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2016 | 17 SEASON

Greetings, We are so pleased to welcome you to the fourth and final concert of our 75th anniversary season! We are thrilled to end this momentous year with the world premiere of our newly commissioned work by Nico Muhly. We are also pleased to have guest conductor Patrick DuprÊ Quigley joining us today. This will be a truly exciting afternoon. This weekend marks the announcement of the 2017/18 season. Discover more on the back of this concert program, pick up a season brochure, and mark our concert dates in your calendar. Consider becoming a subscriber: set aside four Sunday afternoons for great music! Take advantage of our early bird offer and save 15% if you subscribe by Friday, June 23. Come say hello to us today at the table near the Cathedral doors, and reach out to us with questions at any time. We invite you to help us end this season strong with a donation to our 2016/17 Annual Fund Campaign. Donations from individuals support our artistic and community engagement programs and make our concert season at Washington National Cathedral possible. If you enjoyed today’s concert consider making a contribution this season. Thank you for joining us this afternoon. Enjoy the concert!

Genevieve Twomey Executive Director

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



Gretchen Kuhrmann, guest conductor





SUNDAY, MAY 21, 4:00 PM WASHINGTON NATIONAL CATHEDRAL Patrick Dupré Quigley, guest conductor Nurit Bar-Josef, violin Colleen Daly, soprano Michael Nyby, baritone Cathedral Choral Society The Lark Ascending (Romance for Violin and Orchestra)

Ralph Vaughan Williams

Nurit Bar-Josef, violin Five Mystical Songs No. 1 Easter No. 2 I got me flowers No. 3 Love bade me welcome No. 4 The Call No. 5 Antiphon

Vaughan Williams

Michael Nyby, baritone INTERMISSION Looking Up (world premiere) This commission is made possible by the William R. Strickland Commission Fund. Introduction Part One Part Two Part Three

Nico Muhly

The Song of the Three Children A Song to David

Te Deum, Op. 103 I. Te Deum laudamus – allegro moderato, maestoso II. Tu Rex gloriae – lento maestoso III. Aeterna fac – vivace IV. Dignare, Domine – lento

Antonín Dvořák

Colleen Daly, soprano Michael Nyby, baritone Any taking of photographs or unauthorized recording of this concert is prohibited.



Ralph Vaughan Williams (1872-1958)

No. 1 EASTER Rise, heart: thy Lord is risen. Sing his praise Without delays, Who takes thee by the hand, that thou likewise With him may’st rise: That, as his death calcined thee to dust, His life may make thee gold, and much more, Just.

Awake, my lute, and struggle for thy part With all thy art. The cross taught all wood to resound his name, Who bore the same. His stretched sinews taught all strings, what key Is best to celebrate this most high day.

Consort both heart and lute, and twist a song Pleasant and long: Or since all music is but three parts vied, And multiplied O let thy blessed Spirit bear a part, And make up our defects with his sweet art.

No. 2 I GOT ME FLOWERS I got me flowers to strew thy way; I got me boughs off many a tree: But thou wast up by break of day, And brought’st thy sweets along with thee.

The Sun arising in the East. Though he give light, and the East perfume; If they should offer to contest With thy arising, they presume.

Can there be any day but this, Though many suns to shine endeavour? We count three hundred, but we miss: There is but one, and that one ever.

No. 3 LOVE BADE ME WELCOME Love bade me welcome: yet my soul drew back. Guilty of dust and sin. But quick-eyed Love, observing me grow slack From my first entrance in, Drew nearer to me, sweetly questioning If I lack’d anything.

A guest, I answer’d, worthy to be here: Love said, “You shall be he.” “I the unkind, ungrateful? Ah, my dear, I cannot look on thee.” Love took my hand, and smiling did reply, “Who made the eyes but I?”

“Truth, Lord, but I have marr’d them: let my shame Go where it doth deserve. “And know you not,” says Love, “who bore the blame?” “My dear, then I will serve.” “You must sit down,” says Love, “and taste my meat:” So I did sit and eat.


—from Love (III)

TEXTS AND TRANSLATIONS No. 4 THE CALL Come, my Way, my Truth, my Life: Such a Way, as gives us breath: Such a Truth, as ends all strife: Such a Life, as killeth death.

Come, my Light, my Feast, my Strength: Such a Light, as shows a feast: Such a Feast, as mends in length: Such a Strength, as makes his guest.

Come, my Joy, my Love, my Heart: Such a Joy, as none can move: Such a Love, as none can part: Such a Heart, as joys in love.

No. 5 ANTIPHON Let all the world in every corner sing My God and King. The heavens are not too high, His praise may thither fly; The earth is not too low, His praises there may grow.

Let all the world in every corner sing: My God and King. The Church with psalms must shout, No door can keep them out; But above all, the heart Must bear the longest part.

Let all the world in every corner sing: My God and King. —George Herbert (1593-1633)




Nico Muhly (b. 1981)

Introduction To all that have Skill, or Will unto Sacred Musicke, I wish Concord among themselves, with God, and with their owne Conciences. Part One The singing of Psalmes (as say the Doctors) comforteth the sorrowfull, pacifieth the angry, strengtheneth the weake, humbleth the proud, gladdeth the humble, stirres up the slow, reconcileth enemies, lifteth up the heart to heavenly things, and uniteth the Creature to his Creator. So the devout and joyfull soule might with looking up unto God, reflect upon its owne worke, and transport it selfe unto the quire of Angels and Saints, whose perpetuall taske is to sing their concording parts without pause, redoubling and descanting: Holy, Holy, Holy, Lord God of Hosts. And if Vocall Musicke be not full enough, let the Instrumentall be added: “They have in their hands the Harps of God, & sing the song of Moses ... Great and marvellous are thy workes, Lord God Almighty.” —Thomas Ravenscroft from The Whole Book of Psalmes: With the Hymnes Evangelicall, and Songs Spirituall (1621)

Part Two (The Song of the Three Children) O ye the Angels of the Lord, blesse ye the Lord, praise him & magnify him for ever. O ye the starry heavens hie, blesse ye the Lord, &c. O ye the waters and the skie, blesse ye the Lord, &c. O all ye powers of the Lord, blesse ye the Lord, &c.

O ye the blowing winds of God, blesse ye the Lord, &c. O ye the fire and warming heate, blesse ye the Lord, &c. Yea winter and the Summer Tide, blesse ye the Lord, &c. O ye the dewes and binding frosts, blesse ye the Lord, &c.

O ye the shining Sunne and Moone, blesse ye the Lord, &c.

