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The Cathedral Choir of Men and Boys Woodrow Bynum, Music Director

ava pine Soprano ✶ brenda patterson Mezzo-soprano michael slattery Tenor ✶ nathaniel webster Baritone

with Period Instrument Orchestra

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✶ ✶ ✶ ✶

Handel’s ✶ ✶ ✶

The Cathedral of All Saints Albany, New York

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13 december 2011

The Cathedral of All Saints Albany, New York

the cathedral choir of men and boys woodrow bynum, Director of music

presents It gives me great joy to welcome one and all to The Cathedral of All


August i





e words…

In reflecting

A Sacred Oratorio by G.F. Handel

Tuesday 13 December 7 p.m. 2011 soloists

Ava Pine Soprano ✦ Brenda Patterson* Mezzo-soprano Michael Slattery Tenor ✦ Nathaniel Webster Baritone dt


r is

Saint as,



The Venerable David J Collum Dean of The Cathedral

Saints to join in celebration with our conductor, Woodrow Bynum, our soloists, orchestra, and The Cathedral Choir of Men & Boys for this performance of Handel’s Messiah. The eloquence of the Messiah is beyond measure. I pray this evening as you are enveloped by this Cathedral and wrapped in the splendor of this sacred music that you sense the very presence of he whom these praises are being sung. Best wishes for a wonderful holiday season, and may God richly bless you and your loved ones.



Lisa Rautenberg, Concert Master Michelle Leichti ✦ Stephan Teiszen


Yi-Ping Yang


André O’Neil


Heather Lardin “God so loved us that for our sakes he, through whom time was made, was made in time; older by eternity than the world herself, he became younger in age than many of his servants in the world; God, who made man, was made man; he was given existence by a mother whom he brought into existence; he was carried in hands which he formed; he was nursed at breasts which he filled; he cried like a baby in the manger in speechless infancy – this Word without which human eloquence is speechless”. The Cathedral of All Saints 62 South Swan Street Albany, New York 12210 518-465-1342


Virginia Brewer ✦ Robert Howe


Robin Pyle ✦ Paul Perfetti


Brian Shank


Daniel Beckwith Ms. Patterson appears with The Cathedral Choir of Men and Boys courtesy of The Metropolitan Opera. There will be a fifteen minute interval between Parts I and II. Beverages will be available for purchase during the interval. please switch off your cell phones and other electronic devices.

Program cover: From The Lady Chapel, window detail, “The Nativity” by Clayton & Bell. ©The Cathedral of All Saints



Woodrow Bynum

THE CATHeDRAL CHOIR OF MEN AND BOYS Treble 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 Alto david todd allen michael galvin corey hough jeremy vosburgh Tenor todd chardeen michael lister john schreiner william skinner Bass james crum colin helie alexander jones stephen piwowarski 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. In recent years, the Choir has made two tours of 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 “Albany’s Boy Choir” for more than 139 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. If you know a boy who likes to sing, please tell him about the choir. The choirmaster,Woodrow Bynum, is always happy to meet with prospective choristers and their families. Auditions are held throughout the year by appointment, and no previous musical training is necessary or expected. For more information, visit our website at or email Mr. Bynum at


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. 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 oiledwalnut baritone, elegant diction and delivery.” Recent solo appearances include Messiah with Dallas Bach Society, St. John Passion with Saint Thomas Church Fifth Avenue, and at Boston Symphony Hall in Dixit Dominus (Handel) with Harry Christophers and The Handel & Haydn Society. He has also appeared as soloist in Beethoven’s Ninth Symphony and Mendelssohn’s Elijah. 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. Under his direction, the choir has made two recordings, including a complete performance of Handel’s Messiah with period instrument orchestra, and Music for a Royal Occasion, including Mozart’s Coronation Mass and Handel’s Coronation Anthems. 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. In addition to his musical pursuits, Bynum is an avid birder. Soprano Ava Pine has been recognized for both her vocalism and commitment to character in works ranging from Baroque to Contemporary. A frequent interpreter of early music, Ms. Pine is an acclaimed performer of Handel, including the roles of Romilda in Xerxes, Morgana in Alcina, Cleopatra in Giulio Cesare and Melissa in Amadigi di Gaula. Equally at home with new music, she made her European debut with the BBC Symphony Orchestra, as The Angel in the operatic setting of Angels in America, and sang Blanca in the world premiere of Rio de Sangre with the Florentine Opera. During the 20112012 season, she performed Mendelssohn Symphony No. 2 with the Dallas Symphony, Messiah with Duke University and Boston Baroque, Susanna in Le nozze di Figaro with Opera Colorado, Pamina in Die Zauberflöte with Dallas Opera, and Lysia in Mark Adamo’s Lyistrata with the Fort Worth Opera. Ava has sung with opera companies, symphonies and early music ensembles across the United States, notably Dallas Symphony Orchestra, National Symphony Orchestra, Fort Worth Opera, Boston Baroque, Michigan Opera Theatre, Arizona Opera, Wolf Trap Opera and at Saint. Thomas Church Fifth Avenue. She was nominated for a Grammy Award in 2011 in the Best Opera Recording category for her work in Hasse’s Marc’ Antonio e Cleopatra. 5

