2018.19 CONCERT PROGRAM
SUNDAY, OCTOBER 21 6:00 PM
WASHINGTON NATIONAL CATHEDRAL
Greetings, We are so pleased to welcome you to the first concert of our 2018.19 season! Today we are thrilled to be working with internationally acclaimed conductor Leonard Slatkin, the Orchestra of St. Luke’s, and our partner choruses on this project: The Clarion Choir, The Kansas City Chorale, and The Chamber Choir of St. Tikhon’s Monastery. We are grateful to these collaborators for their artistic partnership with us to honor the 100th anniversary of the Armistice in such a momentous way. This is an incredibly exciting year for us as we welcome our new Music Director, and the third in our organization’s history, Maestro Steven Fox. We look forward to welcoming you back for the rest of our concerts this season: our beloved Joy of Christmas program in December, Rachmaninoff’s Liturgy in March, and Vaughan Williams’ hopeful response to World War I, Dona Nobis Pacem, in May. Enjoy the concert!
Thomas Mugavero Board President, Cathedral Choral Society
The Cathedral Choral Society is an official commemorative partner of the World War I Centennial Commission.
Armistice 1918 SUNDAY, OCTOBER 21, 6:00 PM WASHINGTON NATIONAL CATHEDRAL
Commemoration for Fallen Brothers (1917) World Premiere
Alexander Kastalsky (1856-1926)
Leonard Slatkin, guest conductor Anna Dennis, soprano Joseph Charles Beutel, bass-baritone Cathedral Choral Society Steven Fox, Music Director The Clarion Choir Steven Fox, Artistic Director The Kansas City Chorale Charles Bruffy, Artistic Director The Chamber Choir of St. Tikhon’s Monastery Benedict Sheehan, Artistic Director Orchestra of St. Luke’s Orchestra underwritten by the Carmel Charitable Endowment
Any taking of photographs or unauthorized recording of this concert is prohibited.
PROGRAM NOTES Alexander Kastalsky’s Commemoration for Fallen Brothers, the work being premiered on tonight’s program in connection with the 100th anniversary of the Armistice ending hostilities between the Allies and the “Central Powers,” stands as the only large-scale choral-orchestral work written specifically in response to the unprecedented loss of life and devastation brought about by World War I. As the fighting began in the Summer of 1914, the contending sides were drawn into the conflict by a convoluted series of treaties, alliances, and geopolitical interests: on one side, the “Central Powers”—Germany and Austria-Hungary, joined by the Ottoman Empire and, later, Bulgaria; on the other side, the “Allied Powers”—Russia, Serbia, Britain and all its Dominions, France, and Japan, joined somewhat later by Italy, Romania, and the United States. By the time of the Armistice, an estimated nine to eleven million combatants were dead and twenty-three million wounded, along with civilian deaths estimated at seven to eight million. In the first month of the war alone, the Russians on the Eastern Front had already suffered enormous casualties numbering in the tens of thousands, matched by equally massive casualties among the Belgian, French, and British troops on the Western Front. Already in those first months of the war, Kastalsky began planning his Commemoration for Fallen Brothers, which he conceived of as a large-scale musical collage that would combine prayers for the dead drawn from the various liturgical traditions of the Allies—Orthodox Russia and Serbia, Roman Catholic France and Italy, and Anglican Britain. *** In the West, Alexander Kastalsky (1856-1926) and his music are relatively unknown. Yet he was a seminal figure upon the national musical landscape of Russia in the early twentieth century. A student of Tchaikovsky, he was appointed to the faculty of the Moscow Synodal School of Church Singing in 1887 and remained affiliated with that institution until it was closed in 1918 by the Bolsheviks. As an innovative composer, conductor, folklorist, and administrator, he moved freely among the spheres of church, classical, and folk. He was hailed by contemporaries as the founder of a new national Russian style of Orthodox church music, and his compositional techniques were emulated by numerous composers— Chesnokov, Gretchaninoff, Kalinnikov, to name just a few. Sergei Rachmaninoff considered Kastalsky his mentor, and would send him his choral manuscripts for comment and approval. Kastalsky’s interests encompassed the music of ancient, early-Christian and non-Western cultures: his secular works include a number of historical reconstructions and stylizations. He was, therefore, on familiar ground as he began assembling musical themes from the Latin rite, the Anglican rite, the Serbian Orthodox tradition, as well as Russian Orthodox chants, for use in his eclectic, multinational and trans-confessional work. Just like the war, Kastalsky’s effort to compose a musical commemoration for its fallen soldiers became extended and tortuous. By late 1915, an initial version of the score had been laid out in twelve movements for chorus and organ. Later, he discarded the idea of a trans-confessional liturgical service in favor of an oratorio-like, choral-orchestral work for the concert stage. This 14-movement version was completed in late 1916, and the premiere took place on January 7, 1917 in Petrograd.1 Following the premiere, the composer added three more movements. The composer himself imagined this work as having an all-encompassing, dramatic character that contained elements of both a sacred mystery play and a civic ceremony. The preface to the first published edition presented the following program:
PROGRAM NOTES Around the spot where the solemn religious ceremony of commemoration is taking place, units of Allied armies are gathered; funereal chants of different nations are heard intermittently, at times Russian, at times Catholic, now Serbian, now English; one language supplants another; from time to time trumpet calls of different armies are heard, along with drum beats, and the sound of artillery; in the distance one can hear the sobs and lamentations of the widows and mothers who have lost their sons; from the direction of the Asian armies one hears strains of Japanese and Hindu melodies. As “Memory eternal” is intoned, the military bands join in, one hears artillery salutes, and the music takes on the bright colors glorifying the fallen heroes.2 A detailed libretto compiled by the composer for future performances envisioned a stage set depicting a church; the figure of a cardinal; youths in white vestments; three nurses (British, Romanian, and Italian); a Greek clergyman; groups of Russian peasant women; Montenegrins, Serbs, and Americans; Hindu soldiers and priests; a Japanese religious procession; as well as a choir that functioned both liturgically and as an ancient Greek theatrical chorus. This final, seventeen-movement quasi-staged version of the work, however, was never performed, as political power in Russia fell into the hands of the Communists, who banned all performances of sacred music and whose interests “had nothing in common with art.”3 *** As might be expected from the above description, the music of Commemoration for Fallen Brothers resembles a rich and varied mosaic, with contrasting musical episodes following one another. Orthodox, Roman Catholic, and Protestant funereal texts in various languages follow one another in rapid succession. In a number of instances, the composer provided the option of using Latin, English, or Russian text, leaving the choice of language to the discretion of the performers. Tonight’s performance deliberately uses a number of different languages to underscore the multinational and universal character of the work. The work opens with somber, brooding melodies punctuated with tone clusters in imitation of a Russian Orthodox funeral knell. The bell-like motifs will be heard again several times throughout the work. A herald, singing in Italian, exhorts those present to pray for all the soldiers fallen for the common cause. The chorus enters with the well-known Russian Orthodox melody funeral kontakion, “With the Saints Give Rest,” sung to the Latin text of the Roman Requiem Mass. The “Kyrie” that follows (No. 2) was initially conceived as an Orthodox litany—a responsorial form of traditional Christian worship. In the present version, Kastalsky reworked it into a series of prayerful solo intonations built upon Roman Catholic and Anglican themes, which are answered by the full chorus in various languages. “Rex tremendae” (No. 3) seamlessly intersperses Russian znamenny chant melodies (“Thou Alone Art Immortal” and “Beautiful Pascha”) and melodies of Roman Catholic Gregorian chant—“Dies irae” and others—demonstrating the close musical kinship between these two species of chant. Melodic kernels from all these melodies will continue to appear throughout the movements that follow.
