The C athedral C hoir
Woodrow Bynum Director of Music Lucille Beer Alto
Bryan Register Tenor
the cathedral of all saints albany, new york
Doane Stuar t
Transform your child’s life
Admission Receptions 4:00 - 6:00 p.m.
May 23, June 14, June 26 The Doane Stuart School | 199 Washington Avenue | Rensselaer, NY 12144 (518) 465-5222 | DoaneStuart.org 2
th e f r i en ds of t he c hoi r present Sunday 20 May 2 0 12
th e cat hedra l c hoir of m en an d boys Woodrow Bynum Director of Music
Lucille Beer Alto
Bryan Register Tenor
There will be a fifteen minute interval. Beverages will be available for purchase.
please switch off your cell phones and other electronic devices. 3
tucker besch adam biszick matthew brockley andrew brusic ian davis shane ferris peter horvath christopher howard paul howard clement keats wyatt kirschner jonathan lasselle dante perrotto connor reilly sergio rodriguez griffin simon silas strich sebastian vanderbeck christian wallace nolan wolfe
T he C athedral C hoir
david todd allen matthew anisfeld cameron beauchamp* matthew burton* todd chardeen john cox michael galvin richard jarrett alexander jones michael lister andrew munn* jimmy niravathu stephen piwowarski bryan register* john schreiner l. graham schultz jeremy vosburgh sherwood wise
Established in 1872, The Cathedral Choir of Men and Boys is the oldest continuously performing choir of its kind in the country. As the principal choir of The Cathedral of All Saints, the Choir of Men and Boys sings choral services in the Cathedral during the academic term. The choir enjoys an international reputation for musical excellence and acts as a vital link to the ancient choral traditions of England and Europe; all the while remaining distinctly American. In addition to its liturgical role, the choir is heard regularly in concert and has performed with The Albany Symphony,The Boston Symphony, and at The Tanglewood Music Festival. Recently the Choir was in residence at Hereford Cathedral, and guest choir at Gloucester Cathedral, England. The choir is made up of trebles (boys ages 7-14 with unchanged voices) who sing the soprano line, while a dedicated group of professional men sing the alto, tenor and bass parts. Boys rehearse twice weekly during the academic term, and the gentlemen join them once each week for musical preparation. Choir members come from all parts of the Capital region, and represent a wide variety of backgrounds, faiths, and cultures.The quality of their music making, coupled with their uncommon dedication to excellence has helped make The Cathedral Choir of Men and Boys â€œAlbanyâ€™s Boy Choirâ€? for more than 140 years. The choristers are trained according to the standards set forth by The Royal School of Church Music. As they move through the training scheme, they earn ribbons of various colors that represent their rank in the ensemble. The boys not only work hard, but they also play hard. Choir parents organize weekly dinners for the full choir, and the boys enjoy regular non-musical outings, giving them a chance to enjoy a lighter side of the chorister experience. 4
Woodrow Bynum Director of Music Woodrow Bynum was born in Arkansas in 1975 and began pursuing his musical education at The Interlochen Arts Academy before graduating summa cum laude from The University of Michigan. Following a residency at The Detroit Opera House, Bynum moved to New York City and studied at The Juilliard School and sang in the choir of Saint Thomas Church Fifth Avenue. He studied voice with Lorna Haywood, Rita Shane and Beverley Peck Johnson, and his other musical influences include Robert Glasgow, Gerre Hancock and John Scott. As a professional singer, he appears regularly in concert with orchestras and choirs alike. He has been lauded by The New York Times for his “fine free baritone register” and The Dallas Morning News as “...a gorgeous oiled-walnut baritone, elegant diction and delivery.” Recent solo appearances include Messiah with Dallas Bach Society, and St. John Passion with Saint Thomas Church Fifth Avenue. With Albany Pro Musica he was soloist in Bach’s St. John Passion, Durufle’s Requeim and Gabriel Fauré’s Requiem. He has also appeared as soloist in Beethoven’s Ninth Symphony and Mendelssohn’s Elijah. as well as Bach’s Mass in B Minor. In late 2011 he sang with Harry Christophers and The Handel & Haydn Society. at Boston Symphony Hall in Dixit Dominus (Handel). Known for his work as a choir and voice trainer, Bynum took up his post as Director of Music at The Cathedral of All Saints in 2007. The Cathedral Choir of Men and Boys sing nearly sixty choral services a year and maintain a rigorous schedule of concerts as well, including presenting Bernstein’s Chichester Psalms, Handel’s Messiah and in 2011 sacred choral works of Benjamin Britten. In March of 2012 The Cathedral Choir presented Bach’s St. John Passion with a full period orchestra. Members of The Cathedral Choir under Mr. Bynum were in residence in February, 2011 at Hereford Cathedral, England, also singing at Gloucester Cathedral to wide acclaim. Under his direction, the choir has made three recordings, including the complete performance of Handel’s Messiah with period instrument orchestra; Music for a Royal Occasion, including Mozart’s Coronation Mass and Handel’s Coronation Anthems and a collection of Benjamin Britten’s sacred choral works To Thee All Angels Cry Aloud. 5
Lucille Beer has received wide praise for her performances in opera houses and on concert stages both here and abroad and continues to enchant audiences with her distinctive timbre critics describe as rare and memorable. A native of New York City, Ms. Beer received her B.M. Degree from the Mannes College of Music and M.M. Degree from the Juilliard School where she was a student of Daniel Ferro. She was a winner of the Metropolitan Opera National Council Auditions followed by performances in numerous Met productions. Ms. Beer has appeared with the New York City Opera, Opéra de Nice, Opéra de Nantes and the Opera Theatre of St. Louis. In 2013 Ms. Beer will make her Seattle Opera debut in the role of Erda for their 50th Anniversary production of Wagner’s Ring. In March, 2012 she was the mezzo-soprano soloist in Verdi’s Requiem with the Hartford Symphony Orchestra. In January, 2011 Ms. Beer performed this same work with the Albany Symphony. Recent seasons included a critically acclaimed performance of the role of Madame de Croissy in Poulenc’s Dialogues of the Carmelites with the RESONANZ Albany Summer Festival. She has also appeared as a soloist with many symphony orchestras including the New York Philharmonic, the St. Louis Symphony, the Houston Symphony, the National Symphony, the Detroit Symphony, the Baltimore Symphony and Lincoln Center’s Mostly Mozart Festival Orchestra among others. Ms. Beer has performed with many celebrated conductors including Christoph Eschenbach, Leonard Slatkin, David Zinman and under the batons of such renowned maestros as Eric Leinsdorf with whom she made her New York Philharmonic debut in Debussy’s La Damoiselle Élue. She toured with Leonard Bernstein in his Songfest performing in Rome, Chicago, New York and Washington, DC, where the performance was broadcast live on PBS. In song recitals Ms. Beer has collaborated with notable accompanists John Wustman in her Alice Tully Hall recital debut at Lincoln Center, Brian Zeger and Warren Jones. Her new CD, Lucille Beer Sings, was released in 2010 and includes song selections of Schubert, Brahms and Fauré. Ms. Beer is currently on the voice faculty at The College of Saint Rose in Albany, New York and Schenectady County Community College.
