Boy Chorister Program

Total Page:16

File Type:pdf, Size:1020Kb

Boy Chorister Program washington national cathedral boy chorister program 2019–2020 from the director of music It is hard not to be struck by the elegance and grace of our National Cathedral. The building is an exquisite expression of faith. Within lies more than a hundred years of inspiration, vocation, dedication and love. Few things have the ability to inspire and move more than music. It is my hope that this music program will flourish and further inspire those who are touched by it. What we have here is unique; it is something we cherish and is at the center of the mission and ministry of this place. canon michael mccarthy director of music 1 the cathedral choirs The mission of the choirs is to offer, at the highest standard possible, praises to God through leadership in music and liturgy. the history Washington National Cathedral’s Boys Choir Choristers rehearse as part of their daily and Girls Choir are among the few cathedral academic schedule, and their participation is fully choirs in the United States affiliated with schools. integrated and supported by the staff of both The Boys Choir, founded in 1909, is open schools. The choirs are responsible for leading to boys attending St. Albans School, aged worship for weekday evening and Sunday 8–14. Professional musicians from the greater services at the Cathedral. Washington area also sing in the choirs to complete the traditional choral sound. An additional duty of the choirs is to participate in services of national importance such as The rigorous and intensive choral training offered presidential funerals and commemorative by the choral music program, combined with services. The choirs also tour nationally and the high academi standards of the participating internationally, setting a high standard for schools provide an exceptional musical and liturgical worship in this country. educational experience. 2 becoming a chorister the novice program The novice program is a preparatory program for aspiring choristers. Novice choristers learn the basics of music theory, vocal production and sight‑reading. requirements novice program weekly schedules • Love of singing music classes • Applying to or attending St. Albans School (january 8–march 11) • Interested in being a Cathedral chorister • Attend open house or alternate audition wednesdays novice musicianship 4–5 pm & singing class timeline week of march 8 parent conference • saturday, october 19 9–11 am* Open house and preliminary audition Prepare a simple song or hymn to spring term demonstrate basic musical aptitude (march 31–may 21) • wednesday, january 8 tues & thurs rehearsal & Novice music classes begin 4–6:15 pm evensong • sunday, january 12 Visit Cathedral worship services every other sunday a) music lesson & a) 9–11 am rehearsal • monday, march 9 b) 2:45–5 pm b) rehearsal & Recommendations to chorister evensong program made • tuesday, march 31 Spring term begins for novices accepted into chorister levels chorister program Students who complete the novice program • thursday, may 21 will become choristers based on their incoming Installation of new choristers grade level. * If unable to attend, an alternate audition can be Boys c and b forms — junior chorister arranged. Contact Brian Glosh at (202) 537-5730 Boys form a, forms i and II — senior chorister or [email protected]. 3 chorister schedule time commitment school-year schedule Choristers commit a significant amount of rehearsals and services time to music education, rehearsals and (september–may) performances throughout the year, including some holidays. This commitment is the mon–fri rehearsals at core design behind the unmatched music 7:15–7:55 am cathedral education and performance opportunities for young musicians. tues & thurs rehearsal & 4:45–6:15 pm evensong summer commitments every other sunday a) music theory a) 9–9:55 am b) rehearsal & • choir camp Incoming choristers are required to b) 10 am–12:30 pm eucharist attend a week‑long camp the last week c) 2:45–5 pm c) rehearsal & of August in Richmond, Va. Camp evensong includes working on new music for the coming year, giving community concerts, holiday performances community service, field trips and getting to know fellow choristers. jr chorister sr chorister presidents day • touring/recording √ √ The two weeks following commencement weekend ceremonies are held for touring and recording opportunities. Recently the √ messiah Cathedral choristers have traveled to the √ christmas eve United Kingdom and Texas. maundy √ √ thursday √ √ palm sunday √ easter 4 benefits of chorister life personal development choral stipend • Dedication/perseverance To recognize the significant time commitment • Self‑confidence made by choristers, the Cathedral offers a tuition • Time‑management skills stipend per school year. • Community involvement choral stipend unique enrichment (2019–2020 academic year) • Professional‑level musical training jr. chorister $6,000 • National & international recognition boys c and b forms • Touring opportunities professional music training sr. chorister $8,000 boys form a, forms i and ii Built into the rehearsal and performance schedule, choristers receive individual lessons, at no additional cost, with professional voice and benefits for life piano teachers. Cathedral choristers build lasting memories per week and essential life skills like time management, • 6 hours of choral training leadership and cooperation. The choirs play an • 1 hour of individual music lessons important role in the life of both the Cathedral • 3.5 hours of performance and their school. To become a Cathedral chorister is an extraordinary opportunity found at Through the course of a year, choristers receive few other schools in the nation. 23 hours of private music lessons. school credit Choristers receive school credit for being part of a Cathedral Choir and are assigned letter grades based on their performance and growth in the choir. Being a chorister adds great weight to applications for education beyond high school. 5 learn more The years that I spent in For additional information, visit us online at the Cathedral Choir were cathedral.org/choirs/choristerprogram a highlight in my life and contact left me with memories If you have questions, please contact that endure to this day. Brian Glosh, the chorister program manager, at (202) 537-5730 or [email protected]. I always felt special being a Cathedral chorister — I still feel special having been one.” —former chorister 6 washington national cathedral 3101 wisconsin ave., NW washington, DC 20016‑5098 (202) 537‑5730 • www.cathedral.org @wncathedral.