O ye the frost an chilling cold, blesse ye the Lord, &c.

O ye the glistring Stars of heaven, blesse ye the Lord, &c.

O ye congealed Ice and Snow, blesse ye the Lord, &c.

O ye the showers and dropping dew, blesse ye the Lord, &c.

O all ye nights and lightsome dayes, blesse ye the Lord, &c.


TEXTS AND TRANSLATIONS O ye the darknesse and the light, blesse ye the Lord, &c.

O all ye flying Fowles of the aire, blesse ye the Lord, &c.

O ye the lightning and the clouds, blesse ye the Lord, &c.

O all ye beasts and cattell eke [also], blesse ye the Lord, &c.

O let the earth eke blesse the Lord, blesse ye the Lord, &c.

O ye the children of mankinde, blesse ye the Lord, &c.

O ye the mountaines, and the hils, blesse ye the Lord, &c.

Let Israel eke blesse the Lord, blesse ye the Lord, &c.

O all ye greene things on the earth, blesse ye the Lord, &c.

O ye the Priests of God the Lord, blesse ye the Lord, &c.

O ye the ever-springing wels, blesse ye the Lord, &c.

O ye the servants of the Lord, blesse ye the Lord, &c.

O ye the seas, and ye the flouds, blesse ye the Lord, &c.

Ye spirits & soules of righteous men, blesse ye the Lord, &c.

Whales & al that in the waters move, blesse ye the Lord, &c.

O ye holy and ye meeke of heart. blesse ye the Lord, &c. —Thomas Ravenscroft from The Whole Book of Psalmes

Part Three (A Song to David) XVIII He sung of God—the mighty source Of all things—the stupendous force On which all strength depends; From whose right arm, beneath whose eyes, All period, pow'r, and enterprise Commences, reigns, and ends. XXI The world—the clust'ring spheres He made, The glorious light, the soothing shade, Dale, champaign [plain], grove, and hill;

The multitudinous abyss, Where secrecy remains in bliss, And wisdom hides her skill. XXII Trees, plants, and flow'ers—of virtuous root; Gem yielding blossom, yielding fruit, Choice gums and precious balm; Bless ye the nosegay in the vale, And with the sweetness of the gale Enrich the thankful psalm. —Christopher Smart (1763)

Melissa Fox, soprano; Emily German, soprano; Christopher G. Riggs, alto



Antonín Dvořák (1841-1904)

I. Te Deum laudamus: Allegro moderato maestoso Te Deum laudamus, te Dominum confitemur. Te aeternum Patrem omnis terra veneratur. Tibi omnes Angeli, tibi coeli et universae potestates, tibi Cherubim et Seraphim incessabili voce proclamant: Sanctus, Sanctus, Santus Dominus Deus Sabaoth! Pleni sunt coeli et terra majestate gloriae tuae. Te gloriosus Apostolorum chorus, (Sanctus Dominus Deus Sabaoth.) te prophetarum laudabilis numerus, (Sanctus Dominus Deus Sabaoth.) te Martyrum candidatus laudat exercitus. (Sanctus Dominus Deus Sabaoth.) Te per orbem terrarum sancta confitetur Ecclesia, Patrem immensae majestatis. Venerandum verum et unicum Filium Sanctum quoque Paraclitum Spiritum.

We praise thee, O God; we acknowledge thee to be the Lord. All the earth doth worship thee, the Father everlasting. To thee all Angels cry aloud; the heavens, and all the powers therein. to thee Cherubim and Seraphim continually do cry, Holy, Holy, Holy Lord God of Sabaoth! Heaven and earth are full of the majesty of thy glory. The glorious company of Apostles praise thee. (Holy Lord God of Hosts.) The goodly fellowship of the Prophets praise thee. (Holy Lord God of Hosts.) The noble army of Martyrs praise thee. (Holy Lord God of Hosts.) The holy Church throughout all the world doth acknowledge thee, The Father of an infinite Majesty, thine adorable, true, and only Son, Also the Holy Ghost, the Comforter.

II. Tu Rex gloriae: Lento maestoso Tu Rex gloriae, Christe! Tu Patris sempiternus, tu Patris es Filius. Tu ad liberandum suscepturus hominem, non horruisti Virginis uterum. Tu devicto mortis aculeo, aperuisti credentibus regna coelorum. (Te ergo quaesumus, tuis famulis subveni, quos pretioso sanguine redemisti.)

Thou art the King of Glory, O Christ. Thou art the everlasting Son of the Father. When thou tookest upon thee to deliver man, thou didst humble thyself to be born of a Virgin. When thou hadst overcome the sharpness of death thou didst open the Kingdom of Heaven to all believers. We therefore pray thee, help thy servants whom thou hast redeemed with thy precious blood.

Tu ad dexteram Dei sedes in gloria Patris. Judex crederis esse venturus. Te ergo quaesumus, tuis famulis subveni, quos pretioso sanguine redemisti.

Thou sittest at the right hand of God in the glory of the Father. We believe that Thou shalt come to be our Judge. We therefore pray thee, help thy servants, whom thou hast redeemed with thy precious blood.


TEXTS AND TRANSLATIONS III. Aeterna fac: Vivace Aeterna fac cum Sanctis tuis in gloria numerari. Salvum fac populum tuum, Domine, et benedic hereditati tuae, et rege eos, et extolle illos usque in aeternum.

Make them to be numbered with thy Saints, in glory everlasting O Lord, save thy people, and bless thine heritage. Govern them, and lift them up for ever.

Per singulos dies, benedicimus te; et laudamus nomen tuum in saeculum, in saeculum saeculi.

Day by day we magnify thee, and we worship thy name ever, world without end.

IV. Dignare, Domine: Lento Dignare, Domine, die isto sine peccato nos custodire. Miserere nostri, Domine. Fiat misericordia tua, Domine, super nos, quemadmodum speravimus in te. (Miserere nostri, Domine.) In te, Domine, speravi: non confundar in aeternum. (Miserere nostri, Domine.)

Vouchsafe, O Lord, to keep us this day without sin. O Lord, have mercy upon us, O Lord, let thy mercy be upon us, as our trust is in thee. (O Lord, have mercy upon us.) O Lord in thee have I trusted; let me not be confounded. (O Lord, have mercy upon us.)

Benedicamus Patrem et Filium cum sancto spiritu. Alleluja! Laudemus et superexaltemus eum in saecula. Alleluja!

