Grace Church in New York

The Reverend J. Donald Waring, rector The Reverend Martha S. Korienek, associate rector The Reverend Chase Danford, assistant rector Patrick Allen, organist and master of choristers

The Choral Society and Orchestra of Grace Church in New York

John Maclay, music director Tony Bellomy , associate conductor

Friday, May 12, 2017, at 8:00 pm Saturday, May 13, 2017, at 3:00 pm Program

O CLAP YOUR HANDS (1920) Ralph Vaughan Williams (187 2–1958)

PRAYERS OF KIERKEGAARD, OP. 30 (1954) (191 0–1981) Tami Petty,

DONA NOBIS PACEM (1936) Vaughan Williams I. II. Beat! beat! drums! III. Reconciliation IV. Dirge for two veterans V. The Angel of Death VI. O man greatly beloved Tami Petty, soprano Andrew Garland, baritone

In consideration of the performers and fellow audience members, please turn off all cellular phones, pagers and electronic devices upon entering the church. Parents and caregivers, please take restless children to the Chantry chapel (entrance in the south transept) if they need to vocalize during the performance. Program Notes Notes and Texts

Philosopher, theologian, critic and Kierkegaard that most colors the piece. O CLAP YOUR HANDS (1920) Ralph Vaughan Williams (187 2–1958) would-be “,” Søren At the work’s climactic moment, on the text Kierkegaard (181 3–1855) made an “O that we might hold it fast!”, the music This buoyant anthem is not often heard in its fully orchestrated version. It has been imprint on Western thought that contin - engulfs the chorus entirely, a portrait of described as “apt to its purpose of filling a great cathedral with joyous sounds.” ues to this day. Equally critical of atheism existential struggle. Redemption comes at and organized religion, the Danish the end, but it is hard won. O clap your hands, all ye people; shout unto God with the voice of triumph. writer’s searching and subjective worldview For the Lord most high is terrible; he is a great King over all the earth. The sovereign voice of Walt Whitman found particular resonance in the 20th God is gone up with a shout, the Lord with the sound of a trumpet. (181 9–1892) offers us individualism of century age of anxiety. Kierkegaard’s ide - Sing praises to God, sing praises: sing praises unto our King, sing praises. a different cast. With the words “I cele - alized human being questioned authority, For God is the King of all the earth: sing ye praises every one that hath brate myself, and sing myself,” the poet thought for himself, and, through ethical understanding. proclaimed the individual as the center striving, strengthened the broader society. God reigneth over the heathen: God sitteth upon the throne of his holiness. of— indeed, as encompassin g— the uni - First translated into English in the 1920s verse. Whitman’s expansive poetry blazed —Psalm 47:1-2, 5–8 and 1930s, Kierkegaard’s works quickly bright for late 19th century English gained a broad readership, including the collegians. One such reader was Ralph composer Samuel Barber (191 0–1981). Vaughan Williams (187 2–1958), who set Barber’s encounter with the philosopher’s to music scores of lines of Whitman, in , OP. 30 (1954) Samuel Barber (191 0–1981) “clear, powerful and absolute voice” elicit - works like Toward the Unknown Region, A Sea ed an inventive response in his Prayers of Symphony , and Dona Nobis Pacem . Commissioned in 1942 by the Koussevitzky Music Foundation, Prayers of Kierkegaard Kierkegaard (1954). In a program note to Both Whitman and Vaughan Williams was delayed by Barber’s service with the U.S. Army Air Corps. He retained a deep the work’s first performance, Barber experienced firsthand the horror and attachment to the work throughout his life, supervising early performances in Boston, elegantly summarized Kierkegaard as carnage of wa r— Whitman, as an army New York, Chicago, Berlin and London; it was performed at his memorial service. “motivated by the intent of bringing nurse during the American Civil War, and Hailed by an earlier reviewer for its “stark impressiveness,” Prayers is a beautifully men into a religious relationship with Vaughan Williams, as an ambulance driver wrought, free-flowing setting of Kierkegaard’s late writings and sermons, organized God. Throughout his writings one finds in World War I. For both artists, war was around several major musical themes. The first prayer opens with a chant for unac - his three basic tenets of imagination, dialectic real, bloody, pervasive, and morally companied male voices (marked “grave and remote”), inspired by the composer’s and religious melancholy . The truth he sought ambiguous in a way that we can scarcely encounter with Gregorian plainsong in the churches of Rome. Choral outbursts on after was ‘a truth which is true for me,’ comprehend from today’s privileged the text “But nothing changes Thee” frame a canon on the chant by the different voic - one which demanded sacrifice and per - perch. Vaughan Williams created in Dona es of the . This is prayer as “dialectic ”— an irresistible force meeting the immov - sonal response.” Nobis Pacem a work of civic purpose that able object of God. The musical language of Prayers reveals all endures for its artistic worth. Working at The second prayer, an intimate meditation for solo soprano, shifts focus to the suffer - three aspects of Barber’s reading: imagina - the height of his gifts, the composer fits ing and redeeming power of Jesus. The poignant melody recalls Barber’s , tion, in the mystical Gregorian-style chant Whitman’s Civil War poetry to music that Op. 29 (1953), a cycle of medieval monastic poems set for the soprano Leontyne that introduces the work, providing its basic is so beautifully transparent, so wordlessly Price, who also sang the premiere of Prayers of Kierkegaard . After a hymn-like opening, thematic material; religious melancholy, communicative, as to require no explana - the third prayer turns anxious and introspective. In a section marked “mysterious, in passages relating to the redemptive suf - tion. With clarity and urgency, Vaughan gradually increasing in intensity; with increasing motion and rapture,” musical fering of Christ. An extended treatment of Williams sounds a powerful message: entropy increases. The “longing” subject morphs into a repetition for double chorus, the text beginning, “But when longing lays Only human beings practice war. as the composer’s instruction “beginning a new and more intense crescendo, moving hold of us…” is a masterful exercise in Only humanity can stop it. ahead” drives the music to an ecstatic climax. soul searching. But it is the dialectic in —John Maclay The full forces of the orchestra, now unleashed, introduce the fourth and final prayer when it would carry us away, with a fantasia on the opening Gregorian chant, powerfully outlined by the lower that we also might give ourselves up! instruments. The choral entrance (marked “frenzied” by the composer) gives way to an when Thou art near to summon us, orchestral restatement of the “Jesus” theme from the second prayer, as the musical that we also in prayer might stay near Thee! clamor subsides. A mantra for triple chorus, accompanied by distant church bells, When Thou in the longing induces a trance-like state. The final chorale, marked “broad and straightforward,” dost offer us the highest good, anchors our spiritual journey: Remind us not of how we went astray, but of how Thou didst save us. oh, that we might hold it fast! In Kierkegaard’s words, “the function of prayer is not to influence God, but rather to change the nature of the one who prays.” * * * Father in Heaven! O Thou Who are unchangeable, Whom nothing changes, Hold not our sins up against us May we find our rest But hold us up against our sins, And remain at rest So that the thought of Thee should not remind us in Thee unchanging. Of what we have committed, Thou art moved But of what Thou didst forgive; and moved in infinite love by all things; Not how we went astray, the need of a sparrow, even this moves Thee; But how Thou didst save us! and what we scarcely see, a human sigh, this moves Thee, O infinite Love! But nothing changes Thee, O Thou unchanging! DONA NOBIS PACEM (1936) Vaughan Williams

