Concert Series Program 2019-20

TABLE OF CONTENTS

Oktoberfest: Music from Germany...... 5

Dona nobis pacem...... 15

Christmas Concert...... 25

Stabat mater...... 35

Lux:The Dawn from on High...... 43

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program book 2019-2020  3 Brendan Ross C.B.C President

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P4  christh churcho grosseto pointes that work OKTOBERFEST Music from Germany

Sunday, October 27, 2019 at 3 pm

Laus trinitati Hildegard von Bingen (1098-1179)

Cantate Domino Heinrich Schütz (1585-1672)

Missa Secunda Hans Leo Hassler (1564-1612) Kyrie Gloria Credo Sanctus Benedictus Agnus Dei

Toccata in F, BuxWV 156 (organ solo) Dieterich Buxtehude (1637-1707) Dexter Kennedy, organist

During the organ solo, an offering is collected. Please be generous.

Sei Lob und Preis mit Ehren, BWV 231 Johann Sebastian Bach (1685-1750)

Os justi Anton Bruckner (1824-1896)

Hear my prayer Felix Mendelssohn (1809-1847)

Kate Alltop, treble Emma Bowe, treble

Geistliches Lied, Op. 30 Johannes Brahms (1833-1897)

program book 2019-2020  5 TEXTS & TRANSLATIONS

Laus trinitati Laus Trinitati, que sonus et vita Praise to the Trinity—the sound and life ac creatrix omnium in vita ipsorum est, and creativity of all within their life, et quae laus angelicae turbae the praise of the angelic host et mirus splendor archanorum, and wondrous, brilliant splendor hid, quae hominibus ignota sunt, est, unknown to human minds, it is, et quae in omnibus vita est. and life within all things.

Cantate Domino Cantate Domino Sing to the Lord canticum novum. a new song. Laus eius in ecclesia sanctorum. Exalt him ye company of saints. Laetetur Israel in eo, Let Israel rejoice before him, qui fecit eum: who hath made thee. Et filiae Sion Let the children of Sion exsultent in rege suo. rejoice before their King. Laudent nomen ejus Let them praise his Name in tympano et choro: in the dance; In psalterio psallant ei. with timbrel and harp. Psalm 149:1-3

Kyrie Kyrie eleison. Lord, have mercy. Christe eleison. Christ, have mercy. Kyrie eleison. Lord, have mercy.

Gloria Gloria in excelsis Deo Glory to God in the highest et in terra pax and on earth peace hominibus bonae voluntatis. to men of good will. Laudamus te, Benedicimus te, We praise you, we bless you, Adoramus te, Glorificamus te. we worship you, we glorify you, Gratias agimus tibi we give thanks to you propter magnam gloriam tuam. because of your great glory. Domine Deus, Rex coelestis, Lord God, King of Heaven, Deus Pater omnipotens. God the Father almighty. Domine Fili unigenite, Jesu Christe; Lord Jesus Christ, the only begotten Son. Domine Deus, Agnus Dei, Lord God, Lamb of God, Filius Patris. Son of the Father.

6  christ church grosse pointe Qui tollis peccata mundi, You who takes away the sins of the world, miserere nobis. have mercy on us. Qui tollis peccata mundi, You who takes away the sins of the world, suscipe deprecationem nostram. receive our supplication. Qui sedes ad dexteram Patris: You who sits at the right hand of the miserere nobis. Father, have mercy on us. Quoniam tu solus sanctus; For you alone are holy. Tu solus Dominus; You alone are the Lord. Tu solus Altissismus, Jesu Christe, You alone are the most high, Jesus Christ, Cum Sancto Spiritu with the Holy Spirit in gloria Dei Patris. Amen. in the glory of God the Father. Amen.

Credo Credo in unum Deum, I believe in one God, Patrem omnipotentem, the Father almighty, factorem cæli et terræ, maker of heaven and earth, visibilium omnium et invisibilium. visible of all things and invisible. Et in unum Dominum Jesum Christum, And in one Lord Jesus Christ, Filium Dei unigenitum. only begotten Son of God. Et ex Patre natum ante omnia sæcula. Begotten of his Father before all ages. Deum de Deo, lumen de lumine, God of God, light of light, Deum verum de Deo vero. true God from true God. Genitum, non factum, Begotten, not made, consubstantialem Patri: of one substance with the Father: per quem omnia facta sunt. by whom all things were made. Qui propter nos homines Who for us men and et propter nostram salutem descendit de cælis. for our salvation descended from heaven.

Et incarnatus est de Spiritu Sancto And was made flesh of the Holy Spirit ex Maria Virgine: of the Virgin Mary: Et homo factus est. And was made man.

Crucifixus etiam pro nobis sub Pontio Pilato: And was crucified also for us under Pontius passus, et sepultus est. Pilate: suffered, and was buried.

Et resurrexit tertia die, And the third day he rose secundum scripturas. according to the scriptures. Et ascendit in cælum: And he ascended into heaven; sedet ad dexteram Patris. he sits at the right hand of the Father. Et iterum venturus est cum gloria And he shall come again with glory judicare vivos et mortuos: to judge the living and the dead: Cujus regni non erit finis. of whose kingdom there will not be an end.

program book 2019-2020  7 Et in Spiritum sanctum And in the Holy Spirit, Dominum, et vivificantem: Lord and giver of life: Qui ex Patre, Filioque procedit. Who proceeds from the Father and Son. Qui cum Patre, et Filio Who with the Father and Son simul adoratur, et conglorificatur: together is worshipped and glorified: Qui locutus est per Prophetas. Who spoke through Prophets. Et unam, sanctam, catholicam And in one holy catholic et apostolicam Ecclesiam. and Apostolic Church. Confiteor unum baptisma in I confess one baptism remissionem peccatorum. for the remission of sins. Et expecto resurrectionem mortuorum. And I expect the resurrection of the dead. Et vitam venturi sæculi. Amen. And the life of the world to come. Amen.

Sanctus 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 your glory. Hosanna in excelsis. Hosanna in the highest.

Benedictus Benedictus qui venit in nomine Domini. Blessed is He who comes in the name of Hosanna in excelsis. the Lord. Hosanna in the highest.

Agnus Dei Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of miserere nobis. the world, have mercy on us.

Sei Lob und Preis mit Ehren Sei Lob und Preis mit Ehren May there be praise and glory and honor Gott Vater, Sohn und Heil’gem Geist! for God the Father, Son and Holy Spirit! Der woll’ in uns vermehren, May it be his will to increase in us Was er uns aus Genad’ verheißt, what he promised us through his grace, Daß wir ihm fest vertrauen, so that we firmly trust him, Gänzlich uns laß’n auf ihn, surrender ourselves wholly to him, Von Herzen auf ihn bauen, build on him in our hearts, Daß uns’r Herz, Mut und Sinn so that our heart, spirit and mind Ihm festiglich anhangen. steadfastly depend on him. Drauf singen wir zur Stund: For this reason we sing now: Amen, wir werd’n’s erlangen, Amen, we shall achieve this, Glaub’n wir aus Herzengrund. we believe from the bottom of our hearts.

8  christ church grosse pointe Os justi Os justi meditabitur sapientiam, The mouth of the righteous utters et lingua ejus loquetur judicium. wisdom, and his tongue speaks what is Lex Dei ejus in corde ipsius: just. The law of his God is in his heart and et non supplantabuntur gressus ejus. his feet do not falter. Alleluia. Alleluia. Psalm 37:32-33

Hear my prayer Hear my prayer, O God; incline Thine ear! Thyself from my petition do not hide! Take heed to me! Hear how in prayer I mourn to Thee! Without Thee all is dark, I have no guide.

The enemy shouteth, the godless come fast! Iniquity, hatred, upon me they cast! The wicked oppress me, where shall I fly? Perplex’d and bewilder’d, O God, hear my cry! My heart is sorely pain’d within my breast, my soul with deathly terror is oppress’d. Trembling and feafulness upon me fall, with horror overwhelm’d, Lord, hear me call!

O for the wings, for the wings of a dove! Far away, far away would I rove! In the wilderness build me a nest, and remain there forever at rest. William Bartholomew (1793-1867)

Geistliches Lied Lass dich nur nichts nicht dauren mit Let nothing ever grieve you; with tears, Trauen, sei stille, wie Gott es fügt, so sei remain calm, as God ordains; therefore vergnügt mein Wille. Was willst du heute be content my will. Why do you worry sorgen auf morgen, der Eine steht allem today about tomorrow? The one true God für, der gibt auch dir das Deine. Sei nur guarantees all, who will give to you what in allem Handel ohne Wandel, stehe feste, is yours. In all your affairs be changeless, was Gott beschleusst, das ist und heisst das remain firm. As God decrees, that is the Beste. Amen. best. Amen. Paul Flemming (1609-1640)

program book 2019-2020  9 PROGRAM NOTES

The German Oktoberfest tradition started in Hildegard of Bingen was born over 900 years 1810 to celebrate the autumnal marriage of ago, and for most of her life was shut away in an Bavarian Crown Prince Ludwig to the Saxon- obscure hilltop monastery in the Rhineland. She Hildburghausen Princess Therese. Music was a visionary, mystic, prophet, doctor, and has always enjoyed a place of honor among author of books on biology, botany, medicine, the festivities, with oompah bands and their theology, and the arts. When she was in her early “Blasmusik” sounding out across a sea of fifties, she founded a monastery at Rupertsberg Lederhosen and Dirndl-clad festivalgoers, and near Bingen, and was named its first abbess. everyone singing together the toast, “Ein Prosit, Monastics of her time lived in isolation, even ein Prosit der Gemütlichkeit.” A toast, a toast from others within their own order. Therefore, to cheer and good times. Although marches in many instances, the music and ritual practices and polkas are the music heard predominately used by each community were distinctive. in the beer halls, the tradition of celebrating Under Hildegard’s guidance, music became the German cultural traditions is translated into this defining aspect of her community’s religious concert with the same spirit of camaraderie and practice. Laus trinitati comes from her communal song. Symphony of the Harmony of Celestial Revelations, a collection of seventy-seven plainsongs—all unaccompanied and in unison with free (plain) rhythm to be inferred from the syllabification of the words. Hildegard stated that she received the chants through divine revelation, and echoed in their poetry her visionary precepts for the community. Though she was known throughout medieval Europe as a writer and a seer, there is no evidence that her music was sung outside her own convent during her lifetime, and only in the 1990s did it become common to hear her music outside of a few small monastic communities still active along the Rhine.

