A FAREWELL TO ARMS: A WORLD WAR I CENTENNIAL CONCERT
Sunday, November 11, 2018 4:30 p.m. National Presbyterian Church Washington D.C.
Gretchen Kuhrmann, Guest Conductor c o n c e r t p r o g r a m Program Notes 3 Europe and the Centenary Commemorations 8 Historical Notes 11 THE CITY CHOIR OF WASHINGTON Text and Translations 16 Meet The Artists 25 Robert Shafer, Artistic Director and Conductor War Poems 30 Gretchen Kuhrmann, Guest Conductor The City Choir of Washington 33 Rachel Binger, Assistant Conductor Photo Notes 36 Donors & Supporters 37 Katelyn G. Aungst, Soprano | Robert Petillo, Tenor | James Shaffran, Baritone | Todd Fickley, Organ Upcoming Concerts 41 The City Choir of Washington Chamber Orchestra
Gretchen Kuhrmann’s appearance as Guest Conductor has been underwritten by a generous donation from Marty and Barbara Ilacqua. c o n c e r t p r o g r a m
THE CITY CHOIR OF WASHINGTON Robert Shafer, Artistic Director and Conductor Gretchen Kuhrmann, Guest Conductor Rachel Binger, Assistant Conductor
Katelyn G. Aungst, Soprano | Robert Petillo, Tenor | James Shaffran, Baritone | Todd Fickley, Organ
The City Choir of Washington Chamber Orchestra
Gretchen Kuhrmann’s appearance as Guest Conductor has been underwritten by a generous donation from Marty and Barbara Ilacqua.
PRESENTATION OF GREATER LOVE HATH NO MAN THE NATIONAL COLORS John Ireland (1879-1962) & THE NATIONAL ANTHEM INTERMISSION IN TERRA PAX Gerald Finzi (1901-1956) DONA NOBIS PACEM Ralph Vaughan Williams (1872-1958) A FAREWELL TO ARMS Gerald Finzi (1901-1956) JERUSALEM Sir Charles Hubert Hastings Parry (1848-1918)
A question and answer session will take place immediately following the performance. Please also explore the exhibition of World War I artifacts on view in the parlor. These artifacts are generously on loan from the personal collection of Michael Bigelow, Command Historian for the Army Intelligence and Security Command. 1 2 p r o g r a m n o t e s
by Emily Hantman Tsai
Planning for The City Choir of Washington’s first lay down his life for his friends.” Then the drums “and on earth peace, good will toward men.” We England tour this past summer, Maestro Shafer of war: Ralph Vaughan Williams, although in can only hope that the divine peace will overcome ruminated on the impact of English composers and his forties, enlisted as a private in the ambulance our human impulse to war and destruction. choral tradition on his own musical development: corps. His great cantata, Dona Nobis Pacem, was “As a young student musician in the early sixties, I written in 1936, although the fourth movement, In Terra Pax (1954) was enormously impressed by the great tradition of “Dirge for Two Veterans,” was composed as Finzi’s In Terra Pax is set to text taken from “Noel: choral singing at King’s College, Cambridge... a stand-alone piece in 1914. Texts taken from Christmas Eve, 1913,” a poem by Robert Bridges I had a transforming musical experience in the Walt Whitman (a volunteer nurse during the (an English Poet Laureate and member of Britain’s spring of 1964, at the age of 18, when I heard one American Civil War) and John Bright, a British War Propaganda Office during the Great War). of the first American performances of Britten’s parliamentarian known for his opposition to the Finzi composed the work after being inspired by a War Requiem at Washington National Cathedral, Crimean War, show the human face and horror New Year’s Eve visit to Chosen Hill, Gloucester- conducted by Paul Callaway…Inspired by my of war. Gerald Finzi, only 13 years old when war shire: coming out into the clear frosty midnight, early exposure to the great British choral tradition, broke out, experienced terrible personal loss, since he “heard bells ringing across Gloucestershire I have regularly performed so many British works, his three brothers and his music teacher were from beside the Severn to the hill villages of the from Handel oratorios to the mystical masterpieces killed in the war. Throughout his career he would Cotswolds.” That last Christmas before the Great of Sir John Tavener.” return to the memory of war and its ravages. In A War conjures up tremendous feelings of ambiv- Farewell To Arms, he evokes Ernest Hemingway’s alence: a time of lost innocence and hope; the When the opportunity came for TCCW to per- great novel of World War I; the song’s subject, remembrance that politicians and citizens alike form a concert in remembrance of the Armistice’s taken from two 16th-17th century poems, is an believed in August 1914 that a war would “clear Centennial, Shafer was immediately drawn to the elderly warrior who has laid down the tools of war. the air” and the boys would be home by Christmas; idea of a program by British composers who were the ghosts of the Christmas Truce on the Western alive during World War I, all of whom were