* * * In his preface to English Music (1931), Vaughan Williams argued that “if we want to find the groundwork of our English culture we must look below the surfac e— not to the Lord Jesus Christ grand events chronicled in the newspapers but to the unobtrusive quartet parties which Who suffered all life long meet week after week to play or sing in their own houses, to the village choral societies that I, too, might be saved, whose members trudge miles through rain or snow to work steadily for a concert or and Whose suffering still knows no end, competition in some ghastly parish room with a cracked piano and a smelly oil lamp.” This, too, wilt Thou endure: Vaughan Williams built a close and affectionate bond with thousands of volunteer saving and redeeming me, singers in his decades of work with England’s choral festivals. The interwar cantata this patient suffering of me Dona Nobis Pacem , composed for the Huddersfield Choral Society, is a high point of with whom Thou hast to do— this lifelong collaboration. I, who so often go astray. With its skillful interpolation of poetry and scripture into the words of the Latin * * * Mass, Vaughan Williams’ 1936 work anticipates in concept the Britten War Requiem (1962 )— bookends to the midcentury arc of depression, war, holocaust and nuclear Father in Heaven, terror. Anguished cries from chorus and solo soprano open the piece, prologue to well we know that it is Thou a grand and terrifying scene from Walt Whitman’s Drum-Taps . “Beat! beat! drums!” that givest both to will and to do, conjures war’s invasiveness, its horrific and total impact on daily civilian life. From that also longing, this carnage, the composer turns to “Reconciliation ”— a soldier who sees, in his when it leads us to renew vanquished foe, a “man divine as myself.” The setting, for solo baritone and the fellowship with our Savior and Redeemer, unaccompanied chorus, is strikingly intimate. Originally written in 1914 as a free - is from Thee. standing symphonic episode, the luminous “Dirge for Two Veterans” highlights the Father in heaven, longing is Thy gift. evocative powers of composer and poet alike. But when longing lays hold of us, oh, that we might lay hold of the longing! Vaughan Williams boasted that he was probably the only composer to have set to music III. RECONCILIATION a speech (“The Angel of Death”) from the House of Commons. On hearing John Bright’s jeremiad against the Crimean War, Disraeli himself wrote, “I would give all that Word over all, beautiful as the sky, I ever had to have delivered that speech.” The pacifist MP’s words lead into a chorus that Beautiful that war and all its deeds of carnage must in time be utterly lost, bewails the grinding futility of war. A note of encouragement finally comes from the That the hands of the sisters Death and Night incessantly, softly, baritone soloist (“O man greatly beloved”); in the final chorus, all the world seems to wash again and ever again this soiled world; rejoice. The closing image of “a new heaven and a new earth” recurs in the Book of For my enemy is dead, a man divine as myself is dead, Revelation, along with some of the most beautiful words in scripture: “And God shall I look where he lies white-faced and still in the coffi n— I draw near, wipe away all tears from their eyes; and there shall be no more death, neither sorrow, Bend down and touch lightly with my lips the white face in the coffin. nor crying, neither shall there be any more pain: for the former things are passed —Walt Whitman away.” Outrage without optimism, the composer seems to be saying, is powerless. first published in When Lilacs Last in the I. AGNUS DEI Door-yard Bloom’d (1865), later in Drum-Taps Agnus Dei, qui tollis peccata mundi, dona nobis pacem. Lamb of God, that takest away the sins of the world, grant us peace. IV. DIRGE FOR TWO VETERANS