Bryan Register, a native of North Carolina, has received critical acclaim for the fresh, bright timbre of his voice and strongly dramatic singing. Most recently, Mr. Register has been sponsored by the Wagner Society of New York and “Emerging Singers Program” sponsored by the Wagner Society of Washington D.C. who have sponsored him in learning and performing the works of Richard Wagner. He has recently performed concert and semistaged versions of ‘Siegmund’ from Die Walküre with Opera Roanoke and Opera Birmingham. He will return to sing the role of ‘Erik’ in Der Fliegende Holländer with Opera Roanoke in the fall of 2012 and the role of Siegmund from Die Walküre with The Greenwich Symphony. He will make his debut in 2013 with the English National Opera in the role of ‘Drum Major’ in Berg’s Wozzeck in 2013 and the role of Tristan in Wagner’s Tristan und Isolde with Opera Frankfurt in 2014. He is a top winner in the 2012 Liederkranz Vocal Competition (Wagner Division), winner in the 2008 Gerda Lissner Compeitition, the 2006 Sullivan Foundation Competition, the Licia Albanese/Puccini Competition and the recipient of a 2006 Grant from the Liederkranz Foundation. At Manhattan School of Music where he earned his Master of Music Degree for Singers he was awarded the Birgit Nilsson Scholarship..
Sergei Vasilievich Rachmaninoff, (or Sergey Rachmaninov) April 1, 1873 – March 28, 1943 was a Russian composer, pianist, and conductor. Born in Semyonovo, near Novgorod into a wealthy family with a strong military background, Rachmaninoff had his first piano lessons with his mother at the family estate at Oneg. After a decline in their fortunes, the family moved to Saint Petersburg where Rachmaninoff studied at the conservatory, before going on to Moscow, where he studied piano with Nikolay Zverev and Alexander Siloti (a student of Franz Liszt and Rachmaninoff ’s cousin). He also studied harmony with Anton Arensky and counterpoint with Sergei Taneyev. While still a student he wrote a one act opera Aleko, and a set of piano pieces, Op. 3, which contains the popular and famous Prelude in C Sharp Minor, a piece he came to detest through 40 years of audiences demanding it as an encore at his piano recitals. Already in his early years he showed great composing skills. His first serious pieces for the piano were composed and performed when he was thirteen years old during his stay as student at Zverev’s. In 1892, at an age of 19, he completed his first piano concerto. The Concerto was later revised in 1917. Rachmaninoff ’s First Symphony was premiered in 1897, but was a complete flop with the critics. Some have suggested that this was largely due to the conducting of Alexander Glazunov, who disliked the piece and under-rehearsed it. This disastrous reception, coupled with his distress over the Orthodox church’s objection to his marrying a cousin, Natalia Satina, led to bouts with melancholia. He wrote little music until he began a course of autosuggestive therapy with psychologist Nikolai Dahl. Rachmaninoff quickly recovered his confidence; one result of these sessions was the Piano Concerto No. 2, written 1900/1901, which Rachmaninoff dedicated to Dr. Dahl. The piece was very well received at its premiere, at which Rachmaninoff played the solo part himself, and remains one of his most popular compositions, gaining fame from its use in the films Brief Encounter and The Seven Year Itch as well as having its themes made into popular songs in the 1940s. Rachmaninoff ’s spirits were further bolstered when, after years of engagement, he was finally allowed to marry Natalia. They were married by an army priest in 1902; their happy union lasted until the composer’s death. Due to several successful appearances as a conductor, Rachmaninoff was offered a job as conductor at the Bolsjoj ??? theatre in 1904. Political reasons lead to his resignment two years later. In 1908 he moved to Italy and later to Dresden while waiting for the situation in Russia to normalize. The Second Piano Concerto secured Rachmaninoff ’s reputation as a composer, but he was also a very well known and highly respected pianist. His technical perfection and rhythmic drive were legendary and his large hands were able to cover a twelfth. He made many of recordings of his own music as well as the standard repertoire. Rachmaninoff made his first recordings for Edison Records on their ‘Diamond Disc’ records, as at the time the Edison company had the best audio fidelity in recording the 8
piano. Rachmaninoff did not consider himself a great pianist, and thought his own performances variable in quality. He therefore asked that only his recorded performances that he personally approved be commercially issued. The Edison Company, possibly through simple carelessness, issued multiple alternative takes of Rachmaninoff ’s recordings (as was common in the gramophone record industry at the time for reasons of ease of mass production of records from multiple masters). Rachmaninoff was angered, left Edison, and thereafter recorded for the Victor Talking Machine Company (and later its successor, RCA Victor), which was pleased to abide by Rachmaninoff ’s restrictions and proudly advertised him as one of the great artists who recorded for the Victor Company. Rachmaninoff also made a number of piano rolls. Initially disbelieving that a roll of punched paper could provide an accurate record, he was invited to listen to a master roll of his first recording in 1919 for the Ampico company. He is then quoted as saying ‘Gentleman - I, Sergei Rachmaninoff, have just heard myself play!’. He continued to record for Ampico until around 1929. It was as a pianist that Rachmaninoff made his first tour of the United States in 1909, an event for which he wrote his Piano Concerto No. 3. This successful tour made him very popular in America, and he emigrated to New York following the Russian Revolution of 1917. His compositional output then started to slow down to some degree, partly because he was required to spend much of his time performing in order to support his family, but the main cause was homesickness.When he left Russia, it was as if he had left behind his inspiration. Nevertheless, his Rhapsody on a Theme of Paganini, one of his best known works, was written in the United States in 1934. Rachmaninoff went on to write his Symphony No. 3 (1935-36) and the Symphonic Dances (1940), his last completed work. He fell ill during a concert tour in the winter of 1943. Always a heavy smoker, he was diagnosed with lung cancer. Prophetically, his last recital, given in February 1943, featured Chopin’s B Flat Minor Sonata - which includes the famous funeral march. He died on March 28, 1943 in Beverly Hills, California, having completed four piano concertos, three symphonies, two piano sonatas, the choral symphony The Bells (based on the poem by Edgar Allan Poe), a setting of thevespers and many songs, amongst other works. Most of his pieces are in a quite traditional romantic style, rather akin to Tchaikovsky, although a few of his later works, such as the fourth piano concerto and the Variations on a theme of Corelli are in a more emotionally detached style, which has made them rather less popular with audiences. In 1943 Rachmaninoff and his wife became American citizens. His last recital, given on 17 February 1943 included Chopin’s Piano Sonata No. 2, which contains the famous Marche funèbre (Funeral March) a permanent tribute to Rachmaninoff. Rachmaninoff died on 28 March 1943, and is interred in Kensico Cemetary, Valhalla, New York. At his request, the fifth movement of All Night Vigil was sung at his funeral. 9
