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Greetings, Welcome to the Cathedral Choral Society’s Joy of Christmas concert! This beloved tradition has taken place in Washington National Cathedral for the last forty-two years. I am so delighted that you could join us to be a part of it today. Personally, I am also honored to join in this tradition for the first time as Music Director of the Cathedral Choral Society. We are grateful to have with us an extraordinary group of guest artists who will be making music with us today. We welcome the Madrigal Singers from the National Cathedral School and St. Albans School under the direction of Brandon Straub. We are glad to have Seraph Brass ensemble joining us, and we also have the privilege of welcoming Pulitzer Prize-winning composer Paul Moravec, whom we have commissioned to write a carol for these concerts: Hodie Christus Natus Est. Today’s program takes us from the solemnity and expectation of Advent, through the mystery of the Nativity, and finally, to a glorious celebration. We hope that this music for the season helps bring you joy and peace in the coming year. Sincerely,

Steven Fox Music Director





Steven Fox, conductor Cathedral Choral Society The Madrigal Singers of the National Cathedral School and St. Albans School Brandon Straub, conductor Seraph Brass Jeremy Filsell, organ Edward Nassor, carillon Carol: Once in Royal David’s City

arr. David Willcocks

The Truth from Above arr. R. Vaughan Williams Adam Lay Ybounden Boris Ord Ríu, Ríu, Chíu Traditional Jesus Christ the Apple Tree Elizabeth Poston Hodie Christus Natus Est World Premiere Paul Moravec Organ Solo: Veni Redemptor Gentium

Samuel Scheidt

The Madrigal Singers of National Cathedral School and St. Albans School: In Dulci Jubilo Bogoroditse Devo Betelehemu

arr. R.L. de Pearsall Sergei Rachmaninoff Via Olatunji, Wendell Whalum

Brass Interlude: Dances from Danserye

Tylman Susato

A Hymn to the Virgin The Blessed Son of God On Christmas Night

Benjamin Britten R. Vaughan Williams arr. Philip Ledger

Carol: O Come, All Ye Faithful arr. David Willcocks

Spaséniye Sodélal Pavel Chesnokov Selections from Messiah G.F. Handel Mary Had A Baby arr. William Dawson Welcome All Wonders Richard Dirksen Lo, How a Rose E’er Blooming Michael Praetorius Carol: Hark! The Herald Angels Sing

arr. David Willcocks

These performances are made possible in part by the Richard Wayne Dirksen Endowment Fund. This fund supports our annual Christmas carol commission and our Joy of Christmas concerts.


PROGRAM CARILLON PRELUDE Edward M. Nassor, carillon BRASS PRELUDE Pastorale from Messiah (1741)

George Frideric Handel (1685-1759) arr. Lawrence Tim Jameson (b. 1958)

Chorale from Christmas Oratorio (1734)

Johann Sebastian Bach (1685 - 1750) arr. Jeff Luke

I wonder as I wander (1933) Southern Appalachian folk song collected and adapted by John Jacob Niles (1892-1980) arr. J.A.C. Redford (b. 1953) Suite of Austrian Christmas Carols (2015) Canzoni per sonar a quattro (1608) Canzon seconda

arr. Heinrich Bruckner (b. 1965) Giovanni Gabrieli (1557-1612)

PROCESSION OF THE ADVENT WREATH The candles in this wreath represent Advent, the four weeks preceding Christmas. Three are violet. The fourth—a rosecolored candle on the third Sunday of Advent—symbolizes Gaudete, a day of rejoicing. Blanche L. Curfman continues the tradition of giving this wreath in memory of David R. Curfman and Florence Marie Schreck.

Once in Royal David’s City (1848) Henry John Gauntlett (1805-1876) vv. 1-5 harm. Arthur Henry Mann (1850-1929) Descant and organ part by David Willcocks (1919-2015) This Christmas Eve marks the 100th anniversary of the first Festival of Nine Lessons and Carols at King’s College, Cambridge. Since 1919, the service has always begun with Once in royal David’s City. This association has indelibly identified the hymn with Christmas although Cecil Frances Alexander, one of Britain’s greatest women hymn-writers, originally wrote its six verses to explain the Apostles Creed to children.


PROGRAM Solo 1. Once in royal David’s city Stood a lowly cattle shed, Where a mother laid her baby In a manger for his bed: Mary was that mother mild, Jesus Christ her little child.

Choir 2. He came down to earth from heaven Who is God and Lord of all, And his shelter was a stable, And his cradle was a stall; With the poor and mean and lowly Lived on earth our Saviour holy.

ALL ARE INVITED TO STAND AND SING VERSES 3, 4, AND 5 3. And through all his wondrous childhood He would honour and obey, Love and watch the lowly maiden, In whose gentle arms he lay: Christian children all must be Mild, obedient, good as he.

4. For he is our childhood’s pattern, Day by day like us he grew, He was little, weak, and helpless, Tears and smiles like us he knew: And he feeleth for our sadness, And he shareth in our gladness.

5. Not in that poor lowly stable, With the oxen standing by, We shall see him; but in heaven, Set at God’s right hand on high; Where like stars his children crowned All in white shall wait around. —Cecil Frances Alexander (1818-1895)

Melissa Fox, soprano

The Truth From Above (1919) Herefordshire Carol arr. Ralph Vaughan Williams (1872-1958) Ralph Vaughan Williams stands between Edward Elgar and Benjamin Britten as the preeminent English composer of the twentieth century. His keen appreciation for the English folksong helped to revive a sense of “Englishness” in music the nation had not enjoyed since Henry Purcell (1659-1695). The text come from sixteen verses of A Good Christmas Box (1847) and was collected by folklorist Cecil Sharp in 1911. Vaughan Williams incorporated the carol into the opening movement of his Fantasia on Christmas Carols.This a cappella setting appears in his anthology of Eight Traditional English Carols. This is the truth sent from above, The truth of God, the God of love; Therefore don’t turn me from your door, But hearken all, both rich and poor.