II. BEAT! BEAT! DRUMS! The last sunbeam Lightly falls from the finished Sabbath, Beat! beat! drums !— blow! bugles! blow! On the pavement here, and there beyond it is looking Through the window s— through the door s— burst like a ruthless force, Down a new-made double grave. Into the solemn church, and scatter the congregation, Into the school where the scholar is studying; Lo, the moon ascending, Leave not the bridegroom quie t— no happiness must he have now with his bride, Up from the east the silvery round moon, Nor the peaceful farmer any peace, ploughing his field, or gathering in his grain, Beautiful over the house-tops, ghastly, phantom moon, So fierce you whirr and pound you drum s— so shrill you bugles blow. Immense and silent moon. Beat! beat! drums !— Blow! bugles! blow! I see a sad procession, Over the traffic of citie s— over the rumble of wheels in the streets: And I hear the sound of coming full-keyed bugles, Are beds prepared for sleepers at night in the houses? All the channels of the city streets they’re flooding No sleepers must sleep in those beds; As with voices and with tears. No bargainers’ bargains by da y— no brokers or speculator s— would they continue? I hear the great drums pounding, Would the talkers be talking? would the singer attempt to sing? And the small drums steady whirring, Then rattle quicker, heavier drum s— you bugles wilder blow. And every blow of the great convulsive drums Beat! beat! drums !— Blow! bugles! blow! Strikes me through and through. Make no parle y— stop for no expostulation; For the son is brought with the father, Mind not the timi d— mind not the weeper or prayer; In the foremost ranks of the fierce assault they fell, Mind not the old man beseeching the young man; Two veterans, son and father, dropped together, Let not the child’s voice be heard, nor the mother’s entreaties; And the double grave awaits them. Make even the trestles to shake the dead, where they lie awaiting the hearses, So strong you thump, O terrible drum s— so loud you bugles blow. Now nearer blow the bugles, And the drums strike more convulsive, And the daylight o’er the pavement quite has faded, —Walt Whitman And the strong dead-march enwraps me. first published in Drum-Taps (1865) In the eastern sky up-buoying, VI. O MAN GREATLY BELOVED The sorrowful vast phantom moves illumined, ’Tis some mother’s large transparent face, O man greatly beloved, fear not, peace be unto thee, be strong, yea, be strong. In heaven brighter growing. —Daniel 10:19 O strong dead-march you please me! The glory of this latter house shall be greater than the former ... and in this place O moon immense with your silvery face you soothe me! will I give peace. O my soldiers twain! O my veterans passing to burial! What I have I also give you. —Haggai 2:9 The moon gives you light, Nation shall not lift up a sword against nation, neither shall they learn war any more. And the bugles and the drums give you music, And none shall make them afraid, neither shall the sword go through their land. And my heart, O my soldiers, my veterans, Mercy and truth are met together; righteousness and peace have kissed each other. My heart gives you love. Truth shall spring out of the earth, and righteousness shall look down from heaven. Open to me the gates of righteousness, I will go into them. —Walt Whitman Let all the nations be gathered together, and let the people be assembled; first published in and let them hear and say, it is the truth. When Lilacs Last in the And it shall come, that I will gather all nations and tongues. Door-yard Bloom’d (1865), And they shall come and see my glory. And I will set a sign among them, later in Drum-Taps and they shall declare my glory among the nations. For as the new heavens and the new earth, which I will make, shall remain before me, V. THE ANGEL OF DEATH so shall your seed and your name remain for ever. The Angel of Death has been abroad throughout the land; you may almost hear the beating of his wings. There is no one as of old to sprinkle with blood the lintel and —Adapted from Micah 4:3, Leviticus 26:6, the two side-posts of our doors, that he may spare and pass on. Psalms 85:10 and 118:19, Isaiah 43:9 and 56:1 8–22, Luke 2:14 —John Bright (181 1–1889)