Hildegard’s vision of the Trinity: “Then I saw Last season, the choirs of Christ Church Grosse a bright light, and in this light, the figure of Pointe performed Giovanni Gabrieli’s setting of a man the color of a sapphire, which was all blazing with a gentle glowing fire. And that Cantate Domino, a piece written to highlight bright light bathed the whole of the glowing the unique acoustics of St. Mark’s Basilica in fire, and the glowing fire bathed the bright Venice and its tradition of cori spezzati (“split light; and the bright light and the glowing fire choirs”) divided both spatially and into almost poured over the whole human figure, so that opposing groups. Among Gabrieli’s most the three were one light in power of potential.” successful students was a young Thuringia From Scivias, Liber II, ca. 1152. lawyer-turned-composer, Heinrich Schütz, who

10  christ church grosse pointe sojourned in Venice for a number of years before taking a permanent position in Dresden. Like his teacher’s setting of the same text, Schütz highlights the potential divisions of a single ensemble, and though this was an “Italian” technique used to create variation and sonic interest, its use by Schütz inspired many later German composers to also utilize it as a musical tool to depict collective, resounding jubilation.

Of the generation before Schütz, Hans Leo Hassler is considered the first German composer to receive the bulk of their musical education in Italy, and like Schütz, studied in Venice under a Portrait of Jakob Fugger by Albrecht Dürer, member of the Gabrieli family, Giovanni’s uncle ca. 1518. Fugger loaned the Vatican most of Andrea. After completing his studies, Hassler the funds needed to build St. Peter’s Basilica, returned to Germany, where he was employed in the Sistine Chapel, as well as other buildings Augsburg by the phenomenally wealthy Fugger within the Vatican. To repay Jakob the massive family of bankers. Though they lived mere amount of money owed, Pope Leo X had to paces from where the Augsburg Confession was heavily tax the German people as well as sell indulgences, which was heavily unpopular penned, the heart of the confession of faith of the with a group of Augsburg monks, including Lutheran Church and one of the most important Martin Luther. documents of the Protestant Reformation, the Fuggers, unlike the citizenry of their hometown, When J. S. Bach wrote his motets in the mid- never converted to Lutheranism. Thus, lthougha 1720s, that is during his first few years as he was himself Protestant, Hassler’s early Cantor in Leipzig, he was heir to a tradition compositions were for his Catholic patrons. His that was about five hundred years old. Over the Missa secunda, first published in Nuremberg in centuries, the motet manifested itself in a wide 1599, is simple, direct and clear, characterized variety of forms, but was generally limited to by antiphonal writing between pairs of voices describing vocal music of a sacred nature that and short motivic imitation. Given that his was non-liturgical. Johann Gottfried Walther, in composition style helped to set forth the text his music dictionary printed in Leipzig in 1732, with particular clarity, Hassler’s mass found defined the motet as “a musical composition on favor in both Catholic and Lutheran liturgical a biblical quotation, intended for voices without contexts at a time when clearly enunciated instruments (with the exception of a figured-bass Latin mass parts were still acceptable in both part), and decorated with fugues and imitative traditions. parts, but it is also the case that the vocal parts can be scored for all sorts of instruments to give support to the voices.” Sei Lob und Preis mit Ehren fits the bill, being a work of praise

program book 2019-2020  11 that features a joy-filled motif sung in canon the most intimate and profound expressions of throughout. The existence of lavish instrumental his deeply seeded Christian faith. parts doubling—that is, playing along with— the various vocal parts suggest that this may Felix Mendelssohn looked on his sacred works have been the opening movement of one of as confessional documents, a sentiment he Bach’s lost cantatas. While Bach’s own motets expressed to his close friend, actor Eduard demanded a higher caliber of performer than Devrient, in a letter of July 1831: “I look upon those by his German predecessors, and may it as my duty to compose just how and what my have even served as teaching tools for his choir heart indites, and to leave the effect it will make school at St. Thomas, it was an archaic form in to Him who takes heed of greater and better his own time, and there is some uncertainty as to things. . . whether [a work] it to afterwards bring the extent they were heard in ordinary Lutheran me fame, honors, orders, or snuff-boxes, this church services. is not my concern.” It has long been wrongly assumed that Mendelssohn’s composition Most of Anton Bruckner’s smaller sacred works of psalm motets and cantatas was unusual, belong to a youthful period between 1841 stemming from a desire to bridge the Judaism and 1868 when he was an organist in both of his forefathers and his newfound Christian Windhaag and Linz. However, a few miniature beliefs. Composed in 1844, Hear my prayer choral works—including Os justi—emerged contains perhaps Mendelssohn’s most famous sporadically after his move to Vienna, at which sacred melody—the solo, “O for the wings point he dedicated himself almost entirely to of a dove”—and resulted from a commission orchestral composition. After completing Os justi he received from Crosby Hall in London for in July 1879, Bruckner sent it to its commissioner, their singing society. The text, by William with a note stressing its deliberately archaic Bartholomew who also translated Elijah from style, underlining his avoidance of accidentals, the German original, is a paraphrase of verses seventh chords, and other “modern” features. Its from Psalm 55, and the work could be viewed asceticism is in contrast to the luxuriant string as a miniature cantata. The chorus accompanies quartets and symphonies he was composing and responds to the enchanting solo line, while at the same time. It is divided into three parts the psalmist’s evocative images provide, in turn, that remain entirely modal, that is avoiding any contrasting depictions of anxiety, terror and sense of the harmonies and major and minor peaceful security. scales otherwise typical of his era, and precedes its closing “Alleluia” with hushed repetitions of Johannes Brahms’ Geistliches Lied (Spiritual a single chord—emphasizing the austerity and Song), better known as “Lass dich nur nichts quiet reverence of the piece. Bruckner wrote his nicht dauren,” is an unassumingly brilliant first motet in 1835 and his last in 1892, and work by a composer who, for at least a they serve as a window onto his development moment, is trying to hide his skill for luxurious as a composer, his Catholic faith, and a composition. From 1856, it has an introspective compendium of changing musical elements seen mood that points directly toward that of the during his life. Bruckner’s motets are arguably Requiem, written exactly a decade later. In their

12  christ church grosse pointe youth, Brahms and his close friend the violinist accumulate, bit by bit, and ultimately cure him Josef Joachim, bantered back and forth about of the hallucinations that haunted his final lost loves, and challenged each other to compose years. For both Clara and Brahms, it conveys musical motives based on the names of friends. their hope that Schumann would be relieved This playfulness continues in a veiled manner by the spirit of the music and her performance, in the Geistliches Lied. Retelling an intimate a healing gesture from wife to husband, which moment between friends, it relays a fantasy Brahms sets not joyfully, but sorrowfully with a Clara Schumann shared regularly; along with submission to fate: “Let nothing afflict thee with the help of her friend Brahms, she would lure grief, and be calm as God ordains.” Robert Schumann unwittingly into a church Austin Stewart with faint melodies from the organ that would

Christ Church Schola

Soprano/Treble Alto Tenor Bass Kate Alltop Kara Komer Eliana Barwinski David Bremer Logan Dell’Acqua Maggie Bickerstaff Rowan O’Brien Serafina Belletini Nick Edwin Dennis Parker Emma Bowe Caroline Peabody Rachel Edwin Keith Geyer Jake Surzyn Emmanuelle Cubba Lauren Platt Hayley Raska Brian White Alex Walker Meredith Hanoian Grace Romer

program book 2019-2020  13 All Souls' Requiem Remembering the Dead Sunday, November 3, 3 pm Combined Choirs

A service in remembrance of all the faithful departed (featuring Maurice Duruflé’s aRequiem). Afterwards the Funeral Ministry Guild will sponsor a reception in the Undercroft. Photos of those whose names have been submitted for remembrance will be displayed in the undercroft during the reception.

To submit names and photos for the service please go to www.christchurchgp.org/requiem.

61 Grosse Pointe Boulevard • Grosse Pointe Farms, MI 48236 313-885-4841 • www.christchurchgp.org

14  christ church grosse pointe dona nobis pacem Sunday, November 17, 2019 at 3 pm

Requiem da Camera Gerald Finzi (1901-1956) I. Prelude II. How still this quiet cornfield is tonight III. Only a man harrowing clods IV. We who are left, how shall we look again

Logan Dell’Acqua, baritone

The Christ Church Professional Singers and Orchestra

Scott Hanoian, conductor

Intermission

Dona nobis pacem Ralph Vaughan Williams (1872-1958) I. Agnus Dei II. Beat! beat! drums! III. Reconcilitation IV. Dirge for two veterans V. The Angel of Death VI. O man, greatly beloved

Melissa Maloney, soprano Jake Surzyn, baritone

The Christ Church Chorale and Orchestra

Scott Hanoian, conductor

program book 2019-2020  15 TEXTS & TRANSLATIONS

REQUIEM DA CAMERA How still this quiet cornfield is tonight How still this quiet cornfield is tonight! By an intenser glow the evening falls, Bringing, not darkness, but a deeper light; Among the stooks a partridge covey calls.