Nationalism was a potent force in nineteenth-century music, especially in Russia. Composers such as Glinka, Dargomyzhsky, and The Five (Balakirev, Borodin, Cui, Mussorgsky, and Rimsky-Korsakov) turned to national subjects and folk songs as a means to free themselves from the domination of foreign music. Somewhat surprisingly, a similar movement existed in the field of Russian church music. Despite the fact the Orthodox Church prided itself on its insular sense of tradition, unbroken by the ideals of Reformation and Protestantism, by the beginning of the nineteenth century the music of the Orthodox Church was essentially western in design and form, and had largely forgotten its chant roots. The nationalist revival in the field of sacred music was centred on an institution, the Moscow Synodal School of Church Singing. Stepan Smolensky, Director of the Synodal School (1886-1901) and Professor of Church Music at the Moscow Conservatory, encouraged composers to incorporate the old chants and techniques of Russian choral folk songs in their works. Orthodox liturgical music reacquired a specifically Russian character, and the period from the 1880s until the 1917 Bolshevik Revolution constituted a golden age in its production. A student at the Moscow Conservatory at the beginning of this period and a member of Smolensky’s class in 1890-91, Rachmaninov’s first sacred works were minor and remained unpublished during the composer’s lifetime. In 1897 Smolensky suggested he set the standard Orthodox Eucharist service, the Liturgy of St. John Chrysostom. At the time Rachmaninov was undergoing a compositional crisis following the disastrous premiere of his First Symphony, and it was not until 1910 that the Liturgy emerged as Rachmaninov’s first major sacred work. After a subsequent performance of the Liturgy Rachmaninov expressed dissatisfaction with its style, providing the impulse to compose the All Night Vigil. Commonly but incorrectly called the ‘Vespers,’ Rachmaninov’s All Night Vigil is dedicated to the memory of Stepan Smolensky. It was premiered, as a benefit for war relief, by the Moscow Synodal Choir on March 10, 1915. Public and critical reaction was enthusiastic, and the Vigil received four more performances that same month. Kastalsky wrote, “Rachmaninov’s new composition, All Night Vigil, is undoubtedly a contribution of great importance to our church’s musical literature … Of unusual value is this artist’s loving and conscientious attitude towards our church chants, for in this lies the promise of a splendid future for our liturgical music.” Sadly, this would not be the case; after the Revolution the Moscow Synodal School and its Choir were disbanded, religion was banned, and Rachmaninov went into self-exile in the West, never to compose another sacred work. The All Night Vigil has since become part of the canon of western art music, And it is important to note at the outset that the All Night Vigil is not a church service. Although Rachmaninov never left any indication of his intentions, there is strong evidence to suggest that the All Night Vigil is a concert rather than a liturgical work. Instead of composing music for the entire service (as he had done in his Liturgy), Rachmaninov set fifteen ordinary (unchanging) hymns from the Vigil service, dispensing with the liturgical minutiae. The exclamations for “deacon and priest” you will hear at the beginning of the performance are not part of Rachmaninov’s score.The archi10
tecture of the work reveals the secure hand of a mature composer – by the time the “Vigil” was written, Rachmaninov had already produced his Second and Third Piano Concertos and Second Symphony. The Orthodox authorities specified that certain of the hymns should be set using the church chants (the ancient znamenny melodies, along with the more recent Greek and Kiev chants). Rachmaninov included the prescribed chants in his Vigil, but also composed new chants for the remaining movements, “conscious counterfeits” that are indistinguishable from real chants by all except specialists. It is this consistent use of chant as a basis that unifies the All Night Vigil as a cycle. However, Rachmaninov had a deeper stylistic affinity with chant: “Already beginning with the First Symphony, his works constantly abound with melodic turns resembling znamenny chant, which became organic and integral elements of his own musical language.” One example is the opening of No. 10 from the All Night Vigil, a newly-composed ‘chant’ which strongly resembles the initial melody of the Third Piano Concerto (brought into prominence by the film Shine). Rachmaninov also had a life-long fascination with the Latin Dies Irae chant. One of the Vigil’s most obvious and attractive features is its very Russianness, “a monumental epic canvas, worthily continuing the nationalistic traditions of the Mighty Five.” The composition of the All Night Vigil in the midst of World War One was in part an act of patriotism; the old church chants it contained were for Rachmaninov the embodiment of the Russian soul. The most characteristic sonorities of a Russian choir are a result of the low voices, in particular the basses. There are many examples throughout the Vigil, but the most graphic is the bass descent to a subterranean low B flat at the end of No. 5: “I knew the voices of my countrymen, and I well knew the demands I could make upon Russian basses!” The All Night Vigil can be appreciated as a choral symphony. The use of instruments is forbidden in the Orthodox Church, so all singing is of necessity unaccompanied. This restriction led composers to expand and develop the expressive power of the choir using orchestral techniques – registral and dynamic extremes, contrasts in texture, etc. Colouristic devices employed by Rachmaninov include humming (which incidentally would be frowned upon by the Orthodox authorities, since removing the text converts the singing voice into an instrument) and the onomatopoeic sound of bells in Nos. 7 and 12. While orchestral in scope, this is not to say that the text is unimportant. On the contrary, Rachmaninov’s music is always responsive to the smallest nuances in the text, which encapsulates the central themes of the Christian faith. While some of the texts are unfamiliar, many are well known in the Western Church: Nunc Dimittis (No. 5), Ave Maria (6), Magnificat (11), Gloria and Te Deum (12). When discussing modern music in an interview, Rachmaninov observed of contemporary composers, “They have not the capacity to make their works ‘exult,’ as Hans von Bülow called it. They mediate, protest, analyze, reason, calculate, and brood – but they do not exult.” The All Night Vigil ‘exults’ – this is as good a reason as any for its popularity, with believer and nonbeliever alike. Stephen Wright
Chor Leoni Men’s Choir Vancouver, British Columbia, Canada 11
Vosstanite. Ghospodi, blagoslovi. Slava sviatey,yedinosushchney, zhivotvoriashchey, i nerazdelney Troytse, fsegda, nine i prison, e vo veki vekov. Prikhozhan’e: Amin. Arise! Master, bless! Glory to the Holy, Consubstantial, Life-Creating, and Undivided Trinity, now and ever, unto ages of ages. Congregation: Amen.