The first thing, which I do relate, Is that God did man create; The next thing which to you I’ll tell Woman was made with man to dwell.

Thus we were heirs to endless woes, Till God the Lord did interpose; For so a promise soon did run That He’d redeem us by his Son.


PROGRAM Adam Lay Ybounden (1957) Traditional English Carol Boris Ord (1897-1961) This anonymous, fifteenth-century macaronic (English-Latin) text is found in a manuscript held by the British Library. Historians speculate the lyrics may have been those of a wandering minstrel. With the exception of his World War II service, Boris Ord was organist and choirmaster of King’s College from 1929 to 1957. Adam lay ybounden is his only published piece of music. Adam lay ybounden, Bounden in a bond; Four thousand winter Thought he not too long.

And all was for an apple, An apple that he took, As clerkès finden Written in their book.

Ne had the apple taken been, Blessèd be the time The apple taken been, That apple taken was. Ne had never our lady Therefore we moun [must A-been heavné queen. singen: Deo gracias! ―Anonymous, fifteenth century (Sloane 2593, ff.10v-11)

Ríu, Ríu, Chíu (villancico a 4)

Traditional (1556)

Derived from medieval dance forms, the fifteenth-century Spanish villancico is a refrain song sung in the vernacular. The folk carol Ríu, ríu, chíu celebrates a uniquely Mediterranean world-view, in which the stories, legends, and images of the Christian tradition are deeply woven into the fabric of secular life. The refrain ríu ríu chíu may have been a traditional Spanish shepherd’s call when guarding their flocks. The song’s contemporary popularity dates from a performance by The Monkees on their TV series Christmas show in 1967. REFRAIN: Ríu, ríu, chíu la guardó ribera: Dios guardó el lobo de nuestra cordera.

REFRAIN: Ríu, ríu, chíu, Guard our homes in safety, God has kept the black wolf From our lamb, our Lady.

El lobo rabioso la quiso morder, Mas Dios poderoso la supo defender; Quisole hazer que no pudiesse pecar, Ni aún original esta Virgen no tuviera.

Raging mad to bite her where the wolf did steal, But our God Almighty, defended her with zeal. Pure He wished to keep her so she could never sin; That first sin of man never touched this virgin sainted. He who’s now begotten is our mighty Monarch, Christ our Holy Father in human flesh embodied, He has brought atonement by being born so humble; Though He is immortal, as mortal was created.

Este qu’es nascido es el gran monarca, Christo patriarca de carne vestido; Hanos redimido con se hazer chiquito, Aun qu’era infinito, finito se hiziera.

—Cancionero De Upsala: Villancicos de diuersos Autores, Venice, 1556, ed. Jesús Bal y Gay English version by Hubert Crookmore

Nathaniel Buttram, baritone


PROGRAM Jesus Christ the Apple Tree (1967)

Elizabeth Poston (1905-1987)

An English concert pianist, author, composer, and organist, Elizabeth Poston was director of music for the BBC’s European Service throughout World War II, working covertly in Political Intelligence to send coded messages to the Resistance in Europe using gramophone records. She never revealed sources or methods; her work remains classified. An unusual facet of this setting is its “white” character; that is, it is written in the key of C with no accidentals. This text first appeared in America in a 1784 New Hampshire collection by a lay Baptist minister. The text is thought to allude to the apple tree mentioned in Song of Songs 2:3.

The tree of life my soul hath seen, Laden with fruit, and always green: The trees of nature fruitless be Compared with Christ the apple tree.

For happiness I long have sought, And pleasure dearly I have bought: I missed of all; but now I see ’Tis found in Christ the apple tree.

His beauty doth all things excel; By faith I know, but ne’er can tell, The glory which I now can see In Jesus Christ the apple tree.

I’m weary with my former toil, Here I will sit and rest awhile: Under the shadow I will be, Of Jesus Christ the apple tree.

This fruit doth make my soul to thrive, It keeps my dying faith alive; Which makes my soul in haste to be With Jesus Christ the apple tree. —From Divine Hymns or Spiritual Songs, compiled by Joshua Smith, New Hampshire, 1784


PROGRAM WORLD PREMIERE Hodie Christus Natus Est (2018)

Paul Moravec (b. 1957)

As an Episcopal boy chorister, I became acquainted with the Latin antiphon text Hodie Christus Natus Est through Benjamin Britten’s inclusion of the entire Medieval plainchant setting in his glorious A Ceremony Carols. I based my own setting of this text on the rising, stepwise, three-note motive that begins the original plainchant on the word “Hodie.” The line “hodie in terra canunt Angeli” (today the Angels sing) particularly makes this text ideal for a Christmas carol setting. It is a privilege to contribute this new carol to the Cathedral Choral Society’s “Joy of Christmas” concerts this season. Paul Moravec December, 2018 Recipient of the 2004 Pulitzer Prize for Music, Paul Moravec is the composer of numerous orchestral, chamber, choral, operatic, and lyric pieces. His music has earned many distinctions, including the Rome Prize Fellowship, a Guggenheim Fellowship, three awards from the American Academy of Arts and Letters, and fellowships from the National Endowment for the Arts and the Rockefeller Foundation. A graduate of Harvard College and Columbia University, he is currently University Professor at Adelphi University. Hodie Christus natus est hodie Salvator apparuit: hodie in terra canunt Angeli, laetantur Archangeli: hodie exsultant justi, dicentes: Gloria in excelsis Deo, alleluja.

ORGAN SOLO Veni Redemptor gentium Versus 1: a 4 voces, SSWV.149 (1624)

Today Christ is born; today the Savior has appeared; today the Angels sing, the Archangels rejoice; today the righteous rejoice, saying: Glory to God in the highest. Alleluia!