The windows glitter on the distant hill; Beyond the hedge the sheep-bells in the fold Stumble on sudden music and are still; The forlorn pinewoods droop above the wold.

An endless quiet valley reaches out Past the blue hills into the evening sky; Over the stubble, cawing, goes a rout Of rooks from harvest, flagging as they fly.

So beautiful it is. I never saw So great a beauty on these English fields, Touched by the twilight’s coming into awe, Ripe to the soul and rich with summer’s yields.

These homes, this valley spread below me here, The rooks, the tilted stacks, the beasts in pen, Have been the heartfelt things, past speaking dear To unknown generations of dead men,

Who, century after century, held these farms, And, looking out to watch the changing sky, Heard, as we hear, the rumours and alarms Of war at hand and danger pressing nigh.

And knew, as we know, that the message meant The breaking off of ties, the loss of friends, Death, like a miser getting in his rent, And no new stones laid where the trackway ends.

The harvest not yet won, the empty bin, The friendly horses taken from the stalls, The fallow on the hill not yet brought in, The cracks unplastered in the leaking walls.

16  christ church grosse pointe Then sadly rose and left the well-loved Downs, And so by ship to sea, and knew no more The fields of home, the byres, the market towns, Nor the dear outline of the English shore... from August, 1914 John Masefield (1878-1967)

Only a man harrowing clods Only a man harrowing clods In a slow silent walk With an old horse that stumbles and nods Half asleep as they stalk.

Only thin smoke without flame From the heaps of couch-grass; Yet this will go onward the same Though Dynasties pass.

Yonder a maid and her wight Come whispering by; War’s annals will cloud into night Ere their story die. ‘In Time of “The Breaking of Nations”’ Thomas Hardy (1840-1928)

We who are left, how shall we look again We who are left, how shall we look again Happily on the sun, or feel the rain, Without remembering how they who went Ungrudgingly and spent Their lives for us loved, too, the sun and rain?

A bird among the rain-wet lilac sings— But we, how shall we turn to little things And listen to the birds and winds and streams Made holy by their dreams, Nor feel the heartbreak in the heart of things? ‘Lament’ Wilfrid Wilson Gibson (1878-1962)

intermission

program book 2019-2020  17 DONA NOBIS PACEM Agnus Dei Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the dona nobis pacem. world, grant us peace.

Beat! beat! drums! Beat! beat! drums!—Blow! bugles! blow! Through the windows—through the doors—burst like a ruthless force, Into the solemn church, and scatter the congregation, Into the school where the scholar is studying, Leave not the bridegroom quiet—no happiness must he have now with his bride, Nor the peaceful farmer any peace, plowing his field or gathering in his grain, So fierce you whirr and pound, you drums—so shrill you bugles blow.

Beat! beat! drums!—Blow! bugles! blow! Over the traffic of cities—over the rumble of wheels in the streets: Are beds prepared for the sleepers at night in the houses? no sleepers must sleep in those beds; No bargainers’ bargains by day—would they continue? Would the talkers be talking? would the singer attempt to sing? Then rattle quicker, heavier drums—you bugles wilder blow.

Beat! beat! drums!—Blow! bugles! blow! Make no parley—stop for no expostulation, Mind not the timid—mind not the weeper or prayer, Mind not the old man beseeching the young man, Let not the child’s voice be heard, nor the mother’s entreaties, Make even the trestles to shake the dead, where they lie awaiting the hearses, So strong you thump O terrible drums—so loud you bugles blow. from Drum-Taps Walt Whitman (1819-1892)

Reconcilitation Word over all, beautiful as the sky, Beautiful that war and all its deeds of carnage must in time be utterly lost, That the hands of the sisters Death and Night incessantly softly wash again, and ever again, this soiled world; For my enemy is dead, a man divine as myself is dead, I look where he lies white-faced and still in the coffin—I draw near, Bend down and touch lightly with my lips the white face in the coffin. from Drum-Taps W. Whitman

18  christ church grosse pointe Dirge for two veterans The last sunbeam Lightly falls from the finish’d Sabbath, On the pavement here—and there beyond, it is looking, Down a new-made double grave.

Lo! the moon ascending! Up from the east, the silvery round moon; Beautiful over the house tops, ghastly phantom moon; Immense and silent moon.

I see a sad procession, And I hear the sound of coming full-key’d bugles; All the channels of the city streets they’re flooding, As with voices and with tears.

I hear the great drums pounding, And the small drums steady whirring; And every blow of the great convulsive drums, Strikes me through and through.

For the son is brought with the father; (In the foremost ranks of the fierce assault they fell; Two veterans, son and father, dropped together, And the double grave awaits them.)

Now nearer blow the bugles, And the drums strike more convulsive; And the day-light o’er the pavement quite has faded, And the strong dead-march enwraps me.

In the eastern sky up-buoying, The sorrowful vast phantom moves illumin’d; (‘Tis some mother’s large, transparent face, In heaven brighter growing.)

O strong dead-march, you please me! O moon immense, with your silvery face you soothe me! O my soldiers twain! O my veterans, passing to burial! What I have I also give you.

program book 2019-2020  19 The moon gives you light, And the bugles and the drums give you music; And my heart, O my soldiers, my veterans, My heart gives you love. from Drum-Taps W. Whitman

The Angel of Death 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 the two side-posts of our doors, that he may spare and pass on. John Bright, 1854 speech to Parliament

We looked for peace, but no good came; and for a time of health, and behold trouble! The snorting of his horses was heard from Dan; the whole land trembled at the sound of the neighing of his strong ones; for they are come, and have devoured the land, and those that dwell therein.

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 8:15-22

O man, greatly beloved O man greatly beloved, fear not, peace be unto thee, be strong, yea, be strong. Daniel 10:19

The glory of this latter house shall be greater than of the former, and in this place will I give peace. Haggai 2:9

Nation shall not lift up a sword against nation, neither shall they learn war any more. And none shall make them afraid, neither shall the sword go through their land. Mercy and truth are met together; righteousness and peace have kissed each other. 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. Let all the nations be gathered together, and let the people be assembled; and let them hear, and say, it is the truth. And it shall come, that I will gather all nations and tongues. And they shall come and see my glory. And I will set a sign among them, and they shall declare my glory among the nations.

20  christ church grosse pointe For as the new heavens and the new earth, which I will make, shall remain before me, so shall your seed and your name remain for ever. Glory to God in the highest, and on earth peace, good-will toward men.

adapted from Micah 4:3, Leviticus 26:6, Psalms 85:10 and 118:19, Isaiah 43:9 and 66:18-22, and Luke 2:14 Join us for Christmas at Christ Church!

December 6, 7 & 8

For more information go to www.christchurchgp.org/gghome

program book 2019-2020  21 PROGRAM NOTES

From the outset of his career, Ralph Vaughan that he was heartened as “racial and political Williams composed music that broke most of refugees poured into England and America to the rules, while simultaneously recognizing his the enrichment of both, for they brought the profound debt to the traditions and people that wealth of their talents and the generosity of shaped him, and returned the favor through their belief that these two nations stood for the decades of work with the vast, massed choirs freedom of the human spirit.” of the English choral festivals. He composed his cantata Dona nobis pacem in 1936 for the Huddersfield Choral Society in celebration of its 100th anniversary. However, unlike the other festivals they had celebrated recently, Vaughan Williams and his singers were keenly aware that this work, with its plea for peace, had a more universal purpose on the eve of Second World War. Ralph Vaughan Williams in the uniform of Vaughan Williams was keenly aware of the the Royal Garrison Artillery, ca. 1916. horrors of war. At forty-two, he volunteered to serve in the Great War, enlisting in the Field When the Huddersfield Choral Society invited Ambulance Service with postings in France and a composition, Vaughan Williams remembered Greece, and later was an officer in the Royal that he had in his drawer an unpublished setting Garrison Artillery, serving with the British of Walt Whitman’s “Dirge for Two Veterans,” Expeditionary Force in France. He was deeply taken from Whitman’s 1865 collection Drum affected by what he saw, and lost close friends in Taps, written in response to the American Civil the war, including his wife’s brother, Charles, his War. Vaughan Williams had written it in 1911 friend the composer George Butterworth, and before the World War, and now resurrected it as his student Ivor Gurney, a promising composer the centerpiece of this new work. The signature and poet, who had been gassed, shell-shocked, elements of the composer’s style are present and driven insane. Deeply affected by these in Dona nobis pacem in abundance: ethereal losses, Vaughan Williams wrote from the front orchestration, long and asymmetrical phrases, to his friend Gustav Holst: “I sometimes think the modal language of bygone eras, stirring now that it is wrong to have made friends with hymn writing, and the voice of Walt Whitman people much younger than oneself—because alongside fragments of the Latin Mass, John there will only be the middle-aged left—but Bright, and conflations from the Bible, all then there is always you, and thank Heaven we woven together with expansive musical gestures. have never got out of touch and I don’t see why But there is also something more. A willingness we ever should.” Now as the unstable political to care, the daring to express a viewpoint, and situation was sliding disastrously toward another the ability to rally the human spirit in times of war, Vaughan Williams’s wife Ursula recalled darkness—especially around communal singing.