Concurrently, Kastalsky created a version for unaccompanied chorus with Church Slavonic text, entitled Memory Eternal to the Fallen Heroes, which parallels the Orthodox memorial panikhida service. This version recently appeared in a premiere recording by The Clarion Choir, under Steven Fox, on the Naxos label. 2
A. Kastalsky, Bratskoye pominoveniye / Commemoration fraternelle, for solo voices, chorus, and orchestra. Moscow: P. Jurgenson, 1917.
In the words of Eugene Plotnikoff (1877–1951), the conductor at the Zimin Opera Theater, who was to conduct the Moscow premiere of Kastalsky’s Commemoration, but who withdrew his intent and emigrated from Russia in 1918.
PROGRAM NOTES In movement No. 4, “Ingemisco,” Kastalsky turns to the solo medium and quotes the melody from a English setting of the Dies irae (“Day of Wrath”) in the Anglican Hymnal by John B. Dykes. “Confutatis” (No. 5) continues the Latin “Dies irae” sequence, set to a English melody by John Merbecke. As an alternative text Kastalsky used a fragment from Alexei Tolstoy’s (1817–1875) epic poem “Ioann Damaskin” (John of Damascus), a passage that paraphrases in Russian one of the funeral verses composed in the eighth century by this eminent Syrian Orthodox hymnographer. “Lacrymosa” (No. 6) makes prominent use of Gregorian themes arranged in 6/8 time (Kastalsky knew the Mozart Requiem), which are interspersed with Russian folk-style laments—textless vocal outpourings of grief. In “Domine Jesu” (No. 7), a Russian Orthodox znamenny chant “Alleluia” (with Latin text) serves as the background for the bass soloist, who sings an elegiac arioso in English. Kastalsky added the soprano aria “Beati mortui” (No. 8) after the 1917 premiere. Further expanding the trans-national character of the work, he introduced two Romanian Orthodox melodies, one with passages in French, and the other in a chromatic Byzantine mode to the text of the Orthodox Communion Hymn, “The Righteous Shall Be in Everlasting Remembrance.” A French military bugle call is the first of several such fanfares to make an appearance. Two melodies—a znamenny chant (“Give Rest with the Just”) and a Gregorian chant—dovetail with one another in “Hostias” (No. 9). The melodic writing in the choral parts, subtly supported by the orchestra, displays Kastalsky’s masterful ability to weave polyphonic textures chant melodies and their individual melodic kernels. “From the direction of the Japanese troops, gentle music is heard.” This notation in the score introduces the first of two Interludiums (Nos. 10 and 16) that were added by the composer to represent the participation of Asian troops in the global conflict. The simple pentatonic melody and transparent texture offer a peaceful moment of repose. Kastalsky derives the majestic music of “Sanctus” (No. 11) from the melody of the “Dies irae” chant, while basing the contrasting “Benedictus” on an elegant Serbian chant. Following a classic precedent, he ends the movement with a fugato—the first (and perhaps the only one) ever composed using a znamenny chant theme. The theme is heard one last time as an ethereal echo sung by the voices of soldiers who are no longer in the earthly realm. The text of “Agnus Dei” (No. 12) is set to the Serbian chant melody for the kontakion “With the Saints Give Rest.” Like the ghostly voices of the fallen soldiers of the preceding “Hosanna,” the chromatic yet consonant harmonies that begin and end this movement, and the serene singing of the choir, evoke the heavenly reality into which the dead have passed. The following movement, “Dies irae” (No. 13)—with its turbulent, unsettling music punctuated by military fanfares— reminds the weeping and the grieving, as well as those still fighting the war, of the ever-present reality and ultimate inevitability of death. The eloquent paraphrase of another one of St. John of Damascus’ funeral stichera sung at Orthodox funerals (he wrote eight altogether) ends with a fervent prayer for the souls of the departed to be received in the heavenly mansions.
PROGRAM NOTES The United States joined the Allies in April 1917 while Russia was rocked by two revolutions—the first in February of 1917, and the second in October of that same year, as the Bolsheviks seized power. In May of 1917, the American Extraordinary Mission, headed by Elihu Root, arrived in Petrograd to offer moral support to the new Russian government. From the American visitors, Kastalsky learned what music was characteristic of funerals in America and proceeded to incorporate it into No. 14 of the Commemoration: Chopin’s “Funeral March,” “Rock of Ages,” and Joseph Barnby’s “Hark, Hark, My Soul.” The movement concludes with the motif “With the Saints Give Rest,” heard in No. 1. A Russian bugle call—“the call to prayer”—opens the second “Kyrie eleison” (No. 15). As with No. 2, this movement is modeled upon the Orthodox Litany of Fervent Supplication with its three-fold responses. Two trumpets sound the Russian version of “Taps”; different languages supplant one another and musical themes heard earlier make their return. The entire movement ends inconclusively upon an unstable first-inversion chord. The second Interludium (No. 16), a hymn to the Hindu god of the heavens, Indra, features a textless men’s chorus of Hindu soldiers and priests, introduced by a series of unusual instrumental effects. According to a note in the score, “soldiers fallen on the field of battle are received into the realm of Indra according to Hindu belief.” The funeral knell and the melody “With the Saints Give Rest,” heard at the beginning of movement No. 1, introduce the final movement, No. 17. As soloists intone “Memory eternal” to the fallen soldiers, the chorus takes up the refrain “Vechnaya pamiat’,” first to a Serbian melody, then to a Russian one. The music takes on the character of a stately funeral march out of which emerges the triumphant motif mi-re-mi-fa-sol-re-mi—from the “Beautiful Pascha,” taken from the Orthodox Paschal service. The bells that earlier tolled for the dead are transformed into the glorious peals celebrating the universal Resurrection. *** At the 1917 premiere of the initial 14-movement version, Kastalsky’s Commemoration for Fallen Brothers was critically acclaimed as a “uniquely Russian Requiem, which [at the same time] gave musical voice to the tears of many nations.”4 Today, one hundred years later, we can appreciate this long-lost work as an unprecedented and peerless stylistic collage of multinational musical and religious traditions remembering and honoring those who made the ultimate sacrifice. Yet, as St. John of Damascus reminds us, human existence and memory is fleeting and temporary. The final prayer “Vechnaya pamiat’” (Memory eternal) asks that the departed be in God’s eternal remembrance. As the Russian theologian Fr. Pavel Florensky explains it: “‘To be remembered’ by the Lord is the same thing as ‘to be in Paradise.’ ‘To be in Paradise’ is to be in eternal remembrance and, consequently, to have eternal existence...”5 ©Vladimir Morosan www.musicarussica.com Special thanks to The Glinka National Museum Consortium of Musical Culture for their indispensable help by providing the composer’s score. 4
Boris Asafyev, “A prologue, rather than a conclusion,” in Selected works, volume 5, Moscow: 1957, p. 96.
Pavel Florensky, The Pillar and Ground of the Truth, trans. and annot. Boris Jakim, intro. Richard F. Gustafson (Princeton, NJ: Princeton University Press, 1997), p. 144, cited in Donald Sheehan, “Dostoevsky and Memory Eternal: An Eastern Orthodox Approach to the Brothers Karamazov,” 2011. http://onesimusredivivus.blogspot.com/2014/02/forever-just-isnt-what-it-used-to-be.html (February 12, 2018).
TEXTS AND TRANSLATIONS No.1 Requiem aeternam
Give Rest to the Souls
(Russian Melody) Italian Frati! Preghiamo per nostri prossimi, figli del’agrande unione, caduti sul campo d’onore per la liberta du popoli ed imploriamo Dio per loro anime.
