Cathedral Choral SocietyCelebrating J. Reilly Lewis’s

25th Anniversary Season as Music Director

Sunday, October 18, 2009

Washington National CathedralGlorious Music in a Glorious Settingtm

Giuseppe Verdi

Requiem

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Cathedral Choral SocietyJ. Reilly Lewis, Music Director

Paul Callaway Conducting Chair Scott Dettra, Assistant Conductor and Keyboard Artist

Todd Fickley, Chorus Master Catherine H. Beauchamp, Chorus Administrator

Soprano I Julie ButlerAnne CarmanMargot CatherwoodMichelle ChenKatherine M. Cheng Tari Cooper Jillian Delos ReyesJennifer Dusek Rachel EskowSharon Miller FosterMelissa FoxRenée GamachePortia HargroveMichelle Holko Lynn KaplanLeslie Kruse**Beth McKeever Lewis Susan Elaine ManolaChris Markus Susan McDaid*Susan SchumacherMelanie Steinkamp Patricia StephensonCara TranstromMegan SullivanElizabeth Owens Wakefield

** Section Coordinators* AlternatesAuditions for new chorus members will be held in January. Please call (202) 537-5527 for more information.

Soprano II Julie AvettaJessica BarnessSusanna BeiserChristiane D. BolesJoanne CaseyLaura M. ConnorsSandra Czelusniak Diaz Sheri Closson EconomouJudith M. EpszteinLoraine EscofferyClaire HackettAnne R. HarrisCharlotte Jaeger Kristina KohlerLori KurtykaBeth L. LawJennifer LeyWendy Palmby LubarskySophie NusinovCatherine Ort-MabryFrances H. Pratt* Betsy RemesCarla RountreeHelen L. St. JohnCynthia ShenMeg StephensJane WoodallMargot T. Young**

Alto I Caren Braun BackusViolet BakerCatherine BeauchampKathy BrionChristine de FontenaySusan Grad*Catherine HackettJennifer HawleyJane Jurkevics**Ingrid KauffmanMelissa A. LaineEliza NesmithMary Olch Marsha McGraw OliveCatherine PruettJane Roningen Margaret ShannonMaggie ToscanoEmily TownsendJanel WhiteElizabeth Williams

Alto II Cynthia AllenSuzanne AllenCeleste BerteauStephanie CabellLaurie Church Robin CostanzaMargaret GonglewskiKim HarrisPam HazenElizabeth HoffmannAnn Ingram **Beth A.V. Lewis Andrea Merrill Marti OlsonCamden Ramsay Pat Read Christopher G. Riggs*Jennifer Sorgatz Theresa SpencerM. Elizabeth TidballKathleen Welling

Tenor I Gregg BreenDavid DietlyDouglas DykstraJohn W. HarbesonKeith HudspethKevin JoseyDavid KozisekRichard F. Larkin Christine H. Mulligan**Robert ReevesRaymond Rhinehart * Martin RosenthalJohn F. SchaettlerD.C. Washington

Tenor II Ross BradfordMichael BushEli Center James Clay** David CostanzaLuke Frels Tom GallagherJeremy KaneSimon Kaplan Clay KaufmanManuel MelendezJames M.E. Mixter, Jr. John E. MoyerTrenton Osborne Rob PassowMatthew A. ReklauMatthew RobertsJustin Wilson

Bass IEric P. AndersenKenneth CohenPaul EdsonKarl HempelLeo HergenroederJohn HewesJeff HovenierJeffrey HughesDon Lassell Todd LawrenceAndrew MadarGerald W. PadweNicholas Petersen Stephen S. Roberts**T. Michael Shortal Andrew SotoL. Bradley Stanford* Erik StokstadScott TaylorAndrew Thompson Robert J. VerdilePeter G. Wolfe

Bass II Ernest AbbottBenjamin J. BauerDale BoydChris Buechler* Bruce HegemannRay HohensteinBrandon HomayouniJoshua HongScott McCorkindaleJohn PalmerFrank J. SullivanJeffrey TarrMatthew A. TraylorScott WeikertEllis WisnerRoy Woodall

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Cathedral Choral SocietyJ. Reilly Lewis, Music Director

presents

Giuseppe Verdi

Requiem

assisted by

Lise Lindstrom, sopranoAnn McMahon Quintero, mezzo-soprano

John Horton Murray, tenorWayne Tigges, bass

Cathedral Choral Society Orchestra

Sunday, October 18, 2009 at 4:00 p.m.Washington National Cathedral

The appearances of Ms. Lindstrom, Ms. Quintero, Mr. Murray, and Mr. Tigges are made possible by the Marion Drew Leach Performing Artist Series Endowment Fund.

Patrons are kindly requested to turn off pagers, cell phones, and signal watches during the performance.Any taking of photographs or unauthorized recording of this concert is prohibited.

Cover photo: Dee Leggett

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Messa da Requiem Giuseppe Verdi (1813-1901)

i requiem and kyrieChorus and Soloists

AntiphonRequiem aeternam dona eis, Grant them eternal rest, Domine: et lux perpetua O Lord, and let perpetualluceat eis. light shine upon them.

PsalmTe decet hymnus, Deus, A hymn is owed to Thee in Zion, in Sion, et tibi reddetur Lord, and a vow shall be votum in Jerusalem: returned to Thee in Jerusalem.exaudi orationem meam, ad Hear my prayer: to Theete omnis caro veniet. shall come all flesh.

AntiphonRequiem aeternam dona eis, Grant them eternal rest,Domine: et lux perpetua O Lord, and let perpetualluceat eis. light shine upon them. Kyrie eleisonKyrie eleison, Christe eleison. Lord have mercy, Christ have mercy,Kyrie eleison. Lord have mercy,Christe eleison, Kyrie eleison. Christ have mercy, Lord have mercy.

ii dies irae

Dies irae (Chorus)Dies irae, dies illa, Day of wrath, that daySolvet saeclum in favilla, will dissolve the generations into ashes —Teste David cum Sibylla. so say David and Sibyl, the prophetess.

Quantus tremor est futurus, How great a trembling there shall beQuando Judex est venturus, when the Judge shall comeCuncta stricte discussurus! and separate everything strictly.

Tuba mirum (Chorus)Tuba mirum spargens sonum The trumpet, throwing its wondrous soundPer sepulchra regionum, through the tombs of the earthCoget omnes ante thronum. will summon all before the throne.

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Mors stupebit (Bass)Mors stupebit et natura Death and nature will stand stupefiedCum resurget creatura, when those dead arise Judicanti responsura. to answer Him who judges.

Liber scriptus (Mezzo-Soprano and Chorus)Liber scriptus proferetur, The written record shall be brought forthIn quo totum continetur, wherein all is containedUnde mundus judicetur. by which the world is judged.

Judex ergo cum sedebit, When the Judge, therefore, shall preside, Quidquid latet apparebit, anything concealed shall appear,Nil inultum remanebit. nothing shall remain unpunished.

Quid sum miser (Soprano, Mezzo-Soprano, and Tenor)Quid sum miser tunc dicturus, What am I to say then, wretch that I am?Quem patronum rogaturus, Whom shall I call as patronCum vix justus sit securus? when scarcely the just may be secure?

Rex tremendae (Soprano, Mezzo-Soprano, Tenor and Chorus)Rex tremendae majestatis, King of great majesty Qui salvandos salvas gratis, Who by Grace saves those so destined, Salva me, fons pietatis. save me, fountain of mercy.

Recordare (Soprano and Mezzo-Soprano)Recordare Jesu pie, Remember, merciful Jesus,Quod sum causa tuae viae that I am the cause of Thy journey.Ne me perdas illa die. Do not destroy me on that day.

Quaerens me, sedisti lassus, Seeking me, Thou didst sit weary;Redimisti crucem passus: Thou didst redeem me, having suffered the cross.Tantus labor non sit cassus. May so much suffering not be in vain.

Juste Judex ultionis, As the just Judge of vengeance,Donum fac remissionis grant the gift of remissionAnte diem rationis. before the day of reckoning.

Ingemisco (Tenor)Ingemisco tamquam reus: I groan like a criminal;Culpa rubet vultus meus: blame reddens my face.Supplicanti parce Deus. God, spare a supplicant.

Qui Mariam absolvisti, Thou who didst absolve Mary [Magdalene] Et latronem exaudisti, and accepted the robber’s plea,Mihi quoque spem dedisti. to me, as well, Thou gavest hope.

Preces meae non sunt dignae, My prayers are not worthy,Sed tu bonus fac benigne, but, Kind One, grant Ne perenni cremer igne. that I may not burn in eternal fire.

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Inter oves locum praesta, Give me place among the sheep, Et ab haedis me sequestra, separate me from the goats,Statuens in parte dextra. placing me by Thy right hand.

Confutatis maledictis (Bass)Confutatis maledictis, When the damned are confoundedFlammis acribus addictis: and consigned to bitter flames, Voca me cum benedictis. call me with the blessed ones.

Oro supplex et acclinis, I pray, supplicant and prostrate, Cor contritum quasi cinis, heart contrite as if in ashes,Gere curam mei finis. have a care for my end.