direct- But both In Terra Pax and Dona Nobis Pacem invoke Front in December 1914. It is interesting that Finzi ly involved and intensely impacted by the war. the idea of a divine rather than man-made peace: leaves out the stanza of the poem that begins: the “Carthaginian Peace,” as John Maynard “Now blessed be the tow’rs/that crown England Our program examines war and peace. There is Keynes called the harsh terms decided upon during so fair”; perhaps he felt enough damage had been the man-made peacefulness of an idyllic pastoral the Treaty of Versailles, held within it the seeds of done by overweening national pride. Yet the piece England—and what must be done to keep and another world war, a fact that must have been in- is hopeful: whatever man may have wrought, the return to it. Sir Hubert Parry brings William creasingly clear to Vaughan Williams in the tense angels promise: “And on earth peace.” Blake’s words to life: “I will not cease from mental 1930s, and in hindsight to Finzi in 1954. In Terra fight; Nor shall my sword sleep in my hand, Till Pax ends with the promise of the angel: “and on A Farewell to Arms (1945) we have built Jerusalem in England’s green and earth peace, good will toward men.” Vaughan Wil- Gerald Finzi (1901-1956) was one of the finest pleasant land.” John Ireland draws on the text: liams’ cantata begins with a plea: “Give us peace composers of English verse in his generation. “Greater Love hath no man than this, that a man (Dona nobis pacem)” and ends with the same promise: He wrote the second part of A Farewell to Arms in
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the 1920s, still fresh from the terrible losses of the war. Ireland’s motet Greater Love Hath No Man was Although Finzi was too young to fight himself, three of commissioned in 1912. It was immediately popular with his brothers and his music teacher all perished in the war. cathedrals and church choirs; after 1914, with its theme He chose text by the seventeenth-century poet George of noble self-sacrifice it tapped into a larger national Peele, describing an aging warrior whose “helmet shall mood and soon became an unofficial anthem of the war. make a hive for bees” and who has turned from battle In the post-war years, it is often sung in services that to prayer. The song was premiered in 1936 (the same commemorate the victims of war. year as Vaughan Williams’ Dona nobis pacem), but Finzi, a tremendous reader of English literature, during World War II discovered a second poem which begins with identical imagery: “The helmet now an hive for bees becomes.” This seventeenth-century poem by Ralph by Brian Bartoldus Knevet captured Finzi’s imagination with its evocative description of weapons turned to farm implements Dona Nobis Pacem (1936) and final description of the soldier himself fading into When Ralph Vaughan Williams (1872–1958) composed obscurity. Toward the end of the war or just after, Finzi Dona nobis pacem in 1936, he was no stranger to its subject began reworking his original song. As described by matter. At age 42, he had enlisted in what was then known Joseph Stevenson: “The first movement is in the style as “the war to end all wars.” Two decades later, growing of a recitative while the verses of the aria are flowing European tensions threatened to render this title obsolete. and noble in expression, with a sad nostalgia, while the Hitler’s recent march into the Rhineland hung like a orchestral bass line, with a light but steady tread, clearly specter over the cantata’s composition and premiere. In suggests the slow advance of time.” crafting his libretto, Vaughan Williams looked to sacred and secular sources, most notably the Civil War poetry Greater Love Hath No Man (1912) of Walt Whitman. Whitman, who served as a volunteer John Ireland (1879-1962) emerged as a celebrated nurse during the war, details the suffering he witnessed composer towards the end of World War I when his in an honest and forthright manner. Dona nobis pacem was Violin Sonata No.2 in A minor brought him overnight fame. novel in its day for its frank discussion of the horrors of From then until his death in 1962 he led an outwardly battle, devoid of political or nationalist explanation. It uneventful life combining composition, composition stands among the first definitively anti-war choral works, teaching at the Royal College (where his pupils included part of a body of repertoire that would expand throughout Benjamin Britten and E. J. Moeran), and his position as the 20th century. While its message is not strictly pacifist, organist and choirmaster at St. Luke’s Church, Chelsea, Dona nobis pacem reminds listeners of the grave costs of in London (biographical information courtesy of the total warfare, cautioning all who would engage in this John Ireland Trust). dreadful endeavor.