Samuel Scheidt (1587–1654)

Veni Redemptor gentium is among the earliest Advent hymns, sung on Christmas Eve at the first vespers of the Nativity. The text is attributed to St. Ambrose of Milan (4th c). Following the Protestant Reformation and the printing of the Bible in the vernacular, Martin Luther’s (1482-1546) adaptation of the text and melody first appeared in the Erfurt Enchiridion of 1524, the second Lutheran hymnal. A century later, the early Baroque German organist, Samuel Scheidt, published this setting of Veni Redemptor gentium among six de tempore hymns, or hymns for specific occasions, in his landmark collection Tabulatura Nova Part III (No.11) of 1624.



Fourteenth-century German melody arr. Robert L. de Pearsall (1795-1856)

The carol In dulci jubilo dates from the Middle Ages and features a macaronic text. Although the melody likely existed prior to the 14th century, it first appeared in Codex 1305 (Leipzig University Library), a manuscript dating from c. 1400. It subsequently appeared in several hymnals and songbooks in continental Europe in the 16th century and was wellknown to Catholics and Protestants alike. English translations such as “Good Christian Men, Rejoice” have further increased its popularity. The German writer and Dominican friar Henrich Seuse claimed to have had a vision one night in 1328 in which he joined angels dancing as the angels sang In dulci jubilo to him. According to his biography: Now this same angel came up to the Servant [Seuse] brightly, and said that God had sent him down to him, to bring him heavenly joys amid his sufferings; adding that he must cast off all his sorrows from his mind and bear them company, and that he must also dance with them in heavenly fashion. Then they drew the Servant by the hand into the dance, and the youth began a joyous song about the infant Jesus, which runs thus: ‘In dulci jubilo’...” Among the most beloved settings of In dulci jubilo is the 1837 polyphonic arrangement by Robert Lucas de Pearsall (1795–1856), which retains the macaronic English and Latin text structure. As a largely self-taught amatuer composer, Pearsall took great interest in plainsong, Renaissance polyphony, and early hymns from German and English speaking countries, so it’s no wonder that he was drawn to this joyful ancient melody. In dulci jubilo [In quiet joy] Let us our homage shew; Our heart’s joy reclineth In praesepio [in a manger]
 And like a bright star shineth
, Matris in gremio. [in the mother's lap] Alpha es et O. [Thou art Alpha & Omega]

O patris caritas [O father's caring]
 O nati lenitas! [O newborn's mildness]
 Deep were we stained
 Per nostra crimina [by our crimes] 
 But thou hast for us gained
 Coelorum gaudia. [heavenly joy]
 O that we were there!

O Jesu parvule! [O tiny Jesus] I yearn for thee alway! Hear me, I beseech thee, O puer optima [O best of boys]
 My prayer let it reach thee, O princeps gloriae! [Prince of glory]
 Trahe me post te! [draw me unto thee]

Ubi sunt gaudia, where, [where be joys] If that they be not there
? There are angels singing
 Nova cantina, [new songs] There the bells are ringing In regis curia: [at the king's court]
 O that we were there!


PROGRAM Bogoroditse Devo / Rejoice, O Virgin (1915)

Sergei Rachmaninoff (1873-1943)

Bogoroditse devo (“Rejoice, O Virgin”) is the sixth movement from the All-Night Vigil, Op. 37 by Sergei Rachmaninoff, an a cappella choral setting of texts taken from the Russian Orthodox All-night Vigil ceremony. The work was to become one of Rachmaninoff’s two favorite compositions. He completed it in less than two weeks in January and February 1915, and it was premiered that March in Moscow. The All-Night Vigil and Rachmaninoff’s other liturgical setting, the Liturgy of St. John Chrysostom, demonstrate an intense interest in Russian sacred music and are heavily influenced by chant (ten of the fifteen movements are based on chant). Bogoroditse devo is often performed with the Latin “Ave Maria” text as well. Богородице Дево, радуйся, благодатная Марие, Господь с тобою. Благословена ты в женах, и благословен плод чрева твоего, яко Спаса родила еси душ наших.

Rejoice, virgin mother of God, 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.

Betelehemu (arr. 1994) Wendell Phillips Whalum (1931-1987) from Babatunde Olatunji (1927-2003) Amid a rapidly growing awareness of and access to Christmas music from around the world, one choral piece has stood out as a staple of the repertoire for decades: Betelehemu. Based on a Yoruban folk text from Nigeria, it’s blending of native rhythms and melodies is especially joyful and celebratory. Although it is unclear whether the arranger, Babatunde Olatunji (1927-2003), arranged the song or drew on the traditions of his people to create an original composition, he is credited with having introduced it to the United States. A native of Nigeria, Olatunji studied political science on scholarship and sang with Dr. Wendell P. Whalum (1931–1987), the longtime director at Morehouse College whose arrangements and scholarship focused on hymnody and African American spirituals. Whalum adapted the song in this arrangement, which has been performed by the Morehouse Glee Club since the 1960’s. Olantunji went on to launch a career as a percussionist and educator, working with artists such as John Coltrane, Quincy Jones, and Stevie Wonder and bringing African cultural heritage to schools. Awa yio ri Baba gbojule, Awa yio ri Baba fehinti, Nibo labi Jesu, Nibo labe bii, Betelehemu iluara, nibe labi Baba o daju. Iyin, Iyin Iyin nifun o. Adupe fun o, adupe fun o, Adupe fun ojo oni, Baba oloreo. Iyin fun o Baba, Iyn fun o Baba, Iyin fin o Baba anu, Baba toda wasi.