Lacrymosa (Soprano, Mezzo-Soprano, Tenor, Bass, and Chorus)Lacrymosa dies illa, Tearful shall be that day Qua resurget ex favilla, when arises from the ashesJudicandus homo reus. evil man, to be judged.Huic ergo parce Deus: Therefore spare this man, God.

Pie Jesu, Domine, Merciful Lord Jesus, Dona eis requiem. Amen. grant them rest. Amen.

iii OFFERTORIO Soprano, Mezzo-Soprano, Tenor, and Bass

AntiphonDomine Jesu Christe, Rex gloriae, libera animas O Lord, Jesus Christ, King of glory, deliver the soulsomnium fidelium defunctorum de poenis inferni, of all the departed faithful from the torments of hellet de profundo lacu: libera eas de ore leonis, ne and from the bottomless pit; deliver them from the absorbeat eas tartarus, ne cadant in obscurum: sed mouth of the lion; lest Tartarus swallow them; lest signifer sanctus Michael repraesentet eas in they fall into the darkness. But let Saint Michael thelucem sanctam. standard-bearer bring them forth into the holy light.

Quam olim Abrahae promisisti Which thou didst once promise unto et semini ejus. Abraham and his seed. VerseHostias et preces tibi, Domine, laudis offerimus: To thee, O Lord, we render our offerings andtu suscipe pro animabus illis, quarum hodie prayers with praise. Do thou receive them formemoriam facimus: fac eas, Domine, de morte those souls which we commemorate today. transire ad vitam. Make them, O Lord, pass from death unto life.

Quam olim Abrahae promisisti Which thou didst once promise unto et semini ejus. Abraham and his seed.

[Libera animas omnium fidelium defunctorum [Deliver the souls of all the departed faithfulde poenis inferni. Fac eas de morte transire from the torments of hell. Make them passad vitam.] from death unto life.]

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IV SANCTUS Double chorus

Sanctus, sanctus, sanctus, Holy, Holy, Holy,Dominus Deus Sabaoth! Lord God of Hosts! Pleni sunt coeli et terra gloria tua, Heaven and earth are full of Thy glory, Hosanna in excelsis. Hosanna in the highest. Benedictus qui venit Blessed is he that comethin nomine Domini, in the name of the Lord. Hosanna in excelsis. Hosanna in the highest.

V AGNUS DEI Soprano, Mezzo-Soprano, and Chorus

Agnus Dei, qui tollis peccata mundi, Lamb of God, that takest away the sins of the world,dona eis requiem. grant them rest. Agnus Dei, qui tollis peccata mundi, Lamb of God, that takest away the sins of the world, dona eis requiem sempiternam. grant them eternal rest.

VI LUX AETERNA

Mezzo-Soprano, Tenor, and Bass

AntiphonLux aeterna luceat eis, Domine: Let eternal light shine upon them,cum Sanctis tuis in aeternum, O Lord, with Thy saints in eternity, quia pius es. for Thou art merciful.

VerseRequiem aeternam dona eis, Grant them eternal rest, Domine: et lux perpetua O Lord, and let perpetual lightluceat eis. shine upon them.

Cum Sanctis tuis With Thy saints in aeternum, in eternity, quia pius es. for Thou art merciful.

[Lux perpetua luceat eis, [Let perpetual light shine upon them,Domine. Requiem aeternam.] O Lord. Eternal rest.]

VII LIBERA ME Soprano and Chorus

RespondLibera me, Domine, de morte aeterna, Save me, Lord, from eternal death in die illa tremenda: quando coeli on that momentous day when heaven movendi sunt et terra. Dum veneris and earth are moved, when Thou shalt judicare saeculum per ignem. come to judge the world through fire.

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VerseTremens factus sum ego et timeo, Trembling I am made, and I fear whendum discussio venerit atque ventura ira, the separation shall come and the comingquando coeli movendi sunt et terra. anger, when heaven and earth are moved.

VerseDies irae, dies illa, Day of wrath, that day ofcalamitatis et miseriae, calamity and wretchedness,dies magna et amara valde. day both great and too bitter,Dum veneris judicare when Thou shalt come to judge the saeculum per ignem. world through fire.

AntiphonRequiem aeternam dona eis, Eternal rest grant them, Domine: et lux perpetua O Lord, and let perpetual light luceat eis. shine upon them.

– Translation, © David Rosen 1997 Used by permission

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Violin IClaudia Chudacoff, Concertmaster Thoron Concertmaster ChairJoanna OwenHarriet VoronaJune HuangJulie SavignonMia LeeBill TortolanoSaskia Guitjens

Violin IIPaula McCarthy*Pamela LassellHeather HaughnLisa CridgeAnnie LoudTracy BurkJudy ParkinsonMary Ann Tortolano

ViolaAnn Steck*Adrienne KiamieMary DauschMagaly SeayChelsey GriffinMarta Howard

CelloGita Ladd*Marion BakerSuzanne OrbanRobert BatteyBarbara BrownJorge Espinoza

BassJeffrey Koczela*Edgardo MalagaColin Chatfield

FluteKaren Johnson*Lauren Sileo

PiccoloAngie Uperti-Hite

OboeMeg Owens*Andrew Jacobson

ClarinetKathy Mulcahy*Shawn Buck

BassoonEric Dircksen*Douglas KehlenbrinkBen GreanyaErich Heckscher

HornJoseph Lovinsky*Mark WakefieldRick LeeBecky Rogers

TrumpetWoodrow English*Douglas WilsonDennis Ferry

Offstage TrumpetStuart Smith*Bill AdcockKarl Sweedy

TromboneJames Armstrong*Jeffrey KnutsonJerry Amoury

TubaJon Voth

TimpaniJulie Angelis Sodee

PercussionJason Niehoff

PersonnelPamela Lassell

*Principal

Cathedral Choral Society Orchestra

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The Composer

Program Notes

Born in 1813 to a poor family in the Po Valley near Parma, Italy, young Verdi played the organ for church services before he was eleven years old, then was sent by his father to study with the cathedral organist in nearby Busseto. Verdi showed so much promise that local residents raised the money to send him away for study at the conservatory in Milan. The conservatory, however, refused him admittance on the grounds that at eighteen he was “too old” and “insufficiently talented.” From these inauspicious beginnings, Giuseppe Verdi rose to become one of the most celebrated composers in history.

Paul Hume, long-time music critic of The Washington Post, explained in his study Verdi: The Man and His Music that by the mid-nineteenth century, Verdi had become more to Italians than simply the composer of twenty-one beloved operas. “Verdi’s name had become a symbol. The letters in the name V-E-R-D-I could also stand for Vittorio Emmanuele, Re d’Italia . . . and ‘Viva Verdi!’ became a two-edged battle cry, a slogan that appeared on walls from one end of the country to the other. Verdi’s music had made him the most popular composer in Italy. His name had made him even more beloved in a country moving inexorably to throw off the foreign rule that had divided it for centuries, and to unite under Vittorio Emmanuele.”

The three principal figures of nineteenth-centu-ry Italian music and literature were composer Gioacchino Rossini (1792-1868), poet and novelist Alessandro Manzoni (1785-1873), and Giuseppe Verdi (1813-1901). When Rossini died in November 1868, Verdi called the venerable composer “one of the glories of Italy” and lamented, “When the other [Manzoni] who still lives has gone, who will we have left?”

To honor the memory of Rossini, Verdi pro-posed to his publisher, Ricordi, what amounted to a requiem-by-committee. “I should like to ask the most distinguished Italian composers . . . to compose a Requiem Mass to be performed on the anniversary of his death.... I want no foreigner, nor anyone outside the world of music, to help in this,

however powerful they may be.“If I were in the good graces of the Holy Father,”

the anticlerical, agnostic, opera composer said, “I would beg him to allow, at least this once, women to take part in the performance of this music, but since I am not, it would be best to find a person more suitable than I to achieve this end.”

Thirteen composers, of whom only Verdi is well-known today, were chosen and given assign-ments. But a performance of the Messa per Rossini could never be arranged. (In fact, it was not performed until 1988.) Verdi had reserved to himself the final movement, the “Libera me.” Of it, his collaborator Alberto Mazzucato exclaimed to Verdi, “You, my dear Maestro, have written the most beautiful, the greatest, the most colossally poetic page that can be imagined.” These words momentarily tempted Verdi “to finish, later, the entire Mass . . . because with some more develop-ment I would find myself already having finished the Requiem and the ‘Dies irae,’ of which the reprise in the ‘Libera’ is already composed. Con-sider then, and regret, what dreadful consequences your praise could have — but do not worry: it is a temptation that will pass like so many others. I do not like useless things. There are so many, many Requiem Masses!!!! It is useless to add one more.”

Then, on May 22, 1873, the tallest timber in Verdi’s forest fell.

Alessandro Manzoni died at the age of 88 after a fall on the steps of a church. Unable to bear attending Manzoni’s public funeral, Verdi traveled incognito and alone to visit his hero’s new tomb. Shortly afterward, he approached the mayor and Council of Milan with an offer to write a Requiem Mass to be performed on the first anniversary of Manzoni’s death, if the city of Milan would bear the costs of the performance. Official Milan agreed, and Verdi, whose score for his “Libera me” had been returned to him only recently, renewed work on a complete Requiem in the summer of 1873 while in Paris.