Recommended publications
  • REACHING out a Celebration of the Work of the Choir Schools’ Association
    REACHING OUT A celebration of the work of the Choir Schools’ Association The Choir Schools’ Association represents 46 schools attached to cathedrals, churches and college chapels educating some 25,000 children. A further 13 cathedral foundations, who draw their choristers from local schools, hold associate membership. In total CSA members look after nearly 1700 boy and girl choristers. Some schools cater for children up to 13. Others are junior schools attached to senior schools through to 18. Many are Church of England but the Roman Catholic, Scottish and Welsh churches are all represented. Most choir schools are independent but five of the country’s finest maintained schools are CSA members. Being a chorister is a huge commitment for children and parents alike. In exchange for their singing they receive an excellent musical training and first-class academic and all-round education. They acquire self- discipline and a passion for music which stay with them for the rest of their lives. CONTENTS Introduction by Katharine, Duchess of Kent ..................................................................... 1 Opportunity for All ................................................................................................................. 2 The Scholarship Scheme ....................................................................................................... 4 CSA’s Chorister Fund ............................................................................................................. 6 Finding Choristers .................................................................................................................
    [Show full text]
  • Location of Choir and Musical Instruments, January 2012
    ARCHDIOCESE OF PHILADELPHIA Office for Liturgical Music 222 North Seventeenth Street ! Philadelphia, Pennsylvania 19103-1299 215-587-3696 www.ArchPhilaMusic.org www.CathedralPhilaConcerts.org LOCATION OF CHOIR AND MUSICAL INSTRUMENTS COMMENTARY OFFICE FOR WORSHIP ARCHDIOCESE OF PHILADELPHIA Sacrosanctum Concilium, the document of the Second Vatican Council on the Sacred Liturgy, speaks clearly of the importance of music in the liturgy and, while urging that “choirs … be diligently promoted,” insists that “religious singing by the people … be skillfully fostered.” Implicit is the recognition of the special service and gift given to the people of God by skilled ministers of music who are, at the same time, members of the community at prayer. Subsequent Church documents and statements by the United States Conference of Catholic Bishops support, develop, and expand upon Sacrosanctum Concilium regarding music ministers. In particular, they speak of the proper location of the choir, cantor, and other musicians in the church building itself -- as both musicians and members of the assembly. The Office for Worship of the Archdiocese of Philadelphia, based upon the norms expressed in liturgical documents regarding the placement of musicians, offers the following guidelines to pastors, musicians, and worship committees. Musicians (choir, cantor, instrumentalists), recognized and appreciated for the special gift they bring to the celebration of the Sacred Liturgy, must be located in the church in such a way that they are also clearly perceived to be members of the worshipping assembly. While lending their special training and skill, they must also be servants of the Sacred Liturgy and members of the community at prayer.
    [Show full text]
  • The Acoustics of the Choir in Spanish Cathedrals
    acoustics Article The Acoustics of the Choir in Spanish Cathedrals Alicia Alonso * , Rafael Suárez and Juan J. Sendra Instituto Universitario de Arquitectura y Ciencias de la Construcción, Escuela Técnica Superior de Arquitectura, Universidad de Sevilla, Seville 41012, Spain; [email protected] (R.S.); [email protected] (J.J.S.) * Correspondence: [email protected]; Tel.: +34-954-559-51 Received: 13 November 2018; Accepted: 4 December 2018; Published: 6 December 2018 Abstract: One of the most significant enclosures in worship spaces is that of the choir. Generally, from a historical point of view, the choir is a semi-enclosed and privileged area reserved for the clergy, whose position and configuration gives it a private character. Regarding the generation and transformation of ecclesial interior spaces, the choir commands a role of the first magnitude. Its shape and location produce, on occasions, major modifications that significantly affect the acoustics of these indoor spaces. In the case of Spanish cathedrals, whose design responds to the so-called “Spanish type”, the central position of the choir, enclosed by high stonework walls on three of its sides and with numerous wooden stalls inside, breaks up the space in the main nave, thereby generating other new spaces, such as the trascoro. The aim of this work was to analyse the acoustic evolution of the choir as one of the main elements that configure the sound space of Spanish cathedrals. By means of in situ measurements and simulation models, the main acoustic parameters were evaluated, both in their current state and in their original configurations that have since disappeared.