Described by the New York Times as “a voice you want to hear and, even more, an artist you want to follow”, mezzo-soprano Brenda Patterson made her Metropolitan Opera debut in 2008 as a Wood Sprite in Dvorak’s Rusalka. In residence for three seasons (2005-8) at the Hamburgische Staatsoper in Germany, she sang such roles there as Idamante, Dorabella, Niklausse, Annio, Hänsel, Cherubino, and Rosina, among many others. A Juilliard graduate (and recipient of the Taranow Prize in Voice), she was the 2004 Winner of the Alice Tully Vocal Arts Debut Recital Competition in New York. She has participated in most of the major American music festivals, and has also sung leading roles with Glimmerglass Opera, Gotham Chamber Opera, Berkshire Opera, the Lyric Opera of Kansas City. Ms. Patterson has been featured regularly in the Orchestra of St. Luke’s and the Handel & Haydn Society’s Cantatas in Context Bach Series, for which the New York Sun praised her as “a treasure among musicians”. This fall, Ms. Patterson premiered Su Lian Tan’s opera Lotus Lives with the Meridian Arts Ensemble; she has also recorded Tan and Jamaica Kincaid’s Jamaica’s Songs for the ARSIS label, and has been selected as a 2012 recitalist by the Lotte Lehmann Foundation. This year she returns to the Metropolitan Opera for her fourth season, and will make her La Scala debut as Rosette in Manon. Since graduating from Juilliard, tenor Michael Slattery has enjoyed an exciting international career. He has worked with the NewYork Philharmonic, the Philadelphia Orchestra, the Los Angeles Philharmonic, Lincoln Center’s Mostly Mozart Festival, the French National Orchestra in Paris, the Akademie für Alte Musik in Berlin, and the Orchestra of St. Luke’s at Carnegie Hall. Career highlights include Peter Sellars’ Tristan Project at Lincoln Center, the title role in Bernstein’s Candide at Royal Festival Hall in London, and Monteverdi’s L’Orfeo at the Châtelet Theater in Paris, the Staatsoper in Berlin, and at Glimmerglass. He was recently included in The Spectator’s list of tenor “Heroes of the Concert Hall.” His solo discs The Irish Heart, and Secret and Divine Signs, received critical acclaim from Gramophone Magazine and Five Star ratings from BBC Music Magazine and ClassicFM. Other prize-winning recordings include Mozart’s Bastien und Bastienne, Scarlatti’s Cecilian Vespers, Handel’s Atalanta, Acis and Galatea, Saul, Solomon, and Samson, Britten’s Curlew River, and Bernstein’s Candide. His voice has been recorded for films and for television, and several other projects are currently in development. Last season he performed at Lincoln Center, the Kennedy Center and Carnegie Hall. In addition to his performances this season, he will record a CD of Dowland songs and offer master classes to students across the United States. Outside his musical activities, Michael Slattery devotes much of his spare time to painting and writing. His paintings have been published in the French art magazine ORAOS and exhibited by Glimmerglass Opera in conjunction with the launch of their new website. They can be seen at Baritone Nathaniel Webster is a graduate of the Eastman School of Music and The Royal Scottish Academy of Music in Glasgow. He has worked with the Paris Opera, New York City Opera, Frankfurt Opera, Theatre de La Monnaie in Brussels, and Nationale Reisopera in Amsterdam.He has been engaged as guest soloist with the Dallas, Atlanta, Bavarian Radio and National Symphony Orchestras and the Brooklyn Philharmonic as well as Music@Menlo, Casals and Ravinia Festivals. In the 2009-10 season, Mr. Webster performed Haydn’s Lord Nelson Mass, and with the San Diego Symphony in Beethoven’s Ninth Symphony with conductor Jahja Ling. Additionally, he sang Roberto Sierra’s Missa Latina with the Mendelssohn Society of Philadelphia, a work written for his voice. Abroad, Mr.Webster was heard in Bach’s Christmas Oratorio in Würzberg, Germany. In 2008-09, Mr. Webster completed a six-year tenure with the Frankfurt Opera and opened the season with the Milwaukee Symphony, performing and recording Roberto Sierra’s Missa Latina. He made his debut performances with the Nashville Symphony, singing the Mozart Requiem with Giancarlo Guerrero. Abroad, Mr. Webster was invited to perform with the Auckland Philharmonic Orchestra in their launch of the Auckland Festival’s American Songs concert. Of his performance, The New Zealand Herald said that “Mr.Webster was a sensitive, clear-voiced soloist with nothing of the baritone bluster that could coarsen the piece”. Mr. Webster also added to his repertoire with the Frankfurt Opera by performing the role of Joe Pitt in the production of Peter Eötvös’ take on Tony Kushner’s Angels in America. He was recently selected by Carnegie Hall to participate in the Christa Ludwig masterclasses and chosen to study both art song and chamber music at the Steans Institute for Young Artists. In 2011 he performed and recorded Gordon Getty’s opera “Plump Jack” in Munich and has had several recent performances of Schubert’s “Winterreise”, also in Germany. A native of Medina, New York, Mr. Webster currently resides in New York and Berlin. 6