22  christ church grosse pointe The trajectory of the text and music ofDona nobis Composed in 1924, Finzi’s Requiem da pacem reflects hope for a brighter future. That Camera is dedicated “In memory of E.B.F.” optimism was sorely tested by the Second World (Ernest Bristow Farrar) and was his first War, though Vaughan Williams did conduct the choral composition of in an extended, multi- work several times in England during the War, movement form. The piece was initially rejected and the music was, according to Ursula, “full by publishers—another blow that resulted in of particular meaning for those days.” Time Finzi avoiding choral composition for nearly a has not diminished the power, beauty, and decade—and was only published after his death. relevance of Vaughan Williams’s composition. Despite its description as a “requiem” (indeed, it Rightly, Vaughan Williams ends the work with went by the name Elegies when first composed), orchestral imitations of bells, which—as they the work is entirely secular in nature, and not were during the First World War—would soon intended for liturgical use. It is a setting of three be silenced again, leading the soprano to offer poems on the subject of the futility of war by repeatedly with haunting eloquence the prayer John Masefield, Thomas Hardy, and Wilfred “grant us peace.” Wilson Gibson.

Too young to be a combatant in the First World Finzi binds his work together with a musical War, Gerald Finzi was nevertheless profoundly theme heard at the opening of the prelude, affected by it. Following the Zeppelin raids which quotes George Butterworth’s song on London, Finzi and his mother settled in “Loveliest of Trees” from A Shropshire Lad—just Harrogate in 1915, where for a brief time the one of the concealed melodies Finzi borrowed teenager found in organist and composer Ernest from soldier-composers killed in the war. Its Farrar an inspiring mentor, who characterized inclusion is far from superficial. Though penned his pupil as “very shy, but full of poetry.” All forty years earlier in the midst of the Boer Wars, too soon, Farrar was sent to the Western Front A.E. Housman’s A Shropshire Lad—with its in September 1918, where within two days unalloyed critique of imperial rule and the death he was killed at the Battle of Epehy Ronssoy, of young men in foreign wars—was prescient, near Le Cateau in the Somme Valley. Finzi was and by the end of the First World War, a copy shattered, and this, combined with the legacy was owned by half the families in England. of the deaths of his father and three brothers The final line of “Loveliest of Trees,” which during his childhood, left an indelible mark on although it does not appear in the composition, him. A vast majority of his music is elegiac in encapsulates its themes and Finzi’s loneliness tone, mourning the lost generation of his older and guilt for still living: peers, and he became preoccupied with writing personal reflections about the restless march of Now, of my threescore years and ten, Twenty will not come again,… time toward his own death. After Farrar’s death And since to look at things in bloom Finzi studied with Edward Bairstow, and found Fifty springs are little room, solace in setting to music the poetry of Thomas About the woodlands I will go Hardy, Thomas Traherne, and Christina Rosetti. To see the cherry hung with snow. Austin Stewart

program book 2019-2020  23 Christ Church Chorale

Soprano Alto Tenor Bass Judie Bailey Lynn Anslow Ann McReynolds George Blair Dwight Angell Maggie Bickerstaff Jennifer Appleberry Nancy Nicholson David Bremer Glen Battjes Peggy Braden Eliana Barwinski Hayley Raska Tom Brown Kurt Battjes Mary Brown Serafina Belletini Loretta Ryder Chad Creager Bernie Beutel Ann Busch Susan Birndorf Carol Schoch Keith Geyer Ed Conn Joy Crawford Christine Brown Cathy Selvius DeRoo Richard Gibson Logan Dell’Acqua Joanne Fisher Judith Burkhardt Marilyn Sicklesteel John Schober Phil Gibbs Carol Geyer Nora Conn Susan Van Dellen Brian White Thomas Hill Marilynn Gilbert Mary Creager Kathie vonSchwarz William Keener Meredith Hanoian Ann Eatherly Kathy Williams David Krolikowski Kara Komer Rachel Edwin Dennis Parker Kate Lucander Paula Labadie Ed Pember Michelle Metes Jake Surzyn Linda Mosley Alex Walker Eileen Polk Deanna Presnell Vickie Rice-Parker

Orchestra

Violin I Viola Flute Horn Percussion Marla Smith* John Madison Scott Graddy Denise Root Pierce Lynn Koch Connie Markwick Tracey Riggs Mary Garza Steven Kegler Bonnie Sweda James Greer Oboe Kristen Tait Monica Jackson Ann Lemke Trumpet Cello Judi Scramlin Paul Miller Timpani Violin II Judith Vander Weg Terry Farmer Judith Teasdle Debra Lonergan Clarinet Harp Lynn Brosnan Kevin Irving Terri Jenkins Maurice Draughan Organ Sita Yetasook Joseph Daniel Bobbi Adams Bass Bass Clarinet Jon Luebke Sam Martin Jessica Grabbe *concertmaster

24  christ church grosse pointe Christmas concert Sunday, December 15, 2019 at 3 pm

Messiah George Frideric Handel (1685-1759) Sinfonia Comfort ye, my people/Every valley shall be exalted/And the glory of the Lord Thus saith the Lord of hosts/But who may abide/And he shall purify Behold a virgin shall conceive/O thou that tellest good tidings to Zion For behold darkness shall cover the earth/The people that walked in darkness For unto us a child is born Pifa/There were shepherds abiding in the field/And lo, the angel of the Lord came upon them/ And the angel said unto them, fear not/And suddenly there was with the angel/ Glory to God in the highest Rejoice greatly, O daughter of Zion Then shall the eyes of the blind be opened/He shall feed his flock like a shepherd His yoke is easy Audrey Frieberg, soprano Rachel Edwin, alto Nick Edwin, tenor Jake Surzyn, baritone Logan Dell’Acqua, baritone Intermission

God rest you merry, Gentlemen arr. David Willcocks (1919-2015)

O come, all ye faithful arr. D. Willcocks

Fantasia on Christmas Carols Ralph Vaughan Williams (1872-1958) Jake Surzyn, baritone

Unto us is born a son arr. D. Willcocks

The First Nowell arr. D. Willcocks

Hark! the herald angels sing arr. D. Willcocks

Messiah G. F. Handel Hallelujah

The Christ Church Chorale and Orchestra

Scott Hanoian, conductor

program book 2019-2020  25 TEXTS & TRANSLATIONS

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

Air (Tenor) Isaiah 40:4 Every valley shall be exalted and every mountain and hill made low; the crooked straight and the rough places plain.

Chorus Isaiah 40:5 And the glory of the Lord shall be revealed and all flesh shall see it together; for the mouth of the Lord hath spoken it.

Accompagnato (Baritone) Haggai 2:6-7; Malachi 3:1 Thus saith the Lord of Hosts: Yet once, a little while, and I will shake the heavens and the earth, the sea and the dry land; and I will shake all nations and the desire of all nations shall come. The Lord, whom ye seek, shall suddenly come to his temple, even the messenger of the covenant, whom ye delight in; behold, he shall come, saith the Lord of hosts.

Air (Alto) Malachi 3:2 But who may abide the day of his coming? And who shall stand when he appeareth? For He is like a refiner’s fire.

Chorus Malachi 3:3 And he shall purify the sons of Levi, that they may offer unto the Lord an offering in righteousness.

Recitative (Alto) Isaiah 7:14 Behold, a virgin shall conceive and bear a Son and shall call his name Emmanuel, God with us.

Air (Alto) and Chorus Isaiah 40:9; 60:1 O thou that tellest good tidings to Zion, get thee up into the high mountain; O thou that tellest

26  christ church grosse pointe good tidings to Jerusalem, lift up thy voice with strength; lift it up, be not afraid; say unto the cities of Judah, Behold you God! Arise, shine, for thy light is come, and the glory of the Lord is risen upon thee.

Accompagnato (Baritone) Isaiah 60:2-3 For behold, darkness shall cover the earth and gross darkness the people; but the Lord shall arise upon thee, and his glory shall be seen upon thee, and the Gentiles shall come to thy light, and kings to the brightness of thy rising.

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

Chorus Isaiah 9:6 For unto us a child is born, unto us a son is given, and the government shall be upon his shoulder; and his name shall be called Wonderful, Counselor, The Mighty God, The Everlasting Father, The Prince of Peace.

Pifa (Pastoral Symphony)

Recitative (Soprano) Luke 2:8 There were shepherds abiding in the field, keeping watch over their flock by night.

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

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

Accompagnato (Soprano) Luke 2:13 And suddenly there was with the angel a multitude of the heavenly host praising God and saying:

Chorus Luke 2:14 Glory to God in the highest and peace on earth, goodwill towards men.

program book 2019-2020  27 Air (Soprano) Zechariah 9:9-10 Rejoice greatly, O daughter of Zion; shout, O daughter of Jerusalem; behold, thy King cometh unto thee; he is the righteous Savior and he shall speak peace unto the heathen.

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

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

Chorus Matthew 11:30 His yoke is easy and his burthen is light.

intermission

Fantasia on Christmas Carols This is the truth sent from above, The truth of God, the God of Love: Therefore don’t turn me from your door But hearken all, both rich and poor.

The first thing which I will relate Is that God did man create, The next thing which to you I’ll tell, Woman was made with man to dwell.

Then, after this, ‘twas God’s own choice To place them both in paradise, There to remain, from evil free, Except they ate of such a tree.

28  christ church grosse pointe And they did eat, which was a sin, And thus their ruin did begin, Ruined themselves, both you and me And all of their posterity.