Let us bless the Father and the Son with the Holy Spirit. Alleluia! Let us praise and exalt him forever. Alleluja! —English version, Book of Common Prayer, 1928


PROGRAM RALPH VAUGHAN WILLIAMS Ralph Vaughan Williams (1872-1958) stands between Edward Elgar and Benjamin Britten as the preeminent English composer of the twentieth century. From finde-siècle Victorian England through two world wars, a pantheon of English composers—Elgar, Holst, Parry, Stanford, and Vaughan Williams—finally and irrevocably divorced English music from Continental Europe. It was Vaughan Williams, increasingly drawn to the language of the English folk song, who most helped revive a sense of “Englishness” in music that the nation had not enjoyed since Henry Purcell in the seventeenth century. His was a unique compositional voice for his time. These two works date from 1911 and 1914, those narrow hinge-of-history years between the end of the Edwardian era and the beginning of the Great War.

The Lark Ascending (1914, 1920)

On August 4, the day Great Britain declared war on Germany, Vaughan Williams was on vacation in Kent. While walking along the coastal cliff, he jotted down the peaceful and serene melody that came to him. Inspired by lines from George Meredith’s 1891 eponymous poem, he sketched a “romance for violin and orchestra.” Interrupted by his five years of war service, he did not revise the score until 1920. The first performance with orchestra was in London on June 14, 1921, with violinist Marie Hall as soloist. “The Lark Ascending is a gem,” notes musicologist David C.F. Wright. “It speaks of a beautiful rural England now past. . . [It] encapsulates the green and pleasant land, which Blake and Parry could not do. It is sunny but not scorching. It is spontaneous and translucent.” Little wonder, then, The Lark Ascending has topped recent British lists of all-time favorite classical music. In New York, this piece led classical radio requests after the terror attacks on September 11, 2001.


Inspired by George Meredith’s eponymous poem Vaughan Williams inscribed these twelve lines—from the beginning, middle, and end—on the flyleaf of the published score of The Lark Ascending. He rises and begins to round, He drops the silver chain of sound Of many links without a break, In chirrup, whistle, slur and shake ... For singing till his heaven fills, ‘Tis love of earth that he instils, And ever winging up and up, Our valley is his golden cup, And he the wine which overflows To lift us with him as he goes ... Till lost on his aerial rings In light, and then the fancy sings. —George Meredith (1829-1909), 1881

Five Mystical Songs (1911)

Following the success of his Sea Symphony and Fantasia on a Theme by Thomas Tallis premiered at the Gloucester Three Choirs Festival in 1910, Vaughan Williams received a commission to compose a new work for the Worcester Three Choirs Festival in 1911. He decided to complete a set of songs he first sketched in 1906. Five Mystical Songs, scored for baritone solo, mixed chorus, and orchestra, are based on The Temple, a set of poems by George Herbert (1593-1633), one of several seventeenth-century metaphysical poets noted for their imagery in expressing abstract ideas and emotions. “Easter,”(No. 1) is a celebration of the Risen Christ. “I got me flowers” (No. 2) expresses surprise, then joy, at the Resurrection. In “Love bade me welcome” (No. 3), described as Herbert’s resolution “of the paradoxes of sin and grace, of guilt and love,” the chorus sings wordlessly “O Sacrum Convivium,” an antiphon honoring the Blessed Sacrament. By contrast, “The Call” (No. 4), a baritone solo, is a more personal statement of faith, each monosyllabic

PROGRAM verse invoking abstract attributes such as Way, Truth, and Life. “Antiphon” (No. 5) is an exuberant choral anthem, with imitations of bell peals, extolling the unity of heaven and earth in the glorious key of D. In his engaging new history of English church music, O Sing Unto the Lord (Oxford, 2016), Andrew Gant assays the beauty of Five Mystical Songs: It’s all here: the freedom of the vocal line, the ancient melody, sung to a wordless hum, the boldness, the exhilarating, modal harmony which ends the work... and, above all, the word-setting. ‘Rise, heart,’ indeed, as Herbert commanded. The composer conducted the premiere of Five Mystical Songs on September 14, 1911 at Worcester Cathedral, and subsequently recounted a delightful story. I was thoroughly nervous. When I looked at the fiddles, I thought I was going mad, for I saw what appeared to be [Fritz] Kreisler at a back desk...At the end I whispered to [a violinist], ‘Am I mad, or did I see Kreisler in the band?’ ‘Oh yes,’ he said, “he broke a string and wanted to play it in before playing the Elgar [Violin] Concerto and couldn’t, without being heard in the Cathedral.’ Years later, another violinist told Vaughan Williams, “I was sitting next to Kreisler, [when] he slipped in beside me. Just before we started, he said ‘Nudge me if there’s anything difficult and I’ll leave it out.’”

NICO MUHLY Nico Muhly is a composer of operas, chamber and symphonic works, and sacred music whose influences range from American minimalism to the Anglican choral tradition. Described by The Guardian as “one of the most celebrated and sought-after classical composers of the last decade,” he is the youngest composer ever commissioned by the Metropolitan Opera and has received additional commissions from Carnegie Hall, the Philadelphia Orchestra, St. Paul’s Cathedral, the Library of Congress, and Wigmore Hall. In more than 80 works for the concert stage, he has embraced subjects ranging from Renaissance astrology to the ethics of artificial intelligence. Muhly has written two operas: Two Boys (2010), a cautionary tale about identity online, commissioned by the Metropolitan Opera and co-produced by the English National Opera; and Dark Sisters (2011), about a community of polygamists in the American southwest. He is at work on a third opera, Marnie, commissioned by the Metropolitan Opera for its 2019-20 season and based on the novel that inspired Alfred Hitchcock’s film of the same name. His additional works for voice include the song cycles Sentences (2015), written for countertenor Iestyn Davies and based on the life of British computer scientist Alan Turing, and Impossible Things (2009), written for tenor Mark Padmore on a text by Greek poet Constantine Cavafy. His major choral works include Bright Mass with Canons (2005); My Days (2011), a commemoration of Orlando Gibbons, written for Fretwork and the Hilliard Ensemble; and Recordare, Domine (2013), commissioned by Lincoln Center and the Tallis Scholars. Beyond the concert stage, Muhly is a sought-after collaborator across genres. He has worked on multiple occasions with choreographer Benjamin Millepied on scores for New York City Ballet, American Ballet Theater, and the Paris Opera Ballet. He has also written for theater and film, contributing scores for the 2013 Broadway revival of The Glass Menagerie, and for the films Kill Your