We looked for peace, but no good came; and for a time of health, and behold Glory to God in the highest, trouble! and on earth peace, The snorting of his horses was heard from Dan; the whole land trembled at the good-will toward men. sound of the neighing of his strong ones; for they are come, and have devoured the Dona nobis pacem. land and those that dwell therein. Grant us peace. The harvest is past, the summer is ended, and we are not saved . Is there no balm in Gilead? is there no physician there? Why then is not the health of the daughter of my people recovered? —Jeremiah 8:1 5–22 Competition, and the prestigious Merola NATS, Lavinia Jensen, Washington About the Artists Opera Program of the San Francisco International, American Traditions, Opera Center, Tami also received special and William C. Byrd competitions. recognition from the Marilyn Horne The Choral Society is an independent, Foundation for her participation in the non-sectarian ensemble of 150 experi - Music Academy of the West. She is the John Maclay is in his 18th season as composer Evan Mack’s new opera enced professional and avocational first recipient of the Emerging Artist Music Director of the Choral Society. (Angel of the Amazon ) based on the life and singers who volunteer their time and tal - Award from the Sorel Organization Major choral-orchestral works offered work of the martyred Sister Dorothy ents in the service of the choral art form. honoring women in music and received under his baton include the Beethoven Stang. Since 2009 Tony has also been The New York Sun claims that in a number the Jessie Kneisel Prize in German Missa Solemnis , Verdi Requiem , Vaughan conducting for New York Lyric Opera of recent hearings no other chorus in Lieder while a student at the Eastman Williams Sea Symphony , Bach Mass in B Theatre ( Hänsel und Gretel , Don Giovanni, town “has been even close to the level of School of Music. minor , Brahms Requiem , Duruflé Requiem , L’elisir d’amore and Le nozze di Figaro ) and professionalism of this strictly volunteer Bernstein Chichester Psalms, and Fauré served on its Casting Committee and Baritone Andrew Garland has per - group.” The chorus’s repertoire spans Requiem , as well as Mendelssohn’s Elijah Musical Board of Directors. Tony has formed at Seattle Opera as Arlekkin in seven centuries, from the Renaissance and Haydn’s Creation and Mass in Time of been rehearsing, conducting, and playing Ariadne auf Naxos , Riolobo in Florencia en el masters to the great oratorios. Supported War . Numerous recordings with the with choral groups since 1990, and has Amazonas, and Schaunard in La bohème ; by some of New York’s finest freelance Choral Society and Orchestra include worked and sung with David Willcocks, New York City Opera as Prior Walter in orchestra players, the group reaches the recently released Christmas With The Helmuth Rilling and many other major Angels in America ; Minnesota Opera in the thousands of listeners each year through Choral Society, Vol. II . The Choral Society’s conductors. Since 2005 he has appeared world premiere of William Bolcom’s the uniquely inclusive medium of choral 2005 debut at the Metropolitan in recital with singers throughout the Dinner at Eight ; Cincinnati Opera as the singing. The Choral Society was profiled Museum of Art as part of its prestigious New York area and the Northeast. This is titular character in Galileo Galilei (Phillip in 2015 by the PBS-WNET magazine Concerts and Lectures Series was noted Tony’s eighth season as associate conduc - Glass), and as Mercurio in La Calisto . Religion and Ethics Newsweekly , and was by critics for its “carefully considered” tor of the Choral Society. He premiered The Conquest Requiem by selected this season as a participating programming and the “discipline and Tami Petty was hailed as a “powerful Gabriela Lena Frank with the Houston artist in the New World Initiative, a city - passion” of the chorus. John accompa - soprano” by the New York Times in her Symphony and performed Carmina wide community celebration of the New nied and conducted choruses at Lincoln Center debut, singing Rossini’s Burana ; the Requiems of Brahms, Mozart, York Philharmonic’s 175th anniversary. Haverford and Bryn Mawr Colleges. Petite Messe Solenelle with Voices of Faure, and Duruflé; and works of While in graduate school, he was assistant Ascension. Highlights from recent sea - Mahler, Vaughan Williams, Handel, conductor of the Harvard Glee Club, sons include Woglinde in the final scene and Bach with such groups as the Albany America’s oldest collegiate chorus. John from Wagner’s Das Rheingold with the Symphony, Boston Baroque, Handel currently heads global finance and American Symphony Orchestra at the and Haydn Society, Colorado Bach investment banking legal coverage for Bard Summerscape Festival; the title role Ensemble, Washington Master Chorale Société Générale in New York. in Puccini’s Suor Angelica with the at the Kennedy Center and National Tony Bellomy , associate conductor, holds Southern Arizona Symphony Orchestra; Chorale at Lincoln Center. Well known degrees in both piano performance and Leonore in Beethoven's Fidelio with as an American recitalist, Andrew has vocal accompanying and has coached and Opera Fort Collins; Vaughan Williams’s been presented in dozens of programs played for the Florentine Opera A Sea Symphony with the Buffalo by the Marilyn Horne Foundation, Company, the Skylight Opera Theatre Philharmonic; Michael Tippett’s A Child Carnegie Hall, New York Festival of and the Milwaukee Ballet Company, all of Our Time with the Manchester Choral Song, Camerata Pacifica (with Warren of Milwaukee, Wisconsin; the Little Society; and the Four Last Songs of Richard Jones), and the National Association of Opera Theatre of New York; New Jersey Strauss with the Fort Collins Symphony. Teachers of Singing. He was a prize win - Verismo Opera; and Encompass New She was the winner of career grants from ner in the 2009 Montreal International Opera Theatre. With Encompass, he the Richard Tucker Foundation, the Competition, the José Iturbi, Gerda performed and recorded, at the Lotte Lehmann Foundation, Chautauqua Lissner, Metropolitan Opera Regional Baryshnikov Arts Center, New York Opera Guild, the Lotte Lenya competitions, and winner of the The Choral Society John Maclay, music director Tony Bellomy, associate conductor