Brothers! Let us pray for our neighbors, sons of the Great Union, who have fallen on the field of honor for the freedom of all peoples and implore God for their souls.
Latin Requiem aeternam dona eis, Domine, et lux perpetua luceat eis. Te decet hymnus, Deus, in Sion, et tibi reddetur votum in Jerusalem; Exaudi orationem meam, ad te omnis caro veniet.
Eternal rest give unto them, O Lord, and let perpetual light shine upon them. A hymn is sung to you, O God in Zion, and a vow shall be paid to you in Jerusalem; Hear my prayer, all flesh shall come before you.
No. 2 Kyrie eleison
Lord, Have Mercy
(Catholic Melody) Greek Kyrie eleison. Christe eleison. Kyrie eleison
Lord, have mercy. Christ, have mercy. Lord, have mercy.
(Serbian Melody) Russian Помолимся Боже Превечный Мира Создатель! Свете невечерний! Внемли моленью.
Let us pray to the Eternal God, Creator of the World! Light in Darkness! Hear our prayer.
(English Melody) English Lord, have mercy. (Russian Melody) Russian Помолимся: Молим Господа смиренно, Дай им, Господи, прощение. Спасе наш спаси их. ПЦарь небес, прими их!
Let us pray: We ask the Lord humbly, to grant them, Lord, your forgiveness. Save us, save them. King of heaven, receive them!
TEXTS AND TRANSLATIONS (Catholic Melody) Latin Oremus:
Greek Kyrie eleison.
Lord, have mercy.
Russian Боже, Ты надежда наша и оплот! Тебе молимся.
God, You are our hope and stronghold! We pray to you.
No. 3 Rex tremendae
King of Majesty
(Russian and Catholic Melodies) Latin Rex tremendae majestatis, qui salvandos salvas gratis, salve me, fons pietatis.
King of tremendous majesty who redeems us, save me, O fount of mercy.
Recordare, Jesu pie, quod sum causa tuae viae; ne me perdas illa die.
Remember, kind Jesus, my salvation caused your suffering; do not forsake me on that day
Quaerens me, sedisti lassus, redemisti crucem passus; tantus labor non sit cassus.
Faint and weary you have sought me, redeemed me, suffering on the cross; may such great effort not be in vain.
Juste judex ultionis, donum fac remissionis ante diem rationis.
Righteous judge of vengeance, grant me the gift of absolution before the day of reckoning.
Guilty Now I Pour
(English Melody) Guilty, now I pour my moaning, all my shame with anguish owning; spare, O God, Thy suppliant groaning! Thou the guilty woman savedst, Thou the dying thief forgavest, and to me a hope vochsafest.
TEXTS AND TRANSLATIONS Worthless are my prayers and sighing, yet, good Lord, in grace complying, rescue me from fires undying. With Thy favored sheep O place me, nor among the goats abase me, but to Thy right hand upraise me.
No. 5 Confutatis: Средь груды тлеющих костей
While the Wicked Are Confounded
(English Melody) Russian Средь груды тлеющих костей, кто царь, кто раб, судья иль воин? Кто царства Божия достоин? Кто отверженный злодей? Фсио, фсио пепел, дым, и пыль, и прах!
Among the piles of smoldering bones, who is the king, who is the slave, the judge or the warrior? Who is worthy of the kingdom of God? Who is the outcast villain? All, all are ashes, smoke, dust, and dirt!
Лишь у Тебя на небесах, Господь, и пристань, и спасение! Прими, Господь, рабов усопших вТвой блаженния селения!
Only in You, our Lord in heaven, do we find refuge and salvation! Accept, Lord, the departed servant into Your glorious city!
No. 6 Lacrymosa
Ah, that Day of Tears
(Catholic Melody with Russian Lament) Latin Lacrymosa dies illa Qua resurget ex favilla Judicandus homo reus. Huic ergo parce, Deus: Pie Jesu Domine, Dona eis requiem. Amen.
Full of tears will be that day When from the ashes shall arise The guilty man to be judged. Therefore spare him, O God, Merciful Lord Jesus, Grant them eternal rest. Amen.
TEXTS AND TRANSLATIONS No. 7 Domine Jesu
Now the Laborer’s Task is O’er
(Russian Melody) Latin Domine Jesu Christe, Rex gloriae, libera animas omnium fidelium defunctorum de poenis inferni et de profundo lacu. Libera eas de ore leonis, ne absorbeat eas tartarus, ne cadant in obscurum. Sed signifer sanctus Michael repraesentet eas in lucem sanctam. Quam olim Abrahae promisisti et semini ejus.
Lord Jesus Christ, King of glory, liberate the souls of the faithful, departed from the pains of hell and from the bottomless pit. Deliver them from the lion’s mouth, unless hell swallow them up and they fall into darkness. Let the archangel Michael bring them into holy light. Which was promised to Abraham and his descendants.
English Now the laborer’s task is o’er, now the battle day is past, now upon the farther shore lands the voyager at last. There the work of life, is tried by a juster Judge than here. Christ the Lord shall guard their peace, He who died for their release.
No. 8 Beati mortui
Blessed are the Dead
(Romanian melody) Latin Beati mortui, qui in nomine Domini morientur, et lux aeterna luceat eis!
Blessed are the dead who die in the name of the Lord, let perpetual light shine upon them!
French La mort a ete ensevelie dans la victoire; O mort, ou est ton aiguillon? O mort, ou est ta victoire?
Death was destroyed in victory; O death, where is your sting? O death, where is your victory?
Latin In memoria aeterna erit iustus, ab auditione mala non timebit. Hostias et preces tibi, Domine laudis offerimus. Tu suscipe proanimabus illis, quarum hodie memoriam facimus: fac eas, de morte transire ad vitam.
The just shall be in everlasting remembrance; they shall not fear evil. We offer to you, O Lord, sacrifices and prayers: receive them on behalf of the souls of whom we remember this day. Allow them, O Lord, to pass from death to eternal life.
TEXTS AND TRANSLATIONS No. 9 Hostias
We Offer to You
(Russian and Catholic melodies) Latin Hostias et preces tibi, Domine, laudis offerimus: tu suscipe pro animabus illis, quarum hodie memoriam facimus: fac eas, Domine, de morte transire ad vitam. Quam olim Abrahae promisisti et semini ejus.
We offer to you, O Lord, sacrifices and prayers: receive them on behalf of the souls of whom we remember this day. Allow them, O Lord, to pass from death to eternal life as you promised of old to Abraham and to his seed.
No. 10 Interludium No. 11 Sanctus
(Catholic, Serbian, Russian Melodies) English Holy, Holy, Holy, Lord of Sabaoth! Heaven and Earth are full of Thy glory! Hosanna in the highest! Blessed is He who comes, in the name of the Lord. Hosanna in the highest! No. 12 Agnus Dei
O Lamb of God
(Serbian Melody) Latin Agnus Dei, qui tollis peccata mundi, dona eis requiem, et lux aeterna luceat eis, Domine, cum sanctis tuis in aeternam, quia pius es.
Lamb of God, who takes away the sins of the world, grant them rest. May eternal light shine upon them, O Lord, with your saints for evermore: for you are gracious.
Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam.
Lamb of God, Who takes away the sins of the world, grant them eternal rest.
No. 13 Какая сладость
What Sweetness in This World is Not Mixed with Grief
(Catholic Melody) Russian Какая сладость в жизни сей Земной печали непричастна? Чьи ожиданья не напрасны? И где счастливый меж людей?
What sweetness in this world is not mixed with grief? Whose expectations are not in vain? And where is the happy one among people?