    [Show full text]
  • Cathedral Statistics 2019
    Cathedral Statistics 2019 Research and Statistics Church House Great Smith Street London SW1P 3AZ Tel: 020 7898 1547 Published 2020 by Research and Statistics. Copyright © Research and Statistics 2020 All rights reserved. This document is available on line at https://www.churchofengland.org/researchandstats Any reproduction of the whole or any part of the document should reference: Church of England Research and Statistics, Great Smith Street, London SW1P 3AZ Email: [email protected] Twitter: @cofestats The opinions expressed in this booklet are those of the authors and do not necessarily reflect the official policy of the General Synod or National Church Institutions of the Church of England. 1 Summary This report presents information about worship and other activities taking place in Church of England cathedrals from 1st January to 31st December 2019. Data are collected from all 42 mainland Church of England cathedrals and from Westminster Abbey, through an annual cathedral statistics survey. Among other things, the survey asks about attendance at Sunday and midweek services; Easter and Christmas services; school visits; baptisms, marriages, and funerals; musical activities and volunteering. For reference, the survey form and guidance notes can be found in Appendix 2. Worship attendance (page 7) • A total of 37,300 people per week (82% adults and 18% children aged under 16) were reported attending usual cathedral services in 2019, a similar number to 2018 (37,100). Total weekly attendance is 13% larger in 2019 than it was a decade ago in 2009. • Weekly attendance at usual cathedral services is split fairly evenly between Sunday (47%) and midweek (53%) services.
    [Show full text]
  • Altar Server Guidelines for St. John the Baptist Catholic Church
    Altar Server Guidelines for St. John the Baptist Catholic Church Altar Servers Guidelines: St. John the Baptist, Dunnellon PRELIMINARIES: General Information Number of Servers Needed: Generally at weekend Masses, in the Catholic World, Altar Servers number from 2-6 servers. For pastoral reasons of promoting Children and Youth Ministry in the parish, as far as possible, we’ll need 3-5 “youth” Altar Servers for the Sunday 10.30 am Mass: three servers, if no incense is used and five servers if incense is used. If incense is NOT USED, we need only the Server Captain/Cross Bearer and the two Acolytes (Candle Bearers). If incense is USED, we need five servers, while three performs the roles already stated, the remaining two (only very mature and capable teenagers) will play the role of the Thurifer and the Incense Boat Bearer. In any case, three servers: the Server Captain/Cross Bearer and the two Acolytes sit on the altar, while the Thurifer and the Incense Boat Bearer both sit at the Baptistry area. NOTE: As a general rule, when the congregation stands or kneels, the Servers stand (except during the Consecration of the Bread and Wine: At this time, the servers should kneel, unless they are adults with knee problem). While standing and/or walking the Servers are to hold their hands in the praying position. The praying position is with palms of the hands together, fingers extended, thumbs crossed, hands chest high such that finger tips are about shoulder high. When the congregation sits, the Servers sit. In the sitting position the Servers’ hands should be on their laps.
    [Show full text]
  • The Unifying Role of the Choir Screen in Gothic Churches Author(S): Jacqueline E
    Beyond the Barrier: The Unifying Role of the Choir Screen in Gothic Churches Author(s): Jacqueline E. Jung Source: The Art Bulletin, Vol. 82, No. 4, (Dec., 2000), pp. 622-657 Published by: College Art Association Stable URL: http://www.jstor.org/stable/3051415 Accessed: 29/04/2008 18:56 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=caa. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We enable the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org Beyond the Barrier: The Unifying Role of the Choir Screen in Gothic Churches JacquelineE. Jung Thomas Hardy's early novel A Laodicean (first published in in church rituals, "anti-pastoral devices"4 designed to prevent 1881) focuses on the relationship between Paula Power, a ordinary people from gaining access to the sacred mysteries.