SOPRANOS BASSES Elizabeth Abrams Jacquelyn Baker Brett Barndt Nathaniel Bisson Caroline Alexander Chelsea Brite David Beatty Peter Bryce Karen Kirsten Arneson Anna Caffarelli David Cholcher Jason Chiang Jessica Azani Ellen Carpenter David Thomas Cohen Leo Clark Alecia Baucom-Ortiz Patricia Chui Kevin Doyle Andrew Rhys Davies Ariana Baurley Sarah J. Fels Daniel DuComb Mitchell Davis Nicole Belmont Samantha Franklin George Epstein Leonard C. de Paur Cassie Bigelow Angelina L. Fryer Mark Evans Matthew Geaghan Karen Chan Traci E. Gallagher Peter A. Farol Waylon Jacques Ava Chen Tavia Gilbert Douglas Figueredo Brandon Johnson Stephanie DeMane Amy Gilfenbaum Edward C. Hayes Thomas Kneeland Elizabeth Dempsey Katie Hamblin Craig Hensala Jonah M. Knobler Lisa Mary Fiorentino Wendy Hayden Cameron R. Hernandez Douglas Krehbiel Alexa Fishman Emily Whetstone Hey Roland Jarquio David Kronig Joanne Giordano Annette Marie Hintenach Peter S. Julian Robert Lanaghan Hannah Gordon Lynda Kennedy Milton Justice Kevin Lee Celia Maccoby Green Dimitra Kessenides Chris Lowden John Mattera Stacy Horn Julia Kingsdale Drew McLelland Tim Moore Eliza Hornig Susan Knopf Dylan Nagler Abel O’Connell Jennie Ingram Esta Joy Kroten Michael Read Daniel E. Okobi, Jr. Grace Lykins Karen G. Krueger Luke Riservato Devin Powell Rachel Murphy McMullin Jenny Lawton Robert Shutter Stefan T. Samuelson Anna McQuere Cheri Leone Aaron Tievsky David Stetson Clara Juwon Ohr Angelika Mendes-Lowney Stephen Vann Will Trice Liana Violet Ray Elizabeth Minkel Charles Warren Darren Walker Lucia Rivieccio Andrea Morgan Dominic Wetzel Christopher White Mariel Roberts Hannah Nacheman Brent Whitman Ed Wren Barbara Sacharow Grace Ross James Young Amy Stenberg Cricket Saurel Mike Young Amy Lee Straton Tyler W. Smith Renee Stupfel Sandy Smyth Meredith Tate Catherine Vaughan Nancy Tepper Lauren Velasquez Mallory Trice Nicole Wakabayashi Kaarin Von Herrlich Marcia Wallace Masha Wasilewsky Judith Weis Katherine Willis Sarah Weiss Laetitia Wolff Janet L. Wyatt Orchestra Acknowledgments