George Frideric Handel 1685-1759


Handel is known as a prolific composer of many chamber works, concerti and other instrumental œuvre, however, it was really through Italian opera that his popularity was first gained in London. A keen interest and great curiosity in the fashion and artistic refinements of continental life pervaded the upper echelon of English society for quite some time, which seems logical as trade got off to a late start between England and Europe. In 1710 Handel made his first visit to England and received great reviews and accolades for his performances of Rinaldo,which was hailed as the great highlight of the London musical season. In 1726 he was appointed to the Chapel Royal as Court Composer; becoming a naturalized English citizen in 1727. Handel was presented with two new oratorio libretti: Messiah, a biblical compilation by Charles Jennens, and Samson, written by Newburgh Hamilton. Both men were perviously known to Handel as he used them as his chief literary collaborators. Jennens, in particular, had been a great admirer of Handel’s music since 1725, although he behaved cantankerously while working with him. Messiah was completed in twenty-four days, between August twenty-second and September fourteenth. The first performance of Messiah took place in Dublin as charity concert in 1742. The dress-rehearsal was so well attended that for the performance the ladies were asked to not wear hoops in their dresses and gentlemen were requested to leave their swords at home. 700 people were crammed into a hall with an official capacity of six-hundred. The first London performance was held at Covent Garden in 1743, but was not well received as a sacred work set against the backdrop of a “common” theater. This juxtaposition of sacred and secular was considered outrageous at the time. Two years later it was revived at the Kings’ Theater; again it was cooly received. However, once Handel advertised the performance as a benefit concert some years later for the Foundling Hospital, the attendance grew immeasurably and was much more successful than the Covent Garden performance. In fact, the audience overflowed and a second performance had to be given. The work became celebrated in Handel’s own time, and he performed the work every year at the Foundling Hospital until his death in 1659. The initial performing forces for Messiah comprised a group of fifty to sixty people. As years rolled on and tastes changed, Messiah was tailored to fit the needs and desires of the musicians of the day and the audiences who would pay to listen to the work: the composition was shortened, re-orchestrated (Mozart presented his own edition of the work for the fickle Viennese), solos were changed, and numbers of the performing forces were gradually increased. Once the establishment of choral societies became commonplace, especially in the Victorian era, the prevailing thought was ‘bigger is better’. The apex of performing forces came in 1865 when the orchestra numbered 500 players, the choir 4,000 and the audience topped out at 87,769 for a performance at the Crystal Palace in the presence of Queen Victoria. Messiah is undoubtedly one of the most recognized compositions by Handel, if not one of the most recognized oratorios in all the world. Unlike some of his other English oratorios, Messiah assigns no dramatic roles to its soloists, rather it employs them as impartial narrators using mainly biblical texts (as opposed to newly written poetry as in other of his works) interspersed with movements for the chorus. The work is organized into three sections. Each section, or part, covers a phase of the life of Christ. Part One begins with the overture, in French doubledotted style. The first vocal movement presents the tenor soloist announcing the advent of Christ’s coming, a theme that defines the first part of the work . Part Two of the oratorio mainly illustrates the Passion of Christ, immediately opening with the chorus which offers Christ up as the sacrificial lamb, a foreshadowing of Christ’s mission on earth. Throughout the twenty-three movements in the second part Handel presents the rejection, suffering, crucifixion, death and resurrection of Christ. Handel’s treatment of the choruses for the first several movements of Part Two differ drastically than those in Part One. At the start of the oratorio Handel’s choruses are light, filled with vocal athleticism, with texts that promise hope. Whereas in the first few choruses of Part Two the dramatic effect of the Passion is carried out through stubborn dotted rhythms, rubbing tones (dissonances), mocking elements in the string writing, and greater elements of text-painting in the orchestra in general. The story of the Passion is narrated through chorus and soloists and continues through to Christ’s death and resurrection, ending with the Hallelujah chorus. Finally, in Part Three, the lessons are taught for personal salvation and the human voices of those who want to claim redemption are heard. The solo voice of the soprano begins at the onset of Part Three with the stirring “I know that my Redeemer liveth”. The text of Part Three is devoted to the promise of resurrection and victory over death. Concluding with the conviction of fulfillment of the New Testament, the final “Amen” is an acceptance of Christ’s Passion and of our own personal passion as humans, with complex lives, personal concerns and celebrations.While all of these factors vary from person to person, our mortality and the Christian hope of salvation is a shared and universal truth. © 2011