    [Show full text]
  • Cathedral Choir Mark Potvin, Conductor
    Cathedral Choir Mark Potvin, conductor 2019 Wisconsin Tour From the Conductor CATHEDRAL CHOIR Cathedral Choir is one of five auditioned choirs at Luther Welcome, one and all! We are delighted you have chosen College. The ensemble is composed of select singers drawn to join us for this performance. mostly from the rich talent of the college’s sophomore class. Cathedral Choir participates actively in campus worship, Cathedral Choir’s program evokes faith experiences in Christmas at Luther, and at special events and concerts that stem from disparate emotional states and cultural throughout the academic year. backgrounds. In Praise and Petition, the choir explores Cathedral Choir has collaborated with Collegiate Chorale, prayers representative of deep despair and certain hope. Nordic Choir, and the Luther College Symphony Orchestra to perform major choral/orchestral works, such as Brahms’ Two of the selections in this selection—“Hear My Prayer” A German Requiem, Haydn’s Lord Nelson Mass, Handel’s and “Timor et Tremor”—are vastly different settings of Messiah, and the premiere of Luther Mass by Stephen similar texts. The first is a chromatic, angst-ridden prayer Paulus. In October 2017, Cathedral joined Collegiate Chorale of penitence. The second hearkens to divine mysteries and Concert Band to premiere a collage cantata composed by Luther alumni and students to commemorate the 500th through peaceful, crystalline tone clusters. The final piece anniversary of the Protestant Reformation. in the set offers the assurance of salvation in the midst Active in the creation of new music, Cathedral Choir has of trials and tribulation, a theme expanded upon in the premiered choral works by Ola Gjeilo, Mack Wilberg, Daniel remainder of the program.
    [Show full text]
  • Chancel Choir.Pub
    FAQS JUST THE FACTS ♪ Do you have to be a church mem- REHEARSALS ber to join? No . any adult who would like to Wednesdays, 7:30-9:00 p.m. in the Boston Avenue join us is welcome. Choir Room (childcare available) ♪ Will I have to audition? WORSHIP SERVICES Chancel Choir No . no audition or any type of “screening” process is required – Sundays, 11:00 a.m.-noon in the all are welcome. We are seeking Sanctuary; 10:30 robing & warm-up people who will offer their best ef- in the Choir Room (childcare fort and love to sing. available) ♪ I would like to sing but cannot leave my young children for the evening. HOW TO JOIN No problem . we have excellent Registration forms are available childcare available to choir mem- online at www.bostonavenue.org. bers during rehearsal and worship at no cost. If you have any questions or need further information, please contact ♪ Do you have to be an Ann White in the Music Office at “experienced” musician to sing in 918.699.0139 or choir? [email protected]. No . each section contains both leaders who have lots of music training and experience and novices who do not have any special training but just love to sing. This wide diver- sity adds richness and depth to our community. ♪ I would like to sing in choir but I have to travel/work at times. Should I join even if I know there will be chunks of time when I will be away? 1301 S. Boston Ave. | Tulsa, OK 74119 Absolutely .
    [Show full text]
  • Catholic Choir School Models in the United States: Reinvigorating the Musico-Liturgical Life of the Church
    THE CATHOLIC UNIVERSITY OF AMERICA Catholic Choir School Models in the United States: Reinvigorating the Musico-Liturgical Life of the Church A TREATISE Submitted to the Faculty of the Benjamin T. Rome School of Music Of The Catholic University of America In Partial Fulfillment of the Requirements For the Degree Doctor of Musical Arts in Sacred Music © All Rights Reserved By Jennifer L. Seighman Washington, D.C. 2015 Catholic Choir School Models in the United States: Reinvigorating the Musico-Liturgical Life of the Church Jennifer L. Seighman, D.M.A. Director: Leo Nestor, D.M.A. Choir schools have been an intrinsic part of the Catholic Church since the fourth century. While the Holy See has instructed that such schools and training be diligently promoted, few programs exist, and even less is known about them. This paper provides much-needed research on Catholic choir school programs and the benefits they offer to the twenty-first-century Church, particularly in bringing the musico-liturgical goals of the Second Vatican Council to fruition. Using a multi-case-study approach, I investigate the only known Catholic institutions in the United States currently employing a traditional choir school education of rigorous daily instruction in choir and sung liturgy: St. Paul’s Choir School (Cambridge, MA), The Madeleine Choir School (Salt Lake City, UT), and The Atonement Academy (San Antonio, TX). To formulate the framework for this study, a survey of related literature was made encompassing musico-liturgical directives of the Second Vatican Council, Church documents calling for chorister formation, papal writings, scholarly sources addressing sacred music within the Catholic Church, and various sets of education standards.