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The cantata begins in a somber, almost his enemy, kisses his head as a sort of improvised balm in Gilead?” The baritone soloist’s reply in inconspicuous manner. The opening strains of benediction. The chorus takes up the opening “O Man Greatly Beloved” is forceful and clear, “Agnus Dei” evoke liturgical music, setting an refrain with an added, soaring descant, only to drawing from diverse biblical sources to tell God’s imitation of Latin chanting over a fauxbourdon have its final cadence unsettled by the soprano millennia-old promise of peace. His noble charge, accompaniment. Without warning, an explosion soloist’s quiet supplication of “Dona nobis pacem.” “be strong,” lifts us up from the former flat keys of sound dashes any expectation that Dona nobis into the brilliance of D and B Major. The music pacem will be a “safe” work for the church. After At the onset of World War I, Vaughan Williams that follows, like its lyrics, breathes new life into a fourfold choral plea of “dona,” the soprano composed Dirge for Two Veterans as a stand-alone ancient ideas. It mixes the word-driven rhythmic soloist offers a prayer for peace: listen as it arches piece, later subsuming the movement into the counterpoint of the British renaissance with 19th- upwards towards the word “nobis,” emphasizing larger work. While his compositional voice century melodic development, all accompanied by our shared stake in her petition. This melody and certainly changed over this time, the piece still Vaughan Williams’s pandiatonic harmonies. The the sighing “dona” motive serve as the soprano marries well with the newer surrounding music chorus steadily builds in volume and tempo to the soloist’s primary musical material, both in this because of their common features. Both share the angelic Christmas proclamation, “Glory to God in movement and in her repeated Latin interjections same poetic authorship and martial themes, as well the highest.” The confident descending statements heard throughout the cantata. Benjamin Britten as simple vocal textures that prioritize clarity and of “goodwill toward men” transform before us into would later expand on this concept of assigning quick delivery of text. The latter point is crucial the sighing motives of “Dona Nobis Pacem,” now in different languages to various performing forces when setting Whitman, whose free verse can the comfort and safety of C Major. in his famed War Requiem. Distant snare rhythms favor lengthy and uneven sentence structures. His transition us to the first of the Walt Whitman poem tells of a double funeral for father and son, Yet, Vaughan Williams does not leave his audience settings, “Beat! Beat! Drums!” Their deep, slaughtered in combat. Its brilliant pomp mixes in complete comfort. The soloist extends her final insistent notes clash with braying bugle calls, set with strong emotions of tragedy and loss. Shining note, the rootless third of the tonic chord, well a discordant semitone above. Whitman’s forceful octave triplets, flickering like quiet moonbeams, after all others have ceased their singing. This poetry orders inanimate instruments to call forth, serve as both counterpoint and respite to this author has often imagined how such fragility and bypassing their human masters. The chorus sings bittersweet scene. ambiguity sounded to its first audience, standing nearly the whole of the movement in two-part as they did on the precipice of another unthinkable harmony, heavily relying on perfect fourths and “The Angel of Death” sets the words of European conflict. Is it a fading hope? A warning? fifths. The only departure from this texture is in ninteenth-century British parliamentarian John Our relationship with war has changed drastically the poem’s final stanza, where the concerns of Bright, a famed orator and staunch opponent in the eight decades since Vaughan Williams the reticent are shouted down by a final clamor of the Crimean War. Its quasi-recitative draws composed Dona nobis pacem. Still, its lessons of drums. After the rage of battle subsides, the on melodic ideas from the opening “Agnus remain relevant: do not normalize the horrors of baritone sings a hymn to the transcendent in Dei,” portending its terrifying recapitulation. war, and do not forget those who bear its pain and “Reconciliation.” Following a choral affirmation, Quotations from the prophet Jeremiah, himself burdens most acutely. its second half becomes a personal meditation on a witness to the destruction of Jerusalem, plead mortality. The soloist, faced with the slain body of for an end to the terrors of warfare: “Is there no Continued on following page >