TEXTS AND TRANSLATIONS Всё то превратно, всё ничтожно, Что мы с трудом приобрели. Какая слава на земли Стоит тверда и непреложна? Всё – пепел, призрак, тень и дым; Исчезнет всё, как вихорь пыльный; И перед смертью мы стоим И безоружны, и бессильны: Рука могущего слаба, Ничтожны царские веленья… Прими, Господь, рабоф усопших в своих селениях щчастливых!
Everything is insignificant, everything is wrong, we hardly understand. What glory on Earth is firm and immutable? Everything - ash, ghost, shadow and smoke; Disappear, like a dusty whirlwind; And before death we stand And are unarmed, And powerless: Its hand is mighty, Even kings are insignificant... Receive the deceased servant, Lord, into the holy city!
No. 14 Rock of Ages (American hymn with Chopin’s March. “In America, Chopin’s March is performed during the burial.”) English Rock of Ages, cleft for me, Let me hide myself in Thee; Let the water and the blood, From Thy riven side which flowed, Be of sin the perfect cure, Save me, Lord, and make me pure While I draw this fleeting breath, When mine eyelids close in death, When I soar to worlds unkown, See Thee on Thy judgement throne, Rock of Ages, cleft for me, Let me hide myself in Thee! (English Hymn) Hark! Hark, my soul! Angelic songs are swelling O’er earth’s green fields and ocean’s wavebeat shore; How sweet the truth those blessed strains are telling Of that new life when sin shall be no more! Angels of Jesus, angels of light, Singing to welcome the pilgrims of the night! Latin Requiem aeternam dona eis, Domine.
Eternal rest give unto them, O Lord.
TEXTS AND TRANSLATIONS No. 15 Kyrie eleison
(Catholic and English melodies with Russian military trumpet “Call to Prayer” and “Call at Burial”) Greek Kyrie, eleison.
Lord, have mercy.
English Lord, have mercy. Christ, have mercy. Latin Absolve, Domine, animas fidelium defunctorum. Absolve eas a vinculo delictorum. Lucis aeternae, beatitudine perfrui.
Absolve, O Lord, the souls of all the faithful departed from every bond of sin. And by the help of your grace may they be enabled to escape the avenging judgment. And enjoy the bliss of everlasting light.
No. 16 Interludium: Hymn to Indra (“From the direction of the Indian troops, the Hymn to Indra is heard. According to Hindu belief, soldiers fallen on the field of battle are received within the realm of Indra, the god of the heavens.”) No. 17 Requiem aeternam
(Russian and Serbian melodies) Latin Requiem aeternam dona eis, Domine, et lux perpetua luceat eis. Russian Водвори во блаженных селениях Твоих, Господи, души усопших рабов Твоих, воинов, за отечество на поле брани павших, и ниспошли им вечную память.
Eternal rest give unto them, O Lord, and let perpetual light shine upon them. Now enter into the Holy City. Give rest, O Lord, the souls of your deceased servants, leaders and soldiers, on the battlefield for Faith and the Fatherland. Remember them for eternity.
English Let light perpetual shine upon them.
Translations by Steven Fox, Vlad Morosan, and Bryan Pinkall
BIOGRAPHIES Leonard Slatkin is Music Director Laureate of the Detroit Symphony Orchestra (DSO) and Directeur Musical Honoraire of the Orchestre National de Lyon (ONL). He maintains a rigorous schedule of guest conducting and is active as a composer, author, and educator. Slatkin has conducted virtually all the leading orchestras in the world. As Music Director, he has held posts in New Orleans; St. Louis; Washington, DC; London (with the BBCSO); Detroit; and Lyon, France. He has also served as Principal Guest Conductor in Pittsburgh, Los Angeles, Minneapolis, and Cleveland. Highlights of the 2018/19 season include a tour of Germany with the ONL; a three-week American Festival with the DSO; Penderecki’s 85th birthday celebration in Warsaw; five weeks in Asia leading orchestras in Guangzhou, Beijing, Osaka, Shanghai, and Hong Kong; and the Manhattan School of Music’s 100th anniversary gala concert at Carnegie Hall. He will also conduct the Moscow Philharmonic, Balearic Islands Symphony, Orchestre Philharmonique de Radio France, Louisville Orchestra, Berner Symphonieorchester, Pittsburgh Symphony, St. Louis Symphony, RTÉ National Symphony in Ireland, and Monte Carlo Symphony. Slatkin has received six Grammy awards and 33 nominations. His recent Naxos recordings include works by Saint-Saëns, Ravel, and Berlioz (with the ONL) and music by Copland, Rachmaninov, Borzova, McTee, and John Williams (with the DSO). He has recorded the complete Brahms, Beethoven, and Tchaikovsky symphonies with the DSO. A recipient of the prestigious National Medal of Arts, Slatkin also holds the rank of Chevalier in the French Legion of Honor. He has received Austria’s Decoration of Honor in Silver, the League of American Orchestras’ Gold Baton Award, and the 2013 ASCAP Deems Taylor Special Recognition Award for his debut book, Conducting Business.
Soprano Anna Dennis studied at the Royal Academy of Music. Notable concert performances have included Britten’s War Requiem at the Berlin Philharmonie, Russian operatic arias with Philharmonia Baroque in San Francisco, roles in all three Monteverdi operas in John Eliot Gardiner’s world tour of the Trilogy, Thomas Ades’ Life Story accompanied by the composer at the Lincoln Centre’s White Light Festival in New York, Orff’s Carmina Burana and Pergolesi’s Stabat Mater with the Orquestra Gulbenkian in Lisbon, and Bach cantatas with Les Violons du Roi in Montreal. She has performed at the BBC Proms with the City of Birmingham Symphony Orchestra, the BBC Symphony Orchestra, the Britten Sinfonia, and the Orchestra of the Age of Enlightenment. Plans for the 2018/19 season include worldwide performances and recordings of Purcell’s Fairy Queen and King Arthur with conductor Paul McCreesh, Schubert’s Shepherd on the Rock at the Auditorio Nacional de Tenerife, Bach’s St Matthew Passion at Palau de las Musica in Barcelona, Handel’s Aci, Galatea e Polifemo at London’s Wigmore Hall, and a return to the Lakes Area Music Festival in Minnesota to sing the title role in Offenbach’s la Belle Helene. Bass-baritone Joseph Beutel is often praised for his “deep wellrounded tone,” and overall richness of voice and versatility on stage. Making his career across the United States, Europe, Asia, and South America, Beutel has performed with such companies as Santa Fe Opera, Minnesota Opera, Seattle Opera, and the New York Philharmonic. He enjoys performing operas from the classical canon as well as originating new cutting-edge roles. Beutel recently performed the father/sir role in Milo, an opera commissioned and performed by Asia Society Hong Kong and featured in Time Magazine. He also originated the role of the “British Major” in the Pulitzer Prize winning opera Silent Night by Kevin Puts, premiered at Minnesota Opera.