    [Show full text]
  • Palladio's Religious Architecture in Venice Katherine Fresina Louisiana State University and Agricultural and Mechanical College, [email protected]
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2012 Palladio's religious architecture in Venice Katherine Fresina Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Fresina, Katherine, "Palladio's religious architecture in Venice" (2012). LSU Master's Theses. 3335. https://digitalcommons.lsu.edu/gradschool_theses/3335 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. PALLADIO’S RELIGIOUS ARCHITECTURE IN VENICE A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts In The School of Art by Katherine Fresina B.ID. Louisiana State University, 2009 May 2012 Table of Contents ABSTRACT……………………………………………………………………………………………………………..iii CHAPTER 1 INTRODUCTION…………………………………………………………………………………………1 2 VENETIAN ARCHITECTURE………………………………………………………………………..5 3 PALLADIO’S LIFE……………………………………………………………………………………...18 4 SAN FRANCESCO DELLA VIGNA………………………………………………………………...30 5 SAN GIORGIO MAGGIORE…………………………………………………………………………..40 6 IL REDENTORE …………………………………………………………………………………………52 BIBLIOGRAPHY……………………………………………………………….………………………………..…….67
    [Show full text]
  • The General Instruction on the Liturgy of the Hours
    The General Instruction on the Liturgy of the Hours Contents Chapter One The Importance of the Liturgy of the Hours or the Divine Office in the Life of the Church 1 I The Prayer of Christ 1 The prayer of Christ to the Father 1 II The Prayer of the Church 3 The obligation to pray 3 The Church continues the prayer of Christ 3 The action of the Holy Spirit 4 The community character of prayer 4 III The Liturgy of the Hours 5 The consecration of the course of the day 5 The relationship between the Eucharist and the Liturgy of the Hours 5 The exercise of Christ’s priestly office in the Liturgy of the Hours 5 The sanctification of man 5 The praise given to God, in union with the Church in heaven 6 Supplication and Intercession 7 The culmination and source of pastoral activity 7 Heart and voice are one 7 IV Those Who Celebrate the Liturgy of the Hours 8 a Celebration in Common 8 b The Mandate of Celebrating the Liturgy of the Hours 9 c The Structure of the Celebration 11 Chapter Two The Sanctification of the Day — The Various Liturgical Hours 12 I The Introduction to the Whole Office 12 II Lauds and Vespers 12 III The Office of Readings 14 IV Vigils 15 V Terce, Sext and None, or the Prayer During the Day 16 VI Compline 17 VII The Way of Joining Hours of the Office with Mass or Among Themselves 18 Chapter Three The Various Parts of The Liturgy of the Hours 20 I The Psalms and their Close Relationship with Christian Prayer 20 II The Antiphons and Other Parts which Help in Praying the Psalms 22 III The Way of Praying the Psalms 23 IV The Way the
    [Show full text]
  • RUSSIAN CHURCH SINGING the System of Orthodox Liturgical Singing 23
    MMMMMM~ M~,~. The Essence of Liturgical Singing The differences in the structure of Orthodox sevices, as compared to the services of the Roman Catholic Church and, even more so, to those of various Protestant denominations, both determine and reBect divergent viewpoints concerning the significance of the musical element in worship, and hence, concerning the essence, forms and liturgical function of church music. Unless these differences are clearly identified from the start, one risks falling into various misconceptions which would ultimately lead to erroneous conclusions. The first question that must be answered is: What is Orthodox liturgical singing in essence, and what role does it play in Orthodox worship? Such a question may appear, at first glance, to be superfluous; the answer seems to be obvious without any further discussion neces­ sary: Orthodox liturgical singing is vocal music-music produced by human voices alone-, which, in conjunction with words, accompanies worship services. This answer is understandable if one considers ex­ clusively the choral singing found in the Russian Orthodox Church during approximately the last three centuries. Thus, one often hears mention, especially in non-Orthodox circles, of "Orthodox church music," to which all of the concepts concerning music in general can be applied. Even present-day Orthodox tend to view their liturgical singing simply as a category of vocal music (and a rather insignificant one even in that capacity), in which one can observe the same musical-aesthetic relationships found in secular music-the only such relationships recognized. As a consequence of this viewpoint, singing at worship is often considered to be a facultative and non-essential element, instead of one that is immanent and inherent in worship.
    [Show full text]