 Amin. PRIIDITE, POKLONIMSYA Tsarevi nashemu Bogu. Priidite, poklonimsya i pripadem Khristu Tsarevi nashemu Bogu. Priidite, poklonimsya i pripadem Samomu Khristu Tsarevi i Bogu nashemu. Priidite, poklonimsya i pripadem Emu.
Amen. COME, LET US WORSHIP God, our King. Come let us worship and fall down before Christ, our King and our God. Come, let us worship and fall down before the very Christ, our King and our God. Come, let us worship and fall down before him.  BLAGOSLOVI, DUSHE MOYA, GOSPODA, blagosloven esi, Gospodi. Gospodi Bozhe moy, vozvelichilsya esi zelo. Blagosloven esi, Gospodi. Vo ispovedaniye i v velelepotu obleklsya esi. Blagosloven esi, Gospodi. Na gorakh stanut vody. Divna dela Tvoya, Gospodi. Posrede gor proydut vody. Divna dela Tvoya, Gospodi Vsya premudristiyu sotvoril esi. Slava Ti, Gospodi, sotvorivshemu vsya.
BLESS THE LORD, O MY SOUL, blessed art thou, O Lord. O Lord my God, thou art very great. Thou art clothed with honour and majesty. Blessed art thou, O Lord. The waters stand upon the mountains. Marvellous are thy works, O Lord. In wisdom hast thou made all things. Glory to thee, O Lord, who hast created all. 12
 BLAZHEN MUZH, izhe ne ide na sovet nechestivykh. Alliluya. Yako vest Gospod put pravednykh, i put nechestivykh pogibnet. Alliluya. Rabotaite Gospodevi so strakhom i raduitesya Emu s trepetom. Alliluya. Blazheni vsi nadeysushchisya Nan. Alliluya. Voskresni, Gospodi, spasi mya, Bozhe moy. Alliluya. Gospodene est spaseniye, i na lyudekh Tvoikh blagosloveniye Tvoye. Alliluya. Slava Otsu, i Synu, i Svyatomu Dukhu, i nyne i prisno i vo veki vekov. Amin. Alliluya. Slava Tebe, Bozhe.
BLESSED IS THE MAN who walks not in the counsel of the wicked. Alleluia. For the Lord knows the way of the righteous but the way of the wicked will perish. Alleluia. Serve the Lord with fear and rejoice in him with trembling. Alleluia. Blessed are all who take refuge in him. Arise, O Lord! Save me, O my God! Alleluia. Salvation is of the Lord; and thy blessing is upon thy people. Alleluia. Glory to the Father and to the Son and to the Holy Spirit, both now and ever and unto ages of ages. Amen. Alleluia. Glory to thee, O God.  (Vechernyaya Pesn) SVETE TIKHYI svyatyya slavy, Bezsmertnago, Otsa Nebesnago, Svyatago Blazhennago, Iisuse Khriste! Prishedshe na zapad solntsa, videvshe svet vechernii, poyem Otsa, Syna i Svyatago Dukha, Boga! Dostoin esi vo vsya vremena pet byti glasi prepodobnymi, Syne Bozhii, zhivot dayai, temzhe mir Tya slavit.
(Evening Hymn) GLADSOME LIGHT of the holy glory of the Immortal One, the Heavenly Father, holy and blessed, O Jesus Christ. Now that we have come to the setting of the sun and behold the light of evening, we praise the Father, Son and Holy Spirit, God. Thou art worthy at every moment to be praised in hymns by reverent voices. O Son of God, thou art the giver of life; therefore all the world glorifies thee.  NYNE OTPUSHCHAYESHI raba Tvoego, Vladyko, po glagolu Tvoyemu s mirom: yako videsta ochi moi spaseniye Tvoye, ezhe esi ugotoval pred litsem vsekh lyudei, svet vo otkrovenie yazykov, i slavu lyudei Tvoikh Izrailya.
LORD, NOW LETTEST THOU thy servant depart in peace, according to thy Word. For mine eyes have seen thy salvation which thou hast prepared before the face of all people. A light to lighten the Gentiles and the glory of thy people, Israel.  (Tropar) BOGORODITSE DEVO, raduisya, Blagodatnaya Mariye, Gospod s Toboyu. Blagoslovenna Ty v zhenakh, i blagosloven plod chreva Tvoyego, yako Spasa rodila esi dush nashikh.
(Troparion) REJOICE O VIRGIN Theotokos, Mary full of grace, the Lord is with thee. Blessed art thou among women, and blessed is the fruit of thy womb, for thou has borne the Saviour of our souls.  SHESTOPSALMIYE Slava v vyshnikh Bogu, i na zemli mir, v chelovetsekh blagovoleniye. Gospodi, ustne moyi otverzeshi, i usta moya vozvestyat khvalu Tvoyu.
THE SIX PSALMS Glory to God in the highest, and on earth peace, goodwill among men. O Lord, open thou my lips and my mouth shall proclaim thy praise.  (Polyeleyinye Stikhi) KHVALITE IMYA GOSPODNE. Alliluya. Khvalite, rabi, Gospoda. Alliluya. Blagosloven Gospod ot Siona, zhivyi vo Iyerusaleme. Alliluya. Ispovedaitesya Gospodevi, yako blag. Alliluya. Yako v vek milost Ego. Alliluya. Ispovedaitesya Bogu nebesnomu. Alliluya. Yako v vek milost Ego. Alliluya.
(Polyeleos Verses) PRAISE THE NAME OF THE LORD. Alleluia. Praise the Lord, O you his servants. Alleluia. Blessed be the Lord from Zion, he who dwells in Jerusalem. Alleluia. O give thanks to the Lord for he is good. Alleluia. For his mercy endureth for ever. Alleluia. O give thanks unto the God of heaven. Alleluia. For his mercy endureth for ever. Alleluia. Interval
 (Evlogitaria) BLAGOSLOVEN ESI, GOSPODI, nauchi mya opravdaniem Tvoim. Angelskiy sobor udivisya, zrya Tebe v mertvykh vmenivshasya, smertnuyu zhe, Spase, krepost razorivsha, i s Soboyu Adama vozdvigsha i ot ada vsya svobozhdsha. Blagosloven esi, Gospodi ... Pochta mira s milostivnymi slezami, o uchenitsy, rastvoryayete; blistayaisya vo grobe angel, mironositsam veshchashe: Vidite vy grob, i urazumeite: Spas bo vozkrese ot groba’. Blagosloven esi, Gospodi ... Zelo rano mironositsy techakhu ko grobu Tvoyemu rydayushchiya. No predsta k nim angel, i reche:’ ‘Rydaniya vremya presta ne plachite, voskresnye zhe apostolom rtsyte.’ Blagosloven esi, Gospodi ... Mironositsy zheny, s miry prishedshyya ko grobu Tvoyemu, Spase, rydakhu. Angel zhe k nim reche, glagolya: ‘Chto s mertvymi zhivago pomyshlyayete? Yako Bog vo voskrese ot groba’. Slava Otsu, i Synu, i Svyatomu Dukhu. Poklonimsya Otsu, i Ego Synovi, i Svyatomu Dukhu, Svyatei Troitse vo edinom sushchestve, s Serafimy zovushche: Svyat, svyat, svyat esi Gospodi. I nyne, i prisno, i vo veki vekov. Amin. Zhiznodavtsa rozhdshi, grekha, Devo, Adama izbavila esi. Radost zhe Eve v pechali mesto podala esi: padshiya zhe ot zhizni, k sei napravi, iz Tebe voplotivyisya Bog i chelovek. Alliluya. Slava Tebe, Bozhe.