BIOGRAPHIES Beutel made his Carnegie Hall debut singing the role of Peter in Elgar’s The Apostles with American Symphony Orchestra and will return to that stage this December for a performance of Handel’s Messiah with the Oratorio Society of New York. He also appears in many concert works internationally, namely in the roles of Messiah, St. Matthew and St. John Passion (J.S. Bach), and in Requiems by Mozart, Brahms, and Fauré. One of the country’s leading professional vocal ensembles, The Clarion Choir has performed on some of the greatest stages of North America and Europe. Their debut recording, released August 2016, received a 2017 GRAMMY nomination for Best Choral Performance. In 2014, the choir gave the New York premiere of Passion Week by Maximilian Steinberg, praised as “a stunning performance” by The New York Times. In October 2016, they premiered this same work in Moscow, St. Petersburg, and London. In the spring of 2018 The Clarion Choir, together with brass players from The Clarion Orchestra, performed their third Renaissance program as part of the Met Live Arts program in the Metropolitan Museum of Art. On May 7, 2018, the choir performed with Madonna at the Met Gala in a three-song set that included the world premiere of her new song “Beautiful Game.” The choir has just released their second recording, Memory Eternal, which includes the a cappella version of the work that is being premiered this evening. The Clarion Choir would like to thank those who have made it possible for Clarion to be a part of this project: George and Christine Stonbely Gregory Stoskopf Dr. Elma Hawkins Charles N. W. Schlangen Daniel S. Levien The Kansas City Chorale, founded in 1982, is a professional vocal ensemble that enriches local, national and international
communities through its dedication to excellence in performing music from diverse historical periods. Along with the Phoenix Chorale, the Kansas City Chorale is the first North American choir to record for Chandos Records. Their 2007 CD, Grechaninov’s Passion Week, received GRAMMY nominations in four categories, including Best Classical Album, Best Choral Performance, Best Surround Sound Album, and Best Engineered Album. Their album, Life & Breath - Choral Works of René Clausen, was released in 2012 and won the Grammy award for Best Choral Performance. In February 2016, the Chorale’s most recent recording, Rachmaninoff: All-night Vigil with the Phoenix Chorale, won the Grammy award for Best Choral Performance of 2015. One of the most admired choral conductors in the United States, Charles Bruffy began his career as a tenor soloist, performing with the Robert Shaw Festival Singers in recordings and concerts in France and in concerts at Carnegie Hall. Shaw encouraged his development as a conductor. He has been Artistic Director of the Kansas City Chorale since 1988 and Chorus Director for the Kansas City Symphony since 2008. He is also Director of Music for Rolling Hills Presbyterian Church. Respected and renowned for his fresh and passionate interpretations of standards of the choral music repertoire and for championing new music, he has commissioned and premiered works by composers such as Jean Belmont Ford, Ola Gjeilo, Matthew Harris, Anne Kilstofte, Libby Larsen, Zhou Long, Cecilia McDowall, Michael McGlynn, Stephen Paulus, Steven Sametz, Philip Stopford, Steven Stucky, Eric Whitacre, and Chen Yi. The Kansas City Chorale is deeply grateful for the generosity of the following patrons who made this performance possible: Virginia M. Merrill Hall Family Foundation Richard J. Stern Foundation for the Arts Commerce Bank, trustee Mr. and Mrs. Irvine Hockaday Mr. and Mrs. John Sherman Mr. and Mrs. Michael Thiessen Linda Watson Family Foundation Mr. and Mrs. Robert Wheeler Barbara Lukert
BIOGRAPHIES The Chamber Choir of St. Tikhon’s Monastery is a professional vocal ensemble under the auspices of St. Tikhon’s Monastery in Pennsylvania, America’s oldest Orthodox monastery. Founded in 2015 by artistic director Benedict Sheehan and Archimandrite Sergius, abbot of St. Tikhon’s Monastery, the Chamber Choir’s mission is to explore, promote, and build up the tradition of Orthodox sacred music in America, and to bring people of today’s world into contact with this tradition through vibrant and inspiring choral singing. The group is composed of some of the finest singers in the New York area and around North America.
Orchestra of St. Luke’s (OSL) began as a group of virtuoso musicians performing chamber music concerts at Greenwich Village’s Church of St. Luke in the Fields in 1974. Now in its 44th season, the Orchestra performs a variety of musical genres at New York’s major concert venues, and has collaborated with artists ranging from Renée Fleming and Joshua Bell to Bono and Metallica. In September 2018 Bernard Labadie, a world-renowned conductor of Baroque and Classical repertoire, joined OSL as Principal Conductor, continuing the orchestra’s tradition of working with champions of historical performance practice.
Benedict Sheehan is Director of Music at St. Tikhon’s Orthodox Theological Seminary and Monastery, and Artistic Director of the Chamber Choir of St. Tikhon’s Monastery, a professional vocal ensemble. As a conductor, Sheehan has also appeared with noted vocal ensemble Cappella Romana. He is a frequent clinician and speaker in the field of Orthodox choral singing around the United States and Canada. His musical education includes degrees from Westminster Choir College and Bard College Conservatory of Music, as well as ongoing doctoral studies in Composition at the University of York. A composer and author, Sheehan has a variety of published works, including the recent album, Till Morn Eternal Breaks: Sacred Choral Music of Benedict Sheehan (2015), and an anthology of arrangements entitled A Common Book of Church Hymns: Divine Liturgy (2016). He and his wife Talia Maria and seven daughters live in Pennsylvania.
In 2019, OSL launches two major initiatives: the inaugural OSL Bach Festival in New York City and the opening of the DeGaetano Composition Institute. The three-week Bach Festival will feature 15 performances, including orchestral concerts conducted by Bernard Labadie, keyboard concerts, and Paul Taylor Dance Company performing Paul Taylor’s complete Bach dances.
The Chamber Choir of St. Tikhon’s Monastery wishes to thank the following supporters:
Steven Fox is the Cathedral Choral Society’s Music Director, appointed in 2018. He is also the Artistic Director of The Clarion Orchestra and The Clarion Choir in New York City. Fox has appeared as a guest conductor with many renowned ensembles including Philharmonia Baroque Orchestra in San Francisco, Handel and Haydn Society in Boston, Juilliard415 at Lincoln Center, the Charleston Symphony Orchestra, the Quebec Symphony Orchestra, l’Opéra de Québec,
Alex Lifeson His Beatitude, Metropolitan Tikhon St. Sabbas Orthodox Monastery John Babiak His Eminence, Archbishop Nikon St. Matthew’s Orthodox Church The Nehrebecki Family His Grace, Bishop David
OSL’s signature programming includes a subscription series presented by Carnegie Hall; an annual summer residency at Caramoor Center for Music and the Arts; and a chamber music series at The Morgan Library & Museum, Brooklyn Museum, and Merkin Hall. The Orchestra has participated in 118 recordings, four of which have won GRAMMY Awards, has commissioned more than 50 new works, and has given more than 175 world, U.S., and New York City premieres.