Although Manzoni had considered himself a Christian believer and a “good” Catholic, his

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political ideas had earned him the enmity of the Church in Rome. Verdi, however, had no such allegiances. He was an atheist, occasionally slipping into agnosticism, but always an implacable foe of organized religion. Requiem Masses were not only a central ecclesiastical rite of the Catholic Church, but also had become public and political rituals. Berlioz’s Requiem (1837) had been used, for exam-ple, to honor those who had lost their lives in the storming of Constantine, Algeria. Hence, a Requi-em Mass to honor Manzoni was not unusual. But Verdi’s decision to write a Requiem would mark a turning point in his career and life. Nearly all of Verdi’s sacred choral works, including his Stabat Mater and Te Deum, were written after the Requi-em (1874).

“Sorrow,” Verdi wrote a friend, “succeeds sorrow with appalling rapidity.” His father had died in 1867, only to be followed six months later by Antonio Barezzi, his “second father and benefac-tor” who had underwritten his early music educa-tion. Verdi, the agnostic, said of him, “If there is a second life, he will see if I have loved him and if I am grateful for what he did for me.”

First Rossini died, then Manzoni. Of all the

great men in his generation, Verdi alone was left. Imperceptibly, the sixty-year-old composer appears to have drawn nigh the gates of his long-abandoned Christian faith, if not the Church itself. German conductor Hans von Bülow dismissed the Requiem as “Verdi’s latest opera, in ecclesiastical dress,” a remark he later regretted. Nevertheless, the sobriquet of the Requiem as “Verdi’s greatest opera” has endured.

Is the Requiem opera? Not to Verdi. “One must not sing this Mass in the way one sings an opera, and therefore phrasings and dynamics that may be found in the theatre won’t satisfy me at all, not at all.”

Well then, is it ecclesiastical music? Of his religious feelings, Verdi’s wife, Giuseppina, astutely observed: “They talk a lot about the spirit more or less religious, of Mozart, Cherubini, etc. I say that a man like Verdi must write like Verdi — that is, according to his own way of feeling and interpret-ing the text . . . The religious spirit and the way in which it finds expression must bear the imprint of its time and the individuality of the author. I should, so to speak, have repudiated a Mass by Verdi, if it had been modeled on those of A., B. or C.”

Alessandro ManzoniFor years, Verdi’s Requiem was known simply as the Manzoni Requiem. Alessandro Manzoni (1785-1873) needed no identification. To nine-teenth-century Italians, he was the primary figure in their literature and culture. His most famous and enduring work was the historical novel I Promessi Sposi (The Betrothed), which Verdi had read shortly after its publication in 1827. The setting was seventeenth-century Lombardy under Spanish rule, but Northern Italians easily made the analogy to their own current efforts to throw off Austrian occupa-tion. Manzoni’s novel, like Verdi’s openly patriotic operas of the 1840s, had a bracing political effect on the people.

The two men met only once. In 1868, Clara Maffei, a woman of letters and a supporter of the Risorgimento, took Verdi to meet Manzoni

at his home in Milan. Verdi wrote her after-ward, saying:

“You know very well how great and how deep is my veneration of that Man who, in my opinion, has written not only the greatest book of our time but one of the greatest books ever to emerge from the human mind. And it is more than a book, it is a consolation to mankind. How to explain the extraordinary, indefinable sensation the presence of that saint . . . produced in me? I would have knelt before him if men could be worshipped. They say it must not be done, and so be it; although we venerate on altars many who lacked the talent or the virtues of Manzoni, and who indeed were downright rascals. When you see him, kiss his hand, and convey to him all my veneration.”

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The Requiem

Verdi finished the score in April 1874, then went to Milan to begin rehearsals for the premiere on May 22, the first anniversary of Manzoni’s death. The composer conducted an orchestra of 100, a chorus of 120, and four soloists at the Church of San Marco, which he felt had better acoustics than the church where Manzoni’s funeral had taken place. Three days later, he led a performance at La Scala, the first of many commemorative performances throughout Europe.

The Requiem owes its secure place in the choral canon of the twentieth century, first, to the re-newed interest in Verdi aroused by performances of his operas conducted by Arturo Toscanini and, sec-ond, to the choral renaissance led by the late Robert Shaw, who was influenced greatly by his early association with Toscanini.

Verdi’s Messa da Requiem per l’anniversario della morte di Manzoni 22 maggio 1874 opens with the Introit, from which the Mass for the Dead derives its title. The listener has stepped inside a great cathedral to find penitents murmuring their hushed prayers: “Requiem aeternam” (rest eternal). Then, attention shifts to the choir, whose unaccom-panied voices sing the Psalm “Te decet hymnus, Deus.” The murmuring of prayers returns. In the Kyrie, Verdi departs from the traditional tripartite repetition. Instead, as Donald Tovey has written, “the solo voices enter with the Kyrie, which is worked out in the most moving passage in all Verdi’s works, unquestionably one of the greater monuments of musical pathos.”

The Dies irae is a non-liturgical poem of eighteen rhymed verses attributed to Thomas of Celano (d. 1250). Its graphic description of the Judgment Day — the Day of Wrath — has inspired many composers, none more dramatic than the settings of Verdi and Berlioz.

Indeed, it is in the “Dies irae” that Verdi’s Requiem most resembles Berlioz’s Requiem. Verdi biographer Julian Budden has described the opening as “four tutti thunderclaps, later separated by powerful blows on the bass drum, the skin tightened to give a hard dry sound (the Shakespearean ‘crack of doom’?); rapid scales in contrary motion: peremp-tory calls to attention on the brass, and a chromatic choral line collapsing into those slow triplets that

Verdi will use again for the real storm in Otello.” Four off-stage trumpets (as opposed to Berlioz’s

four on-stage brass choirs) announce the Tuba mirum, when the trumpet “will summon all before the throne.” The gathering storm terrorizes the listener, then, after an abrupt shriek from the chorus, the bass soloist describes confounding Death, “Mors stupebit,” in the hushed tones of a cathedral crypt. The mezzo-soprano declaims the Liber scriptus, the written record that will leave nothing unpunished, as choral reminders of the “day of wrath” begin as whispers, crescendo into a reprise of the original “Dies irae,” and dissipate in the dying embers of wrath. A trio of soloists asks, each in turn, “What am I to say then, wretch that I am?” The answer comes with an outburst of terrified sinners — choral basses — throwing themselves on the mercy of the King of majesty (Rex tremendae majestatis). Pleas for mercy are simultaneously issued on two separate planes. The four soloists cry “Salva me,” their melodic arching of a major sixth falling back to the fifth, a tradi-tional musical device of pleading. At the same time, choral basses hammer away at the theme of majesty, while the upper three choral voices intone “salva me” in increasing intensity until soloists and chorus unite in a common prayer for salvation. From the chorus comes a quiet C major affirmation of the final utterance of “salva me.”

The next three verses comprise the Recordare, a duet between soprano and mezzo-soprano. The text suggests a deep understanding of human nature: that if the previous pleadings of the merits of the sinners’ case have been insufficient to convince the King, the Son might want to think of how much He already has invested in them! Jesus is reminded, none too subtly, that since He has already suffered because of them, He should not now throw all that pain away by not remitting their sins. The demand-ing spirit of previous prayers to grant salvation turns to bargaining in the tenor solo, Ingemisco, the most “operatic” of the Requiem’s solos, a humble acknowledgment of the petitioner’s unworthiness that ends with the simple request: “Give me place among the sheep.”

The two verses comprising the Confutatis maledictis are assigned to the bass soloist and are

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accompanied by woodwinds, horns, timpani, and strings, a malignant concoction dramatizing the terrors of the damned, reinforced by a third choral reprise of the "Dies irae,” which dissolves into the tears of the Lacrymosa. The sobbing lament of the soprano, which ascends to a high B-flat, is under-girded by a dirge-like melody mourning the tears that will accompany the Judgment Day. The concluding prayer for mercy, “Pie Jesu, Domine” is an unaccompanied solo quartet joined by the chorus again murmuring “dona eis requiem.”

Although today’s custom is to perform the Requiem without pause, Verdi allowed an intermis-sion following the “Dies irae.” The second half opens with the Offertorio, an extensive treatment of the liturgical text sung by the solo quartet. The Sanctus is a dramatic departure from the earlier move-ments. The same text that has inspired composers such as Bach, Mozart, Beethoven, and Berlioz to glorious heights is set by Verdi as an ecstatic fugue for double chorus. The “Hosanna in excelsis” is a choral accompaniment to whirling, ascending, chromatic scales in the woodwinds and horns.

The Agnus Dei is one of the most sublime movements in choral music. A profound serenity characterizes the C major theme of the thrice-repeated petition, “Lamb of God, that takest away the sins of the world, grant them rest.” Sung first by soprano and mezzo-soprano soloists in octaves, the theme is taken up by the chorus in unison. When the soloists restate the theme, it has shifted by only one note to C minor. The third iteration returns to

C major. With significant repetitions of text, it is the instrumental quality of the theme that bears the greater weight of religious expression in this movement.