Michael Diorio DMA

Church of the Redeemer 7

Bryn Mawr, Pennsylvania, adapted.


10. Accompagnato (Bass)

1. Sinfonia

For behold, darkness shall cover the earth, and gross darkness the people; but the Lord shall arise upon thee, and His glory shall be seen upon thee. And the gentiles shall come to thy light, and kings to the brightness of thy rising. Isaiah 60:2-3

2. Accompagnato (Tenor)

Comfort ye, comfort ye my people, saith your God. Speak ye comfortably to Jerusalem, and cry unto her, that her warfare is accomplished, that her iniquity is pardoned. The voice of him that crieth in the wilderness; prepare ye the way of the Lord; make straight in the desert a highway for our God. Isaiah 40:1-3

11. Air (Bass)

The people that walked in darkness have seen a great light; and they that dwell in the land of the shadow of death, upon them hath the light shined. Isaiah 9:2 12. Chorus

3. Air (Tenor)

Ev’ry valley shall be exalted, and ev’ry mountain and hill made low; the crooked straight and the rough places plain. Isaiah 40:4 4. Chorus

And the glory of the Lord shall be revealed, and all flesh shall see it together: for the mouth of the Lord hath spoken it. Isaiah 40:5 5. Accompagnato (Bass)

Thus saith the Lord, the Lord of Hosts: Yet once a little while and I will shake the heavens and the earth, the sea and the dry land. And I will shake all nations; and the desire of all nations shall come. Haggai 2:6-7 The Lord, whom ye seek, shall suddenly come to His temple, even the Messenger of the Covenant, whom you delight in; behold, He shall come, saith the Lord of hosts. Malachi 3:1

For unto us a child is born, unto us a son is given, and the government shall be upon His shoulder; and His name shall be called Wonderful, Counsellor, the Mighty God, the Everlasting Father, the Prince of Peace. Isaiah 9:6 13. Pifa 14a. Recitative (Soprano)

There were shepherds abiding in the field, keeping watch over their flocks by night. Luke 2:8 14b. Accompagnato (Soprano)

And lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them, and they were sore afraid. Luke 2: 9 15. Recitative (Soprano)

6. Air (Alto)

But who may abide the day of His coming, and who shall stand when He appeareth? For He is like a refiner's fire. Malachi 3:2 7. Chorus

And He shall purify the sons of Levi, that they may offer unto the Lord an offering in righteousness. Malachi 3:3 8. Recitative (Alto)

Behold, a virgin shall conceive and bear a son, and shall call His name Emmanuel, God with us. Isaiah 7:14; Matthew 1:23