PROGRAM Darlings; Me, Earl and the Dying Girl; and the Academy Award-winning The Reader. Born in Vermont and raised in Rhode Island, Muhly studied composition at the Juilliard School with John Corigliano and Christopher Rouse, and worked subsequently as an editor and conductor for composer Philip Glass. He currently lives in New York City. Read more at

LOOKING UP The Composer’s Note Looking Up is a piece for large chorus and orchestra, and is in three sections, played without pause. In the 16th century, a variety of psalters in meter were printed in England, with the idea of making psalmsinging something that could happen easily at home, with the rhyming meter being an aid to memorization. These translations are wonderful exercises in brevity and sometimes clumsy rhyme-making, and were usually prefaced by a lengthy explanation as to their merits; the title of one of the first such volumes in English is: The Psalter of Dauid newely translated into Englysh metre in such sort that it maye the more decently, and wyth more delyte of the mynde, be reade and songe of al men. I thought it would be appropriate to set one of these introductions, and the first section of Looking Up sets the preface to Thomas Ravenscroft’s psalter (1621), in which he writes: “The singing of Psalmes (as say the Doctors) comforteth the sorrowfull, pacifieth the angry, strengtheneth the weake, humbleth the proud, gladdeth the humble, stirres up the slow, reconcileth enemies, lifteth up the heart to heavenly things, and uniteth the Creature to his Creator.” It begins meditatively, but eventually grows agitated and fervent, with a vision of the “quire of Angels and Saints” “redoubling and descanting”—an ecstatic and terrifying vision of the skies opening up. Ravenscroft then encourages the use of instrumental music for worship, at which point, a long, acrobatic orchestral interlude with jagged edges antagonizes the choir, who sing a kind of private, anxious meditation on two pitches.


One of the most delicious biblical texts is an Apocryphal prayer known as the Benedicite or the Song of the Three Children (the same who were rescued by an angel after King Nebuchadnezzar tried to have them burnt in an oven for not bowing to his image). The text is repetitive, obsessive, and a gift to composers—each line is an invocation of an element of the natural world, followed by the phrase, “blesse ye the Lord, praise him & magnify him for ever.” In Looking Up, the setting begins with three solo voices, and then grows to include the whole choir, itemizing the whole of creation. The idea that these boys are spared from the furnace and then five minutes later are saying, “O ye the fire and warming heate, blesse ye the Lord…” has always felt very loaded to me, and the orchestra plays with this conflict between joyful praise and a more terrible (in the 16th century sense) awe for the divine. The text for the third, and shortest, section is taken from Christopher Smart’s (1722-1771) A Song to David, purportedly written during his confinement in a mental asylum. This ode to King David points out how David, as the author of some of the Psalms, observes the whole world, from the “clust’ring spheres” to the “nosegay in the vale.” The vision of these stanzas range from the stupendous force of God to the “virtuous root” below our feet. Here, the orchestra creates an atmosphere of natural calmness, over which the bass section begins a long, sinewy tune, and is soon joined by the rest of the voices, always calm and serene. —Nico Muhly © 2017

PROGRAM ANTONÍN DVOŘÁK Te Deum, Op. 103 By June 1892, all arrangements had been completed with Jeannette Meyers Thurber, one of America’s first major classical music patrons and founder of the National Conservatory in New York. Czech composer Antonín Dvořák (1841-1904) was to reach New York in October and serve for two years as the conservatory’s director —at the astronomical annual salary of $15,000, almost $400,000 in today’s dollars. “The Americans expect great things of me,” he confided to a friend. “I am to show them the way into the Promised Land, the realm of a new, independent art—in short a national style of music!” Over the summer, he planned to fulfill Thurber’s request that he compose a cantata to commemorate the 400th anniversary of Christopher Columbus’s voyage of discovery to the New World. However, the text for Joseph Rodman Drake’s The American Flag failed to arrive until nearly sailing time. Thurber suggested substituting a Te Deum for the original patriotic cantata, and Dvořák composed one between June 25 and July 28, 1892. The choice of the Te Deum text could not have been more à propos. According to Columbus’s “diario,” or ship’s log (as transcribed and paraphrased by historian Bartolemé de Las Casas), when he had finished describing his first voyage to Spain’s King Ferdinand and Queen Isabella, the Royal Chapel choir sang the Te Deum. Dvořák’s 1892 Te Deum coincided with the publication of the diary’s first edition to return to Las Casas’s original manuscript, in which Columbus recounted the court scene:

nineteenth century. Like Ralph Vaughan Williams in England, Dvořák created a new musical language drawing from the folk songs of his native land. His setting of the Te Deum is divided into four sections with intimations of Czech dances, beginning with the opening Te Deum laudamus. As for a national style of music in America, Dvořák observed in Harper's Magazine (1895), “These beautiful and varied themes are the product of the soil. They are American. They are the folk-songs of America, and your composers must turn to them. In the Negro melodies of America, I discovered all that is needed for a great and noble school of music.” Indeed, Going Home, the memorable theme of his Ninth Symphony: From the New World, was adapted in the form of a spiritual by one of Dvořák’s students. Dvořák’s Te Deum was performed under the composer's baton on October 21, 1892, at a gala Carnegie Hall reception in his honor only three weeks after he had arrived. The rest of the program, which opened and closed with “The Star-Spangled Banner,” consisted of his three overtures for orchestra. An unsigned review in The New York Times dismissed the composer as “an extremely bad conductor” but opined: “Fortunately, it is not necessary that Dr. Dvořák should be a great conductor. . . . After all, the first requirement of a composer is ability to make tunes, and this ability Dr. Dvořák certainly has in a high degree.”

The Cathedral Choral Society first sang Dvořák’s Te Deum in May 1943, augmented by men from the Fort Myer Army Music School Choir in Virginia., directed by William Strickland. On military furlough, Paul Callaway was present to conduct the Te Deum, assisted by thirtyfive members of the National Symphony Orchestra and And when I ceased to speak, the king, the queen, Richard Purvis at the organ. J. Reilly Lewis led the Te Sank from their thrones, and melted into tears, Deum as part of the 1992 Columbus Quincentenary and And knelt, and lifted hand and heart and voice returned to it in 2010 to celebrate his 25th season as music In praise to God who led me thro’ the waste. And then the great “Laudamus” rose to Heaven. director.