In Lux aeterna, the penultimate movement, the mezzo-soprano, surrounded by the shimmering strings suggestive of light, declaims the antiphon: “Let light perpetual shine upon them, O Lord.” The “light” of the soprano gives way to the rhythms, punctuated by a bass drum, of mourners (here the bass and tenor soloists) invoking a final “Requiem aeternam.” Once more, light pierces the gloom, and the music returns to B-flat major as darkness is finally overcome.

Libera me, which Verdi originally wrote for the Messa per Rossini, was extensively revised as the closing movement of the Manzoni Requiem. The supplicating chant of the soprano (“save me, Lord, from eternal death”) is followed by the whispered response of the chorus. The agitated soprano soloist sings of her trembling fear, underscored by a choral reprise of the “Dies irae” music.

Together, petitioners return to the opening music of the Requiem. A transitional soprano incantation of the text leads directly to the stun-ning fugue for chorus and orchestra that culmi-nates in a unified cry for salvation, the soprano soaring above the chorus to a high C. Chorus and soloist stammer out their final pleas for salva-tion — “Li-be-ra me” — like the dying light of day casts its shadow across the vaulting of a cathedral.

– © 1999; rev. 2009 by Margaret Shannon

Just Announced!British Choir Festival

Sunday, April 18, 2010, at 4 pmThe Choir of New College, Oxford, Edward Higginbottom, music directorThe Choir of Saint Thomas Church, New York, John Scott, music directorWashington National Cathedral Choir, Michael McCarthy music director

Tickets on sale beginning in January

Arts Enrichment WorkshopHave children in grades three to six? Looking for an alternative to babysitting during our concerts? We have the answer for you! The Cathedral Choral Society offers an arts enrichment workshop in the lower crypt classrooms of the Cathedral during most of its concerts. For more information, please contact Daniel Ozment, Director of External Programs, at dozment@cathedral.org. Enroll-ment is limited and advance sign-up required.

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J. Reilly Lewis J. Reilly Lewis, a native of Washington, DC, began his musical career at the age of eight as a member of the Junior Boy’s Choir at Washington National Cathedral. He received his bachelor’s degree from Oberlin College and master’s and doctoral degrees from The Juilliard School of Music. In 1985 he was selected as Music Director of the Cathedral Choral Society, the resident symphonic chorus of Washington National Cathedral. He has presided over many premiere performances with the Choral Society at the Cathedral and has conducted the ensemble in numerous appearances at the Kennedy Center including performances of Orff’s Carmina Burana with The Washington Ballet and Handel’s Messiah with the National Symphony Orchestra. He leads the Cathedral Choral Society in nine of its current recordings.

An internationally known Bach specialist, Dr. Lewis is founding music director of the Washing-ton Bach Consort. A keyboard artist and conduc-tor, he has performed at the Aspen Music Festival, the International Handel and Bach festivals held in Halle and Leipzig respectively, the Cologne New Music Festival, and in Washington with the Smithsonian Chamber Players. He has performed Bach’s Goldberg Variations in concert many times and given numerous solo organ recitals throughout the U.S. and abroad. Dr. Lewis has been the featured organ soloist with the National Symphony Orchestra at several summer concerts and recently performed Barber’s Toccata Festiva, with Leonard Slatkin at the podium, in a Cathedral Choral Society concert. Among his many honors are the University Club of Washington’s 2004 Distin-guished Washingtonian Award for the Arts and a 2005 Special Recognition Mayor’s Arts Award for his significant contributions to the arts and cultural community of Washington, D.C. Washing-tonian Magazine named him a “2005 Washingto-nian of the Year.”

Lise LindstromOne of the most sought-after interpreters of Turandot of our genera-tion, soprano Lise Lind-strom’s recent and upcom-ing performances of the role include the Metropoli-tan Opera, Deutsche Oper Berlin, De Nederlandse Opera, Savonlinna Festival, Festival de Ópera de Coruña, Opera Hong Kong, San Diego Opera, Palm Beach Opera, Opera Cleveland, Kentucky Opera, and Orlando Opera. The future also includes returns to Senta in Der fliegende Holländer with New Orleans Opera, following past successes with Utah Opera and Opera Grand Rapids, and the title role of Salome with San Diego Opera, follow-ing past performances with Teatro Regio di Torino, San Francisco Symphony with Michael Tilson Thomas, and Opera Cleveland. Other recent engagements include her European debut in Franchetti’s Germania at Deutsche Oper Berlin; both Elisabeth and Venus in Tannhäuser with Greek National Opera; The Consul with Arizona Opera; the title role in Suor Angelica with Opera Tampa; and Ariadne auf Naxos, Un ballo in maschera, Les Contes d’Hoffmann, and Britten’s Gloriana with Des Moines Metro Opera.

Ann McMahon QuinteroMezzo-soprano Ann McMahon Quintero’s recent operatic engage-ments include La Haine in Gluck’s Armide and Marquise Melibea in Il viaggio a Reims (New Israeli Opera); Baba the Turk in The Rake’s Progress (Angers Nantes Opera); Auntie in Peter Grimes, Tisbe in La cenerentola, Dritte Dame in Die Zauberflöte (Washington National Opera); Olga Olsen in Street Scene (Opera Theatre of Saint Louis); and Isabella in family performances of

Biographies

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L’italiana in Algeri (Palm Beach Opera). She also recently sang Dame Quickly in excerpts of Falstaff at the National Endowment for the Arts Opera Honors Inaugural Awards Concert at the Kennedy Center and joined Teatro alla Scala for its produc-tion of Maazel’s 1984. On the concert stage, she has sung performances of Handel’s Messiah (Boston Baroque, Alabama Symphony Orchestra, Charlotte Symphony Orchestra and National Philharmonic), the title role in Vivaldi’s Juditha Triumphans and Michael Haydn’s Requiem in C minor (Boston Baroque), and Beethoven’s Symphony No. 9 (Columbus Symphony Orchestra).

John Horton MurrayTenor John Horton Murray has joined the Metropolitan Opera, Lyric Opera of Chicago, Seattle Opera, Santa Fe Opera, New York City Opera, Deutsche Oper Berlin, Oper Frankfurt, Royal Opera at Covent Garden, Grand Théâtre de Genève, De Vlaamse Oper, Gran Teatre del Liceu, Nationaltheater Mannheim, Scottish Opera, and others for performances in Die Meistersinger von Nürnberg, Les Troyens, Boris Godunov, Wozzeck, Die Frau ohne Schatten, Ariadne auf Naxos, Die Ägyptische Helena, Die tote Stadt, La forza del destino, Lohengrin, Parsi-fal, Otello, Medée, Die Frau ohne Schatten, Der Freischütz, Die Walküre, and Lady Macbeth von Mtsensk. Recent concert engagements include Shostakovich’s Songs of the Forest (Grant Park Music Festival), Janácek’s Glagolitic Mass (Van-couver Symphony Orchestra, Royal Philharmonic Orchestra), Stravinsky’s Les noces (San Francisco Symphony), Beethoven’s Symphony No. 9 (Pitts-burgh Symphony), Mahler’s Das Lied von der Erde (Toronto Symphony Orchestra, Atlanta Symphony Orchestra, Colorado Symphony), and Mahler’s Symphony No. 8 (Kansas City Symphony). In the 2009-2010 season he sings performances of Canio in I pagliacci with Opera Grand Rapids and joins the roster of the Lyric Opera of Chicago for Kát’a Kabanova.

Wayne TiggesBass-baritone Wayne Tigges sings his first performances of Jocha-naan in Salome with Arizona Opera in the com-ing season. He also returns to the role of Basilio in Il barbiere di Siviglia with Opera Colorado and to Los Angeles Opera for Das Rheingold and Santa Fe Opera for Albert Herring. On the concert stage, he sings Beethoven’s Sym-phony No. 9 with the Orchestra of Saint Luke’s at Carnegie Hall. Recent operatic engagements include Giulio Cesare (Metropolitan Opera, Lyric Opera of Chicago); Carmen (Glyndebourne); The Makropolous Case (Opéra National de Paris); Gluck’s Alceste and Il barbiere di Siviglia (Santa Fe Opera); Don Giovanni (Opera Pacific); Le nozze di Figaro and Il barbiere di Siviglia (Lyric Opera of Chicago); Don Giovanni and Le nozze di Figaro (Austin Lyric Opera); and Nabucco (Gran Teatro del Liceu). Concert engagements include Mozart’s Mass in C minor (Los Angeles Philharmonic), Nielsen’s Symphony No. 3 (Chicago Symphony Orchestra), Haydn’s The Creation (Teatro Regio di Parma), Stravinsky’s Les Noces (Cleveland Orches-tra), Zemlinsky’s Psalm 83 (Cincinnati May Festival), and Elijah (Soli Deo Gloria).