And the angel said unto them: “Fear not, for behold, I bring you good tidings of great joy, which shall be to all people. For unto you is born this day in the city of David a Saviour, which is Christ the Lord.” Luke 2:10-11 16. Accompagnato (Soprano)

And suddenly there was with the angel, a multitude of the heavenly host, praising God, and saying: Luke 2:13 17. Chorus

“Glory to God in the highest, and peace on earth, good will towards men.” Luke 2:14

9. Air and Chorus (Alto)

O thou that tellest good tidings to Zion, get thee up into the high mountain. O thou that tellest good tidings to Jerusalem, lift up thy voice with strength; lift it up, be not afraid; say unto the cities of Judah, behold your God! Isaiah 40:9 Arise, shine, for thy light is come, and the glory of the Lord is risen upon thee. Isaiah 60:1


18. Air (Soprano)

Rejoice greatly, O daughter of Zion; shout, O daughter of Jerusalem! Behold, thy King cometh unto thee; He is the righteous Saviour, and He shall speak peace unto the heathen. Zechariah 9:9-10


19. Recitative (Alto)

28. Chorus

Then shall the eyes of the blind be opened, and the ears of the deaf unstopped. Then shall the lame man leap as an hart, and the tongue of the dumb shall sing. Isaiah 35:5-6

“He trusted in God that He would deliver Him; let Him deliver Him, if He delight in Him.” Psalm 22:8 29. Accompagnato (Tenor)

20. Duet (Alto & Soprano)

He shall feed His flock like a shepherd; and He shall gather the lambs with His arm, and carry them in His bosom, and gently lead those that are with young. Isaiah 40:11 Come unto Him, all ye that labour, come unto Him that are heavy laden, and He will give you rest. Take his yoke upon you, and learn of Him, for He is meek and lowly of heart, and ye shall find rest unto your souls. Matthew 11: 28-29 21. Chorus

His yoke is easy, and His burden is light. Matthew 11: 30 PART II 22. Chorus

Behold the Lamb of God, that taketh away the sin of the world. John 1:29 23. Air (Alto)

He was despised and rejected of men, a man of sorrows and acquainted with grief. Isaiah 53:3 He gave His back to the smiters, and His cheeks to them that plucked off His hair: He hid not His face from shame and spitting. Isaiah 53:6 24. Chorus

Surely He hath borne our griefs, and carried our sorrows! He was wounded for our transgressions, He was bruised for our iniquities; the chastisement of our peace was upon Him. Isaiah 53:4-5 25. Chorus

And with His stripes we are healed. Isaiah 53:5

Thy rebuke hath broken His heart: He is full of heaviness. He looked for some to have pity on Him, but there was no man, neither found He any to comfort him. Psalm 69:20 30. Arioso (Tenor)

Behold, and see if there be any sorrow like unto His sorrow. Lamentations 1:12 31. Accompagnato (Tenor)

He was cut off out of the land of the living: for the transgressions of Thy people was He stricken. Isaiah 53:8 32. Air (Tenor)

But Thou didst not leave His soul in hell; nor didst Thou suffer Thy Holy One to see corruption. Psalm 16:10 33. Chorus

Lift up your heads, O ye gates; and be ye lift up, ye everlasting doors; and the King of Glory shall come in. Who is this King of Glory? The Lord strong and mighty, The Lord mighty in battle. Lift up your heads, O ye gates; and be ye lift up, ye everlasting doors; and the King of Glory shall come in. Who is this King of Glory? The Lord of Hosts, He is the King of Glory. Psalm 24:7-10 34. Recitative (Tenor)

Unto which of the angels said He at any time: “Thou art My Son, this day have I begotten Thee?” Hebrews 1:5 35. Chorus

Let all the angels of God worship Him. Hebrews 1:6

26. Chorus

All we like sheep have gone astray; we have turned every one to his own way. And the Lord hath laid on Him the iniquity of us all. Isaiah 53: 6

36. Air (Alto)

27. Accompagnato (Tenor)

Thou art gone up on high; Thou hast led captivity captive, and received gifts for men; yea, even from Thine enemies, that the Lord God might dwell among them. Psalm 68:18

All they that see Him laugh Him to scorn; they shoot out their lips, and shake their heads, saying: Psalm 22: 7

37. Chorus

The Lord gave the word; great was the company of the preachers. Psalm 68: 11



38. Air (Soprano)

47. Accompagnato (Bass)

How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings of good things. Isaiah 52:7; Romans 10:15