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Jerusalem (1916) of music, and was a friend of German culture in Propaganda Office, Bridges asked Sir Hubert Sir Hubert Parry (1848-1918) showed tremendous general. He was, accordingly, certain that Britain Parry to set the poem to music: he wanted a hymn early musical talent, sitting the Oxford Bachelor and Germany would never go to war against each to “brace the spirit of the nation [to] accept with of Music exam while still at Eton; however, to other, and was in despair when World War I broke cheerfulness all the sacrifices necessary.” Against please his father and in-laws he pursued a career out. He died before the Armistice in October 1918 the backdrop of a bloody and seemingly endless in insurance at the same time. While working as of Spanish Influenza, a different sort of casualty war, the song (later renamed Jerusalem), with its an underwriter at Lloyd’s of London, he was taken of war. imagery harkening back to an idyllic England, as a disciple by George Grove and contributed became instantly popular. Parry himself became numerous articles to Grove’s Dictionary of Music and “And did those feet in ancient times,” a little- uncomfortable with its status as an ultra-patriotic Musicians. On Grove’s retirement, Parry succeeded known poem by William Blake, was included in hymn and transferred ownership to the suffragist him as director of the Royal College of Music. His a patriotic anthology of verse published in 1916 movement; but it remained popular among Britons pupils included Ralph Vaughan Williams, Gustav by the Poet Laureate Robert Bridges (author of of all political stripes and has persisted as a second Holst, Frank Bridge and John Ireland. Parry held Noel: Christmas 1913, which Gerald Finzi set in national anthem even today. German music and its traditions to be the pinnacle his piece In Terra Pax). As a member of the War
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7 e u r o p e a n d t h e c e n t e n a r y commemorations
by Nastasia Stipo
An American traveling through Belgium, a wide variety of centennial commemorations WWI commemorations in Europe, where artists Northern France, or Italy would quickly notice of the Great War which, in turn, has rekindled expressed their feelings through orchestral, cine- the extent of World War I’s impact on Western debates on rather contentious subjects such as the matographic, choral, pictural and poetic master- Europe. Tourists are constantly reminded of exclusion of deserters’ names on memorials or the pieces. The City Choir of Washington decided to the effect of its destruction and violence on inefficiency of offensive strategies in the trenches. particularly focus on British interpretations that local communities through the monuments and Additionally, the contemporary narrative of the depict the Great War through an unmistakably memorials erected in nearly every village. Indeed, futile human sacrifices for the sake of power- romantic perspective. Today’s concert is a perfect World War I strongly impacted modern-day seeking empires often clashes with the narrative of example of Great Britain’s tribute to triumph and Europe, both in terms of significant territorial the glorified, noble service and sacrifice of soldiers loss, service and sacrifice, death and destruction, restructurings and of social trauma caused by at the time, expressed through the shared memory which ultimately led to peace, reconciliation, the exorbitant number of lives that were lost. It of loved ones who died. and collaboration. The depictions of human and is difficult to believe that, despite the presence of social suffering offers World War I a unique place so many historical monuments, commemorations While some nations such as France and Great in the various representations of memories and of what is known as the “Great War” have often Britain tend to lead a triumphalist approach in consciousness. As we listen to these interpretations, been overshadowed by those related to the ensuing their commemorations, others such as Germany or however, let us be reminded of the diversity in World War II. Thankfully, 2014-18 Centenary former colonies do not lend similar importance to narratives across Europe, of the horror and loss commemorations have helped revitalize what had the Great War and tend to focus solely on the experienced by all European and neighboring often been described as a part of Europe’s “erased lessons learned, while other countries, such as nations, regardless of which side they belonged to. memory,” and remind us that the WWI helped Poland, barely commemorate it at all. The modern shape our present image of the Old Continent. state of Poland came into existence in 1918, at the end of World War I. Despite this contention and In general, commemorations play a significant diversity, Europe has mostly experienced inclusive, role in the daily construction of political and social multilateral Centennial events in the form of narratives. As societies begin what is commonly wreath laying, marches, exhibits and memorial known as a “Work on Memory,” narratives can vigils, and WWI is still considered a great success be used to either promote inclusion or division, in inclusive commemorations between former depending on the political motives of each party. rivaling nations. This Centennial has been Just as social diversity in the United States makes a used as a means to accentuate the necessity of unique narrative of its domestic history impossible, collaboration between European nations, point Europe’s memory of WWI is composed of multiple at the danger of competing nationalisms, and and diverging collective memories, mainly due improve relations with former colonies. to the diverse nature of the continent and each nation’s perspective. This diversity has led to Art has played an exceptionally important role in
8 9 The lamps are going out all over Europe: we shall not see them lit again in our life-time. British Foreign Secretary Sir Edward Grey. A comment to a friend about the impending UK entry into the First World War, August 1914.