Scott DettraScott Dettra is Organist of Washington National Cathedral, where he is the principal organist and assists Music Director Michael McCarthy with the direction of the Cathedral choirs. In addition to his work at the Cathedral, Mr. Dettra is also Keyboard Artist for both the Cathedral Choral Society and the Wash-ington Bach Consort. He has previously held positions at St. Paul’s, K Street in Washington; St. Mark’s, Philadelphia; and Trinity Church, Princ-eton. Additionally, he was principal accompanist of the American Boychoir for many years. A prize-

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winning organist, he has performed at national conventions of the American Guild of Organists and the Association of Anglican Musicians, and has appeared at many notable venues throughout the world. In his work with the Cathedral Choral Society, Mr. Dettra has prepared the ensemble for performances with the National Symphony Orchestra, the Juilliard Orchestra, and The Dave Brubeck Quartet. Mr. Dettra has appeared at the Lincoln Center Festival as organist for the North American premiere of John Tavener’s seven-hour work The Veil of the Temple. In addition to many recording credits, his performances have been broadcast numerous times on BBC, NPR, and PRI. Mr. Dettra holds two degrees from Westminster Choir College and has also studied jazz piano at Manhattan School of Music. His principal organ teachers have been Joan Lippincott, Dennis Keene, and his father, Lee Dettra.

Todd FickleyTodd Fickley is the Chorus Master of the Cathedral Choral Society and Organist at The Falls Church (Anglican) in Falls Church, Virginia. In addition, he performs and teaches with the Wash-ington Bach Consort. A native Washingtonian, Mr. Fickley began his organ studies at Washington National Cathedral under Bruce Neswick. A prize-winning organist, he has been featured on National Public Radio and has performed and directed across the United States, Europe, and Israel. At the age of twenty-three he was made a Fellow of the American Guild of Organists (AGO). He also holds the AGO Choirmaster Diploma and an MA in Organ Performance from the University of Wales, Bangor.

Cathedral Choral SocietyThe Cathedral Choral Society is the resident sym- phonic chorus of Washington National Cathedral. The 180-voice chorus is the oldest choral group in Washington, having been founded in 1941 by Paul Callaway, who served as music director until 1984. Since 1985, J. Reilly Lewis has conducted the Society in musical masterpieces from plainsong to contem-porary works. In its sixty-seven-year history, the Cathedral Choral Society has presented numerous world premieres, many of them commissioned by the Society, and has maintained a tradition of show- casing both promising young soloists and interna-tionally known artists. In addition to concerts at Washington National Cathedral, the chorus has performed in venues around the city and on nation- wide radio and television. In recent years, the Choral Society has appeared at the Kennedy Center with The Washington Ballet, the Juilliard Orches-tra and James Conlon, in performances sponsored by Washington Performing Arts Society, and with the National Symphony Orchestra under Leonard Slatkin and other conductors. The group has sung with Russian baritone Dmitri Hvorostovsky and the Philharmonia of Russia at the Kennedy Center and at Lincoln Center’s Avery Fisher Hall. The Choral Society and the NSO have collaborated regularly on free summer concerts at Washington National Cathedral, where the chorus has partici-pated many times in the annual Summer Festival. In addition to its subscription concert series, the Society sponsors educational and community events, including a Partner Schools project, pre-concert discussions, a Young Person’s Joy of Christmas Concert, and a high-school choral festival, as well as the Annual British Choir Festival.

Pre-Concert DiscussionEarlier this afternoon Paul Bachmann, a classical music specialist at Sirius XM, led a discussion of Verdi and his Requiem. Mr. Bachmann has been a regular panelist on WETA’s “Around Town” since 2007.

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Cathedral Choral SocietyJ. Reilly Lewis, Music Director

Alison Combes, Executive Director

TrusteesConstance L. Tasker, PresidentJohn W. Palmer, Vice President

Dr. Marguerite Toscano, SecretaryWalter B. Doggett, III, Treasurer

The Very Rev. Samuel T. Lloyd III, Cathedral Dean

Margaret M. AyresTom GallagherDustin J. Gard-WeissAnne R. HarrisThe Rev. Canon Stephen Huber, Vicar

Dr. Robert W. JeromePaul JuergensenDiane KreshMartha S. LewisMichael McCarthyWesley O. McGee

Millie MillerJohn E. Moyer Christine MulliganMartha A. OlsonDr. Martin S. Rosenthal

Walter Sechriest, IIIAndrew SotoDale TurzaJohn D. Van WagonerDr. Robert B. Wallace

Cathedral Choral Society Executive StaffExecutive Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Alison CombesDeputy Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jean Fritter JawdatDirector of Institutional Advancement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Margot T. YoungDirector of Administration and Ticket Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lawrence ReppertDirector of External Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Daniel OzmentCorporate Relations Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Victoria ChamberlinDevelopment Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Elizabeth Remes

Concert Support PersonnelRobe Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Martha A. OlsonLibrarian . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Andrew SotoAssistant Librarian . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Patricia StephensonLibrary Committee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sharon Miller Foster, Lisa Josey, Meg StephensAssistant to Chorus Administrator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chris Buechler

Special ThanksHouse Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tatie RadcliffeUshers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cathedral UshersSound Engineer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mark HuffmanProgram Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Susan ElliottProgram Printer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . HBP Charter PrintingPublicity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cathedral Communications and Marketing DepartmentPrelude Editor and Program Annotator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Margaret Shannon

The Staff and Volunteers of Washington National Cathedral

Honorary TrusteesRichard S. AntesMrs. Spencer Gordon, Jr.Virginia C. MarsGerson Nordlinger, Jr.Dr. M. Elizabeth Tidball

Advisory BoardDominick ArgentoDave BrubeckPhyllis Bryn-JulsonDenyce GravesThomas HampsonJessye Norman

James Weldon NorrisJohn RutterNorman ScribnerLeonard SlatkinSam Waterston

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`

In loving memory of Mary Charlayne FitzGerald by Robert Arnett

In loving memory of our precious son, Alexander Atanasov — son, friend, brother — in honor of his celebrated life with love forever, the Atanasov family

In memory of Vartkess M. Balian by Raffi Balian

In memory of Beatrice Suggs Banner by William A. Banner

In memory of Melvin Beiser by Susanna Beiser

In memory of Madame Therese Leroux, Lorraine Perona-Rooney, Betty Semkow, and Little Lucky by Cheryl A. Claus

In loving memory of Antoinette Petrucelli and Josephine Martinelli by Dr. J. Robert DiFulgo

In loving memory of Donald and Susanna Escoffery by Loraine Escoffery

In loving memory of our dear father, grandpa and great-grandpa, William E. Coyle, first president of the Cathedral Choral Society. He is forever in our hearts; by Diane B. Freeman

In memory of Sanford Garner by Mary Cox Garner

In memory of Kathleen T. Gerety by Mary-T. Gordon

In memory of Vincent Lopardo by Pamela Hazen

In memory of Virginia Gray Farnsworth Hill by her husband, Adm. Clarence A. Hill, Jr.

In memory of Jeffrey Thomas Holko (1976-2009), beloved son, brother, and friend to all; in memory of Edith May Dawson (1914-2004), our sister, mother, grandmother, and inspiring woman; and in memory of Thomas John Holko (1950-1990), the best husband, father, and friend that ever lived; by Michelle Holko.

In memory of Ashok Kapur, former Chairman of Yes Bank, India, who was killed by terrorists in the November 28, 2008, attacks while having dinner with his wife and friends; and in memory of Kuldeep Madhok, who passed away on June 7, 2009, from a long battle with cancer. May their souls rest in peace. From members of their families — the Kapurs and Madhoks — who will never forget

In memory of William Proctor Jones and Carole Samuelson by Mary Virginia Langston, Heather Langston Jones, Lisa Langston Jones and Steve Radanovic

In memory of Wendy Miller by Melissa Laine

In memory of Paul Callaway by Dr. & Mrs. J. Reilly Lewis

In memory of Richard Wayne Dirksen by Dr. & Mrs. J. Reilly Lewis

In memory of Rev. Thomas Edmunds by Betty Edmunds Lilly

Requiescat in pace Senator Edward M. Kennedy by Margaret Shannon

In loving memory of John Shen, beloved father of Cindy Shen

In memory of Elizabeth Grant Stanford and Leland Stanford by Mr. and Mrs. L. Bradley Stanford

In memory of Russell W. Sublette by his wife, Joy

In memory of Maria and Jean Theunissen, Maas-tricht, The Netherlands, and in memory of Theo-dora and Louis Timmermans, Berwyn Heights, Maryland, by Germaine Timmermans

In MemoriamRequiem aeternam dona eis, Domine: et lux perpetua luceat eis.

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Cathedral Choral Society ContributorsSeptember 1, 2008 — September 29, 2009

Every effort has been made to ensure that this list is complete and accurate. If you find an omission or an error in your listing, please accept our sincerest apologies and let us know by calling our development office at (202) 537-5542.

* Singer ◊ Board Member

Gifts for General Operating Support

PAUL CALLAWAY ASSOCIATES ($20,000+)The Morris and Gwendolyn Cafritz Foundation

The Estate of Fr. Frederic Meisel†U.S. Commission of Fine Arts: National Capital Arts and Cultural Affairs Program

PLATINUM CIRCLE ($15,000-$19,999)Meredith Foundation

Philip L. Graham Fund

GOLD CIRCLE ($10,000-$14,999)Anonymous

Clark-Winchcole FoundationThe Richard Eaton Foundation Mr.◊ & Mrs. Wesley O. McGee

Meredith Foundation PEPCO

Mr.◊ & Mrs. John D. Van Wagoner

SILVER CIRCLE ($7,500-$9,999)Dallas Morse Coors Foundation for the Performing Arts

Mr. Brian Mabry & Ms. Catherine E. Ort-Mabry* Mr.◊* & Mrs. John Edward Moyer Mr.◊ & Mrs. Walter Sechriest, iiiCapt.* & Mrs. T. Michael Shortal

Mr. & Mrs.◊ Joseph Tasker, Jr.