Thus conceived and first presented, Dvořák’s Columbian Te Deum was a substantial contribution to the great impetus he gave American music during his residency in the United States. Today, Dvořák is regarded today as one of the great nationalist Czech composers of the

- Margaret Shannon © 2017


BIOGRAPHIES Conductor Patrick Dupré Quigley has established himself as an exemplary conductor, creative programmer, and lauded arts entrepreneur whose skills as a musician transcend traditional genre boundaries. The Founder and Artistic Director of Seraphic Fire and the Firebird Chamber Orchestra, Quigley receives rave reviews for his work with the music of contemporary American composers; is celebrated for his exacting, historically-informed interpretations of Classical and Baroque repertoire; and was honored with a GRAMMY® Award nomination for his recording of Brahms’s Romantic masterpiece Ein Deutsches Requiem. Previous guest conducting engagements include the New World Symphony, Mobile Symphony, Naples Philharmonic, Indianapolis Symphony Orchestra, Louisiana Philharmonic Orchestra, and the San Antonio Symphony. Quigley has also conducted touring performances with Seraphic Fire and The Sebastians period instrument orchestra in New York, Philadelphia, and Washington, D.C. This season, Quigley makes his San Francisco Symphony subscription conducting debut in Handel’s Messiah, will collaborate twice with the Cleveland Orchestra, and will lead the Grand Rapids Symphony in a program of Stravinsky’s Pulcinella, Respighi, Handel, and Gluck. Quigley received his Master of Music degree in conducting from the Yale School of Music and his undergraduate degree in musicology from the University of Notre Dame. He is a graduate of the Indiana University Center on Philanthropy’s Fundraising School. Quigley has written extensively on artistic entrepreneurship, including the book Profit / Prestige: A Foolproof Guide to Sustainable Arts Programming, and a continuing series with Minnesota Public Radio.


Nurit Bar-Josef was appointed Concertmaster of the National Symphony Orchestra in 2001 (then the youngest such appointee to a major U.S. orchestra) by Maestro Leonard Slatkin. She was previously Assistant Concertmaster of the Boston Symphony Orchestra and Boston Pops from 1998-2001 and Assistant Principal Second Violin of the St. Louis Symphony Orchestra from 1997-1998. She studied with Aaron Rosand at The Curtis Institute of Music and continued her studies at the Juilliard School with Robert Mann. Bar-Josef’s solo appearances have included the National Symphony, Boston Symphony, Boston Pops, St. Louis Symphony, National Philharmonic, and Britt Festival Orchestras. An active chamber musician, she has performed at the Seattle Chamber Music Festival, Bay Chamber Festival (ME), Aspen Music Festival, festivals in Tanglewood, Portland (ME), Kingston (RI), Steamboat Springs, Garth Newel, as well as at Caramoor, where she performed piano quartets with Andre Previn in his Rising Stars Festival. She was a founding member of the Kennedy Center Chamber Players for nine years and is a founding member of the Dryden Quartet. Bar-Josef has been a featured guest on National Public Radio’s Weekend Edition and has had the honor of performing at the White House with Maestro Christoph Eschenbach. She is currently playing on a J.B. Vuillaume dated 1871, generously on loan to her from the Library of Congress.

Colleen Daly has been hailed as a “dramatically powerful” singer by The Washington Post. Daly’s most recent performances include Musetta in La Bohème with Annapolis Opera, Lyric Opera of Baltimore and Des Moines Metro Opera; Violetta in Opera Delaware’s production of La traviata, which she also covered at New York

BIOGRAPHIES City Opera; and Micaëla in both La Tragédie de Carmen with Syracuse Opera and in Carmen with Baltimore Concert Opera. Daly’s work as a concert and recital soloist has been widely recognized. She has appeared with the Master Chorale of Washington, Washington Concert Opera, the Washington Chorus, the Cathedral Choral Society, the Post-Classical Ensemble, and the Händel Society of Dartmouth, among others. A native of the Washington, DC metropolitan area, Daly is frequently called upon to appear as a featured soloist at embassies and political events; to date, she has performed at the Italian, Austrian, Irish, Bulgarian, and Columbian embassies, and has performed for Vice President Biden, Maryland Governors Martin O’Malley and Larry Hogan, and Supreme Court Justices Scalia and Roberts. In 2017, she looks forward to making her Grant Park Music Festival debut as a soloist in Frank Martin’s In Terra Pax in Chicago. She will end the year in Boston for a world premiere of a new opera, Rev. 23, in which she plays the starring role of Persephone.

Michael Nyby is a CanadianAmerican baritone, and a native of Hamilton, Ontario. He has performed with the Vancouver Opera, the Santa Fe Opera, Minnesota Opera, the Caramoor Festival, Burnaby Lyric Opera, Opera Atelier, Theatre Aquarius, Mayfield Dinner Theatre, Duluth Festival Opera, and others. Nyby was praised for his “stentorian masculinity” by Musical Toronto after his performance in Carmina Burana with the Toronto Mendelssohn Choir, and singled out by the New York Times for his “standout” performance in the supporting role of Leuthold in Caramoor’s Guillaume Tell. In February 2015, Nyby sang the world-premiere, fully staged concert performance of the opera Georgia Bottoms – a comic opera set in modern-day Alabama and later that

spring, sang the role of Demetrio in the world premiere of the opera Il sogno by Kristin Hevner Wyatt for Opera Ithaca. No stranger to new music, he also performed the world premiere of Scott Wheeler’s 200 Dreams from Captivity in 2014 with the Manitoba Chamber Orchestra and created the role of William Dale in Minnesota Opera’s world premiere production of Kevin Putz’s Pulitzer Prizewinning Silent Night. Nyby was a winner of the Metropolitan Opera National Council Competition’s Western Canada District and won third place in the Opera Columbus Irma M. Cooper International Vocal Competition.

Todd Fickley is the Associate Music Director and Chorus Master of the Cathedral Choral Society. He is also the Acting Artistic Director of the Washington Bach Consort, Assistant Conductor and Keyboard Artist for The Choralis Foundation, and the Organist of The Falls Church (Anglican). A native Washingtonian, he began his organ studies at Washington National Cathedral under Bruce Neswick. At the age of twenty-three, Fickley was made a Fellow of the American Guild of Organists (AGO). He also holds the AGO Choirmaster Diploma and an M.A. in Organ Performance with High Distinction from the University of Wales. A prize-winning organist, Fickley has been featured numerous times on NPR and PRI and has performed and conducted throughout the United States, Israel, and Europe.