We are glad we have a Father to trust We are glad we have a Father to rely on Where was Jesus born? Where was He born? In Bethlehem the city of wonder That is where the Father was born for sure Praise be to Him We thank you, we thank you, we thank you for the day Gracious Father Praise to you Father Merciful Father.

Notes for “In Dulci Jubilo,” “Bogoroditse Devo,” and “Betelehemu” by Brandon Straub


PROGRAM BRASS INTERLUDE Dances from Danserye (1551)

Tylman Susato (1510-1570)

Tylman Susato founded the first music publishing house to use movable music type in Antwerp in 1543. His press was located “At the sign of the Crumhorn.” A prolific composer of instrumental music, his third publication in 1551 was a book of dance music entitled Danserye, Het derde musyck boexken or, Danserie, the third Music Book, subtitled Alderhande danserye, or All manner of dances. Most of the 59 four-part pieces are composed in dance forms such as allemandes, galliards, and rondes and based on well-known French, Dutch, or German folk melodies. I. La Morisque - III. Les Quatre Branles - IV. Fagot Ronde

A Hymn to the Virgin (1930, rev. 1934)

Benjamin Britten (1913-1976)

On July 9, 1930, sixteen-year-old Benjamin Britten found himself confined to the sanatorium at Gresham’s School near the north Norfolk coast. “There was no music paper within reach,” recalled Imogen Holst, daughter of Gustav Holst, “so he drew the staves on a page from an ordinary exercise book.” He composed, in a single day, his earliest surviving work of church music. He chose an anonymous macaronic text that highlights the palindromic word play between Ave and Eva. In this Marian anthem scored for unaccompanied mixed double chorus, Britten reveals his signature partiality for combining English and Latin texts—the organizing principle of his magisterial War Requiem. The composer’s only composition sung at his funeral in 1976 was A Hymn to the Virgin. Of one that is so fair and bright Velut maris stella, [as the star of the sea] Brighter than the day is light, Parens et puella: [mother and maiden] I cry to thee, thou see to me, Lady, pray thy Son for me Tam pia, [so holy] That I may come to thee. Maria! [Mary]

All this world was forlorn Eva peccatrice, [through Eve's sin] Till our Lord was y-born De te genetrice. [of you, his Mother] With Ave it went away: Darkest night, and comes the day Salutis; [of salvation] The well springeth out of thee Virtutis. [of virtue]

Lady, flow’r of ev’rything, Rosa sine spina, [rose without a thorn] Thou bare Jesu, heaven’s King, Gratia divina: [by divine grace] Of all thou bear’st the prize, Lady, queen of paradise Electa: [chosen] Maid mild, mother es Effecta. Effecta. [you are made] —Anonymous, c. 1300 The Oxford Book of English Verse, 1900


PROGRAM The Blessed Son of God (1954)

Ralph Vaughan Williams (1872-1958)

This serene chorale comes from A Christmas Cantata: This Day (Hodie) for soloists, chorus, and orchestra, Vaughan Williams’s last major choral-orchestral composition, which he dedicated to fellow musician Herbert Howells. He set to music the words of Miles Coverdale (1488-1569), the English clergyman who published in 1535 the first complete English translation of the Bible. His revisions greatly influenced the translators of the King James Bible of 1611. Vaughan Williams conducted the first performance at the Worcester Three Choirs Festival on September 8, 1954. The blessed son of God only In a crib full poor did lie; With our poor flesh and our poor blood Was clothed that everlasting good. Kyri’eleison.

The Lord Christ Jesu, God’s son dear, Was a guest and a stranger here; Us for to bring from misery, That we might live eternally. Kyri’eleison.

All this did he for us freely, For to declare his great mercy; All Christendom be merry therefore, And give him thanks for evermore. Kyri’eleison. —Miles Coverdale after Martin Luther

On Christmas Night (1978)

Sussex Carol arr. Philip Ledger (1937-2012)

The Sussex Carol takes its name from the region along the English coast where, on May 24, 1904, Ralph Vaughan Williams first heard the music sung by a woman of Monk’s Gate, near Horsham, and noted it down for use in his Fantasia on Christmas Carols. Philip Ledger, the youngest cathedral organist in England when he was named Master of the Music at Chelmsford Cathedral in 1961, made this sparkling arrangement. It features unison voices alternating with as many as six-part harmonies. A graduate of King’s College, Cambridge, Ledger returned to his alma mater, succeeding David Willcocks as Director of Music from 1974 until 1982. On Christmas night all Christians sing, To hear the news the angels bring— News of great joy, news of great mirth, News of our merciful King’s birth.

When sin departs before his grace, Then life and health come in its place; Angels and men with joy may sing, All for to see the new-born King.

Then why should men on earth be so sad, Since our Redeemer made us glad, When from our sin he set us free, All for to gain our liberty?

All out of darkness we have light, Which made the angels sing this night: ‘Glory to God and peace to men, Now and for evermore. Amen!’ —after Bishop Luke Wadding, County Wexford (d. 1686) Smale Garland of Pious and Godly Songs, Ghent 1684



Tune: Adeste fideles arr. David Willcocks (1919-2015)

1. O come, all ye faithful, Joyful and triumphant, O come ye, O come ye to Bethlehem; Come and behold him Born the King of Angels: O come, let us adore him, (3x) Christ the Lord!

3. Sing, choirs of angels, Sing in exultation, Sing, all ye citizens of heav’n above: “Glory to God In the highest.” O come, let us adore him, (3x) Christ the Lord.

2. God of God, Light of Light Lo! He abhors not the Virgin’s womb; Very God, begotten, not created: O come, let us adore him, (3x) Christ the Lord!