BRONZE CIRCLE ($5,000-$7,499)

Ms. Margaret M. Ayres◊ & Mr. Stephen Case Dimick FoundationThe Max & Victoria Dreyfus FoundationTom◊* & Kathy Gallagher Mr.◊ & Mrs. Dustin Gard-Weiss

Mrs. Virginia C. Mars◊Millie Miller◊ Drs. M. Elizabeth◊* & Charles Tidball The Alice & Russell True FoundationDr.◊ & Mrs. Robert Wallace

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PATRONS ($500-$999)

Mary Ellen Alberts Ms. Jessica Barness* Mrs. Catherine Beauchamp* In memory of Naomi S. HarrisMr. John S. Becker Mrs. David Curfman

Mr. Jack Davis In loving memory of Marianne Davis by her familyMr. & Mrs. Bill Fitzhugh Ms. Mary Cox Garner Ms. Susan Grad*Dr. & Mrs.◊ Spencer Gordon, Jr.

Mr. Neal A. Jackson Lcdr. & Mrs.* Keith Kruse Dr.◊ & Mrs.* J. Reilly LewisMs. Susan McDaid* Mr.* & Mrs. James L. McDonald Mrs. Andrea T. Merrill* Mr.* & Mrs. James M.E. Mixter Bradley & Martha◊* Olson

Mr. Harold I. Pratt Mr. & Mrs. Harold I. Pratt Dr. Martin Rosenthal◊* Dr. Cynthia Shen*Mr. Erik Stokstad* Ms. Leslie C. Taylor

SUSTAINERS ($1,000-$2,499)

Mr. Ernest Abbott* Mr. & Mrs. Robert Barlow Alan G.R. & Kyle Z. Bell Mr. David W. CookKathryn W. Davis FoundationEdmondson & GallagherMr. Charles Leonard EganCary C. Fuller In honor of J. Reilly Lewis Ms. Sally E. Gillespie Dr. David Howell*

Mr. Paul Juergensen◊ Mr. Nevin E. Kuhl Dr. William Leach Ms. Martha S. Lewis◊ Mars FoundationMr. Brian J. McManus Mr. & Mrs. B. Dwight PerryMs. Frances H. Pratt* Mr. James M. Roberts Dr. Stephen S. Roberts*Ms. Julia Royall◊

Ms. Marjorie Schrader Mr. William Shunk III & Ms. Patricia Read* Mr. & Mrs. Steven W. Smith Ms. Rena Stephenson In honor of Patricia StephensonDr. Andrew Thompson* & Mr. Stevan Johnson Mr.* & Mrs.* S. Roy Woodall, Jr.

BENEFACTORS ($2,500-$4,999)Anonymous Mr. Richard S. Antes◊Bailey Banks & Biddle Alison Combes◊ & Craig Bowman Mr.◊ & Mrs. Walter B. Doggett III Mr. & Mrs. Arthur L. Eggers Ms. Janet M. Hall & Cdr. James D. Campbell

Earl & Phyllis Hannum Dr. Robert W. Jerome◊ Mr.* & Mrs. Richard F. LarkinMr. & Mrs.◊* James MulliganMrs. Peter D. Olch*Mr.◊* & Mrs. John W. Palmer Prince Charitable Trusts

Mr. Raymond Rhinehart* & Mr. Walter Smalling, Jr. Ms. Carla L. Rosati Lawrence A. & Margot T.* Young

FRIENDS ($250-$499)

Mr. & Mrs.* John Backus William A. Banner Mrs. Catherine Beauchamp* Mr. & Mrs. John T. Beaty, Jr. In honor of Dr. and Mrs. Spencer Gordon, Jr. on their 50th anniversaryMs. Susanna Beiser* Ms. Jill S. Bixler Mr. Andrew W. Boesel Herman Bostick Mr. Philip Bregstone In memory of Marianne DavisMs. Kathleen Brion*Mr. James W. Clay*

Ms. Verla R. Cook Mr. & Mrs. Benjamin Dorsey Mr. & Mrs. Richard V. Fitzgerald Mrs. Nancy M. Folger & Dr. Sidney L. Werkman Ms. Sharon Miller Foster*Mr. David Green Mr. George Hanc Mr.* & Mrs.* Simon G. Kaplan Mr.* & Mrs. Clayton F.W. Kaufman Ms. Mary Ruth Keller Mr. Richard Kuisel Mr. Richard Kuisel In memory of Sally Kuisel

Mr. George R. Leach In memory of Marion LeachMaj. Stephen M. Lott Ms. Wendy Palmby Lubarsky *Ms. Christina M. Markus* Mr. David Martin, Jr. In memory of Katherine Lindsay HowellMr. & Mrs. Leander McCormick-Goodhart Dorothy C. Mergner Mrs. Bernetta E. Newcastle Bradley & Martha◊* Olson In honor of Mary Louise PuschMs. Theodora Radcliffe

Jane* & Vern Roningen Mr. Cameron Sanders, Jr. Gus & Susan* Schumacher Small-Alper FoundationMr.◊* & Mrs. Andrew K. Soto Mr.* & Mrs. L. Bradley Stanford Ms. Margaret V. Stephens* Frank* & Rosemary Sullivan Ms. Elizabeth Owens Wakefield* Mr. & Mrs. Mallory Walker Mr. Pete WilliamsMr. & Mrs. David Young

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CONTRIBUTORS ($100-$249)Ms. Mary Ann Alford Ms. Cynthia Allen* Mr. Robert L. Arnett Ms. Jane Baird In memory of Dr. Charles L. Baird, Jr.Dr. Violet Baker* Mr. & Mrs. Harvey Bale Ms. Judith Barrick Mrs. Catherine Beauchamp* In memory of John BeauchampMs. Susanna Beiser* In memory of Melvin BeiserMr. Gordon l. Biscomb Mr. Gregg M. Breen* Ms. Madeline M. Brown Mr. & Mrs. Barlow Burke Mr. Michael F. Butler Ms. Ellen Campbell Mr. & Mrs. William Catherwood Cheryl A. ClausMr. James W. Clay* In memory of James William ClayMs. Laura M. Connors* Maj. Gen. & Mrs. Willis D. Crittenberger Mrs. David Curfman In memory of David R. Curfman, MDMs. Janet Dawson In memory of Julia Montague Dawson HolderMs. Sue DeLeon* Mr. & Mrs. Robert Dietly Mr. Richard Dirksen In honor of Reilly LewisMr. William C. Dubishar Ms. Sheri Closson Economou* In honor of Nancy EconomouMrs. Ridgeway B. Espy, Jr.Miss Nancy Fassett Ms. Elise Fisher & Mr. Doug Pulak In loving memory of Jean Stephenson Miller

Mr. Thomas J. Flagg for handbell demonstrationMr. & Mrs. Steven Fox Mr. & Mrs. Thomas H. Fox Tom◊* & Kathy Gallagher In memory of Peter Gallagher from his Dad. He is still sorely missed.Ms. Mary Cox Garner In celebration of Franc SlapanMs. Eleanor Gease Mr. Bryan George Ms. Margaret Gonglewski*Mrs. Robert Goodchild Dr. & Mrs.◊ Spencer Gordon, Jr. In memory of Genevieve Fritter BieberDr. & Mrs.◊ Spencer Gordon, Jr. In memory of Jeanette Drew SmallingDr. & Mrs.◊ Spencer Gordon, Jr. In memory of Yvonne PaxtonMs. Louise L. Grass Ms. Carole A. Grunberg Mr. & Mrs. Randel Hancock Mr. Sheffield Harrold Ms. Phyllis W. Hearn Mr. David R. Hearn In memory of Lucille HearnMr. & Mrs. Louis Hering Mr. Frederick S. Hird Ms. Judith HopeMrs. Susan Isetorp Mr. Keith A. Hudspeth* Miss Ann H. Hyde Ms. Jean Jawdat In honor of J. Reilly Lewis and in memory of Genevieve Fritter BieberMs. Barbara Jennings Mr. & Mrs. Peter Jensen Ms. Erika Joyce Ms. Jane Jurkevics*Ms. Ingrid Kauffman In memory of Dolores Escudero Gardner