(Evlogitaria) BLESSED ART THOU O LORD; teach me thy statutes. The angelic host was filled with awe when it saw thee among the dead. By destroying the power of death, O Saviour, thou didst raise Adam and save all men from hell. Blessed art thou … ‘Why do you mingle myrrh with your tears of compassion, O ye women disciples?’ cried the radiant angel in the tomb to the myrrh-bearers. ‘Behold the tomb and understand: the Saviour is risen from the dead.’ Blessed art thou … Very early in the morning the myrrh-bearers ran with sorrow to thy tomb, but an angel came to them and said: ‘The time for sorrow has come to an end. Do not weep, but announce the resurrection to the apostles.’ Blessed art thou … The myrrh-bearers were sorrowful as they neared the tomb but the angel said to them: ‘Why do you number the living amongst the dead? Since he is God, He is risen from the tomb.’ Glory to the Father and to the Son and to the Holy Spirit. We worship the Father, and his Son, and the Holy Spirit. The Holy Trinity, one in essence. We cry with the seraphim: ‘Holy, holy, holy art thou, O Lord.’ Both now and ever and unto ages of ages. Amen. 15
Since thou didst give birth to the Giver of Life, O Virgin, thou didst deliver Adam from his sin. Thou gavest joy to Eve instead of sadness. The God-man who was born of thee has restored to life those who had fallen from it. Alleluia. Glory to thee, O God.  VOSKRESENIYE KHRISTOVO VIDEVSHE, poklonimsya Svyatomu Gospodu Iisusu, edinomu bezgeshnomu. Krestu Tvoyemu poklanyayemsya, Khriste, i svyatoye voskreseniye Tvoye poyem i slavim: Ty bo esi Bog nash, razve Tebe inogo ne znayem, imya Tvoye imenuem. Priidite vsi vernii, poklonimsya svyatomu Khristovu voskreseniyu: se bo priide krestom radost vsemu miru, vsegda blagosloyashche Gospoda, poyem voskreseniye Ego; raspyatiye bo preterpev, smertiyu smert razrushi.
HAVING BEHELD THE RESURRECTION OF CHRIST, let us worship the holy Lord Jesus, the only sinless one. We venerate thy cross, O Christ, and we hymn and glorify thy holy resurrection, for thou art our God and we know none other than Thee. We call on thy name. Come, all you faithful, let us venerate Christâ€™s holy resurrection. For behold, through the cross joy has come into all the world. Ever blessing the Lord, let us praise his resurrection, for by enduring the cross for us he has destroyed death by death.  VELICHIT DUSHA MOYA GOSPODA, i vozvradovasya dukh moy o Bozhe Spase moyem. Chestneyshuyu Kheruvim i slavneyshuyu bez sravneniya Serafim, bez istleniya Bogo Slova rozhdshuyu, sushchuyu Bogoroditsu Tya velichayem. Yako prizre na smireniye raby Svoyeya. Se bo otnyne ublazhat mya vsi rodi. Chestneyshuyu Kheruvim Yako sotvori mne velichie silny, i svyato imya Ego, i milost Ego v rody rodov boyashchymsya Ego. Chestneyshuyu Kheruvim Nizlozhi silniya so prestol, i voznese smirennyya. Alchushchiya ispolni blag, i bogatyashchiyasya otpusti tshchi. Chestneyshuyu Kheruvim Vospriyat Izrailya otroka svoyego, pomyanuti milosti, yakozhe glagola ko otsem nashym, Avraamu i semeni ego, dazhe do veka. Chestneyshuyu Kheruvim
MY SOUL MAGNIFIES THE LORD and my spirit rejoices in God my Saviour. More honourable than the cherubim and more glorious beyond compare than the seraphim, without defilement thou gavest birth to God the Word, true Theotokos, we magnify thee. For he has regarded the lowliness of his handmaiden. For behold, from henceforth all generations shall call me blessed. 16
More honourable … For he that is mighty hath done great things for me and holy is his name, and his mercy is on them that fear him from generation to generation. More honourable … He has put down the mighty from their thrones and has exalted those of low degree; he has filled the hungry with good things and the rich he has sent empty away. More honourable … He has helped his servant Israel, in remembrance of his mercy, as he promised to our forefathers, to Abraham and his seed for ever.  SLAVOSLOVIE VELIKOYE Slava v vyshnikh Bogu, i na zemli mir, v chelovetsekh blagovoleniye. Khvalim Tya, blagoslovim Tya, klanyayem Ti sya, slavoslovim Tya, blagodarim Tya velikiya radi slavi Tvoyeya. Gospodi, Tsaryu Nebesny, Bozhe Otche, vsederzhitelyu. Gospodi, Syne edinorodny, Iisuse Khriste i Svyatye Dushe. Gospodi Bozhe, Agnche Bozhiy, syne Otech, vzemlyai grekh mira, pomiluy nas: vzemlyai grekhi mira, priimi molitvu nashu. Sedyai odesnuyu Otsa, pomiluy nas. Yako Ty esi edin svyat, Ty esi edin Gospod, Iisus Khristos, v slavu Boga Otsa. Amin. Na vsyak den blagoslovlyu Tya i voskhalyu imya Tvoe vo veki i v vek veka. Spodobi, Gospodi, v den sei bez grekha sowkhranitisya nam. Blagosloven esi, Gospodi, Bozhe Otets nashikh, i khvalno i proslavleno imya Tvoye vo veki. Amin. Budi, Gospodi, milost Tvoya na nas, yakozhe upovakhom na Tya. Blagosloven esi, Gospodi, nauchi mya opravdaniem Tvoyim. Gospodi pribezhishche byl esi nam v rod i rod. Az rekh: Gospodi, pomiluy mya, istseli dushu moyu, yako sogreshikh Tebe. Gospodi, k Tebe pribegokh, nauchi mya tvoriti volyu Tvoyu, yako Ty esi Bog moy, yako u Tebe istochnik zhivota. Vo svete Tvoem uzrim svet. Probavi milost Tvoyu vedushchym Tya. Svyatyi Bozhe, Svyatyi Krepkyi, Svyatyi Bezsmertnyi, pomiluy nas. Slava Otsu, i Synu, i Svyatomu Dukhu, i nyne i prisno, i vo veki vekov. Amin. Svyatyi Bozhe, Svyatyi Krepkyi, Svyatyi Bezsmertnyi, pomiluy nas.