Joy Schreier is Pianist and Vocal Coach of the Cathedral Choral Society. She has been praised by Plácido Domingo as an “orchestra at the piano” and hailed as a pianist who “really has it all – fiery technique and a rich, warm tone.” Schreier has been presented in recital at Carnegie Hall, Lincoln Center, the White House,


BIOGRAPHIES the Kennedy Center for the Performing Arts, the National Gallery of Art, the National Museum for Women in the Arts, the National Portrait Gallery, the Phillips Collection, the Cosmos Club, Strathmore Hall, Anderson House on Embassy Row and recital halls throughout the country. Internationally, she has performed in England, Scotland, Wales, France, Spain, Italy, Germany, Taiwan, and Hong Kong. Schreier has served as Assistant Conductor at the Washington National Opera and coach for the DomingoCafritz Young Artist Program. She received her Doctorate in Accompanying and Chamber Music in 2003 at the Eastman School of Music under Dr. Jean Barr.

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 Cathedral Choral Society is the resident symphonic chorus of Washington National Cathedral. Founded in 1941 by Paul Callaway, the 145-voice chorus is the oldest symphonic choral group in Washington, DC. From 1985 to 2016, J. Reilly Lewis served as its second Music Director, leading performances ranging from symphonic choral masterpieces to world premieres.

The chorus has a remarkable history of championing new music, including eight major commissions for new symphonic choral works and an annual commission for a new Christmas carol. Each season the chorus builds on a tradition of showcasing emerging soloists as well as internationally known artists. The Cathedral Choral Society’s discography features ten recordings made at Washington National Cathedral. The Cathedral Choral Society offers community engagement programs, including sing-along opportunities for the public and an annual High School Choir Festival featuring choirs from across Washington, DC.

JOIN US AS A SUBSCRIBER FOR OUR 2017.18 SEASON! Turn to the back of the program to read more about this truly incredible season. SUBSCRIBE TO RECEIVE YOUR BEST VALUE! Packages start at $84.60. Join us for all four concerts at Washington National Cathedral and receive special benefits including: • Priority seating and guaranteed same seats • Lost ticket replacement free of charge • FREE garage parking - exclusively for subscribers • 10% savings on additional single tickets • Subscriber-only pre-sale on single tickets


Buy by Friday, June 23 to receive our early bird rate - 15% off single ticket prices!

ALREADY A SUBSCRIBER? Please pick up your renewal packet today. Visit us at our table near the entrance. Then, renew by mail (instructions on form), online (, or by phone (202-537-2228).

INTERESTED IN BECOMING A SUBSCRIBER? Pick up a brochure and order form at the table near the entrance, or download a form on our website later ( Purchase by mail, online, or phone (202-537-2228) - easy!

CATHEDRAL CHORAL SOCIETY Todd Fickley, Associate Music Director and Chorus Master Joy Schreier, Pianist and Vocal Coach

** Section Coordinators * Alternates

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

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

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

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

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

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

Bass I Eric P. Andersen John Boulanger Andrew Bawden Kelly Cameron Jack Campbell Everitt Clark Michael Droettboom John Hewes Giles Howson Tony King Andrew Madar Nathaniel Miller Nicholas Petersen Marcus Pfeifer Stephen S. Roberts* James Schaller L. Bradley Stanford**

Richard Wanerman Clifton N. West III Peter G. Wolfe Christopher Woolley Bass II Ernest Abbott* Dale Boyd Chris Buechler** Thomas Chapman Casey Cook Glenn Sherer Griffiths, OSL Eugene Kaye Ian M. Matthews Scott McCorkindale Ellis Wisner


ORCHESTRA Violin I Sally McLain, Concertmaster Karin Kelleher Laura Miller Jennifer Rickard Sandy Choi Saskia Florence Annie Loud Mia Lee Violin II Paula Sweterlitsch* Amelia Giles Lisa Cridge Carolyn Kessler Ivan Hodge Stephanie Flack Pamela Lassell Viola Ann Steck* Cathy Amoury Heidi Remick May Ing Nana Vaughn

Cello Marion Baker* Schuyler Slack Drew Owen Jihea Choi Robert Park David Cho Bass T. Alan Stewart* Matthew Nix Mark Stephenson Flute Karen Johnson* Elizabeth McGinniss Oboe Fatma Daglar* Joseph DeLuccio English Horn Fatma Daglar Clarinet Edna Huang* Bill Mulligan Bassoon Erich Heckscher* Nancy Switkes



French Horn Rick Lee* Greg Miller Chandra Cervantes Mark Wakefield Trumpet Woodrow English* Matthew Misener Trombone Bryan Bourne* Dale Moore Bass Trombone Jerry Amoury Tuba Jess Lightner* Percussion Greg Herron* Harp Rebecca Smith* Piano/Celeste Joy Schreier Personnel Manager Pamela Lassell

THANK YOU The Cathedral Choral Society is pleased to acknowledge the following contributors to our Annual Fund Campaign between February 8, 2016 – May 8, 2017. Gifts made in Memory or Honor of another person are listed on page 22 and 23. Thank you. Your ongoing and generous contributions support our vision to engage people in the extraordinary power of choral music. Paul Callaway Associates $20,000+ Ernest*^ and Catherine Abbott Sustaining Patrons $10,000+ Anonymous Thomas P. Gallagher^

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

Martin Rosenthal*^ and Corinne Axelrod

Guarantor Patrons $5,000+ Kathleen Brion*^ Diana Dykstra^ Patricia D. Hevner^ Paul Juergensen II ^ Virginia C. Mars^

John E. Moyer*^ and Jane Passman Lolly and Jim*^ Mixter Thomas C. Mugavero*^ Mary B. Olch* Bradley J. and Martha A.*^ Olson

Raymond Rhinehart* and Walter Smalling, Jr. Stephen S. Roberts* T. Michael and Linda Shortal

Chorus Section Patrons $2,500+ Brian and Donna Bogart Blanche L. Curfman Arthur L. and Connie Eggers

Nancy M. Folger Richard* and Cecilia Larkin

William M. Leach Catherine E. Ort-Mabry* and Brian Mabry

Unsung Heroes $1,000+ Margaret M. Ayres and Stephen Case Jessica Barness* Betty J. Beard Jeanne R. Buster Laura M. Connors* Edison and Sally Dick Walter^ and Joanne Doggett Charles Leonard Egan Cary C. Fuller Mary-T and Spencer Gordon Susan Grad* Anne R. Harris

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

Kevin Rosengren^ John Schaettler* James* and Madeleine Schaller L. Bradley Stanford* Guy and Margaret Steuart Genevieve^ and Sean Twomey John and Dariel† Van Wagoner Kevin and Andrea Wade Robert and Betty Wallace Nancy Wiecking Margot T. Young*