Behold, I tell you a mystery; we shall not all sleep, but we shall all be changed in a moment, in the twinkling of an eye, at the last trumpet. I Corinthians 15:51-52

39. Chorus

Their sound is gone out into all lands, and their words unto the ends of the world. Romans 10:18; Psalm 19:4 40. Air (Bass)

Why do the nations so furiously rage together, and why do the people imagine a vain thing? The kings of the earth rise up, and the rulers take counsel together against the Lord, and against His anointed. Psalm 2:1-2 41. Chorus

Let us break their bonds asunder, and cast away their yokes from us. Psalm 2:3 42. Recitative (Tenor)

He that dwelleth in Heav’n shall laugh them to scorn; The Lord shall have them in derision. Psalm 2:4

48. Air (Bass)

The trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed. For this corruptible must put on incorruption and this mortal must put on immortality. I Corinthians 15:52-53 49. Recitative (Alto)

Then shall be brought to pass the saying that is written: “Death is swallowed up in victory.” I Corinthians 15:54 50. Duet (Alto & Tenor)

O death, where is thy sting? O grave, where is thy victory? The sting of death is sin, and the strength of sin is the law. I Corinthians 15:55-56 51. Chorus

43. Air (Tenor)

Thou shalt break them with a rod of iron; thou shalt dash them in pieces like a potter's vessel. Psalm 2:9

But thanks be to God, who giveth us the victory through our Lord Jesus Christ. I Corinthians 15:57 52. Air (Soprano)

44. Chorus

Hallelujah: for the Lord God Omnipotent reigneth. Revelation 19:6 The kingdom of this world is become the kingdom of our Lord, and of His Christ; and He shall reign for ever and ever. Revelation 11:15 King of Kings, and Lord of Lords. Revelation 19:16 Hallelujah! PART III 45. Air (Soprano)

I know that my Redeemer liveth, and that He shall stand at the latter day upon the earth. And though worms destroy this body, yet in my flesh shall I see God. Job 19:25-26 For now is Christ risen from the dead, the first fruits of them that sleep. I Corinthians 15:20

If God be for us, who can be against us? Romans 8:31 Who shall lay anything to the charge of God's elect? It is God that justifieth, who is he that condemneth? It is Christ that died, yea rather, that is risen again, who is at the right hand of God, who makes intercession for us. Romans 8:33-34 53. Chorus

Worthy is the Lamb that was slain, and hath redeemed us to God by His blood, to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing. Blessing and honour, glory and power, be unto Him that sitteth upon the throne, and unto the Lamb, for ever and ever. Amen. Revelation 5:12-14

46. Chorus

Since by man came death, by man came also the resurrection of the dead. For as in Adam all die, even so in Christ shall all be made alive. I Corinthians 15:21-22



The Friends of the Choir Founded by the long-time Director of Music at The Cathedral of All Saints, Dr. Lloyd E Cast, The Friends of the Choir is an independent, 501(c)3 non-profit corporation governed by a Board of Directors.The Friends seek to provide financial, logistical and administrative support to The Cathedral Choir of Men and Boys. Each year, The Friends provide scholarships for education, training, and funding for the choir’s publicity. In addition, they sponsor concerts, recordings, fund a variety of visiting artists and conductors, assist with chorister recruitment, and help organize choir travel. The Friends also provide full financial underwriting for The Lloyd Cast Organ Fellowship, a two year full-time residency at The Cathedral of All Saints for a deserving young musician.This Fellowship is unique in the United States in its support for emerging organists.


The Friends of the Choir of the Cathedral of All saints, Inc. The Cathedral Choir of Men and Boys 62 South Swan Street Albany, new york 12210