VIOLIN I FLUTE/PICCOLO TIMPANI We thank Mary Horenkamp for the design of our season publicity materials and this Jorge Àvila, concertmaster Sato Moughalian Joseph Tompkins program booklet; our volunteer management team, Alecia Baucom-Ortiz, Nathaniel Alexander Sharpe Reva Youngstein PERCUSSION Bisson, and Traci Gallagher; our management associate, Frank Russo; the Sextons and Andrea Schultz Kaoru Hinata Jeffrey Irving Staff of Grace Church and Grace Church School for their unflagging help behind the Max Moston OBOE David Mancuso scenes; our volunteer ushers; the board members of Friends of the Choral Society; Roy Lewis Diane Lesser Tom Mulvaney and the countless Choral Society volunteers who helped prepare, promote, and exe - VIOLIN II William Meredith cute all aspects of this public performance. HARP Louise Owen CLARINET Frances Duffy We gratefully acknowledge the pro bono contributions of our law firm, Skadden, Arps, Cenovia Cummins Daniel Spitzer Slate, Meagher & Flom LLP. Sarah Geller PIANO Christopher Cullen Susan Dominguez Tony Bellomy This year’s season has been made possible, in part, by a generous grant from the Paula Flatow BASSOON Marta Heflin Foundation. ORGAN Timothy Emerson VIOLA Patrick Allen Stephen Wisner The Choral Society’s community outreach would not be possible without the support David Gold Organist and Master of Choristers, of the Clergy, Vestry, Wardens and People of Grace Church. Alissa Smith FRENCH HORN Grace Church in New York Edward Malave Nancy Billmann Nikki Federman Ian Donald Judy Lee The Choral Society is a proud member CELLO Aaron Korn of the New York Choral Consortium. Arthur Fiacco Daniel Miller TRUMPET www.newyorkchoralconsortium.org Eliot Bailen Kyle Resnick Todd Walker BASS Thomas Verchot Troy Rinker Roger Wagner TROMBONE Michael Seltzer Dave Nelson Jonathan Greenberg TUBA Ron Caswell