Mr. & Mrs. Louis Khan Mr. Michael J. Knipe Ms. Jennifer Knowling Dr. Richard M. Krause Ms. A. Angela Lancaster & Mr. C. F. Muckenfuss III In honor of Todd Schwebel and Trip DriscollMs. A. Angela Lancaster & Mr. C. F. Muckenfuss III Ms. Pamela Lassell Dr. William Leach In memory of Genevieve Fritter BieberMr. Robert M. Leddy, Jr. Mr. & Mrs. Robert Leggett, Jr. Ms. Jane Lester Ms. Eleanor G. Lewis Eve & Bill LilleyMr. David S. Marsh Dr. Robert Turner Mead Ms. Jacqueline Mars Mr.* & Mrs. James L. McDonald In memory of Carol McDonald and Lee and Ninon WaldenMr. Samuel Miller In Sharon Miller Foster’s nameMr. Thomas E. Morrison Ms. Jill Nevius & Mr. Frederick Schwartz In honor of Jaylee MeadMr. Mark W. Ohnmacht In honor of Mary-T. and Spencer GordonMr. and Mrs. Harold Quayle, Jr. Mr. & Mrs. Donald Peck Ms. Rondi K. Pillette & Mr. Stephen A. Levin Mr. Charles Pratt Mr. Raymond Rhinehart* & Mr. Walter Smalling, Jr. In memory of Emily Rhinehart and Jeannette Smalling Ms. Lynn Rhomberg Mr. & Mrs. Milton M. Rose

Ms. Carla Rountree* Ms. Marie E. Schaaf Mr. Robert Schrader Ms. Eleanor R. Seagraves Ms. Margaret Shannon* In memory of Genevieve Fritter BieberMr. Huston Simmons Ms. Lynwood Sinnamon Mr. James L. Snyder Mrs. Russell W. Sublette Mr. Frederick L. Swann In memory of Margaret Swann Helm, and in honor of J. Reilly LewisMr. & Mrs. Charles Tartaglia James B. Keat & Christine L. Thompson Mr. Andrew W. Tice Dr. Marguerite Toscano◊* Mr. & Mrs. Patrick Towell Mr. Jack A. Sulser Mr. Donald S. Sutherland In honor of J. Reilly LewisMs. Dorothy Waggoner Dr. & Mrs. Richard L. Wagner Mr. James Thomas Ward Col (Ret.) & Mrs. Harold Warvari Ms. Blanche J. Williams Mr. John Ellis Knowles Wisner* Mrs. Sibyl Wright Miss Nancy Lee YoungMr. W. David Young & Mr. Eric P. Andersen*

MATCHING GIFTS

ExxonMobil Foundation IBM Merrill LynchSprint Foundation Verizon Foundation The Washington Post

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Gifts to Endowment FundsBarbara Bolling Fuller and Clara Bolling Fowler Young Artists Endowment Fund • Paul Callaway Conducting ChairRichard Wayne Dirksen Memorial Endowment Fund • Marion Drew Leach Performing Artist Series Endowment Fund

Thoron Concertmaster Chair Endowment Fund

PAUL CALLAWAY ASSOCIATES ($20,000+)A Friend

Estate of Richard Good†

BRONZE CIRCLE ($5,000-$7,499)Drs. M. Elizabeth◊* & Charles S. Tidball

BENEFACTORS ($2,500-$4,999)Mr. & Mrs. Joseph Howell

Dr. William Leach

SUSTAINERS ($1,000-$2,499)Mr. Cary C. Fuller

Mr. & Mrs. James A. Harris, Jr.Mr. Mark W. Ohnmacht

Capt.* & Mrs. T. Michael Shortal

PATRONS ($500-$999)Dr. & Mrs.◊ Spencer Gordon, Jr.

FRIENDS ($250-$499)Mr. & Mrs. Robert J. Rooney

Gala Auction DonorsEmbassy of ChinaEmbassy of AustraliaEmbassy of GreeceEmbassy of New ZealandEmbassy of GermanyEmbassy of CanadaEmbassy of ChileEmbassy of South AfricaEmbassy of SwedenRoyal Norwegian EmbassyThe British EmbassyEmbassy of JamaicaEmbassy of Japan

Embassy of the Russian FederationAlto I Section Alto II SectionAnonymousCaren Braun Backus*Bass I SectionBass II SectionCaneel Island Resorts Distilled Spirits Council of the U.S.The Four Seasons HotelDustin Gard-Weiss◊

Janet M. Hall & CDR James D. CampbellPortia Hargrove*The Hotel Hershey Robert Jerome◊J. Reilly Lewis◊James M.E. Mixter*Brad & Marti◊* OlsonJack◊* & Donna PalmerPaul’s WinesRay Rhinehart*The Ritz-Carlton, Washington D.C.

Dr. Martin Rosenthal◊*Dr. Bernhard SaxeAnn Colgrove SmithSoprano I SectionSoprano II SectionAndrew Soto◊*Joseph & Constance◊ TaskerTenor I SectionTenor II SectionJohn D. Van Wagoner◊Tom Vogt

RESTAURANT DONORS Bangkok Joe’sCafé 1894Café OggiCafé Deluxe/Tortilla Coast

Common Wealth GastropubDaniel O’Connell’sHunan WestRestaurant Nora

Sea CatchTony & Joe’s Seafood Restaurant

We thank all of the restaurants that graciously donated to our 2009 Angel of the Arts Gala. We hope that you will turn to them when planning your next evening out!

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Harmonia SocietyPlanned gifts to the Cathedral Choral Society can lead to beautiful music for thousands of people. The Harmonia

Society honors individuals who have confirmed future bequests and other planned gifts to the Cathedral Choral Society. They receive special invitations throughout the year and are listed in the concert programs. If you would like to be part

of the Harmonia Society, call the Cathedral Choral Society office at (202) 537-5524 for more information.

Seven Anonymous DonorsRichard AntesCatherine H. Beauchamp* Mr. & Mrs. Arthur L. EggersTom◊* & Kathy GallagherMrs. Spencer Gordon, Jr.◊ William B. & Ruth L. HarwoodDavid K. KrohneMr.* & Mrs. Richard Larkin

Dr. William M. LeachMs. Rosemary LyonJohn T. MooreMartha A. MorrisMr. Gerson Nordlinger, Jr.◊Mark W. OhnmachtMr.* & Mrs. Gerald W. PadweMrs. Carroll Perry, Jr.Carla L. Rosati

Ms. Margaret Shannon*Capt.* & Mrs. T. Michael ShortalMr. & Mrs. Steven W. Smith Drs. M. Elizabeth◊* & Charles S. TidballMr. & Mrs. John D. Van Wagoner◊Ms. Nancy WieckingMs. Evelyn Woolston-May

Washington National Cathedral presents

Michael McCarthy conducts the Cathedral Choir with Baroque orchestra and soloists in the annual holiday classic oratorio.Friday, December 4, 7:30 pmSaturday and Sunday, December 5 and 6, 4 pmTickets at www.nationalcathedral.org or (877) 537-2228

Join us also for these free events:Organ Recitals November 1 and 22, December 25, 5:15 pm

The Sunday Forum with choreographer Liz Lerman Sunday, November 22, 10:10 am

Cathedral Crossroads with labyrinth and special dance program with Liz Lerman Tuesday, November 24, 7:30 pm

Secure Your Seat Early!

HANDEL’S Messiah

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Dr. William M. LeachMr. & Mrs. Wesley O. McGeeMr. & Mrs. Gerald W. PadweCapt. & Mrs. T. Michael ShortalMr. & Mrs. John D. Van Wagoner

Susanne B. Allen In Honor of Holt Fairfield Butt IIIEric Andersen and David YoungRichard S. AntesViolet BakerCatherine BeauchampAlan BerteauCeleste BerteauCharles BerteauJane BerteauMarvin & Patsy BerteauPaul BerteauAnne CarmanRebecca ChristieAlison Combes & Craig BowmanPhilip DanielJudith DavisChristine C. DeFontenayRichard DoddLoraine EscofferyLynne & Bill Fitzhugh

Tom Gallagher In Memory of Peter GallagherRenee GamacheSally E. GillespieMargaret GonglewskiSusan GradAnne R. HarrisAnne IngramJean JawdatMartha E. Kossoff In Memory of Dr. & Mrs. Hugh KossoffRichard & Celia LarkinJane LesterDr. & Mrs. J. Reilly LewisJennifer LeySusan McDaid In Honor of Jan LockardAndrea MerrillLolly & Jim MixterJohn E. MoyerMary OlchMartha McGraw Olive In Memory of Margaret and Thomas McGrawBradley J. & Martha A. OlsonTerry W. Plampin & Dorothy B. Riegel

Frances H. PrattPatricia Read & William ShunkDrew and Beth RiggsMarco Polo Restaurant/ Alfredo PestanaSteve RobertsMark Roche-GarlandJane RoningenMartin RosenthalCarla RountreeSusan & Gus SchumacherMargaret Shannon In Memory of Ellen Scott ShannonDibby and Scott Smith In Memory of Ken Johnson and in honor of Lib JohnsonBrad StanfordRosemary & Frank SullivanDr. & Mrs. Charles R. Tartaglia, M.D.The Tenor I SectionDr. Andrew ThompsonDrs. M. Elizabeth & Charles S. TidballSusan & Rick WebbJ. Ellis WisnerMr. & Mrs. S. Roy WoodallMargot T. Young

Just Released!

The Choral Society gratefully acknowledges the following donors who helped underwrite the recording of the world premiere performance of Evensong: Of Love and Angels.