Thus we were heirs to endless woes. Till God the Lord did interpose, And so a promise soon did run, That he would redeem us by his Son.

Come all you worthy gentlemen that may be standing by, Christ our blessed Saviour was born on Christmas day, The blessed Virgin Mary unto the Lord did pray O we wish you the comfort and tidings of joy!

Christ our Blessed Saviour now in the manger lay, He’s lying in the manger, while the oxen feed on hay. The blessed Virgin Mary unto the Lord did pray O we wish you the comfort and tidings of joy!

On Christmas night all Christians sing To hear the news the angels bring; News of great joy, news of great mirth, News of our merciful King’s birth.

When sin departs before thy grace Then life and health come in its place, Angels and men with joy may sing, All for to see the new-born King.

God bless the ruler of this house, and long may he reign, Many happy Christmasses he live to see again! God bless our generation, who live both far and near And we wish them a happy New Year Both now and evermore. Amen.

program book 2019-2020  29 PROGRAM NOTES

George Frideric Handel was born in Halle in not staged, there was also considerable savings in 1685. His father, the barber-surgeon to the the cost of its production. Duke of Saxe-Weissenfels, was prejudiced against the choice of music as a profession for Handel’s popularity as an opera composer his son, so Handel enjoyed an education that was also waning, and it was during this time led him to study law and theology. Shortly that two fortuitous events occurred. Initially, after his father’s death, Handel left school and Charles Jennens sent Handel an assembled moved to Hamburg, joining the opera orchestra text to consider as the basis of a libretto for as a string player, then as harpsichordist and a grand oratorio. Taken from the Old and composer. Success in Italian opera in Hamburg New Testaments, Jennens’s text does not tell coupled with limited advancement prospects in a continuous story; rather, the text refers to the city (the major music leadership position the prophecy and birth of Christ (part one), in the city was already filled by his dear friend his death and resurrection (part two), and the Georg Philipp Telemann) persuaded Handel redemption and response of the believer (part to try his fortune in Italy, where he spent the three). Secondly, William Cavendish, the Duke years 1706 to 1710, confirming his generally of Devonshire and Lord Lieutenant of Ireland, Italianate style of composition in works for the invited Handel to Dublin to participate in theatre, the church, and private entertainment. a season of oratorio concerts to benefit local By 1712, he was in London for good, concerned charities. Handel seized the opportunity to at first with the composition, management, present his works and set Jennens’ text in just and presentation of Italian opera for British twenty-four days. cosmopolitan aristocracy. For the 1742 premiere of Messiah in Dublin, Early oratorio may be seen as a by-product of it is estimated that Handel had a combined opera as it developed at the turn of the 16th ensemble of about fifty performers, with almost century in Italy. England was late in its grudging the same number of vocalists as instrumentalists. acceptance of opera and had shown little Experienced singers from the better church interest in oratorio, at least as it had developed choirs made up the chorus, and two different in other countries. Handel had written Italian soloists shared the roles for each voice part. While oratorio in Rome. His first attempt at the new the chorus had no female singers, the soprano form of English oratorio came in 1732 with an and alto solo parts were sung by women. For adaptation of Racine’s biblical drama Esther, this performance, Handel may have arranged described by one hostile critic as a “religious several solos for Mrs. Susanna Cibber, a well- farce,” though it was certainly very profitable known actress and alto. One story relates that for its composer. English oratorio combined the Mrs. Cibber’s performance of “He was despised” musical delights of Italian opera, with a text in was so moving that one person in the audience English, and a religious subject that might appeal shouted, “For this thy sins be forgiven!” to the Protestant conscience. Since oratorio was

30  christ church grosse pointe Handel returned to London and, in 1743, gave that city’s premiere of A Sacred Oratorio; he refrained from titling the work Messiah because of objections to the use of Biblical texts in a concert setting. Some of these complaints were voiced in the press on the same day the work was advertised. An anonymous letter to the Universal Spectator raised concerns about the use of Biblical texts and the propriety of theater Albertine Randall Wheelan’s beloved performers, whose morals were assumed to be Christmas card illustrations were popular questionable, singing these sacred texts: “I ask from the 1920-1940s in Britain and the if the Playhouse is a fit Temple to perform it [A United States. She drew inspiration from Sacred Oratorio] in, or a Company of Players fit illuminated manuscripts with ornamented Ministers of God’s Word.” capitals, and her quotation of carols alongside medieval scenes were especially beloved. These first London performances were not as successful as those in Ireland; however, Ralph Vaughan Williams had a lifelong beginning with a 1750 concert to benefit the fascination with English folk music. He began Foundling Hospital, Messiah performances to collect, arrange and publish English folk became annual events in London. Objections tunes as early as 1903, and catalogued more to Handel’s sacred oratorio had subsided and than eight hundred folksongs during his were replaced with descriptions similar to that lifetime. His own compositions were heavily written by Miss Catherine Talbot in 1756: “The influenced by traditional music. At the Royal only public place I have been to this winter College of Music, Vaughan Williams studied was to hear the Messiah, nor can there be a with Hubert Parry, who instructed his student nobler entertainment.” Soon, performances of to “Write choral music as befits an Englishman the oratorio were mounted across Europe with and a democrat,” meaning the non-aristocracy. various translations, and it crossed the Atlantic Christmas was a ready theme throughout with the founding of Boston’s Handel and Vaughan Williams’s music, first evidenced in Haydn Society in 1815. his work on the English Hymnal (1906), the predecessor of Hymnal 1982. Indeed, there are The enduring appeal ofMessiah lies in the sum few other types of music more quintessentially of its parts; each solo or chorus is beautiful English than the carol, many featuring medieval on its own, but together the numbers create melodies that have been shared for centuries and a whole that speaks to each individual in a texts that, though generally religious, were rarely unique way. Although Jennens, too, expressed intended for use in worship, and more closely disappointment with Handel’s setting of his akin to popular dances. Scripture collection, posterity has determined that Handel did indeed fulfill Jennens’ wish that Vaughan Williams’s 1912 Fantasia on the composer “lay his whole Genius and Skill Christmas Carols is based on tunes gathered upon it . . . as the Subject excels every other by the composer in Herefordshire and Sussex, Subject. The Subject isMessiah .” evoking traditional recollections of the

program book 2019-2020  31 Christmas story: “This is the truth sent from Some of the most popular carol arrangements above,” “Come all you worthy gentlemen,” “On today were created by Sir David Willcocks, the Christmas night,” and “God bless the ruler of this renowned British choral conductor, organist, house,” with other tunes appearing throughout composer and arranger, who directed the Choir in the accompaniment in counterpoint to the of King’s College, Cambridge from 1957 to choir. The work appeared the year after his 1974. Unimpressed by the “dull” requirement setting of George Herbert’s poetry in his Five (his assessment) for unison singing throughout Mystical Songs, and so they are similar in style popular Christmas Hymns such as “O come, all and ensemble. Written at the request of his ye faithful,” Willcocks introduced new descants friend the ethnographer Ella Mary Leather for (independent treble melodies to complement the Hereford Three Choirs Festival, theFantasia the primary melody) and technically advanced is arranged to take the listener through the story arrangements into the Christmas Eve service of the Fall of Man and Christ’s redemption. that were used by many choirs as soon as they Though the work was often criticized for what appeared in the songbook series Carols for Choirs, it is not, Vaughan Williams never intended it first published in 1961. From their inclusion on to be a grand ceremonial presentation of carols; the yearly international broadcast of the Festival rather, it is a nostalgic, communal offering of of Nine Lessons and Carols from King’s to pure Englishness and Yuletide. It ends after all their performance by parish choirs around the the jovial festivities with the wassailers’ voices world, these carols have become a beloved and vanishing into the distance, across the snow- defining part of the Anglican choral tradition at covered fields and into the night. Christmas. Austin Stewart

Every Wednesday at Christ Church Living Lives of Faith Together Join us for an evening of faith, fellowship, and formation. Formation programs will include the Catechumenate (for adults), Youth Group, and Children.

32  christ church grosse pointe Christ Church Chorale

Soprano Alto Tenor Bass Judie Bailey Lynn Anslow George Blair Dwight Angell Maggie Bickerstaff Jennifer Appleberry Tom Brown Glen Battjes Peggy Braden Eliana Barwinski Chad Creager Kurt Battjes Mary Brown Serafina Belletini Nick Edwin Bernie Beutel Nancy Combs Susan Birndorf Keith Geyer Ed Conn Joy Crawford Christine Brown Richard Gibson Logan Dell’Acqua Joanne Fisher Judith Burkhardt John Schober Phil Gibbs Carol Geyer Nora Conn Teddy Sweeney Thomas Hill Marilynn Gilbert Mary Creager Pierce Ward William Keener Meredith Hanoian Ann Eatherly Brian White David Krolikowski Kara Komer Rachel Edwin Russell Yamazaki Dennis Parker Linda Mosley Paula Labadie Ed Pember Lynn Pember Ruth Louwsma Jake Surzyn Vickie Rice-Parker Ann McReynolds Alex Walker Hayley Raska Carol Schoch Cathy Selvius DeRoo Marilyn Sicklesteel Susan Van Dellen Kathie vonSchwarz Kathy Williams

Orchestra

Violin I Viola Oboe Timpani Marla Smith* John Madison Ann Lemke Terry Farmer Connie Markwick Tracey Riggs Faith Scholfield Bonnie Sweda Harpsichord Cello Bassoon Joseph Daniel Violin II Judith Vander Weg Jonathan Boyd Judith Teasdle Debra Lonergan Organ Delia Turner Trumpet Dexter Kennedy Bass Ross Turner Marilyn Fung Mike McGowan

*concertmaster

program book 2019-2020  33 Christmas at Christ Church The Eve of the Nativity of Our Lord TUESDAY, DECEMBER 24 4 pm – Crèche Procession & Festival Eucharist with Choir* 8 pm – Festival Eucharist with Choir 11 pm – Festival Eucharist with Choir Choral Prelude at 10:30 pm (Incense used) The Nativity of Our Lord WEDNESDAY, DECEMBER 25 10 am – Festival Eucharist with Choir*

* Childcare provided.

