach

*Chorus Member


In Memory of Zebarney Thorne Phillips Ronald C. Perera

^Board Trustee


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 (1) Ernest*^ and Catherine Abbott Catherine H. Beauchamp Mr. David W. Cook Blanche L. Curfman Judy Davis David Dietly* Charles Leonard Egan Arthur and Connie Eggers Charles W. and Jane R. Ervin 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 Bradley J. and Martha A.*^ Olson

Gerald W.^ and Alice Padwe Carla L. Rosati Martin Rosenthal*^ and Corinne Axelrod Margaret Shannon* T. Michael and Linda Shortal M. Elizabeth† and Charles Tidball John and Dariel† van Wagoner Nancy H. 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.

75th ANNIVERSARY LEADERSHIP CIRCLE We are pleased to recognize and thank the members of our 75th Anniversary Leadership Circle who have generously provided their support to our 2016|17 Season and to our general endowment.


Ernest and Catherine Abbott Blanche Curfman Charles Leonard Egan Thomas P. Gallagher Mary-T and Spencer Gordon Anne R. Harris Patricia D. Hevner Ann Ingram Richard and Cecilia Larkin William M. Leach J. Reilly † and Beth A. V. Lewis

Lolly and Jim Mixter Bradley J. and Martha A. Olson Gerald W. and Alice Padwe John E. Moyer and Jane Passman Frances H. Pratt Raymond Rhinehart and Walter Smalling Jr. Stephen S. Roberts Martin Rosenthal and Corrine Axelrod T. Michael and Linda Shortal

Join the Circle: If you would like to learn more about supporting the Cathedral Choral Society and joining our 75th Anniversary Leadership Circle please contact Genevieve Twomey, Executive Director at or 202-537-5524.



Celebrating 75 Years

Exhilarating. Inspiring. Uniquely beautiful. For the past 75 years, audiences have witnessed our musicians perform with passion and joy. The first rehearsal of the Cathedral Choral Society occurred on December 1, 1941. War for the United States was on the horizon. The population of Washington, DC was expanding rapidly and founding Music Director Paul Callaway saw the chorus as a way to welcome the community to the Cathedral to sing. The original recruitment poster, seen here, was distributed to government offices across the city. The Cathedral Choral Society has a rich and important history as DC’s longest singing symphonic chorus. During its 75-year history, the chorus has helped the nation mark important moments in its history and championed American music and composers. Today, the 145-voice chorus is proud to continue as the symphonic chorus-inresidence at Washington National Cathedral.



December 1: The first Cathedral Choral Society rehearsal takes place.


May 13: Inaugural concert, Verdi’s Requiem, with founding Music Director Paul Callaway.


December 18: CCS presents its 2nd concert, Mendelssohn’s Elijah, with William Strickland as guest conductor.


November 18: Leo Sowerby’s Throne of God is premiered to commemorate the 50th anniversary of the laying of the Cathedral’s foundation stone.


Paul Hindemith conducts his Walt Whitman elegy, commissioned by Robert Shaw after the death of Franklin Delano Roosevelt in 1945.

1963 November 26: Beethoven’s Missa Solemnis is performed in memory of John F. Kennedy. 1968

March 31: A performance of Bach’s St. Matthew Passion takes place three days after the assassination of Martin Luther King. Music Director Paul Callaway makes cuts in the music to abide by curfews.


Leonard Bernstein conducts the Concert for Peace at the Cathedral. CCS is part of the mass choir and Paul Callaway performs the organ prelude.

1976 The first Joy of Christmas concerts are performed. 1985

October 20: CCS welcomes J. Reilly Lewis as its new Music Director in an all Handel program.


June 11/12: CCS presents jazz pianist Dave Brubeck.


March 30: In remembrance of the 30th Anniversary of the assassination of Martin Luther King, Bach’s St. Matthew Passion is performed. Coretta Scott King is in attendance.


CCS celebrates and recognizes J. Reilly Lewis on 25 seasons as Music Director.


In November, CCS performs Bernstein’s Chichester Psalms with the Baltimore Symphony and Music Director, Marin Alsop.


In April, CCS performs Orff’s Carmina Burana with The Washington Ballet for the third time at the Kennedy Center.

HONORS The Cathedral Choral Society Honors Committee is pleased to announce the recipients of our 2017 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. John E. Moyer The Cathedral Choral Society is pleased to recognize John E. (Jack) Moyer for his enthusiastic leadership as Board Trustee, past Board President, and chorus member. Jack is a very long time member of the chorus, 45+ years, and has served on the Board of Trustees for multiple terms throughout his tenure with CCS. He served as Board President from 1992 to 1994 and is currently a Board Trustee, Governance Committee Chair, and member of the Executive Committee. Jack is a leader and advisor with a wise and calm presence.