THE GREAT DOXOLOGY Glory to God in the highest and on earth peace, goodwill toward men. We praise thee, we bless thee, we worship thee, we glorify thee, we give thanks to thee for thy great glory. O Lord, Heavenly King, God the Father Almighty, O Lord, the only begotten Son, Jesus Christ and the Holy Spirit. O Lord God, Lamb of God, Son of the Father, who takest away the sins of the world, have mercy on us. Thou who takest away the sins of the world, receive our prayer. Thou who sittest at the right hand of the Father, have mercy on us. For thou alone art holy, thou alone art the Lord, Jesus Christ, to the glory of God the Father. Amen. Every day I will bless thee and praise thy name for ever and ever.Vouchsafe, O Lord, to keep us this day without sin. Blessed art thou, O Lord, God of our fathers, and 17
praised and glorified is thy name forever. Amen. Let thy mercy O Lord, be upon us, as we have set our hope on thee. Blessed art thou, O Lord, teach me thy statutes. Lord, thou hast been our refuge from generation to generation. I said: ‘Lord have mercy on me, heal my soul, for I have sinned against thee. Lord I flee to thee, teach me to do thy will, for thou art my God, for with thee is the fountain of life and in thy light we shall see light. Continue thy mercy on those who know thee. Holy God, Holy Might, Holy Immortal, have mercy on us. Glory to the Father, and to the Son, and to the Holy Spirit, both now and ever and unto ages of ages. Amen. Holy Immortal, have mercy on us. Holy God, Holy Mighty, Holy Immortal, have mercy on us.  (Tropar voskresen 1) DNES SPASENIYE miru byst, poyem voskresshemu iz groba i nachalniku zhizni nasheya: razrushiv bo smertiyu smert, pobedu dade nam i veliyu milost.
(Resurrection Troparion 1) TODAY SALVATION HAS COME to the world. Let us sing to him who rose from the dead, the author of our life. Having destroyed death by death he has given us the victory and great mercy.  (Tropar voskresen 2) VOSKRES IZ GROBA i uzy rasterzal esi ada, razrushil esi osuzhdeniye smerti, Gospodi, vsya ot setei vraga izbavivyi, yavivyi zhe Sebe apostolom Tvoim, poslal esi ya na propoved, i temi mir Tvoi podal esi vselennei, edine mnogomilostive.
(Resurrection Troparion 2) THOU DIDST RISE FROM THE TOMB and burst the bonds of Hades. Thou didst destroy the condemnation of death, O Lord, releasing all mankind from the snares of the enemy. Thou didst show thyself to thine apostles, and didst send them forth to proclaim thee; and through them thou hast granted thy peace to the world, O thou who art plenteous in mercy.  (Kontakion) VZBRANNOY VOYEVODE pobeditelnaya, yako izbavlshesya ot zlykh, blagodarstvennaya vospisuem Ti rabi Tvoi, Bogoroditse. No yako imushchaya derzhavu nepobedimuyu, ot vsyakikh nas bed svobodi, da zovyem Ti: ‘Raduisya, nevesto Nenevestnaya.’
(Kontakion) TO THEE, THE VICTORIOUS LEADER of triumphant hosts, we thy servants, delivered from evil, offer hymns of thanksgiving, O Theotokos. Since thou dost possess invincible might, set us free from all calamities, so that we may cry to thee, ‘Rejoice, O unwedded Bride!’
The Weeping Icon of the Mother of God “Of the Sign” Ikona Bozhey Materi Znamenie from Novgorod (the birthplace of Rachmaninoff) depicts the Most Holy Theotokos with prayerfully uplifted hands, and the Divine Infant is at Her bosom in a mandorla (or sphere). The icon depicts the Theotokos during the Annunciation at the moment of saying, “May it be done to me according to your word.”(Luke 1:38).The image of the Christ child represents him at the moment of his conception in the womb of the Virgin. He is depicted vested in divine robes, and often holding a scroll, symbolic of his role as teacher.This depiction of the Mother of God is regarded as one of the very first of Her iconographic images. In the mausoleum of St Agnes at Rome is a depiction of the Mother of God with hands raised in prayer with the Infant Christ sitting upon Her knees.This depiction is ascribed to the fourth century.There is also an ancient Byzantine icon of the Mother of God “Nikopea” from the sixth century, where the Most Holy Theotokos is depicted seated upon a throne and holding in Her hands an oval shield with the image of the Savior Emmanuel. Icons of the Mother of God, known as “The Sign”, appeared in Russia during the eleventh-twelfth centuries, and were so called because of a miraculous sign from the Novgorod Icon in the year 1170. In that year, the allied forces of Russian princes marched to the very walls of Novgorod. For the people of Novgorod, their only remaining hope was that God would help them. Day and night they prayed, beseeching the Lord not to forsake them. On the third night, Bishop Elias of Novgorod heard a wondrous voice commanding that the icon of the Most Holy Theotokos be taken out of the Church of the Savior’s Transfiguration on Ilina Street, and carried along the city’s walls. While the icon was being carried, the enemy fired arrows at the procession, with one of the arrows piercing the iconographic face of the Mother of God. Tears trickled from Her eyes, and the icon turned its face towards the city. After this divine Sign, an inexpressible terror suddenly gripped the enemy. They began to strike one another, and taking encouragement from the Lord, the people of Novgorod fearlessly gave battle and won the victory. Image courtesy: The Orthodox Church in America 19
The Friends of the Choir Founded by long-time Director of Music, Dr. Lloyd Cast, The Friends of The Choir of The Cathedral of All Saints is a non-profit organization that seeks to provide financial, logistical, and administrative support to The Cathedral Choir of Men and Boys. Each year, The Friends provide partial and in some cases full scholarships to choristers who attend the Royal School of Church Music’s annual Training Course for Boys in Montreal. The Friends provide funding for the choir’s publicity, sponsor concerts, fund a variety of visiting artists and conductors, assist with chorister recruitment, and provide support for choir travel. The Friend’s membership roster contains hundreds of individuals and families who give of their time and money to support this unique choral tradition. In addition to their support of the choir, The Friends of the Choir provide full financial support for The Lloyd Cast Organ Fellowship, a full-time residency for a deserving young musician. This Fellowship, named for The Cathedrals’ long-serving Director of Music, is unique in the country in its support for emerging organists.The inaugural Lloyd Cast Organ Fellow, Robert Richter, a graduate of Oberlin College, served from 2007-2009 and went on to become Assistant Music Director at St. Pauls’ Church in Indianapolis. Our current Organ Fellow, L. Graham Schultz, completed his studies at the Cleveland Institute of Music, where he was a pupil of Todd Wilson. L. Graham Schultz
The Cathedral Choir Alumni
The Friends of the Choir and The Cathedral Music Department are happy to maintain and renew contact with former Cathedral Choristers. If you know any former Choristers, please let them know we would love to hear from them. We also have a collection of many years of Choir photos with no names or years to identify them. If you would like to help identify any Choristers in the photo below, or any other photos, or just make contact again, please reach us via the Cathedral office, the Cathedral website (www.thecathedralofallsaints.org), Facebook, or email us at email@example.com.