4. Yea, Lord, we greet thee, Born this happy morning, Jesus, to thee be glory giv’n; Word of the Father, Now in flesh appearing: O come, let us adore him, (3x) Christ the Lord! —John Francis Wade’s Cantus Diversi, 1751 trans. Frederick Oakeley (1802-1880)

Cпасение coдeлaл op. 25, no. 5 (1912)

Pavel Chesnokov (1877-1944)

Spaséniye sodélal, or Salvation is Created, is one in a cycle of ten Communion Hymns composed by Chesnokov during his tenure as precentor at the Church of the Holy Trinity “at the Mud Baths” in Moscow. The cycle culminates a number of pieces in which Chesnokov wrote richly sonorous harmonized settings of traditional chant melodies—Znamenny, Kievan, and Greek. These chant settings, while part of a general movement among followers of the Moscow Synodal School towards restoring the prominence of chant in Russian Orthodox church music, were very likely composed for practical use by Chesnokov’s church choir. The text is the Communion Hymn for Fridays, prescribed to be sung during a Divine Liturgy served on that day. In practice, however, it was probably sung as a “sacred concerto” at Sunday Divine Liturgies, after the proper Communion Hymn of Sunday. The Kievan Chant cantus firmus is taken from Obihod notnago peniya, the square-note unison codex that contained the major elements of the Russian Orthodox liturgical repertoire. Note by Vladimir Morosan, Musica Russica. Cпасение coдeлaл еси посреде земли, Боже. Аллилуия.

Salvation is created in the midst of the earth, O God Alleluia!


PROGRAM Selections from Messiah (1741)

George Frideric Handel (1685-1759)

Esteemed during the early part of his life for Italian operas, Handel’s popularity had reached unprecedented heights when he composed the great sacred works that secured his immortality with succeeding generations. In 1741, he created Messiah, the great oratorio destined to become the best-loved choral work in the entire repertoire. “Once begun on August 22, 1741, Handel worked at white heat, with an inspiration which scarcely let him leave the pages until he could put the date, September 12, on the final sheet of 256 pages of score,” wrote Dr. Leonard Ellinwood. A half century on, these selections from Messiah are still “an opportunity to enter into this great religious masterpiece as Handel himself must have felt it during those twenty-four intensive days of creation more than [275] years ago.” Recitative (S) There were shepherds abiding in the field, keeping watch over their flock by night.

Luke 2:8

Recitative (S) And lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them: and they were sore afraid.

Luke 2:9

Recitative (S) And the angel said unto them, Fear not: for, behold, I bring you good tidings of great joy, which shall be to all people. For unto you is born this day in the city of David, a Saviour, which is Christ the Lord.

Luke 2:10,11

Recitative (S) And suddenly there was with the angel a multitude of the heavenly host praising God and saying: Chorus Glory to God in the highest, and peace on earth, good will toward men.

Luke 2:13

Luke 2:14

Fotina Naumenko, soprano

Mary Had A Baby (1947)

African American Spiritual arr. William Levi Dawson (1899-1990)

This call-and-response arrangement of an unusual African American Christmas spiritual is one of many made by the distinguished African American composer and conductor, William Dawson. As noted by Wesley Theological Seminary professor, Eileen Guenther, in her seminal study, In Their Own Words: Slave Life and the Power of Spirituals, “The Christmas season offered the only regular break in the grinding schedule of slave labor. It was much more a time of festivity than a Christian celebration.” In Solomon Northup’s slave narrative memoir, he describes his Christmas on a Louisiana cotton plantation.


PROGRAM The only respite from constant labor the slave has through the whole year, is during the Christmas holidays. [Master] allowed us three—others allow four, five and six days, according to the measure of their generosity. It is the only time to which they look forward with any interest or pleasure. They are glad when night comes. . . because it brings them one day nearer Christmas. [E]ven Uncle Abram ceases to glorify Andrew Jackson, and Patsey forgets her many sorrows amid the general hilarity of the holidays. It is the time of feasting, and frolicking, and fiddling—the carnival season with the children of bondage. (Twelve Years a Slave, Narrative of Solomon Northup, a citizen of New York, kidnapped in Washington City in 1841 and rescued in 1853, from a cotton plantation near the red river in Louisiana.) Mary had a Baby, My Lord! Oh, Mary had a Baby, Mary had a Baby, My Lord! Where was He born? Born in a manger. Oh, Mary had a Baby Born in a manger, My Lord!

What did they call Him? “King Jesus,” What did they call Him, “King Jesus.” Oh, Mary had a Baby. He was called “King Jesus.” Mary had a Baby, oh, yes!

He is called “King Jesus,” “Mighty Counsellor,” “King Emanuel,” Mighty God,” “Everlasting Father,” “Prince of Peace.” Mary had a Baby. My Lord! My Lord!

Emily McCullough, soprano

Welcome All Wonders (1957, 1975)

Richard Wayne Dirksen (1921-2003)

A prolific composer, Richard Wayne Dirksen began his long association with Washington National Cathedral and the Cathedral Choral Society in February 1942. Over a half century, he was the Cathedral Choral Society’s accompanist, associate music director, general manager, and interim music director. In 1977, he was appointed the Cathedral’s fourth organist and choirmaster, and in 1982, he was named Canon Precentor, the first layperson to hold that office in the Anglican Church. Dirksen’s exuberant Welcome All Wonders was composed in 1957 for the fiftieth anniversary of the laying of the Cathedral’s foundation stone. His arrangement for brass quartet dates to 1975 for the first live telecast of the Christmas Mass. The text is by the English seventeenth-century metaphysical poet Richard Crashaw. Welcome, all wonders in one sight! Eternity shut in a span; Summer in winter; day in night; Heaven in earth, and God in man. That He, the old Eternal Word, Should be a Child and weep.