34  christ church grosse pointe Stabat mater Sunday, April 5, 2020 at 3 pm

Franz Joseph Haydn (1732-1809)

Stabat Mater dolorosa O quam tristis et afflicta Quis est homo qui non fleret Quis non posset contristari Pro peccatis suæ gentis Vidit suum dulcem natum Eja Mater, fons amoris Sancta Mater, istud agas Fac me vere tecum flere Virgo, virginum præclara Flammis orci ne succendar Fac me cruce custodiri Quando corpus morietur Paradisi gloria

Maggie Bickerstaff,soprano Hayley Raska, alto Brian White, tenor Alex Walker, bass

The Christ Church Chorale and Orchestra

Scott Hanoian, conductor

program book 2019-2020  35 TEXTS & TRANSLATIONS

Stabat Mater dolorosa Stabat Mater dolorosa The sorrowful Mother stood juxta crucem lacrimosa weeping by the cross dum pendebat Filius. where her Son was hanging.

Cujus animam gementem, Her spirit cried out, contristatam et dolentem, full of anguish and sorrow, pertransivit gladius. as if pierced by a sword.

O quam tristis et afflicta O quam tristis et afflicta O how sad and distressed fuit illa benedicta was that blessed Woman, Mater Unigeniti! Mother of the only-begotten Son!

Quæ mœrebat et dolebat How She grieved and suffered Pia Mater, dum videbat this Holy Mother, as she saw Nati pœnas inclyti. the agonies of her Son.

Quis est homo qui non fleret Quis est homo qui non fleret What man would not weep Matrem Christi si videret to see the Mother of Christ in tanto supplicio? in such torment?

Quis non posset contristari Quis non posset contristari Who would not be saddened Christi Matrem contemplari seeing Christ’s Mother dolentem cum Filio? grieving for her Son?

Pro peccatis suæ gentis Pro peccatis suæ gentis For the sins of the world, vidit Jesum in tormentis, She saw Jesus in torment et flagellis subditum. and beaten down with whips.

Vidit suum dulcem Natum Vidit suum dulcem Natum She saw her sweet Son morientem, desolatum, dying in desolation, dum emisit spiritum. giving up His spirit.

36  christ church grosse pointe Eja Mater, fons amoris Eja Mater, fons amoris, Ah Mother, fountain of grief, me sentire vim doloris fac, let me feel thy grief ut tecum lugeam. so that I can mourn with you.

Fac ut ardeat cor meum Let my heart burn in amando Christum Deum, with the love of Christ, my God, ut sibi complaceam. so that I may please Him.

Sancta Mater, istud agas Sancta Mater, istud agas Holy Mother, grant this: crucifixi fige plagas fix the wounds of Him who is crucified cordi meo valide. firmly in my heart.

Tui Nati vulnerati, With thy injured Son, jam dignati pro me pati, who suffered so to save me, pœnas mecum divide. let me share His pains.

Fac me vere tecum flere Fac me vere tecum flere, Let me weep beside you, crucifixo condolere, mourning the crucified One, donec ego vixero. as long as I shall live.

Juxta crucem tecum stare, To stand by the cross with you, te libenter sociare and to willingly join you in planctu desidero. in weeping is my desire.

Virgo, virginum præclara Virgo, virginum præclara, Virgin, most famed of all virgins, mihi jam non sis amara, do not be severe with me now, fac me tecum plangere. let me weep with thee.

Fac ut portem Christi mortem, Let me bear Christ’s death, passionis fac consortem let me share His passion et plagas recolere. and remember His wounds.

Fac me plagis vulnerari, Let me be wounded with His blows, cruce hac inebriari, inebriated with the cross ob amorem Filii. and your Son’s love.

program book 2019-2020  37 Flammis orci ne succendar Flammis orci ne succendar Lest I be set afire by flames of death per te Virgo, fac defendar, Virgin, may I be defended by you in die judici. on the day of judgement.

Fac me cruce custodiri Fac me cruce custodiri, By Thy Cross may I be guarded, morte Christi præmuniri, meritless, yet be rewarded confoveri gratia. through Thy grace, O living way.

Quando corpus morietur Quando corpus morietur, When my body dies fac ut animæ donetur let my soul be granted paradisi gloria. the glory of heaven.

Paradisi gloria Paradisi gloria, The glory of heaven, ut animæ donetur. Amen. let my soul be granted. Amen!

Holy Week April 5 -12, 2020

Palm Sunday, April 5 Good Friday, April 10 Holy Eucharist at 8, 9 and 11:15 am Good Friday Liturgy at Noon and 7 pm Concert at 3 pm Holy Saturday, April 11 Holy Monday and Tuesday, The Great Vigil of Easter at 7 pm April 6 & 7 (incense is used) Choral Eucharist at 7 pm Easter Day, Sunday, April 12 Holy Wednesday, April 8 Holy Eucharist at 7 am Service of Tenebrae at 7 pm Festival Eucharist at 9 and 11:15 am Maundy Thursday, April 9 with the Motor City Brass Quintet Choral Eucharist, Footwashing, and (incense is used at the 11:15 am service) Stripping of the Altar at 7 pm Easter egg hunt after (incense is used) the 9 am Service All-night prayer vigil begins at 9 pm

38  christ church grosse pointe PROGRAM NOTES

When Franz Joseph Haydn entered the service Stabat Mater helped catapult his reputation, of the Esterházy family in 1761, he was and was the only eighteenth-century setting of second in command. Gregor Joseph Werner, a the text to rival G.B. Pergolesi’s in popularity. septuagenarian who had served the Esterházy court for thirty-three years, was in charge when it came to composing music for church services and remained so until his death in March 1766. During this period, Vice-Kapellmeister Haydn managed the staff musicians and organized much of the secular music enjoyed by the family at their Viennese residence and the summer palace in Eisenstadt—what was renamed a few years later as Esterháza. Wisely, Haydn used this time to ingratiate himself to Prince Paul Anton and his son Nikolaus I, who though devout in their Catholicism weren’t that devout (at least compared to Maria Theresa’s standards). Rather, Nikolaus was rather interested with what Haydn Rogier van der Weyden, Mary and John the had to say through a relatively new genre in Apostle at the Foot of the Cross, ca. 1460. instrumental music, the symphony. The Stabat Mater liturgical sequence is thought Nevertheless, following Werner’s death and his to originate from Franciscan sources in the 13th promotion to Kapellmeister, Haydn entered century. The reason for this theory is found a sustained period of composing sacred music in the parallels between the mysticism of St. over the next six years. No doubt he was taking Francis of Assisi, which held as a tenet an intense the opportunity to explore all the various genres recognition with the sufferings of Christ, and and arrangements of musical forces available to the image conveyed in the Stabat Mater of the him at court, and experimenting with the many believer resting and weeping together with Mary recent reforms in the implementation of church before the crucifixion. The monk Jacopone music. As with everything in a principality ruled da Todi, Pope Innocentius III, and Saint by one of the greatest aristocratic families to Bonaventura are regarded as the most probable ever exist in Europe, music was administered in poets, though Pope Gregorius and Bernhard of a highly bureaucratic manner, and Haydn and Clairveaux also receive honorable mention. The his fellow musicians were central to any display poem is made up of twenty stanzas of three lines of ostentation, either at court or in church. Of (tristiches), respectively comprising eight, eight, course, Haydn was also working diligently to and seven-syllable lines. Each pair of stanzas measure up to Werner’s tradition. Premiering rhymes according to the scheme AAB CCB, and scarcely a years after Werner’s death, Haydn’s the rhythm is consistently trochaic throughout.

program book 2019-2020  39 Structurally, it is one of the most perfectly balanced texts ever created, a model of poetic economy and sublime imagery. After the Latin Mass, it is one of the texts most frequently set to music.

In all likelihood, Haydn directed the first performance of the Stabat Mater from the organ in the Eisenstadt palace chapel on Good Friday, April 17, 1767. Shortly thereafter, Haydn sent The Piarist Church of Maria Treu in Vienna, the work to Johann Adolph Hasse in Vienna— engraved ca. 1750. The church served as then the de facto court Kapellmeister to the the venue for the first public performance of Habsburg empire under Joseph II—with a Haydn’s Stabat Mater and the premiere of his request for his review so that “in case, here and Missa in tempore belli (1796). there, I had not expressed adequately words of such great importance, this lack could be As Haydn made clear in his note to Hasse, rectified by a master so successful in all forms of expressing the poetry correctly was foremost music.” Hasse’s response was not one of critique, in his mind while composing the Stabat but utter amazement. He invited Haydn to Mater. With its first-person description of perform the work in Vienna, which he did at Mary’s sorrow standing at the foot of the the monastic church of the Barmherzige Brüder cross, the poignant text is full of opportunities in March 1768. The first documented public for affective musical writing. Throughout, performance took place in Vienna in March descending thirds (the interval familiar from th 1771 (again, Good Friday) at the Piarist church the opening of Beethoven’s 5 Symphony) are of Maria Treu in the Josephstadt borough of used to depict the weeping of Mary, and several Vienna. According to church chronicles, sixty of the movements are related to one another by musicians participated, many of whom were the same interval. Word-painting, or the use of members of the congregation and not regularly musical gestures to illustrate individual words, compensated musicians. TheStabat Mater also abounds. One example of this can be heard ultimately became Haydn’s most popular sacred towards the end of the opening movement, in work during his lifetime, circulating widely in which gentle rhythmic pulses from the orchestra Catholic countries, including France, Italy, and cut through the hushed choral homophony, as Spain, and even in Protestant countries such as if Mary’s heart were being pierced by the sword Holland and North Germany. the text describes. The work is crowned by the radiant, majestic closing fugue “Paradisi gloria” (“may my soul be granted the glory of paradise”).