Circa 1956 20
The Friends of The Choir of The Cathedral of All Saints, inc. A 501(c)3 not-for-profit corporation governed by a Board of Directors Andrew Howard
David Todd Allen
The Reverend Allen Carpenter
The Venerable David J. Collum
Nancy A Potter Kendall Reilly
The Friends of the Choir of The Cathedral of All Saints, inc. 62 south swan street albany, new york 12210 www.thecathedralofallsaints.org Email: firstname.lastname@example.org Acknowledgements The Director of Music wishes to thank the following people for their artistic and logistical assistance. The Dean & Chapter, Clergy and Staff of The Cathedral of All Saints The Cathedral Choir of Men and Boys The Choir Parents The Friends of the Choir Ms. Nancy Potter & Mr. Lon Kirschner, Design and Photography John Cox John Scott Glenn Miller The Reverand Nixon McMillan, Steven Rosenberry and St. Paul’s Episcopal Church for the gracious use of their facility. Mark Dwyer Konstatin Stolov Michael Wayne Smith Graham Schultz Vladimir Morosan, Alexander Ruggieri and Musica Russica Editions 21
THE CATHEDRAL CHOIR OF MEN AND BOYS
Auditions are welcome, by appointment for boys aged 7-12. For more information visit www.thecathedralofallsaints.org or call 518-465-1342.
The perfect gift is the gift of music. Two great recordings from The Cathedral Choir of Men and Boys.
“To Thee All Angels Cry Aloud” The Cathedral Choir’s new release of sacred choral music of Benjamin Britten. Available tonight at this performace ($20), at the Cathedral Book Stall, order from cdbaby.com. or download from iTunes or Amazon.com
The Cathedral Choir’s live recording of
hailed as one of “shining” glory...” Available as a 2-CD set for $20. Available tonight at this performace, at the Cathedral Book Stall, cdbaby.com or download from iTunes or Amazon.com 22
Dear Friends, The past year has been an exciting one for The Friends of the Choir and the The Cathedral Choir of Men and Boys. Five years ago the Choir was down to four (4) trebles and was in search of a new Director of Music. Today, the Choir has a roster of twenty-four (24) trebles and novices, and a Director of Music in Woodrow Bynum that has molded this group of dedicated musicians into one of the finest choirs of men and boys in North America. In addition, four years ago The Friends of the Choir created the Lloyd Cast Organ Fellowship, one of the very few opportunities in this country for aspiring organists to hone their craft. With a tremendous amount of effort from our committed volunteers and board members, The Friends has also sent the largest contingent choristers to the Royal School of Church Music’s Montreal Summer Course in that program’s history, provided vestments and equipment, recorded, produced and released a new CD “To Thee All Angels Cry Aloud” Sacred Choral Works of Benjamin Britten in December of 2011, and served as the marketing backbone to The Cathedral Choir of Men and Boys. If you are not yet a member of The Friends of the Choir, I would ask that you seriously consider joining our ranks. In a day and age when music programs are under constant financial pressure, your tax deductible donation would be invaluable in helping us ensure the continuation of this historic program and allow us to host the type of concerts you are now about to experience. I hope that you enjoy this afternoon’s program and encourage you to consider becoming a member of The Friends of the Choir. Kindest regards, Andrew B. Howard, President
The Cathedral Choir of Men and Boys
8 April 2012
Front row from left: Andrew Brusic, Silas Strich, Jonathan Lasselle, Adam Biszick, Wyatt Kirschner, Clement Keats, Paul Howard, Matthew Brockley, Peter Horvath, Christian Wallace. 2nd row from left: Ian Davis, Clayton (Tucker) Besch, Shane Ferris, Nolan Wolfe, Connor Reilly, Sergio Rodriguez, Griffin Simon, Christopher Howard, Head Chorister, Sebastian Vanderbeck, Dante Perotto. Back row, Woodrow Byrum, Director of Music, John Schreiner, James Niravathu, Nicholas Wiggins, Alexander Jones, Todd Chardeen, Jeremy Vospburgh, Todd Allen, Michael Galvin, Stephen Piwowarski, Sherwood Wise, Colin Helie. Not shown: L. Graham Schultz, Lloyd Cast Organ Fellow.
With our grateful thanks to all our Donors.