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. Anne R. Harris The Cathedral Choral Society is pleased to recognize Anne R. Harris for her excellence and dedication. Anne served as Board Trustee for CCS for eight years. During her board tenure Anne chaired the Governance and Nominating Committees and worked to improve board governance. She also served as interim Marketing Chair when there was no Executive Director in place and a reduced staff team. Anne took responsibility for all marketing, working with consultants and volunteers, to ensure that CCS was successful in continuing to build and welcome audiences.

Commendation for Volunteer Service The Commendation for Volunteer Service recognizes noteworthy and exceptional volunteer service. Marty Rosenthal The Cathedral Choral Society is pleased to recognize Marty Rosenthal. Marty is a Board Trustee, Personnel Committee and Chorus Affairs Committee Member, and volunteers for chorus events where he often serves as bartender extraordinaire. As a chorus member and volunteer Marty is an inspiration for all of us. Thank you and congratulations to Marty. Joanne Casey The Cathedral Choral Society is pleased to recognize Joanne Casey who has volunteered for almost everything CCS does. She is an active Chorus Affairs Committee member who has organized the logo item sales, donates and sets up the decorations for parties, and has been integral to the Gala silent auction set up for years. Joanne is also an assistant librarian. Thank you and congratulations to Joanne.


75 COMMUNITY SING-ALONG In honor of our 75th season, we are taking our popular Cathedral Sings programs out into the community! All abilities welcome, and scores are provided. Tickets $10.



Gretchen Kuhrmann, guest conductor


w w w . s k y l a r k e n s e m b l e . o r g


Nationally-acclaimed Skylark, an all-professional vocal ensemble, presents a rare and innovative performance of Francis Poulenc’s monumentally difficult Figure Humaine, paired with songs from the American Civil War era.


8:00pm | New York Avenue Presbyterian Church | Washington, DC Free admission with donations accepted at the door | Reserve tickets at

Skylark is a premiere vocal ensemble of leading American vocal soloists, chamber musicians, and music educators. Skylark strives to set the standard for innovative, engaging, well-researched, and dramatically presented programs that re-define the choral experience for audiences and singers alike.



Board of Trustees Ernest Abbott, President Kathleen Brion Kristi S. Brown Walter B. Doggett III Cynthia Drakeman Diana F. Dykstra Anthony Flournoy Patricia Hevner

Thomas P. Gallagher Paul Juergensen II Celeste A. Letourneau James M.E. Mixter, Jr. Treasurer Jack Moyer Thomas Mugavero, Vice President 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 Emily Alcorn, Executive & Development Assistant Kate Breytspraak, Director of Operations & Community Engagement Laura Crook Brisson, Operations Coordinator Todd Fickley, Associate Music Director & Chorus Master

Mimi Newcastle, Finance Manager Joy Schreier, Pianist & Vocal Coach Lindsay Sheridan, Director of Marketing & Communications Genevieve C. Twomey, Executive Director

Concert Support Margaret Shannon, Program Annotator Patricia Stephenson, Librarian

Library Committee: Joanne Casey, Kim Pacala, Jennifer Hawley

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

Sarah Rockwood, Front of House Manager Robert Sokol, Chief Operating Officer Kevin Thomas, Asst. to the Canon Precentor & Administrative Verger Torrence Thomas, Head Verger

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


75 2016 | 17 SEASON

TE DEUM Finale Patrick Dupré Quigley, guest conductor Nurit Bar-Josef, violin Michael Nyby, baritone Colleen Daly, soprano Vaughan Williams, The Lark Ascending Vaughan Williams, Five Mystical Songs Nico Muhly, Looking Up (world premiere) Dvořák, Te Deum, Op. 103

SUNDAY, MAY 21 | 4:00 PM Folk-inspired melodies are transformed into passionate, sweeping works. A pastoral romance, The Lark Ascending features soaring violin solo with orchestra. Five Mystical Songs express intense love and praise. Looking Up, a newly commissioned work by Nico Muhly, “one of the most celebrated and sought-after classical composers of the last decade” (The Guardian), is premiered. A joyous, triumphant Te Deum serves as a festive season finale.



Amid a Crowd of Stars Program  
Amid a Crowd of Stars Program  

Sunday, March 19, 4:00 p.m. The Cathedral Choral Society and New York Polyphony present a program of intimate, meditative music spanning fro...