BIOGRAPHIES Music of the Baroque in Chicago, and the Tucson Symphony Orchestra. Recognized as a leader in his generation of conductors, Steven has been called “an esteemed director” by The New Yorker and “visionary” by BBC Music Magazine. Of a recent performance with The Clarion Choir, The New York Times praised his “deft guidance” and wrote: “an inspired interpretation. Mr. Fox revealed the drama of the score with vivid dynamic shadings. Intonation and pacing were exemplary throughout the performance.” Fox was named an Associate of the Royal Academy of Music, London, in 2010 “for significant contributions to his field in music,” and received a GRAMMY nomination for his debut recording with The Clarion Choir in 2016. He has given master classes and clinics at Dartmouth College, Juilliard School, and Yale University, where he served for two years as preparatory conductor of the Yale Schola Cantorum. Assistant Conductor and Pianist Joy Schreier is praised by Plácido Domingo as an “orchestra at the piano” and The Washington Post as a “responsive accompanist” and “ideal support” at the piano. She has been presented in recital at Carnegie Hall, Lincoln Center, Merkin Hall, the White House, Kennedy Center, Corcoran Gallery, National Gallery of Art, National Museum for Women in the Arts, National Portrait Gallery, Phillips Collection, Cosmos Club, Strathmore Hall, the Embassies of Austria, Australia, Bulgaria, Germany, Italy, Korea, Poland, Russia, Taiwan, Anderson House, and recital halls throughout the country. Internationally, she has performed throughout Europe and Asia. Upcoming recording releases include a CD of songs and vocal chamber works with soprano Laura Strickling. Concert engagements include a sold-out Carnegie Hall debut at Weill Recital Hall with soprano Danielle Talamantes and a recital series with mezzo-soprano Isabel Leonard for the Marilyn Horne Foundation. An avid chamber musician, since 2010 Schreier has been official pianist of the Washington International String & Voice Competitions at the Kennedy Center. She served
as official pianist for the Metropolitan Opera National Council Auditions, Assistant Conductor at the Washington National Opera and coach for the Domingo-Cafritz Young Artist Program, as well as Keyboard Artist of the Washington Bach Consort. She received her Doctorate in Accompanying and Chamber Music at the Eastman School of Music under Dr. Jean Barr where she was the recipient of the Barbara Koeng Award for Excellence in Vocal Accompanying. The Cathedral Choral Society is the resident symphonic chorus of Washington National Cathedral. Founded in 1941 by Paul Callaway, the 120-voice chorus is the oldest symphonic choral group in Washington, DC. From 1985 to 2016, J. Reilly Lewis served as its second Music Director, leading performances ranging from symphonic choral masterpieces to world premieres. Beginnin in the 2018.19 season, Steven Fox is the organization’s third Music Director. The Cathedral Choral Society presents a concert series with four programs at Washington National Cathedral. In addition to its concert series, the chorus has performed around the city and on nationwide radio and television. The Cathedral Choral Society has appeared at the Kennedy Center with The Washington Ballet, the Juilliard Orchestra, in performances sponsored by Washington Performing Arts Society, and with the National Symphony Orchestra under Leonard Slatkin and other conductors. In 2014, the chorus performed Bernstein’s Chichester Psalms with the Baltimore Symphony Orchestra at Meyerhoff Symphony Hall in Baltimore and Strathmore in Bethesda. The chorus has a remarkable history of championing new music, including eight major commissions for new symphonic choral works and an annual commission for a new Christmas carol. Each season the chorus builds on a tradition of showcasing emerging soloists as well as internationally known artists. The Cathedral Choral Society’s discography features ten recordings made at Washington National Cathedral. The Cathedral Choral Society offers education programs, including an annual High School Choir Festival featuring choirs from across Washington, DC.
CATHEDRAL CHORAL SOCIETY SOPRANO Jessica Barness** Joanne Casey Laura Cooman Tari Cooper* Marcia D’Arcangelo Lesley Earl Kaylee Folsom Melissa Fox Renee Gamache Marian Gamboa Abigale Hobbs Elizabeth Hutcheson Chana Kuhns Lori Kurtyka Wendy Lubarsky Chris Markus
ALTO Marianna J. Martindale Emily McCullough Susan McDaid Catherine Ort-Mabry Felicia Pagden Frances H. Pratt* Kyra Reumann-Moore Melissa Ryan Cynthia Shen Helen L. St. John Megan Sullivan** Dianne Vandivier Jelena Vranic Elizabeth Owens Wakefield Celeste Wanner
TENOR Scott Alman Ross Bradford* Gregg Breen David Costanza David Dietly Kellen Edmondson Brett Ewer Luke Fisher Jeremy Gosbee John W. Harbeson Mike Kelleher Richard Larkin
ORGAN Nicholas Quardokus
Salma Al-Shami Violet Baker Kathleen Brion Laurene Church Laura Connors Robin Costanza Kayli Davis Catie DeLiso Kehan DeSousa Cindy Drakeman Holly Filipiak Susan Grad** Mary Grace Grieco Kim Harris Pam Hazen**
Mary Hiebert-White Sarah B. Holmes Kyla Kitamura Beth L. Law Beth A.V. Lewis Julie Meadows Laura Miller* Mary Olch Jennifer Griffiths Orudjev Sarah Phillips Teresa Polinske Eleanor Slota Susan Stanford Patricia Stephenson Kathleen M. Welling*
BASS Peter Lee James M. E. Mixter, Jr.** John E. Moyer Thomas Mugavero Christine H. Mulligan* Rob Porter Robert Reeves Martin S. Rosenthal John Schaettler Martyn Smith Matt Taylor D.C. Washington
Ernest Abbott Daniel Banko-Ferran Joshua Blume Christopher L Buechler* Kelly Cameron David Dalton David D’Auria John Doyon Glenn S. Griffiths** Giles Howson Lee Larson Justin Wayne Lewis Andrew Madar
Michael McCarthy Scott McCorkindale Christopher G. Riggs Stephen Roberts Gary Roebuck James Schaller David Shilton Arthur Smith L. Bradley Stanford* Richard Wanerman** Gregory Watson Clifton West III Ellis Wisner
* Section Coordinators ** Alternates
PARTNER CHORUSES THE CLARION CHOIR SOPRANO
Jessica Beebe Megan Chartrand Madeline Healey Linda Jones Molly Netter Nola Richardson
Kate Maroney Timothy Parsons Mikki Sodergren Kirsten Sollek
Andrew Fuchs Brian Giebler Emerson Sieverts Michael Steinberger
Tim Krol Neil Netherly Peter Walker Jonathan Woody
THE CHAMBER CHOIR OF ST. TIKHONâ€™S MONASTERY SOPRANO
Elizabeth Frase Ashley Joyner Fotina Naumenko
Tynan Davis Talia Maria Sheehan
Mikel Hill Nicholas Kotar
THE KANSAS CITY CHORALE SOPRANO
Sarah Tannehill Anderson Melanie Melcher Cuthbertson Lindsey Lang Jessica Salley Alyssa Toepfer Pam Williamson
Meredith Barreth Paula Brekken Katherine Crawford Anna Louise Hoard Julia Scozzafava Jennifer Weiman
David Adams Philip Enloe Frank Fleschner Matthew Gladden Daniel Hansen Bryan Pinkhall
Sam Anderson Brandon Browning Paul Davidson Ed Frazier Davis Hugh Naughtin Bryan Taylor Thou Yang
ORCHESTRA OF ST. LUKEâ€™S ORCHESTRA OF ST. LUKE'S Bernard Labadie, Principal Conductor James Roe, President and Executive Director Valerie Broderick, Vice President and General Manager