Seraphim $5000 and up Anonymous Mr. & Mrs. Roger A. Hannay Angels $1000-$2499 Mr. Woodrow Bynum Mr. & Mrs. Charles Dumas Mr. Andrew & Dr. Elizabeth Howard Dr. Peter M Horvath & Dr.Virginia Giugliano Mr. Lon I. Kirschner & Ms. Nancy A. Potter
President’s Club $750-$999 Mr. & Mrs. Clayton L Besch, III Saint $500-$749 Mrs. J. Cameron Brown, Jr. Ms. Marirose Blum Bump The Venerable David J. & Mrs. Elizabeth Collum Ms. Steffie L. Kirschner Dr. & Mrs. Leonard Slade, Jr. The Very Rev. Marshall J.Vang Benefactor $250-$499
The Rev. Allen D. Carpenter Mr. & Mrs. Donald Csaposs Mr. Gene E. MacKay Ed and Nancy Ferree Mr. & Mrs. Jeremy Vosbugh Ms. Wendy Ide Williams
Sponsors $100-249 Ms. Helen M. Allen The Rt. Rev. David S. Ball Dr. Sylvia Barnard Mr. & Mrs. John Biszick Mr. Terrence M. Boyle Mr. Kirkham Cornwell, Jr. Mrs. Betty Edge Mr. John P. Freeman Mr. & Mrs. Harold Geurtze Mr. James E. Gwynn Mr. & Mrs. Leif Hartmark Canon Kay C. Hotaling Mr. & Mrs. Richard W. Howie The Very Rev. Canon Harry Krauss Mr. Richard J Lenehan Ms. Charlotte M. Mason Mrs. Bettie Jane McCabe Dr. John C. Mesch The Rev. David Wm. Mickiewicz Mr. & Mrs. John O’Grady Mr. L. Graham Schultz Ms. Anne Schomaker Ms. Jen Simon Ms. Julia Smart Mr. & Mrs. Gregory Speck Ms. Heidi S. Thorp Mr. Tim Truscott &
Ms. Judy Martin Mr. & Mrs. James Wolfe
Patron $50-$99 Mr. George N. Baldwin III Mr. & Mrs. Stephen Beecher The Rev. Harold W. Benson Mr. & Mrs. Clayton L Besch, Jr Mr. James C. Brush Dr. Brian Bush Mrs. Lucille Butz Mr. & Mrs. Robert Carton Mr. & Mrs. C. Thomas Clark Mr. Todd Chardeen Ms. Nancy A. Costello Mrs. Ernestine J. Crum Dr. & Mrs. Martin T. Davis Mr. Michael J. Desimone Mr. & Mrs. Mark Dwyer Mrs. Joan B. Ecker The Rev. Paul Evans Ms. Martha Fleming Mr. & Mrs. Shane Gilchrest Mr.William L. Gordon Mr. & Mrs. Jay Harold Jakovic Dr. David Griggs Janower Mr. & Mrs. LaRue H. Jones Mr. Mark Keeler The Rev. Canon & Mrs. Charles B. King Mr. James H. Lazenby Mr. & Mrs. William Liberty Mr. Brian Logan, Esq. The Rev. Duncan R. McQueen Ms. Martha A. Munafo Mr. & Mrs. Lawrence Norville Mr. & Mrs. Jeffery Nowc Mr. Anthony C. Paratore Mr. & Mrs. Richard Peaker Mr. & Mrs. Ronald W. Pratt Ms. Renee Rosebrook Mr. & Mrs. Russell Simon Mrs.Valerie Sloan Mr. & Mrs. Robert Story Mr. F. Eugene Tobey The Tobias Family The Vanderbeck Family Members $25-49 Mrs. Sven A. Anderson Mr. Richard D. Been Ms. Elizabeth A. Bell Ms. Edna Chandler Mr. & Mrs. Thomas Coates Ms. Jean S. Creighton Mr. Michael Doxie Mr. James M. Gaughan Mr. & Mrs. Charles House Ms. Carol R. Jackson Mrs. Marjorie Jakovic Mr. John T. Keenan, Jr. 25
Mr. & Mrs. Paul H. Kleinke Mr. & Mrs. Richard Lasselle Mr. J. Thomas Martin Ms. Sue McDermott Ms. Carol Dolores Mead Mr. Paul Motto & Ms. Margaret Hopper Ms. Mary Moore Mr. & Mrs. Sandy Orr Mr. John W. Ryan. Mr. & Mrs. Peter Sarinelli Mr. John Schreiner Mr. & Mrs.David Smail Mr. Geoffrey Stein Mr. & Mrs. Peter Wayner The Rev. Christine Wickman Mr. Sherwood Wise Mr. Donald G. Zeilman
The Family and Friends of Sharon Stein.
Corporate and Institutional Donors and Sponsors Albany IVF Albany Pro-Musica Albany Symphony Capitol Repertory Theatre Chatham Brewery Chicago Title Insurance Doane Stuart School Delma’s Diner & Restaurant Empire State Youth Orchestra First National Bank of Scotia Freeman Howard, P.C. The Fresh Market Hannay Reels Kinderhook Bank Kinderhook Medical Care Kinderhook Wine Kirschner Caroff Design, Inc LaSalle Institute Lemery Greisler Maguire Cardona Pattison, Koskey, Howe & Bucci Portfino Restaurant Christopher H. Reillly. DDS Schreiner Pipe Organs, Ltd. Shank & Falvey Insurance Small Wonders Photography Stewart’s Shoppes Tri-City Valley Cats Wells Fargo Bank WMHT
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As a local, community bank since 1853, we are pleased to support The Friends of the Choir at the Cathedral of All Saints!
Chatham / Delmar / East Greenbush Greenport / Kinderhook / Valatie
Thank you Mr. Bynum & The Cathedral Choir
Soli Deo Gloria Andrew & Elizabeth Howard
In honor of my favorite Mens and Boys Choir in the world! Dr. David Griggs-Janower
Congratulations to The Choir, Mr. Bynum & Mr. Schultz The Wolfe Family
Best Wishes Nolan Jim, ThĂŠrĂ¨se, Seamus and Trevor
Preparing for the 2011 Annual Spring Concert: Appear & Inspire - The Music of Benjamin Britten 36
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TheThe Cathedral of All Saints Cathedral of All Saints It gives me great joy to welcome one and all to The Cathedral of All Saints. This concert showcases something very “Episcopal” or “Anglican”. We pray each week that we are part of “one, holy, catholic, and apostolic church.” We see ourselves as part of God’s work in Christ that has spanned the last two millennia. We are grateful for the Orthodox tradition that has given us the beautiful music we will hear today. Spring is a season of new life.This time in our Cathedral calendar is one that we call Eastertide. It is our season of new life. As the spring season begins to encompass us I can think of no more fitting music for our concert.Written for unaccompanied choir, I pray that this music will envelope each of you. That all who come this day will be transported to a world with sounds both ancient in their mysticism, and lush in their romanticism – that all who come will be transported to the very throne room of God – a world in which the love of God in Christ is palpable. Sincerely, The Venerable David J. Collum j Archdeacon of The Diocese of Albany, NY Dean of The Cathedral of All Saints
Save the Dates! Please watch the Cathedral website,The Swan & Elk, and Facebook for details on these and all upcoming Cathedral and Special Music events. 62 South Swan Street Albany, New York 12210 www.thecathedralofallsaints.org Email: email@example.com 518-362-4975
Sunday, June 3, 2012 The Bishop Ball Golf Tournament
Sunday, September 30, 2012 The Friends of the Choir Annual Garden Party
Saturday, October 20, 2012 The Medieval Faire
Tuesday, December 11, 2012 The Cathedral Choir
Men and Boys Handelâ€™s Messiah
Published on Aug 20, 2012
The program for The Cathedral Choir of Men and Boys (guest soloists Lucille Beer, Alto and Bryan Register, Tenor) performance of Sergei Rach...