Each of us his lamb will bring, Each his pair of silver doves, Till burnt at last in fire of thy fair eyes, Ourselves become our own best sacrifice. —from A Hymn of the Nativity Sung as by the Shepherds, 1646, by Richard Crashaw (1613-1649)

Fotina Naumenko, soprano


PROGRAM Lo, How a Rose E’er Blooming (1609)

Michael Praetorius (1571-1621)

Great hymns of the Nativity are by no means limited to the medieval period. First among those from more recent centuries is this setting of Es ist ein Ros’ entsprungen, one of at least five attributed to Michael Praetorius, whose prolific output includes Musae Sioniae, the nine-volume collection of 1,244 chorale and song arrangements. The image of the rose as Mary was common in medieval thought. This motet is also sung in the English translation, Lo, how a rose. Lo! how a Rose e’er blooming From tender stem hath sprung, Of Jesse’s lineage coming, As men of old have sung. It came, a flow’ret bright Amid the cold of winter, When half-spent was the night.

Isaiah ‘twas foretold it, The Rose I have in mind. With Mary we behold it, The Virgin Mother kind. To shew God's love aright, She bore to men a Saviour When half-spent was the night. — Musae Sioniae, VI (1609) English poetic trans. Theodore Baker (1851-1934), 1894


Hark! the herald angels sing: Glory to the new-born King! Peace on earth and mercy mild, God and sinners reconciled! Joyful, all ye nations rise! Join the triumph of the skies! With the angelic host proclaim: Christ is born in Bethlehem! Hark! the herald angels sing: Glory to the new-born King!

Felix Mendelssohn (1809-1847) Adapted by William Cummings (1831-1915) arr. Willcocks

Christ, by highest heaven adored, Christ, the everlasting Lord: Late in time behold him come, Offspring of the Virgin’s womb. Veiled in flesh the Godhead see! Hail th’incarnate Deity, Pleased as man with man to dwell: Jesus, our Emmanuel! Hark! the herald angels sing: Glory to the new-born King!

Hail the heav’n-born Prince of Peace! Hail the Sun of Righteousness! Light and life to all he brings, Risen with healing in his wings. Mild he lays his glory by, Born that man no more may die, Born to raise the sons of earth, Born to give them second birth. Hark! the herald angels sing: Glory to the new-born King! —Charles Wesley (1707-1788), alt.

ORGAN AND CARILLON POSTLUDES Program Notes by Margaret Shannon


BIOGRAPHIES Steven Fox is the Cathedral Choral Society’s Music Director, appointed in 2018. He is also the Artistic Director of The Clarion Choir and The Clarion Orchestra, in New York City. He founded Musica Antiqua St. Petersburg as Russia’s first periodinstrument orchestra at the age of 21, and from 2008 to 2013 he was an Associate Conductor at New York City Opera. He has also served as Assistant Conductor for the Metropolitan Opera Lindemann Young Artists Program and for Juilliard Opera. He has appeared as a guest conductor with many renowned ensembles such as 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, Music of the Baroque in Chicago, and the Tucson Symphony Orchestra. His performances have also taken him to some of the most prestigious halls internationally, such as the Grand Philharmonic Hall and Hermitage Theater in St. Petersburg, Russia, the Rachmaninoff Hall in Moscow, the Duke’s Hall of London, and the Vatican. He has been called “an esteemed director” by The New Yorker and “visionary” by BBC Music Magazine. Of a recent Clarion performance, The New York Times praised his “deft guidance” and wrote: “an inspired interpretation. Fox revealed the drama of the score with vivid dynamic shadings. Intonation and pacing were exemplary throughout the performance.” In 2017, Steven and The Clarion Orchestra mounted the organization’s first fully-staged opera production, Mozart’s Magic Flute. The production, staged by renowned Canadian director Alain Gauthier, was called “a deft reach across two centuries” by The New York Times and “a delight, on all fronts” by Opera magazine (UK). Steven 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. In May 2018, Steven conducted The Clarion Choir in a performance with Madonna at the Met Gala, including the world premiere of “A Beautiful Game.” He has given master classes and clinics at Dartmouth College, The Juilliard School, and Yale University, where he served for two years as preparatory conductor of the Yale Schola Cantorum.

The Madrigal Singers of National Cathedral School and St. Albans School is part of the coordinate music program at National Cathedral School and St. Albans School and proudly serves the largest number of students within a single program at the Cathedral Schools. Singers explore a variety of repertoire in curricular and extracurricular choral ensembles and perform regularly at the Washington National Cathedral. The Madrigal Singers is an auditioned ensemble of 36 singers from the 175-voice Upper School Chorale who aspire to the highest standards of choral singing. The “Mads” have performed in New York, Philadelphia, Boston, Chicago, and Charleston, and internationally in Chile, Argentina, South Africa, Australia, and England. Other notable venues include the White House, the World Bank headquarters, and on National Public Radio’s “All Things Considered,” for the ground-breaking of the Smithsonian National Museum of African American History and Culture. Brandon Straub, Director of Choral Music and Chair of Music, is regularly in demand as a conductor, keyboardist, and singer. He is also Associate Conductor and Pianist of The Choral Arts Society of Washington and Founding Director of the Choral Arts Youth Chorus. Seraph Brass is a dynamic brass ensemble drawing from a roster of America’s top female brass players. Winner of a Silver Medal Global Music Award, Seraph Brass released its debut album, Asteria, on Summit Records. Seraph has toured throughout the U.S., Mexico, and Europe. Seraph has performed multiple concerts at the Lieksa Brass Week in Finland, and it was the featured ensemble at the International Women’s Brass Conference. Other performance highlights include the Forum Cultural Guanajuato in León, Mexico; Dame Myra Hess Concerts in Chicago (IL); Gettysburg Concert Association (PA); and the Norton Museum of Art in West Palm Beach (FL). Seraph has toured extensively as Allied Concert Services