VIOLINS Krista Bennion Feeney Richard Gilder and Lois Chiles Concertmaster Chair Mayuki Fukuhara Mitsuru Tsubota Karl Kawahara Anca Nicolau Mineko Yajima Karen Dekker Keats Dieffenbach Gregor Kitzis Fritz Krakowski Elizabeth Lim-Dutton Laura Lutzke Theresa Salomon Andrea Schultz Laura Seaton Monica Davis Salley Koo Elizabeth Miller Regi Papa Svetlana Tsoneva Georgy Valtchev Chala Yancy VIOLA David Cerutti Sarah Adams Richard Brice Kaya Bryla Lois Martin Jessica Troy Jill Jaffe Martha Mooke
CELLO Daire FitzGerald Janet Prindle Seidler Chair Rosalyn Clarke Charles and Carol Grossman Family Chair Arthur Fiacco Maxine Neuman Jordan Enzinger Julian Muller
BASSOON William Hestand Thomas Sefcovic Jeff Robinson
BASS John Feeney Anthony Falanga Gregg August Pawel Knapik
TRUMPET Chris Gekker Helen and Robert Appel Chair John Dent
FLUTE Elizabeth Mann Sheryl Henze Keith Bonner OBOE Melanie Feld David Bury and Marianne C. Lockwood Chair Julia DeRosa Lauren Williams CLARINET Jon Manasse Emme and Jonathan Deland Family Chair Liam Burke David Gould
HORN Stewart Rose R.J. Kelley Patrick Pridemore Kyle Hoyt
TROMBONE Michael Boschen Christopher Olness Michael Seltzer TUBA Kyle Turner Dan Peck TIMPANI Maya Gunji PERCUSSION Barry Centanni Samuel Budish Jeffrey Irving John Ostrowski Eric Poland Joseph Tompkins HARP Victoria Drake
ORCHESTRA OF ST. LUKE'S OPERATIONS Angela DeGregoria, Director of Operations Ricky Dean McWain, Artistic Personnel Manager Jules Lai, Library Manager Kristen Butcher, Library Assistant
KEYBOARD Margaret Kampmeier Elizabeth DiFelice
THANK YOU The Cathedral Choral Society, The Clarion Choir, The Kansas City Chorale, and The Chamber Choir of St. Tikhon’s Monastery would like to thank Susan E. Carmel for her gracious patronage of this concert—represented by the underwriting, through the Carmel Charitable Endowment, of the Orchestra of St. Luke’s. A businesswoman and philanthropist, Ms. Carmel is the Founder and Advisory Committee Chair of the Carmel Institute of Russian Culture & History at American University in Washington, DC. The Carmel Institute is open to all Washington area college students, and it works to build lasting connections between Russian and American youth through symposiums, film screenings, scholarships and exchanges, study abroad trips to Russia, and cultural events. The Institute has awarded approximately 150 scholarships for study and travel to Russia, and the attendance at its events has reached tens of thousands of students in the Washington, DC, area and beyond. Ms. Carmel has received multiple awards for her efforts toward improved cultural relations between nations, and is the recipient of the Order of Friendship of the Russian Federation; Russia’s Medal of the Ministry of Foreign Affairs for Contributions to International Cooperation; France’s Légion d’honneur; the One to World Fulbright Award for Cultural Diplomacy; the Eurasia Center’s Lifetime Achievement Award; the Catherine the Great Award from the Russian Cultural Center; the Woodrow Wilson Award for Public Service (for contributions towards US-Russia Relations); American University’s highest honor, The President’s Award; and the first Global Peacemaker Award from the Sustained Dialogue Institute. “We face many challenges today in international relations, but each time people of different backgrounds can meet in an authentic way—and realize a commonality as well as a difference—we experience a positive ripple in our collective perception, taking us one step closer to an era of cooperation and mutual respect.”—Susan E. Carmel
The Cathedral Choral Society is pleased to acknowledge the following contributors to our Annual Fund Campaign between June 28, 2017 - September 28, 2018. 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+ The Estate of Nevin E. Kuhl Sustaining Patrons $10,000+ Anonymous Ernest*^ and Catherine Abbott Thomas P. Gallagher Patricia D. Hevner^
Celeste Avril Letourneau^ Thomas C. Mugavero*^ Gerald W. and Alice Padwe
The Estate of Marjorie Schrader The Estate of M. Elizabeth and Charles Tidball
THANK YOU Guarantor Patrons $5,000+ D. Philip Baker Diana Dykstra Sarah B. Holmes*^ and John B. Morris Jr. Richard* and Cecilia Larkin
Chorus Section Patrons $2,500+ Arthur L. and Connie Eggers Nancy M. Folger Virginia C. Mars^
Unsung Heroes $1,000+ Eric P. Andersen and W. David Young II Betty J. Beard Jeanne Buster Laura M. Connors* Blanche L. Curfman Edison and Sally Dick Walter^ and Joanne Doggett
Patrons $500+ Jessica Barness* Joanne Casey* Alice M. Denney Lynn B. Dutton Holly*^ and Trevor Filipiak Mr. Cary C. Fuller Jeremy Gosbee* Robert W. Jerome and William J. Courville
Sponsors $250+ Margaret M. Ayres and Stephen Case Catherine H. Beauchamp Andrew and Kaye Boesel Kathleen Brion* Timothy W. and Patricia R. Carrico James W. Clay Vera I. Connolly John Da Camara Glenn S.* and Judith M. Griffiths
Mary B. Olch* Catherine E. Ort-Mabry* and Brian K. Mabry Margarita Ossorio-Goldman^ and Daniel Goldman
Frances H. Pratt* Stephen S. Roberts* Martin Rosenthal*^ and Corinne Axelrod
Susan McDaid* Lolly and Jim* Mixter
John E. Moyer* and Jane Passman Raymond Rhinehart and Walter Smalling, Jr.
George and Sheri* Economou Charles Leonard Egan Genevieve and Sean Twomey Mary-T^ and Spencer Gordon Paul Juergensen II William M. Leachâ€ Samuel Miller
James and Christine* Mulligan James* and Madeleine Schaller T. Michael and Linda Shortal Guy and Margaret^ Steuart Kevin and Andrea Wade Nancy Wiecking
C. F. Muckenfuss III and Angela Lancaster Peter and Lauralyn Lee Christina M. Markus* Kimberly and Mark Pacala Lynn Rhomberg Suzanne and Robert Rooney John F. Schaettler*
Elizabeth Steuart-Kret Mr. Leslie C. Taylor Gene^ and Sheryl Tunison Elinor and James Vaughter Kathleen W. and Walter Weld Douglas H. and Catherine T. Wheeler Margot T. Young
Earl and Phyllis Hannum Anne R. Harris Michael Kelly George Londeree Wendy Palmby Lubarsky* Tom Manteuffel and Margaret Sheeran Ann F. McCormick-McQuillan Leander and Stephanie McCormick-Goodhart
Scott and Nancy Pinckney David C. Shilton Sinclair Winton L. Bradley*^ and Susan*^ Stanford Tom and Linda Veblen Richard and Virginia Wagner Ellis Wisner* Dorothy M. Woodcock Evelyn D. Woolston-May
THANK YOU Donors $100+ Anonymous (4) Marina Alman Mary Amorosino Mark J. Andrews Violet Baker* Doug Barry and Liz Eder Elizabeth Bartholomew Jane C. Bergner Gordon L. Biscomb Herman Bostick Madeleine M. Brown Stephen and Sandra Caracciolo Marilyn Clark Roberta and Philip Cronin Holly Cumberland Christine C. De Fontenay Sharrill Dittmann Neil and Carolyn Goldman Hilton Lee Graham William and Margaret Greer George E. Groninger George Hanc Frederick S. Hird
Paul and Ellen Hoff Lee McGraw Hoffman Martha Jones Louis E. and Ruth H. Kahn Michael Emile Karam Ingrid Kauffman Laurie Keegan Mary Ruth Keller Gary and Judy Kushnier George Robert Lamb Elizabeth Lowenstein Rosemary Lyon James W. and Kathleen E. Madden Rosemary Marcuss Scott* and Linda McCorkindale Barbara and John McGraw Robert Turner Mead Joseph and Rebecca Metro Denise Bell Miller Paula Morrow Mindy Nash Coleman H. and Elizabeth B. Oâ€™Donoghue
Susan D. Ohnmacht Ronald C. Perera Suzanne M. and B. Dwight Perry Warren and Marianne Pfeiffer Rondi K. Pillette and Steven A. Levin Christine Pintz Joan A. Pirie Robert* and Elaine Porter Chuck Pratt and Alexandra England Jacqueline Prince Theodora Radcliffe Andrew and Rebecca Reumann-Moore Jane and Vernon Roningen Patrick Shannon Jim and Linda Sheridan Patricia Stephenson* Keiko Stusnick Alice Sziede Ann Tickner Cindy Drakeman* and Richard Wanerman* Sam Yoon