10 HISTORICAL NOTES by Zain Shariff
PRELUDE TO WAR state, led by Otto von Bismarck It is called “the shot heard around the (1815-1898), provoking a series of world,” and with good reason. The wars with its neighbors and encour- bullet that ended the life of Archduke aging other Germanic states to join Eastern Franz Ferdinand of Austria (as well in. Through this, King Wilhelm I of Western Front Prussia (1797-1888) was soon able to Front as the one that did the same for June 28, 1914 Italian Front his wife) on June 28, 1914 touched proclaim himself Kaiser Wilhelm, Salonika Front off an inexorable and ultimately emperor of all German-speaking Assassination of Austrian Archduke Franz Ferdinand and Mesopotamian cataclysmic chain of events never peoples outside of Switzerland and Front his wife by Serbian nationalist before experienced in human history. Austria. Almost simultaneously, student, Gavrilo Princip. And yet the notion that the death of enterprising Italian leaders were able Palestinian Front one man could spark a conflict that to ally with the French to expel Aus- would engulf the whole world, killing trian overseers from northern Italy, between fifteen and nineteen million and then, leaning on the charismatic people in the process, must strike any Giuseppe Garibaldi (1807-1882), suc- reasonably curious person as a rather ceeded in doing the same to Spanish simplistic and therefore unsatisfying Bourbon monarchists in the south. Cameroon War Zone explanation. The nationalistic fervor displayed in both the German unification and the Beginning in the early nineteenth Italian risorgimento would continue century, a growing wave of national- to hold sway over Europe for decades East African War Zone istic fervor in Europe would ultimate- to come. ly lead to the 1871 unifications of both Germany and Italy, each from While Germany and Italy were each a collection of smaller regional states finding their strength, the Ottoman which happened to share, among empire was in serious jeopardy. July 28, 1914 other things, both a sense of culture European powers, most particularly The Austrian government blames and of destiny with one another. The Austria and Russia, were all too hap- the Serbian government for the process of German unification was py to chip away at the outskirts of the assassination and declares war on undertaken largely by the Prussian empire and weaken it territorially. Serbia (a Russian ally).