BIOGRAPHIES artists. Members of Seraph have performed with Adele on her 2016 U.S. tour. Seraph has commissioned works by Catherine McMichael and Rene Orth, featured on Asteria. Seraph has also premiered Lucy Pankhurst’s Ouroboros with euphonium soloist Hélène Escriva at the International Women’s Brass Conference, and has many original arrangements by trumpeter Jeff Luke, featured on their two albums. Jeremy Filsell is one of a few virtuoso performers as both pianist and organist. He has appeared as a solo pianist in Russia, Scandinavia, New Zealand, the UK, and the USA. His concerto repertoire encompasses Bach, Mozart and Beethoven through to Shostakovich, John Ireland, and Rachmaninov. Filsell is on the international roster of Steinway Piano Artists and has recorded for BBC Radio 3, USA, and Scandinavian radio networks in solo and concerto roles. Gramophone magazine commented on the series of 12 CDs comprising the premiere recordings of Marcel Dupré’s complete organ works for Guild as “one of the greatest achievements in organ recording.” Filsell studied as an Organ Scholar at Keble College, Oxford before completing graduate studies in piano at the Royal College of Music. He earned a PhD in Musicology at Birmingham Conservatoire/BCU. Combining an international recital and teaching career, Filsell is the director of music at St. Alban’s Church in DC, Artist-in-Residence at Washington National Cathedral, and Professor of Organ at the Peabody Conservatory. Edward M. Nassor is the carillonneur at Washington National Cathedral, where his duties include performing preludes before Sunday Holy Eucharist and weekly recitals on the Bessie J. Kibbey carillon, located in the second level of the cathedral’s central tower, 150 feet above the nave floor. The 53 bells of the carillon range from 17 pounds to 12 tons, for a total combined weight of 64 tons. The bells are connected to a keyboard with tracker wires so they can


be played with complete musical expression. Nassor is also the Director-Carillonneur of the Netherlands Carillon, in Arlington, Virginia, where he performs and schedules guest carillonneurs for the National Park Service. A longstanding member of the Guild of Carillonneurs in North America, Nassor currently serves on the guild’s board of directors. His Doctor of Musical Arts and Master of Music degrees are from the Benjamin T. Rome School of Music at The Catholic University of America. While working on his doctoral degree, he was the first American to be awarded a Fulbright grant to study campanology in The Netherlands. While earning a diploma from the Netherlands Carillon School, he performed throughout Europe. His performances are featured on several Cathedral Choral Society recordings. Pianist and Assistant Conductor 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

BIOGRAPHIES 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. Beginning 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.

High School Choir Festival


We are thrilled to present our 14th annual DC High School Choir Festival, featuring over 300 students from public, private, and charter schools across DC. In the evening, all participating choirs present a concert which culminates their work together. All are welcome to attend! 7:30 pm. Free.


2019 GALA



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 Marianna J. Martindale

ALTO Emily McCullough Susan McDaid Fotina Naumenko Catherine Ort-Mabry Felicia Pagden Frances H. Pratt* Kyra Reumann-Moore Melissa Ryan Cynthia Shen Helen L. St. John Megan Sullivan** Evelyn Tsen Dianne Vandivier Jelena Vranic Elizabeth Owens Wakefield Celeste Wanner

TENOR Scott Alman Steven Blondo Ross Bradford* Gregg Breen David Costanza David Dietly Kellen Edmondson Brett Ewer Luke Fisher Jeremy Gosbee John W. Harbeson Mike Kelleher Richard Larkin

Salma Al-Shami Dr. Violet Baker Hannah Baslee George Branyan 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 Sheila McJilton Julie Meadows Laura Miller* Mary Olch Jennifer Griffiths Orudjev Sarah Phillips Teresa Polinske Eleanor Slota Susan Stanford Patricia Stephenson Cecelia Tamburro 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* Nathaniel Buttram 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 Ray Rhinehart 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



SERAPH BRASS Amy McCabe, trumpet Adrienne Doctor, trumpet Chandra Cervantes, horn Isabelle Lavoie, trombone Gretchen Renshaw James, tuba Sidonie McCray, percussion

THE MADRIGAL SINGERS OF THE NATIONAL CATHEDRAL SCHOOL AND ST. ALBANS SCHOOL Brandon Straub, director Emnete Abraham Elena Arvanitis Ellie Bailey Sareen Balian Mary Rose Bell Eleanor Boomhower Eleanor Czajkowski Lydia Danas Sam Douki Amelia Griffin Isabel Hohenlohe Katherine Leahy Mika Mathurin Audrey May Anika Mitra Anaya Rodgers Isabel Steinberg Olivia Vella Zoe Contreras-Villalta Maggie Wang Leila Wass

Ian Chen Landon Chin Everett Davis Sammy Dereje David Donoghue Julian Escoto Nick Gray Nathan Heath Mac Johnson Noah Kang Julius Mauldin Thomas Mazzuchi Jonathan Merril Luke Mott Nolan Musslewhite Matthew Sheets Jack Tongour Martin Villagra-Riquelme Liam Warin Shiva Khana Yamamoto


THANK YOU The Cathedral Choral Society is pleased to acknowledge the following contributors to our Annual Fund Campaign between August 15, 2017 - November 15, 2018. Gifts made in Memory or Honor of another person are listed on page 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^ Guarantor Patrons $5,000+ 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+ Margaret M. Ayres and Stephen Case Jessica Barness* Catherine H. Beauchamp Joanne Casey* Alice M. Denney Lynn B. Dutton Cary C. Fuller Jeremy Gosbee* Robert W. Jerome and William J. Courville


Celeste Avril Letourneau^ Thomas C. Mugavero*^ Gerald W. and Alice Padwe Stephen S. Roberts*

Martin Rosenthal*^ and Corinne Axelrod The Estate of Marjorie Schrader The Estate of M. Elizabeth and Charles Tidball