40  christ church grosse pointe It is strange, in fact, that Haydn’s Stabat mater highly by Haydn’s most respected peers, yet fell is not more widely regarded among his greatest into a state of disuse even before the reforms of works, heard more frequently, nor recorded as the Second Vatican Council. One reason for often as any of the symphonies, The Creation, or this, perhaps, is the demands Haydn makes of The Seasons. In Haydn’s own time and well into listeners therein. Of the fourteen movements, the nineteenth century, the Stabat Mater was only two are in an above-moderato tempo, his most widely distributed work in any genre. and half are in the minor mode. Grief, despair, It is known that it was part of the libraries of pain, fear, and hope are all captured by Haydn. the Mozart family in Salzburg, Hasse and Carl Although the text is sacred, Haydn illuminates Ditters von Dittersdorf had copies in Vienna, a deeply pained human experience, making the and Carl Philipp Emanuel Bach in Hamburg, piece moving and powerful even to this day. where it would have been shared with any number of musicians who traveled through Austin Stewart the major port city and stopped in to view his prodigious library. It was a work apprised

Easter Lessons and Carols Sunday, April 26 • 3 pm Combined Choirs

A service of readings and music celebrating the Resurrection of Our Lord. All welcome. Free and open to the public.

61 Grosse Pointe Boulevard • Grosse Pointe Farms, MI 48236 313-885-4841 • www.christchurchgp.org

program book 2019-2020  41 Christ Church Chorale

Soprano Alto Tenor Bass Judie Bailey Lynn Anslow George Blair Dwight Angell Peggy Braden Jennifer Appleberry David Bremer Glen Battjes Mary Brown Eliana Barwinski Tom Brown Kurt Battjes Ann Busch Serafina Belletini Chad Creager Ed Conn Nancy Combs Susan Birndorf Keith Geyer Logan Dell’Acqua Joy Crawford Christine Brown Richard Gibson Phil Gibbs Joanne Fisher Judith Burkhardt John Schober Thomas Hill Carol Geyer Nora Conn Pierce Ward William Keener Marilynn Gilbert Mary Creager Russell Yamazaki David Krolikowski Cleo Hamilton Ann Eatherly Dennis Parker Meredith Hanoian Rachel Edwin Ed Pember Kara Komer Paula Labadie Jake Surzyn Michelle Metes Ruth Louwsma Linda Mosley Ann McReynolds Vickie Rice-Parker Loretta Ryder Carol Schoch Cathy Selvius DeRoo Marilyn Sicklesteel Mary Steiner Susan Van Dellen Kathie vonSchwarz Kathy Williams Jane Yamazaki

Orchestra

Violin I Viola Bass Marla Smith* Tracey Riggs Gregg Powell Connie Markwick Janine Bradbury Jon Luebke Judith Teasdle Leah Celebi Bonnie Sweda Oboe Cello Ann Lemke Violin II Judith Vander Weg Judi Scramlin Melody Wootton Debra Lonergan Sander Kostallari Organ Delia Turner Dexter Kennedy

*concertmaster

42  christ church grosse pointe Resurrection light Sunday, May 3, 2020 at 3 pm

Sunrise Mass Ola Gjeilo (b. 1978) I. The Spheres II. Sunrise III. The City IV. Identity

The Christ Church Schola and Orchestra

Scott Hanoian, conductor

Intermission

Lux: The Dawn from on High Dan Forrest (b. 1978) I. Illuminare II. Lux in tenebris III. The sun never says IV. Gloria in excelsis V. Creator of the star of night

Meredith Hanoian, soprano Nick Edwin, tenor

The Christ Church Choirs and Orchestra

Scott Hanoian, conductor

program book 2019-2020  43 TEXTS & TRANSLATIONS

The Spheres Kyrie eleison. Lord, have mercy. Christe eleison. Christ, have mercy. Kyrie eleison. Lord, have mercy.

Sunrise Gloria in excelsis Deo Glory to God in the highest et in terra pax and on earth peace hominibus bonae voluntatis. to men of good will. Laudamus te, Benedicimus te, We praise you, we bless you, Adoramus te, Glorificamus te. we worship you, we glorify you, Gratias agimus tibi we give thanks to you propter magnam gloriam tuam. because of your great glory. Domine Deus, Rex coelestis, Lord God, King of Heaven, Deus Pater omnipotens. God the Father almighty. Domine Fili unigenite, Jesu Christe; Lord Jesus Christ, the only begotten Son. Domine Deus, Agnus Dei, Lord God, Lamb of God, Filius Patris. Son of the Father. Qui tollis peccata mundi, You who takes away the sins of the world, miserere nobis. have mercy on us. Qui tollis peccata mundi, You who takes away the sins of the world, suscipe deprecationem nostram. receive our supplication. Qui sedes ad dexteram Patris: You who sits at the right hand of the miserere nobis. Father, have mercy on us. Quoniam tu solus sanctus; For you alone are holy. Tu solus Dominus; You alone are the Lord. Tu solus Altissismus, Jesu Christe, You alone are the most high, Jesus Christ, Cum Sancto Spiritu with the Holy Spirit in gloria Dei Patris. Amen. in the glory of God the Father. Amen.

The City Credo in unum Deum, I believe in one God, Patrem omnipotentem, the Father almighty, factorem cæli et terræ, maker of heaven and earth, visibilium omnium et invisibilium. visible of all things and invisible. Et in unum Dominum Jesum Christum, And in one Lord Jesus Christ, Filium Dei unigenitum. only begotten Son of God. Et ex Patre natum ante omnia sæcula. Begotten of his Father before all ages. Deum de Deo, lumen de lumine, God of God, light of light,

44  christ church grosse pointe Deum verum de Deo vero. true God from true God. Genitum, non factum, Begotten, not made, consubstantialem Patri: of one substance with the Father: per quem omnia facta sunt. by whom all things were made. Qui propter nos homines Who for us men and et propter nostram salutem descendit de cælis. for our salvation descended from heaven.

Et incarnatus est de Spiritu Sancto And was made flesh of the Holy Spirit ex Maria Virgine: of the Virgin Mary: Et homo factus est. And was made man.

Crucifixus etiam pro nobis sub Pontio Pilato: And was crucified also for us under Pontius passus, et sepultus est. Pilate: suffered, and was buried.

Et resurrexit tertia die, And the third day he rose secundum scripturas. according to the scriptures. Et ascendit in cælum: And he ascended into heaven; sedet ad dexteram Patris. he sits at the right hand of the Father. Et iterum venturus est cum gloria And he shall come again with glory judicare vivos et mortuos: to judge the living and the dead: Cujus regni non erit finis. of whose kingdom there will not be an end.

Et in Spiritum sanctum And in the Holy Spirit, Dominum, et vivificantem: Lord and giver of life: Qui ex Patre, Filioque procedit. Who proceeds from the Father and Son. Qui cum Patre, et Filio Who with the Father and Son simul adoratur, et conglorificatur: together is worshipped and glorified: Qui locutus est per Prophetas. Who spoke through Prophets. Et unam, sanctam, catholicam And in one holy catholic et apostolicam Ecclesiam. and Apostolic Church. Confiteor unum baptisma in I confess one baptism remissionem peccatorum. for the remission of sins. Et expecto resurrectionem mortuorum. And I expect the resurrection of the dead. Et vitam venturi sæculi. Amen. And the life of the world to come. Amen.

program book 2019-2020  45 Identity 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 your glory. Hosanna in excelsis. Hosanna in the highest.

Benedictus qui venit in nomine Domini. Blessed is He who comes in the name of Hosanna in excelsis. the Lord. Hosanna in the highest.

Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of miserere nobis. the world, have mercy on us.

intermission

Illuminare Per viscera misericordiae By the mercy of our God Dei nostri the dawn from on high in quibus visitavit will break upon us, nos oriens ex alto to give light to those illuminare his qui in tenebris who sit in darkness et in umbra mortis sedent and in the shadow of death, ad dirigendos pedes nostros to guide our feet in viam pacis. into the way of peace. Lux ex alto, Light from on high, veni nos illuminare. come illumine us. based on Luke 1:78-79

Lux de luce apparuisti Christe, You appeared as Light from light, cui Magi munera offerunt, O Christ, to whom the Magi offered gifts, Alleluia, alleluia, alleluia. Alleluia, alleluia, alleluia. Antiphon for Epiphany, 14th c.

Lux in tenebris Lux fulgebit hodie super nos, A light will shine on us today, quia natus est nobis Dominus. for the Lord is born unto us. Introit for Christmas Dawn, 10th c.

Lux in tenebris lucet The light shines in darkness; et tenebrae eam non superaverunt. and the darkness has not overcome it. John 1:5

46  christ church grosse pointe The sun never says Even After All this time The sun never says to the earth,

“You owe Me.”