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We are grateful for the financial support and hospitality of VON and the Central Bar. Friends of the Choral Society SPONSORS ($30 0–599) Carol Hendrick Dore and Elizabeth Abrams Craig Hensala Christopher B. Boshears Pamela Hogan Kerry P. Brennan Mary A. Horenkamp with love to the Choral Society The Choral Society’s mission of presenting great masterworks in live performance at David and Kate Cohen an affordable cost to the public is operated and supported by Friends of the Choral Amy Gilfenbaum Peter Julian and Miguel Zuniga Society, Inc., an independent, non-sectarian 501(c)(3) corporation that derives no Sylvia Golden In Memory of Theodoros Ipsilantis funding from Grace Church. Our musical outreach is funded entirely by general Ann Gookin Margaret Kidder admission ticket sales, public and foundation support, and generous donations from In Memory of Katherine S. Maclay individuals like you. Judith B. Heins Elizabeth King Claire McGuire The Choral Society and Orchestra gratefully acknowledge the contributions of our Anna McQuere 2016 –2017 season supporters as well as those whose donations were received after Jeffrey Mishkin and Patricia Clarke May 1, 2017: In Memory of Carrie Taylor In Honor of Anna McQuere and Marian G. Eck Angelika Mendes-Lowney Aaron Tievsky Mary Ellen Metzger UNDERWRITERS ($5,000+) BENEFACTORS ($60 0–1,499) Richard and Josef Upton In Memory of Gregory E. Niclas (2) The Marta Heflin Foundation Andy Anisfeld Jeannine Williams John Olsen Anonymous (1) In Memory of Lexie M. Baucom Lisa and Derek Zaba Daniel Pincus Anne and Gus Caywood ANGELS ($3,000+) Anonymous (3) Anastasia Pridlides The Central Bar David Davis John Ramsay Leo Clark FRIENDS ($ 1–299) In Memory of Mr. R.A. Johnston Dilys Smith Henry Cohn and Clare Sherwood American Express Gift Matching Program (2) Kevin Roon and Simon Yates Clifford and Cynthia Tepper Ken Conradt and John Maclay Daniel Cayer In Memory of Norma E. Sampson Nancy Tepper In Honor of Elizabeth Dempsey Karen Chan Susan Whitlock Mark and Sarah Evans Sylvia Chin PATRONS ($1,50 0–2,599) In Memory of Claude and Jacques Wolff Donald Hess and Peter Cahn Zeynep Cilingiroglu David Beatty and Stefan Aschan Melody Zima In Memory of Peter Hogden Josh Cohn Nathaniel Bisson and Keith Naftaly Anonymous (1) In Memory of Barbara Ingalls Thomas M. Kelly Kim Cromwell In Honor of Claire Margaret Maclay In Memory of Ralph W. Kline Claudia Crowley John and Joyce Maclay In Memory of Julianne Klopotic Anne Tobe Epstein Timothy Moore In Memory of Grace Yu Morgan Joel Gardiner Anne and Joseph Pierson Charles O’Byrne In Honor of Matthew Geaghan Société Générale Gift Matching Program Clara Juwon Ohr Robert and Patricia Harvey Anonymous (1) Leslie Powell and Stanley Stairs David and Susan Read In Memory of Jack W. Thames To offer your tax-deductible support to the Choral Society, please send a check payable to Friends of Stephen Vann the Choral Society, Inc. to John Maclay, 140 Cabrini Boulevard, Apt. 38, New York, NY 10033 , Brent Whitman and Doug Jensen or make a donation by PayPal or major credit card at www.thechoralsociety.org . To discuss a stock gift or inform us of a corporate matching program, please contact [email protected] . Anonymous (1) Upcoming Events

______ANNUAL SPRING BENEFIT Thursday, June 15, 2017, 6:3 0–9:00 pm Cocktails, appetizers, raffle, and private performance by the Chalfonte Quartet ______You are invited to celebrate the conclusion of our 201 6–2017 season and help kick off the 201 7–2018 season with a festive cocktail reception in the Tribeca home of Kevin Roon and Simon Yates. Tickets start at $125 and are on sale through our website at www.thechoralsociety.org (click on “Donations” and follow the instructions from there). All proceeds from this important fundraising event go to maintain the depth and quality of the Choral Society’s musical offerings. Most of the ticket price will be tax-deductible. We hope you can join us for a fun and festive evening of cocktails, appetizers, raffle prizes, and a private performance from a terrific ! ______HOLIDAY CONCERTS Friday, December 1, 2017, at 8:00 pm Saturday, December 2, 2017, at 3:00 pm at Grace Church ______SPRING CONCERTS Friday, May 11, 2018, at 8:00 pm Saturday, May 12, 2018, at 3:00 pm at Grace Church ______Repertoire to be announced. Please check back over the summer at www.thechoralsociety.org On the cover: Angel of Resurrection Pennsylvania Railroad World War II Memorial 30th Street Station, Philadelphia Walker Hancock (190 1–1998)

in memory of the men and women of the pennsylvania railroad who laid down their lives for our country 194 1–1945. that all travelers here may remember those of the pennsylvania railroad who did not return from the second world war.

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