Lolly and Jim* Mixter Mary B. Olch* Catherine E. Ort-Mabry* and Brian K. Mabry

Margarita Ossorio-Goldman^ and Daniel Goldman Frances H. Pratt* Gene^ and Sheryl Tunison

Susan McDaid* John E. Moyer* and Jane R. Passman

Raymond Rhinehart* and Walter Smalling, Jr. L. Bradley*^ and Susan*^ Stanford

George and Sheri* Economou Charles Leonard Egan Holly*^ and Trevor Filipiak Genevieve and Sean Twomey Mary-T^ and Spencer Gordon Susan Grad* 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 Harold I. and Frances G. Pratt Lynn Rhomberg Linda and Richard Roeckelein Suzanne and Robert Rooney

John F. Schaettler* David* and Mary Shilton Elizabeth Steuart-Kret Leslie C. Taylor Elinor and James Vaughter Kathleen W. and Walter Weld Douglas H. and Catherine T. Wheeler Margot T. Young

THANK YOU Sponsors $250+ Anonymous 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 Earl and Phyllis Hannum Anne R. Harris Donors $100+ Anonymous (5) Marina Alman Mary Amorosino Mark J. Andrews D. Philip Baker 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 Nancie S. Coan Roberta and Philip Cronin Holly Cumberland Christine C. De Fontenay Sharrill Dittmann Kathleen A. Felton Neil and Carolyn Goldman Hilton Lee Graham George E. Groninger

Louis E. and Ruth H. Kahn Michael Kelly Gary W. and Judy Kushnier George Londeree Wendy Palmby Lubarsky* Ann F. McCormick-McQuillan Leander and Stephanie McCormick-Goodhart Robert Turner Mead

Scott and Nancy Pinckney Jacqueline Prince Sinclair Winton C. Thomas Van Alen Thomas and Linda Veblen Richard and Virginia Wagner Ellis Wisner* Dorothy M. Woodcock Evelyn D. Woolston-May

George Hanc Frederick S. Hird Paul and Ellen Hoff Lee McGraw Hoffman Robert and Parma Holt Martha Jones Michael Emile Karam Ingrid Kauffman Laurie Keegan Mary Ruth Keller G. Robert and Rose Lamb Richard and Jeanne Lambert Elizabeth Lowenstein Rosemary Lyon James W. and Kathleen E. Madden Rosemary Marcuss Scott* and Linda McCorkindale Barbara and John McGraw Joseph and Rebecca Metro Denise Bell Miller Martha Miller Paula Morrow Mindy Nash

Coleman H. and Elizabeth B. O’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 Theodora Radcliffe Jane and Vernon Roningen Ann Imlah Schneider Patrick Shannon Jim and Linda Sheridan Patricia Stephenson* Keiko Stusnick Alice Sziede Judith Ann Tickner Cindy Drakeman* and Richard Wanerman* Phyllis C. Wertime Sam Yoon

*Chorus Member

^Board Trustee


This holiday, make a difference while you shop. AmazonSmile is a simple and automatic way for you to support Cathedral Choral Society every time you shop, at no cost to you. Visit SMILE.AMAZON.COM, login to your account, and search for the “Cathedral Choral Society” in the charity name field. You’ll find the exact same experience as Amazon.com, with the added bonus that Amazon will donate a portion of the purchase price to the Cathedral Choral Society.


THANK YOU The Cathedral Choral Society is pleased to recognize Government, Foundation, and Corporate support to our Annual Fund Campaign between August 15, 2017 - November 15, 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+ Ameriprise Financial – Kim, Hopkins, & Associates


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THANK YOU The Cathedral Choral Society is pleased to acknowledge the following contributions made in memory or honor to our Annual Fund Campaign between August 15, 2017 - November 15, 2018. GIFTS IN HONOR In Honor of Ellis Wisner Judith Hope

In Honor of Kathy Brion Sherry Mueller

In Honor of Laurie Church Joan Filson

In Honor of Frances H. Pratt Susan J. Henry

In Honor of Ernie Abbott Joshua Gotbaum and Joyce Thornhill In Honor of Margot T. Young The Soprano II Section James Townsend

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

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 Linda Lear

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 Dariel Van Wagoner Erika R. Joyce In Memory of Linda Morgan Michael Emile Karam

In Memory of Charles W. McClendon Leslie McClendon In Memory of Tom McQuillan Ann McCormick-McQuillan

In Memory of John D. Van Wagoner Mary-T^ and Spencer Gordon Blanche L. Curfman


THANK YOU HARMONIA SOCIETY The Cathedral Choral Society’s Harmonia Society recognizes those individuals who have, with special thought and foresight, included the Cathedral Choral Society in their estate plans. Their wish and vision is to ensure the stabilty and success of this choral organization for the next generation of singers and audiences. We are grateful to each member of the Harmonia Society for their vision and generous support. Anonymous (2) Ernest*^ and Catherine Abbott Catherine H. Beauchamp Judy Davis David Dietly*^ Charles Leonard Egan Arthur and Connie Eggers Thomas P. Gallagher^ Mary-T Gordon^ Anne R. Harris ^

William B.† and Ruth L. Harwood Patricia D. Hevner^ Ann Ingram Richard* and Cecilia Larkin 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.

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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


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 Program Annotator: Margaret Shannon Librarian: Patricia Stephenson 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






2019 GALA

Ma rdi Gras



Save the date!



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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Joy of Christmas 2018 Concert Program  

Saturday, Dec. 15 at 2:00 and 7:00 pm Sunday, Dec. 16 at 4:00 pm Washington National Cathedral

Joy of Christmas 2018 Concert Program  

Saturday, Dec. 15 at 2:00 and 7:00 pm Sunday, Dec. 16 at 4:00 pm Washington National Cathedral