Mr. Andrew B. Howard President Mr. Woodrow Bynum Director of Music

December, 2011 Dear Friend, As a result of your support during this past year, The Friends of the Choir has been able to provide crucial financial support in furtherance of the growth and development of The Cathedral Choir of Men and Boys. In just the past 12 months, the choir has performed with The Albany Symphony at The Palace Theater, completed a successful trip to England where they sang at Hereford and Gloucester Cathedrals, collaborated with Albany Pro Musica in Cathedral Collaboration II, performed and recorded the works of Benjamin Britten at The Friends’ Annual Spring Concert and sent a record-setting contingent of choristers to the Royal School of Church Music’s Summer Course in Montréal, Quebec. The choir is once again in full swing, with twenty choristers and a group of talented gentlemen to form one of the finest choirs of men and boys in North America. Upcoming highlights include: “To Thee All Angels Cry Aloud” December, 2011 – A new CD release of The Cathedral Choir of Men and Boys performing the sacred works of Benjamin Britten. G.F. Handel’s “Messiah” December 13, 2011 – A holiday performance with baroque orchestra and renowned soloists in support of The Cathedral of All Saints. Cathedral Collaboration III January 29, 2012 – Performance of Lauridsen’s “O Magnum Mysterium” with Albany Pro Musica at The Cathedral of All Saints. Friends of the Choir “Winter Wine Tasting” February 10, 2012 – An evening of fine wine and musical offerings from the choristers at The Cathedral of All Saints to benefit The Lloyd Cast Organ Fellowship and other projects. J.S. Bach’s “St. John’s Passion” March 20, 2012 – A Lenten performance with period orchestra at The Cathedral of All Saints. Rachmaninov’s “All NightVigil” May 20, 2012 – Our annual Spring Concert. Our continued efforts rely on your support, and your assistance in the past has been vital to our success. I ask that you join me in renewing your membership in The Friends of the Choir by making a tax-deductible contribution.Visit {music} for more information and to download a “Friends” membership form. Kindest regards,

Auditions are welcome, by appointment for boys aged 7-12. For more information visit or call 518-465-1342.

The perfect gift is the gift of music. Just in time for the Holidays! Two great recordings from The Cathedral Choir of Men and Boys.

“To Thee All Angels Cry Aloud” The Cathedral Choir’s brand new release of sacred choral music of Benjamin Britten. Premier offering tonight at this performace ($20), at the Cathedral Book Stall, order it from or download from iTunes or* *prior to January 1, 2012 please check for the availability of downloads.

The Cathedral Choir’s live recording of

Handel’s “Messiah,

Andrew B. Howard


hailed as one of “shining” glory...” Available as a 2-CD set for $20. Available tonight at this performace, at the Cathedral Book Stall, order it from or download from iTunes or 15

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Opus 7, Kirk in the Hills Bloomfield Hills, MI

Opus 8, Trinity Church Boston, Massachusetts

Rosemont Financial Group/JKOCPA 18 Corporate Woods Boulevard, 3rd Fl. Albany, N.Y. 12211 Phone (518) 621-7169 Fax (518) 621-7170 email: website:

Schreiner Opus 6, Fisk Opus 131

Schreiner Pipe Organs, Ltd. 9 Yates Street ~ Schenectady, New York 12305 ~ (518) 377-6507 ~







Kirschner ■ Caroff Design Graphic Design & Consulting


We are honored to provide design services for The Cathedral of All Saints See what we’ve done… 518 392 3823 16


The Empire Haiti Coalition

The Bishop of Albany the right reverend william h love

Extends his gratitude and appreciation to

The Cathedral of All Saints, its staff and Clergy, The Venerable David J Collum, Dean of the Cathedral, Woodrow Bynum, Director of Music, the friends and families, and especially

The Cathedral Choir of Men and Boys for 140 years of their ministry of music offered to the glory and service of God in this Cathedral.


The Cathedral of All Saints on its performance of Handel’s Messiah. The Empire Haiti Coalition is made up of six Albany area Episcopal churches and the independent non-profit organization “To Love A Child”. This group works with the Episcopal Church of the Holy Spirit in Las Cohabas, Haiti in its six parish locations and its Rector, The Reverend Jean Milor. The coalition currently supports schools, solar power projects, clean drinking water projects and food programs, as well as helping to bring the good news of the Gospel to the people of the villages. For more information on the Coalition, go to the Cathedral’s website: and click on “Helping Our World”.