The Argosy FoundationVirginia C. Mars

Dominick Argento Evensong: Of Love and AngelsThe Cathedral Choral Society’s recording of Dominick Argento’s Evensong: Of Love and Angels has just been released on the Gothic label and is available for purchase this evening in the rear nave, through the Society’s office at (202) 537-5527, or from www.Gothic-catalog.com.

Evensong, the composer’s tribute to his late wife, Carolyn, is a fifty-minute work for chorus, soloists and orchestra. It was commissioned by the Cathedral Choral Society through its William R. Strickland Endowment Fund and first performed here at Washington National Cathedral in March 2008.

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Cathedral Choral Society HonorsOrder of Merit

Since the 50th Anniversary season (1991–1992), the Cathedral Choral Society has honored selected individuals for their long and distinguished service to the organization. The following men and women have been given the Order of Merit in gratitude for their extraordinary acts of friendship to the Society:

1991–1992: Paul Callaway, Ramona Forbes, Richard W. Hynson, Marion Drew Leach 1992–1993: Richard Wayne Dirksen 1993–1994: The Rev. Leonard W. Ellinwood

1994–1995: Patrick Hayes, OBE 1995–1996: Mary-T. H. Gordon 1996–1997: T. Michael Shortal 1997–1998: Gerald W. Padwe1998–1999: W. Robert Johnson1999–2000: Roberta J. Duffy and Dr. J. Reilly Lewis

2000–2001: Dr. M. Elizabeth Tidball2001–2002: James D. Campbell2002–2003: Rosella G. Homan2005–2006: Carla Rosati and Mark W. Ohnmacht2006–2007: Catherine H. Beauchamp2008-2009: Diana F. Dykstra

Anniversary Awards1991–1992 (50th)

Foundation: Laura E. Phillips • Board of Trustees: Catherine Beauchamp Women’s Board: Dariel Van Wagoner • Singers: Florence Verta

1996–1997 (55th) Foundation: Dr. David R. Curfman • Women’s Board: Blanche Curfman • Singers: Mary Olch

2001–2002 (60th) Community: The Partner Schools Program

Board of Trustees: Christine H. Mulligan • Singers: Margaret Shannon2006–2007 (65th)

Foundation: Dr. Charles S. Tidball Board of Trustees: Diana F. Dykstra • Singers: Raymond P. Rhinehart

Presidential Commendation (2003)The Rt. Rev. Nathan D. Baxter, Bishop of Central Pennsylvania,

Former Dean of Washington National Cathedral

Education and OutreachThe Cathedral Choral Society outreach and education programs serve community residents of all ages. Cathedral Choral Society programs include pre-concert discussions; Prelude, the concert study guide; student rush tickets; the Urban Youth Chorus at the Sitar Arts Center; an annual Young People’s Joy of Christmas matinee; and Celebrate Youth! The Annual Combined High School Choir Festival. Through the Partner Schools program, students from four District of Columbia schools benefit from in-school workshops and an interactive Different Sounds in the Cathedral Day visit to Washington National Cathedral. For more information, please call Margot T. Young, Director of Institutional Advancement, at (202) 537-5538.

Our District of Columbia Partner Schools are: Emery Elementary School – Choral Teacher Priscilla Barrow MacFarland Middle School – Choral Teacher Gregory Lewis Stuart-Hobson Middle School – Choral Teacher Thomasena Allen School Without Walls High School – Choral Teacher Joan Moten

These programs are funded, in part, by the Alice and Russell True Foundation and St. Francis Episcopal Church, Potomac, MD.

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Tuesday, November 10th

Support the Cathedral Choral Society by purchasing a packet of discount coupons for $5 each, or 5 for $20. The coupons include a 20% discount on any sale or full-priced item, and an additional 15% discount on an entire second purchase.

Coupons are on sale before and after the performance at the rear of the nave. Coupons are also available for purchase from the CCS office. Please call (202) 537-5526 for informa-tion. Discounts may be redeemed at the Washington/Chevy Chase and White Flint Lord & Taylor locations on Tuesday, November 10, 9am-10pm.

dBarnes & Noble

Bookfair!Thursday, November 19th

Join us for a benefit bookfair at Barnes & Noble!

You will find a voucher in today’s program for your purchases on that day. CCS will retain a portion of the sales for which a voucher is presented. Vouchers must be used in person, and can be redeemed at ANY location (except online) on

November 19. Please visit the Georgetown location for special performances featuring members of the Cathedral Choral Society!

We hope to see you there!

The Cathedral Choral Society wishes to thank Ridgewell’s, its new official caterer, for their support.

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SUBSCRIPTION PURCHASE

# OF SUBS LOCATION PRICE TOTAL

$ $4 Events (A-F) must be selected in order to receive the subscription rate. If more than 4 Events are selected, then subscriber will be charged at the Subscriber Single Ticket Price per additional event. SELECT DATESB-1) December 4, 2009 at 7:30 pm Handel: Messiah* q

(B-2) December 5, 2009 at 4:00 pm Handel: Messiah* q

(B-3) December 6, 2009 at 4:00 pm Handel: Messiah* q

(C-1) December 12, 2009 at 4:00 pm The Joy of Christmas q

(C-2) December 13, 2009 at 4:00 pm The Joy of Christmas q

(D) February 21, 2010 at 4:00 pm J.S. Bach: St. Matthew Passion q

(E) March 28, 2010 at 4:00 pm J.S. Bach: St. John Passion* q

(F) May 16, 2010 at 4:00 pm Reilly & Friends q

NON-SUBSCRIPTION EVENT(NS-1) December 12, 2009 at Noon–Joy of Christmas Family Concert–Single Tickets only $25

SINGLE TICKET PURCHASE

EVENT # OF CODE TICKETS LOCATION PRICE TOTAL

PAYMENT Subscription handling charge: $4/subcription $ Single ticket handling charge: $4/single ticket $ Tax-deductible contribution to Cathedral Choral Society $ Tax-deductible contribution to Washington National Cathedral $ TOTAL AMOUNT $

CATHEDRAL CHORAL SOCIETY & WASHINGTON NATIONAL CATHEDRAL 2009-2010 Concert Season Order Form

SUBSCRIBER SUBSCRIBER SINGLE TICKET LOCATION SUBSCRIPTION PRICE SINGLE TICKET PRICE PRICEPremium Nave ......................... $304 ............................... $76 ........................... $80No./So. Balcony .........................$247 ............................... $62 ........................... $65No./So. Transept (west)† .............. $209 .............................. $52 ........................... $55Mid-Nave ............................... $190 ............................... $47 ........................... $50West Balcony ............................$152 ................................ $38 ........................... $40Rear Nave ................................$114 ................................ $28 ........................... $30No./So. Transept (east)† ................ $76 ................................ $18 ........................... $20

†partial or obstructed view

Cathedral Choral SocietyWashington National Cathedral Massachusetts & Wisconsin Avenues, nwWashington, D.C. 20016-5098Order Line: (202) 537-2228 www.cathedralchoralsociety.org www.nationalcathedral.org

Please note that the box office will charge you the total amount for your subscription and/or single tickets (if applicable) and handling fees based on your selections.

PAYMENT INFORMATIONq I enclose a check payable to Washington National Cathedral Check #q Please charge my credit card for the total amount (check one) q VISA q MasterCard

CREDIT CARD #

EXP. DATE

SIGNATURE

CONTACT INFORMATION

NAME

ADDRESS

CITY/ST/ZIP

HOME PHONE

BUSINESS PHONE

EMAIL

*Exact seating for WNC events cannot be guaranteed, but comparable seating will be arranged.

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Cathedral Choral Society & Washington National Cathedral

2009-2010 Concert Season

Johann Sebastian Bach St. Matthew Passion, BWV 244Sunday, February 21, 2010, at 4 pm

Rufus Müller, Evangelist ◆ Christòpheren Nomura, Christus ◆ Gillian Keith, sopranoClare Wilkinson, mezzo-soprano ◆ Alan Bennett, tenor ◆ Craig Phillips, bass-baritone

Cathedral Choral Society ◆ J. Reilly Lewis, conductorWashington National Cathedral Boy Choir, Michael McCarthy, music director

Johann Sebastian Bach St. John PassionPalm Sunday, March 28, 2010, at 4 pm

Rufus Müller, Evangelist ◆ Christòpheren Nomura, Christus ◆ Gillian Keith, sopranoClare Wilkinson, mezzo-soprano ◆ Allan Bennett, tenor ◆ Craig Phillips, bass-baritone

Washington National Cathedral Combined Choirs and Baroque OrchestraMichael McCarthy, conductor

Reilly & FriendsA Celebration of Twenty-five Years

Sunday, May 16, 2010, at 4 pmCathedral Choral Society ◆ J. Reilly Lewis, conductor

To order tickets, please use the order form in this program, call (202) 537-2228, or visit https://tickets.cathedral.org/public

Program subject to change

The Joy of ChristmasSaturday, December 12, 2009, at noon, Family Matinee

Saturday, December 12, 2009, at 4 pmSunday, December 13, 2009, at 4 pm

Cathedral Choral Society ◆ J. Reilly Lewis, conductorThe Heritage Signature Chorale, Stanley J. Thurston, music director

Scott Dettra, organ ◆ Edward Nassor, carillonWashington Symphonic Brass

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