The Cathedral Choral Society is pleased to acknowledge the following contributions made in memory or honor to our Annual Fund Campaign between June 28, 2017 - September 28, 2018. GIFTS IN HONOR In Honor of Ellis Wisner Judith Hope In Honor of Laurie Church Joan Filson
In Honor of Margot T. Young The Soprano II Section James Townsend
In Honor of Frances H. Pratt Harold I. and Frances G. Pratt Susan J. Henry
In Honor of Kathy Brion Sherry Mueller
In Honor of Ernie Abbott Joshua Gotbaum and Joyce Thornhill
In Honor of Susanna Beiser David and Joan Green In Honor of Robert and Elaine Porter Susan Klauck
THANK YOU GIFTS IN MEMORY In Memory of J. Reilly Lewis Edison and Sally Dick Clara J. Ohr Barbara Oldroyd In Memory of William M. Leach Sally A. Fiske Jean Jawdat In Memory of Charles S. Tidball Mary-T^ and Spencer Gordon Blanche L. Curfman James D. Campbell and Janet M. Hall
In Memory of Milton Rose Ingrid R. Rose In Memory of Marion Drew Leach Sally Fiske In Memory of Marjorie Schrader Linda and Stuart Churchill Dolores R. Condon In Memory of McKinney Russel Patricia Critchlow Anne Ripley
In Memory of Karl Walter Ohnmacht Mary-T^ and Spencer Gordon
In Memory of James W. Stone Crawford Feagin Stone
In Memory of Theodore R. Bledsoe Mary-T^ and Spencer Gordon
In Memory of Jim Owens Elizabeth Owens Wakefield In Memory of Charles W. McClendon Leslie McClendon
In Memory of Dariel Van Wagoner Erika R. Joyce In Memory of Linda Morgan Michael Emile Karam
In Memory of Tom McQuillan Ann McCormick-McQuillan
In Memory of James Farrand Ann Marie Marie Plubell
In Memory of John D. Van Wagoner Mary-T^ and Spencer Gordon
HARMONIA SOCIETY The Cathedral Choral Society’s Harmonia Society recognizes those individuals who have, with special thought and foresight, included the Cathedral Choral Society in their estate plans. Their wish and vision is to ensure the stabilty and success of this choral organization for the next generation of singers and audiences. We are grateful to each member of the Harmonia Society for their vision and generous support. Anonymous (2) Ernest*^ and Catherine Abbott Catherine H. Beauchamp Judy Davis David Dietly* Charles Leonard Egan Arthur and Connie Eggers Thomas P. Gallagher^ Mary-T^ and Spencer Gordon Anne R. Harris ^
William B.† and Ruth L. Harwood Patricia D. Hevner^ Ann Ingram Richard* and Cecilia Larkin William M. Leach J. Reilly† and Beth A.V.* Lewis Susan McDaid* Lolly and Jim*^ Mixter Martha A. Morris Gerald W.^ and Alice Padwe
Raymond Rhinehart* Carla L. Rosati Martin Rosenthal*^ and Corinne Axelrod Margaret Shannon* T. Michael and Linda Shortal John† and Dariel† Van Wagoner Nancy Wiecking Martha Wilson Evelyn D. Woolston-May
If you have remembered the Cathedral Choral Society in your estate planning and do not see your name above, please let us know. To reach us or to learn more about the Harmonia Society, contact Lindsay Sheridan at 202-537-5524.
THANK YOU The Cathedral Choral Society is pleased to recognize Government, Foundation, and Corporate support to our Annual Fund Campaign between June 28, 2017 - September 28, 2018. THANK YOU TO OUR GOVERNMENT SUPPORTERS DC Commission on the Arts and Humanities U.S. Commission of Fine Arts: National Capital Arts and Cultural Affairs Program
THANK YOU TO OUR FOUNDATION SUPPORTERS Anonymous Dallas Morse Coors Foundation
Dimick Foundation Mars Foundation
The Meredith Foundation The Richard Eaton Foundation
THANK YOU TO OUR CORPORATE SUPPORTERS Corporate Champion $2,000+ Exxon Mobil Foundation JMR Concrete Construction
Omni Shoreham Hotel Pepco, an Exelon Company
Corporate Investor $1,500+ IBM
Sentinel Wealth Management
Reed Smith, LLP
Corporate Advocate $500+ Starbrite Dental, the Office of Dr. Maryam Seifi Corporate Supporter $100+ Dental Group at Reston Station
When you make a donation to the Cathedral Choral Society, you play a key role in sustaining and strengthening our artistic and education programs.
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THANK YOU BOARD OF TRUSTEES Ernest Abbott David Dietley Walter B. Doggett III, Treasurer Holly Filipiak Steven Fox, ex officio Patricia Hevner, Vice President
Sarah Holmes Celeste A. Letourneau, Secretary Thomas Mugavero, President Margarita Ossorio-Goldman Martin S. Rosenthal
Lindsay Sheridan, ex officio L. Bradley Stanford Susan Stanford Margaret Steuart Gene Tunison
HONORARY TRUSTEES Mary-T. Gordon
Virginia C. Mars
CATHEDRAL CHORAL SOCIETY STAFF Laura Crook Brisson, Operations Coordinator Emily Buttram, Annual Fund & Events Coordinator Steven Fox, Music Director Anna Lipowitz, Operations & Education Programs Manager
Joy Schreier, Pianist & Assistant Conductor Lindsay Sheridan, Interim Executive Director Madeline Walker, Interim Marketing Coordinator
CONCERT SUPPORT Patricia Stephenson, Librarian Library Committee: Joanne Casey, Violet Baker, and Robert Porter
WASHINGTON NATIONAL CATHEDRAL STAFF Valerie Ciccone, Director, Office of Event Management Matt Echave, Director of Video Services Gary Ford, Director, Sextons and Housekeeping Mark Huffman, Technical Director/Audio Engineer
Sara Kirsch, Events Operations Manager Aneisha Persaud, Deputy Director, Office of Event Management Sarah Rockwood, Deputy Director, Patron Services Torrence Thomas, Head Verger
A SPECIAL THANKS: GENEVIEVE TWOMEY The Cathedral Choral Society board and staff would like to recognize and thank our departing Executive Director, Genevieve Twomey. Genevieve served the Cathedral Choral Society brilliantly for nearly five years. She expertly guided the organization though an artistic transition, built a strong administrative team, and ensured the long-term financial well-being of the chorus. She was instrumental in bringing todayâ€™s large collaborative project to fruition. Thank you, Genevieve, for your significant contributions to the Cathedral Choral Society and todayâ€™s concert!
STEVEN FOX, MUSIC DIRECTOR
SATURDAY, DEC. 15, 2:00 & 7:00 PM SUNDAY, DEC. 16, 4:00 PM
Steven Fox, conductor - Seraph Brass Ed Nassor, carillon - Jeremy Filsell, organ The Madrigal Singers of St. Albans & National Cathedral Schools Celebrate the warm spirit of the season in a majestic setting.
SUNDAY, MARCH 17, 4:00 PM
Rachmaninoff, Liturgy of St. John Chrysostom Steven Fox, conductor - Leonid Roschko, deacon Fotina Naumenko, soprano - Marc Day, tenor With moments of impressive grandeur and breathtaking beauty, Rachmaninoff’s writing for a cappella chorus is unmatched.
SUNDAY, MAY 19, 4:00 PM
Poulenc, Gloria - Vaughan Williams, Dona Nobis Pacem Steven Fox, conductor - Lauren Snouffer, soprano Jesse Blumberg, baritone Poulenc’s radiant Gloria is the composer at his very best. Vaughan Williams’ Dona Nobis Pacem emphasizes reconciliation and peace.
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Receive your best value and make plans to join us for the rest of the concerts in our 2018.19 season. Packages start at just $90. Hand back your ticket at the table near the Cathedral entrance OR call 202-537-2228 by Wednesday, October 31.