Helping Children Around the World Live Better Lives Our Mission: To Love a Child, Inc. is a nonprofit 501 (c) 3 organization that provides humanitarian assistance to impoverished children and their families throughout the world to help create a better future and quality of life for all. About Us: It’s all about the love for a child…a child on the other side of the world or a child in your own back yard. It’s about a child who needs education, essential supplies and support services. It’s about a child who needs a warm hug, a smile and the hope, strength and encouragement to keep going and not give up. It’s who we are and what we strive to do. Consider being “A Christmas Angel”! More details are available at our website: 18


The C athedral


A ll S aints

TheVenerable David J Collum, Dean of the Cathedral, and Woodrow Bynum, Director of Music wish to thank those who made this performance of “Messiah” possible. Acknowledgements The Bishops of the Diocese of Albany, New York The Cathedral Chapter The Clergy of the Cathedral The Messiah Concert Planning Committee The Members of the Cathedral Congregation Our Sponsors The Cathedral Choir of Men and Boys The Lloyd Cast Organ Fellow Soloists and Members of the Orchestra The Friends of the Choir The Choir Parents St. Paul’s Episcopal Church, Troy, NY The Staff of Christ the King Spiritual Life Center The Cathedral of All Saints Staff David Griggs-Janower Hosts: the Besch, Collum, Dumas, Reilly and Bynum families Proctor’s Theater for the use of their risers John Schreiner for the use of his chamber organ Nancy Potter and Lon Kirschner for design services

Christ Episcopal Church 15 West High Street Ballston Spa, New York 518-885-1031 Festival of Lessons & Carols December 19 & 21 at 7:30 p.m. Christmas Eve Services Family Service 5:30 p.m. & Candlelight Service 8:00 p.m. & 11:00 pm

Christ Episcopal Church 36 Marion Avenue Gilbertsville, New York 607-783-2267 Christmas Eve Services 5:00 p.m. & 10:00 Christmas Day Service 10:00 a.m. Festival of Lessons & Carols December 31 5:00 p.m. (bring a dish to share)

St. John’s Episcopal Church 134 ½ Main Street Delhi, New York 607-746-3437 Christmas Eve Services Holy Eucharist with Children’s Pageant & Special Music 5:00 p.m. Holy Eucharist with Special Music 11:00 p.m. Christmas Day Service 9:00 a.m. Holy Eucharist

St. John’s Episcopal Church 146 First Street Troy, New York 518-885-1031 Christmas Eve Services Family Holy Eucharist 5:00 p.m. Lessons & Carols 10:00 pm Christmas Day Service 10:00 a.m. Holy Eucharist

St. Paul’s Episcopal Church 21 Hackett Boulevard Albany, New York 518-463-2257 Christmas Eve Services; Family Holy Eucharist 4:30 p.m. Choral Holy Eucharist 7:30 p.m. Christmas Day Service 10:00 a.m. Chapel Holy Eucharist

St. Stephen’s Episcopal Church

Photography: Guest soloists, sponsor, and TheVenerable D Collum; photos contributed. Page 15, A Howard, all others, N Potter.

16 Elsmere Avenue Delmar, New York 518-439-3265 Christmas Eve Services; Family Holy Eucharist 4:00 p.m. Traditional Eucharist 8:00 p.m Christmas Day Service 9:00 a.m. Holy Eucharist



from Christ the King Spiritual Life Center a ministry of the Episcopal Diocese of Albany

The staff at CtK hope you have a very happy Christmas season and invite you to come and visit us soon!

Healing Ministry

Youth Ministry

Day of Healing Prayer Retreats School of Healing Prayer Ecumenical Healing Services Soaking Prayer Welcome Home Initiative

Beaver Cross Summer Camp Jr & Sr SonShine Retreats Confirmation Retreats Year-round day care After School Youth Group

Dining & Lodging

Other Services

Banquet and party facilities Overnight lodging Beautiful grounds for recreation Individual or group retreats Special dining events

Weekly worship services Bible studies & programs Ropes Course &Team Building Meeting spaces for conferences Volunteer Opportunities

A gift certificate to Beaver Cross Summer Camp would make a perfect gift for any child! Call us to purchase yours today!

Christ the King Spiritual Life Center 575 Burton Road, Greenwich, New York 12816 (518) 692-9550 ~ 22


Christmas Eve Services

Family Service 4:00 p.m. Holy Eucharist Midnight Mass 11:00 pm Holy Eucharist with

The Cathedral Choir of Men and Boys Christmas Day Services Holy Eucharist 9:00 a.m. with

The Gentlemen of The Cathedral Choir of Men and Boys Detail of triptych in The Lady chapel,The Cathedral of All Saints

Handel's "Messiah" Performance Program  
Handel's "Messiah" Performance Program  

The Cathedral Choir of Men and Boys of The Cathedral of All Saints present Handel's "Messiah" with guest soloists and a period instrument or...