Look What happens With a love like that, It lights the Whole Sky. Daniel Ladinsky, from “The Gift”, ©1999, used by permission

Gloria in excelsis Gloria in excelsis Deo, Glory to God in the highest, et in terra pax. and on earth peace. from Luke 2:14

Creator of the stars of night Creator of the stars of night, When the whole world drew on toward night, Thy people’s everlasting Light, Thou camest, not in splendor bright O Christ, Thou Savior of us all, as sovereign, but the humble Child now hear Thy servants when they call. of Mary, virgin mother mild.

Creator alme siderum To God the Father, God the Son, aeterna lux credentium and God the Spirit, Three in One, Christe redemptor omnium laud, honor, might, and glory be exaudi voces supplicum. from age to age eternally. Amen.

O Blest Creator of the light, Who made the day with radiance bright, and o’er the newborn world did call the light from darkness first of all. 7th century chant, various translations

program book 2019-2020  47 PROGRAM NOTES

Born in 1978, Ola Gjeilo and Dan Forrest have Latin texts, for the movements in this both clearly established their place in the choral setting of the Mass has mainly to do canon, and for good reason. They use a musical with the initial idea behind Sunrise. I language that is direct and deeply compelling, wanted the musical development of the somewhat akin to the ambient sonic experiences Mass to go from the most transparent and spacey to something completely currently in fashion in film music, and the gift earthy and grounded, from nebulous of melodic alchemy. Together, their music gives and pristine to more emotional and a taste of the evocative choral soundscapes that dramatic, and eventually warm and are possible with expertly crafted and carefully solid, as a metaphor for human controlled techniques. development from child to adult, or as a spiritual journey. I always want there to be a positive evolution in artistic expressions—to move everything forward, to transcend conflict and dissonance, by going through it, not avoiding it. Ideally, it has the capacity to help bring us deeper into ourselves rather than the other way. I really do think that’s the main point of art, and I hope with all my heart that a sliver of that sentiment comes out in this piece, Ola Gjeilo (YAY-loh) was born in Norway and somehow. moved to the United States in 2001 to begin his composition studies at the Juilliard School in New Gjeilo doesn’t believe in the value of dissonance York City, where he currently lives and works as in itself, but uses it to generate the catharsis he a composer and pianist. His compositions have feels audiences seek when they listen to music: been referred to as “sound sculptures,” with “I think people naturally and instinctively thick harmonies and rich textures that bring to want to experience transcendence, resolution mind a film score, music that forms a major part and the feeling of redemption, joy and peace of his inspiration, and recognizes the glass artist that the resolving of discord can yield.” Sunrise Dale Chihuly and architect Frank Gehry among Mass prompts a metaphysical journey from his greatest artistic idols. the heavens to earth, at the end of which the listener “has the perspective and understanding Gjeilo’s Sunrise Mass was commissioned in to peacefully contain everything they have gone 2007 by the combined Majorstua and Nova through.” chamber choirs, and the premiere took place in Oslo on November 2, 2008. Of his Mass, Gjeilo Dan Forrest was born in Elmira, New York, and has written: received degrees in piano performance from Bob Jones University and his Doctor of Musical Arts The reason I used English titles, in composition from the University of Kansas, seemingly unrelated to the (mostly)

48  christ church grosse pointe and counts Alice Parker as his foremost influence. Of LUX, Forrest has written: His music spans a wide spectrum of genres and difficulty, ranging from major concert repertoire The first movement offers the promise of future light, and the hope of dawn is for chorus and orchestra to more accessible repeatedly heard in the text and evoked works for church and community choirs. by the music. The second movement uses contrasting musical meters and keys to portray its text about light courageously shining in darkness. This movement finishes somewhat open-ended, not with a glib ending, reflecting the nature of light that must continue to shine through darkness. The third movement flashes ahead to today, seeing the sun as a metaphor for unconditional love that “lights the whole sky.” The fourth movement continues the “light in the sky” motif with a joyful, jazz-influenced setting of the “Gloria in excelsis” text from the Scriptural nativity story. The fifth LUX: The Dawn from On High is Forrest’s movement closes out the “day” with an third major work for chorus and orchestra, after ancient evening hymn, presented as a Requiem for the Living and Jubilate Deo, and was solo, then unison, then in increasingly premiered by the Greenville, South Carolina complex canons, before a closing Chorale and Symphony on October 28, 2017. section provides closure and unity This work explores various facets oflux (Latin for between these multiple facets of light. “light”), with texts ranging from ancient prayers The five movements trace a poetic lineage of to scripture to modern secular poetry. The music light from ancient prophecy to contemporary LUX of was inspired thematically and spiritually reflections. As a result,LUX is structured as an by these texts, and with a hint of synesthesia arc, like the path of the sun in the sky, from its by the light in the Reims Cathedral in France dawn to its setting over the horizon. and at the Poulnabrone dolmen in Ireland. Musically, Forrest draws inspiration from a Together, Gjeilo and Forrest are two of the most variety of musical sources, including medieval frequently performed composers in the choral chant and modern minimalist composers. The world today, and are redefining the choral sound title invokes the dual meaning of the text of with an emphasis on light and atmospheric the first movement, where the light of dawn experiences. gradually ascends into the sky, while the Light of the world descends from the sky—a “Dawn Austin Stewart from on High.”

program book 2019-2020  49 Christ Church Choirs

Soprano Alto Tenor Bass Kate Alltop* Daphne Irby* Lynn Anslow George Blair Dwight Angell Judie Bailey Lilly Irby Jennifer Appleberry Tom Brown Glen Battjes Emma Bowe* Kara Komer Eliana Barwinski* Chad Creager Kurt Battjes Peggy Braden Kate Lucander Serafina Belletini* Ian Davis Ed Conn Mary Brown Michelle Metes Susan Birndorf Alex Deimel Logan Dell’Acqua* Ann Busch Linda Mosley Christine Brown Nick Edwin* Phil Gibbs Ava Carr* Abbye Nealssohn Judith Burkhardt Stephen Fozo Thomas Hill Nancy Combs Rowan O’Brien* Nora Conn Keith Geyer* William Keener Joy Crawford Caroline Peabody* Mary Creager Richard Gibson David Krolikowski Emmanuelle Cubba* Collette Peabody Ann Eatherly Carsten Higbie Dennis Parker* Joanne Fisher Lynn Pember Rachel Edwin* Robbie Peabody Ed Pember* Carol Geyer Lauren Platt* Paula Labadie John Schober Jake Surzyn* Marilynn Gilbert Eileen Polk Ruth Louwsma Pierce Ward Alex Walker* Laila Hakim Vickie Rice-Parker Ann McReynolds Brian White* Cleo Hamilton Grace Romer* Hayley Raska* Russell Yamazaki Emma Hanoian Nina Simon* Carol Schoch Meredith Hanoian Meghan von Schwarz Cathy Selvius DeRoo Maeve Hix Elizabeth Walsh Marilyn Sicklesteel Moira Hix Mary Steiner Susan Van Dellen Kathie vonSchwarz Kathy Williams *Schola Orchestra

Violin I Viola Bass Harp Marla Smith* Tracey Riggs Jon Luebke Maurice Draughan Connie Markwick Leah Celebi Jessica Grabbe Bonnie Sweda Percussion Alan MacNair Cello Flute Lynn Koch Kelly Roenicke Sarah Cleveland Scott Graddy Kristen Tait Delia Turner Nadine Deleury Debra Lonergan Oboe Organ Violin II Ann Lemke Dexter Kennedy Melody Wootton Judith Teasdle Horn Lynn Brosnan Denise Root Pierce Bobbi Adams *concertmaster Sander Kostallari 50  christ church grosse pointe Christ Church Grosse Pointe gratefully acknowledges our supporters who make the 2019-2020 concert series possible:

Underwriter ($2500 + above) Patron, continued Martha Ford Monte and Diane Jahnke Julius and Cynthia Huebner Gioconda and Thayer McMillan John Woodhouse Marilyn Schorer in memory of in memory of Dr. Calvin Schorer Peggy Woodhouse, Tim Woodhouse, and Marilyn Sicklesteel and David Szymborski Kim Woodhouse Amie Sweeney Mary Anne Zinn Benefactor ($1000-2499) in honor of Scott Hanoian Anonymous Mts. John Booth Friend ($250-399) in memory of John Lord Booth Christine and Martha Brown Jerry Brackett, MD & Karen Kienbaum in memory of Mark and Gretchen Higbie Hugh and Clara Brown The Rev. Dr. Lynne A. and Mr. Ross T. Kogel Ed and Nora Conn Dr. and Mrs. Peter A. Nickles Ed and Patsy Gotfredson in memory of Michael Robert Nickles Mark and Susan Lorenger The Trost Family Cathy Selvius DeRoo Edward C. Turner Mary Steiner Susan Van Dellen Sponsor ($500-999) in memory of Marvin and Carol Van Dellen Bob and Beth Alltop Karyn Weir Betsy and Gaylord Creedon in honor of her grandchildren Nancy and George Nicholson Susan White Supporter ($50-249) Patron ($400-499) Patrick and Linda Carmichael John Palmer Richard and Jill Best Nancy Smith Libby Candler Al and Margaret Torp May Jean and Stephen Chan in memory of Keith Patrick Torp Dr. and Mrs. Michael Clune Connie Waterman Judy Kling Russell and Jane Yamazaki

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program book 2019-2020  51 61 Grosse Pointe Boulevard Grosse Pointe Farms, Michigan 48236 313-885-4841 www.ChristChurchGP.org