Peter* and Lauralyn Lee George Londeree Wendy Lubarsky* Samuel Miller Scott and Nancy Pinckney Robert* and Elaine Porter Harold I. and Frances G. Pratt Robert* and Lissa Reeves Lynn Rhomberg

John and Judy Shenefield Mr. Leslie C. Taylor Susan Fifield Mentley and James David Toews C. Thomas Van Alen James and Elinor Vaughter Virginia L. White Ellis Wisner*

Patrons $500+ Joanne Casey* Cynthia L. Drakeman*^ Lynn B. Dutton Margaret Gonglewski* and John Heins Jeremy Gosbee* Lynne N. and Joseph F. Horning Robert W. Jerome and William J. Courville Ingrid* and Dean Kauffman Pam and Don Lassell


THANK YOU Sponsors $250+ Caren* and John Backus Catherine H. Beauchamp Andrew and Kaye Boesel Kris Brown Coleman^ Christopher L. Buechler* James W. Clay* Alice M. Denney Holly* and Trevor Filipiak

Pam Gibert Glenn S.* and Judith M. Griffiths George E. Groninger Richard and May Lea Keating C. F. Muckenfuss III and Angela Lancaster Janice L. Lockard Leander and Stephanie McCormick-Goodhart

Barbara and John McGraw Michael Mercier Richard and Linda Roeckelein David and Mary Shilton Jacqueline K. Stover Laurel Towers Sinclair Winton Evelyn D. Woolston-May

Donors $100+ Nancy Maes Aherne James J. and Anne Cesare Albertine Mary Amorosino* Estate of Richard S. and Alayne C. Antes Carolyn Arpin and Benjamin Sacks Frances D. Cook D. Philip Baker Violet E. S. Baker* Harvey and Carolyn Bale Doug Barry* and Liz Eder Jane C. Bergner Gordon L. Biscomb Herman Bostick Dale Boyd* Gregg M. Breen* Thornton W. Burnet Michael F. Butler Stephanie Cabell* Stephen and Sandra* Caracciolo Timothy W. and Patricia R. Carrico Marilyn Clark Vera I. Connolly Terry D. Copeland and Martha Beard Copeland Roberta and Philip Cronin Marcia D’Arcangelo* Ruth and Nelson Denlinger Sharrill Dittmann Sally A. Fiske

Peter Bruce Fontneau Mary Cox Garner Augusta T. Getchell Cynthia L. Gibert Neil and Carolyn Goldman D. Ruth Goodchild Hilton Lee Graham Joan and David Green William and Margaret Greer James D. Campbell and Janet M. Hall George Hanc David R. Hearn Neil Hedlund Frederick S. Hird Peter and Carol Jensen Erika R. Joyce Louis E. and Ruth H. Kahn Karen R. and Norman A. Kane Laurie Keegan Mary Ruth Keller George Robert Lamb Richard C. Lee Rosemary D. Lyon Alaster MacDonald Paula Marchetti David S. Marsh Marianna Martindale* Ann F. McCormick Robert Turner Mead

Corinne Mertes Martha Miller Nathaniel Miller* Coleman H. and Elizabeth B. O’Donoghue Warren and Marianne Pfeiffer Rondi K. Pillette and Steven A. Levin Chuck Pratt and Alexandra England Jacqueline K. Prince James Quinn Theodora Radcliffe Jane* and Vernon Roningen Suzanne H. Rooney Milton and Ingrid Rose Melissa Ryan* Alan and Geraldine Schechter Ann Imlah Schneider Patrick D. Shannon James and Linda Sheridan Carol Hill Sox Herald Speiser Teresa Polinske* Marianne Splitter and Thomas Morante Patricia Stephenson* Margaret C. Stillman Keiko Stusnick Dianne Vandivier* Richard L. Wagner, Jr. and Virginia R. Wagner Richard O. G. Wanerman*

*Chorus Member


^Board Trustee


THANK YOU The Cathedral Choral Society is pleased to recognize Government, Foundation, and Corporate support to our Annual Fund Campaign between February 8, 2016 – May 8, 2017.

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 Dallas Morse Coors Foundation Dimick Foundation

The Richard Eaton Foundation Mars Foundation

Meredith Foundation

Thank you to our Corporate Supporters Corporate Champion $2,000+ Bank of America Exxon Mobil Foundation

IBM JMR Concrete Construction

Corporate Investor $1,500+ Clark Construction Group, LLC

Sentinel Wealth Management

Corporate Leader $1,000+ E*Trade Financial Sahouri Insurance Corporate Advocate $500+ The Benevity Community Impact Fund

Pepco, an Exelon Company

UBS Financial Services

Union Pacific

Jordan Kitts Music

Capital One Bank

Corporate Partner $250+ Ameriprise Financial - Kim, Hopkins & Associates Corporate Supporter $100+ Dental Group At Reston Station

Signature Estate and Investment Advisors

Amazon Smile Foundation


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

John E. Moyer*^ and Jane Passman Thomas C. Mugavero*^ Kimberly* and Mark Pacala Lynn C. Rhomberg Richard and Linda Roeckelein Kevin Rosengren^ T. Michael and Linda Shortal L. Bradley Stanford*^ Patricia Stephenson* Guy and Margaret Steuart John and Dariel† Van Wagoner Nancy Aherne and Marko Zlatich Mark J. Andrews Robert and Laura Barlow David and Jane Berteau Anne* and James Carman Earl and Phyllis Hannum Leslie and Keith Kruse Susan McDaid* Bob Kline and Elaine Mills Robert and Betty Wallace Jessica Barness* Kris Brown Coleman^ and Jonathan Coleman Stephanie Cabell Joanne Casey* James W. Clay* Jill T. Cochran Judith Cecilia Dodge John L. and Elizabeth W. Gardner D. Ruth Goodchild Sara Hale Henry and Austin Henry

Steven A. Levin and Rondi K. Pillette C. F. Muckenfuss Ill and Angela Lancaster Victor Shargai Ellis Wisner* Louis E. and Ruth H. Kahn Gary and Judy Kushnier Peter Fontneau Richard C. Lee Janice L. Lockard Janice L. Lockard Michael Lodico Alaster and Janet MacDonald Andrea Merrill Mark W. Ohnmacht Judith Parkinson Suzanne M. and B. Dwight Perry Natalie* and Hung Q. Pho Harold and Martha Quayle Stephen S. Roberts* Suzanne and Robert Rooney Gus & Susan Schumacher Crawford Feagin Stone J. David and Patricia Sulser Margot T. Young* Betty J. Beard Catherine H. Beauchamp Marilyn Flood Barbara Greene, City Choir of Washington Bill Grossman Fund Ann Ingram Jean Jawdat

Landis and Arnita Jones Elizabeth E. Kelley Children’s Chorus of Washington Frederick S. Hird Lois Martin Warren and Marianne Pfeiffer The Estate of Mary Louise Pusch Theodora Radcliffe Caroline and Dick Van Wagoner Jake Levin Wendy Lubarsky* Robert Turner Mead Jane* and Vernon Roningen Charles and Joanne Schwarz Margot S. Semler Lynwood and Thalia Sinnamon Philip Trainor Genevieve^ and Sean Twomey Jeannette Warren-Anderson* D. C. Washington* Cheryl L. Williams Ellen Adajian Ross M. Bradford* Gloria A. Collier Richard Dodd Elizabeth Sanford Albert Small Elisabeth Smith Megan Sullivan* C. Thomas van Alen Robert and Barbara Verdile Sam Yoon

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


THANK YOU Gifts in Honor In Honor of Margaret Gonglewski Elisabeth Gonglewski

In Honor of Thomas Mugavero Anonymous

In Honor of Mary-T. Gordon John T. Beaty, Jr.

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

In Honor of Ann Ingram Christie Kramer and Charles Kirby

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

In Honor of Susan and Brad Stanford Arlene and David Christian Karen and Jim Fort In Honor of Margot T. Young James T. and Anne C. Townsend Kathleen W. and Walter Weld

In Honor of Virginia C. Mars Shirley M. Fine

Gifts in Memory In Memory of Barbara Dobson Mary-T^ and Spencer Gordon Jean Jawdat

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

In Memory of Laura Faller Mary-T^ and Spencer Gordon

In Memory of Thomas E. Morrison Mary-T^ and Spencer Gordon

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

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

In Memory of William Harwood William M. Leach Blanche L. Curfman

In Memory of Zebarney Thorne Phillips Ronald C. Perera

In Memory of Ben Hutto William M. Leach In Memory of David Krohne William M. Leach In memory of Marion Leach William M. Leach Steven and Monica Leach

In Memory of Dariel Van Wagoner Mary-T^ and Spencer Gordon Robert and Laura Barlow Sandra Person Burns CCS Alto II Section William M. Leach Virginia C. Mars^ Margot T. Young* Chancel Choir At Clarendon United Methodist Church Blanche L. Curfman Cynthia G. Plante Roxanne Rhinehart

In Memory of Charlotte Schlosberg Mary-T^ and Spencer Gordon In Memory of Frederic C. Towers Mary-T.^ and Spencer Gordon In Memory of Anthony White Mary-T^ and Spencer Gordon In Memory of Coral J. Wigent The Lassell Family

*Chorus Member

^Board Trustee



THANK YOU Harmonia Society The Cathedral Choral Society’s Harmonia Society recognizes those individuals who have, with special thought and foresight, included the Cathedral Choral Society in their estate plans. Their wish and vision is to ensure the stabilty and success of this choral organization for the next generation of singers and audiences. We are grateful to each member of the Harmonia Society for their vision and generous support. Anonymous (1) Ernest*^ and Catherine Abbott Catherine H. Beauchamp Mr. David W. Cook Blanche L. Curfman Judy Davis David Dietly* Charles Leonard Egan Arthur and Connie Eggers Charles W. and Jane R. Ervin Thomas P. Gallagher^

Mary-T^ and Spencer Gordon Anne R. Harris William B.† and Ruth L. Harwood Patricia D. Hevner^ Ann Ingram Richard* and Cecilia Larkin William M. Leach J. Reilly † and Beth A.V.* Lewis Lolly and Jim*^ Mixter Martha A. Morris Bradley J. and Martha A.*^ Olson

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

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

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


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

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

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



75th Anniversary




PEPCO, an Exelon Company Ernest and Catherine Abbott Walter B. and Joanne Doggett Thomas P. Gallagher Lolly and Jim Mixter John D. Van Wagoner



Kathleen A. Brion Cynthia L. Drakeman Anne Harris Sarah B. Holmes and John B. Morris, Jr. Paul Juergensen Celeste A. Letourneau John E. Moyer and Jane Passman Bradley J. and Martha A. Olson Raymond P. Rhinehart and Walter Smalling, Jr. L. Bradley and Susan Stanford Margot T. Young

James Coates and Elisabeth Rhyne Blanche Curfman David and Tricia Dietly Christine de Fontenay Mary-T. and Spencer Gordon Susan Grad Glenn S. and Judith M. Griffiths Patricia D. Hevner Jane Molloy Thomas C. Mugavero Christine and James Mulligan Jennifer and Alec Orudjev Gerry and Alice Padwe Martin Rosenthal and Corinne Axelrod James and Madeleine Schaller Robert and Betty Wallace Stephen Wright and Thomas Woodruff

Capitol Boiler Works Certapro Painters of Arlington Clark Construction Nagle and Zaller, P.C.

Cohn Reznick Kastle Systems International Quality Air Services Sahouri Insurance Winkler Pools



Celebrating 75 Years

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



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


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


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


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


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

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

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


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


The first Joy of Christmas concerts are performed.


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


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


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


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


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


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

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

Thomas P. Gallagher Paul Juergensen II Celeste A. Letourneau James M.E. Mixter, Jr. Treasurer Jack Moyer Thomas Mugavero, Vice President Martha A. Olson Jennifer Griffiths Orudjev

Gerry Padwe, Secretary Kevin Rosengren Martin S. Rosenthal L. Bradley Stanford Genevieve C. Twomey, Executive Director

Honorary Trustees Mary-T. Gordon

Virginia C. Mars

Cathedral Choral Society Staff Emily Alcorn, Executive & Development Assistant Kate Breytspraak, Director of Operations & Community Engagement Laura Crook Brisson, Operations Coordinator Todd Fickley, Associate Music Director & Chorus Master

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

Concert Support Margaret Shannon, Program Annotator Patricia Stephenson, Librarian

Library Committee: Joanne Casey, Kim Pacala, Jennifer Hawley

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

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

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


Profile for cathedralchoral

Te Deum Finale Concert Program  

Join the Cathedral Choral Society on Sunday, May 21 at 4:00 p.m. at Washington National Cathedral for music by Vaughan Williams, Nico Muhly,...

Te Deum Finale Concert Program  

Join the Cathedral Choral Society on Sunday, May 21 at 4:00 p.m. at Washington National Cathedral for music by Vaughan Williams, Nico Muhly,...