11 The more pressing threats, however, into the Dual Alliance of 1879, later came from within. The Ottoman becoming the Triple Alliance when military had failed to keep up with Italy signed on board in 1882. technological advances brought on by the industrial revolution, and the THE TANGLED WEB once-elite Janissary corps was now By the late nineteenth century, more content to stage coups and Germany was undisputedly the wage political battles than train for most powerful country in Europe. actual ones. At the same time, an This fact, coupled with the earlier influx of cheap manufactured goods annexation of Alsace-Lorraine by August 1 & 3, 1914 from the rest of Europe created the Germans during the Franco- Germany (an Austrian ally) such a trade imbalance that, by the Prussian War (1870-1871) gave the declares war on Russia and, two mid-nineteenth century, interest French good reason to be distrustful days later, on France (a Russian payments on foreign loans totaled These relatively young breakaway of the new German state. Since ally), sending troops into Belgium more than half of the empire’s reve- states quickly found themselves Russia, too, had misgivings about (a neutral country). Britain nue, resulting in further subordina- caught in the hungry gazes of both German territorial ambitions, the demands—but does not tion to the empire’s creditors. Russia and Austria-Hungary. When 1894 Franco-Russian alliance gave achieve—a withdrawal of German troops from Belgium. Serbia finally earned international to its members the comfort of mutual Ottoman leaders attempted to recognition of its independence in support should Germany or its institute a number of western-influ- 1878, it began advocating loudly newfound allies get any bright ideas. enced reforms, most notably during for Pan-Slavism, a nationalistic the Tanzimat era (1839-1876), but movement that aimed to politically As the nineteenth century gave way succeeded mainly in aggravating unite the Slavic peoples of eastern to the twentieth, nationalistic ideals many influential sectors of Ottoman Europe. Russia certainly had no would encourage many European society. Throughout the long period misgivings about supporting any nations to build up their military of decline that followed, breakaway movements that might further power, which in turn fed further states, chiefly in the Balkans, would weaken Austrian influence and nationalistic pride. Owing to its further diminish Ottoman glory. In so threw their support behind growing suspicions about German the words of historian Jerry Bentley, the Serbs. The Germans, now on imperialism, England would find August 4, 1914 “By the early twentieth century, the decently friendly terms with the itself drawn into the continental Germany continues advancing Ottoman empire survived princi- Austrians, sought to counter Russian alliance system in a somewhat toward France through Belgium, pally because European diplomats influence by backing Austro- peripheral way, signing onto what Britain declares war on Germany, could not agree on how to dispose Hungarian ambitions. The close became known as the Triple Entente followed by British Ally, Japan, on of the empire without upsetting the relationship between Germany and in 1907. To be clear, the Entente was August 13. European balance of power.” Austria-Hungary would blossom not a military alliance, but rather
12 an understanding (entente is French bombing, but information about the for “understanding”) of possible (if new route never reached the driver. not probable) support should the Turning down the wrong road, need arise. he was obliged to reverse the car to correct course. Before he could A year after the Entente was signed, do so, nineteen year old Serbian Austria-Hungary annexed Bosnia. nationalist Gavrilo Princip stepped Bosnia had long been in the sights of forward from the crowd and fired the Serbs as a key part of their two shots—one at the Archduke, and pan-Slavic goals, and Austrian the other at his wife, Duchess Sophie. annexation put a speedy end to any The Archduke’s final words were, unifying hopes the Serbs might have “Sophie, Sophie! Don’t die! Live for had. Serbs and their allies would our children! It is nothing... fight two expansionist wars in the it is nothing…” August, 1914 Balkans in 1912 and 1913, both of THE JULY CRISIS Russia sends troops into Prussia which would continue to chip away and the Battle of Tannenberg at the ailing Ottoman Empire. Global public reaction to the assas- ensues with heavy Russian losses. sination was, on the whole, rather By late June 1914, when Archduke muted. In the United States, the Franz Ferdinand and his wife were fallout from the assassination had touring the Bosnian capital at dropped to third-page news by July 1. Sarajevo, tensions were at a breaking Nevertheless, the political situation point. As the Archduke and his wife was quite tense. A flurry of diplomat- rode through the streets in an open ic correspondence and action ensued, car, assassins twice tried to target but it wasn’t until July 23rd that the the couple. The first attempt, a crisis truly began. Austria-Hun- bombing, missed its intended target, gary sent an ultimatum to Serbia. instead hitting the car behind the The pro-war Austrian Count of Archduke’s, and a rattled Archduke Hoyos pointedly noted that “that arrived at the town hall reception the demands were really of such a planned for him. As they left the nature that no nation that still pos- town hall, the Archduke decided to sessed self-respect and dignity could October 29, 1914 change the day’s plans so that he possibly accept them.” It was clear The Imperial German Navy, and his wife could go to the hospital that Austria-Hungary intended to with the assistance of Turkey, and visit those wounded in the provoke a war with Serbia in order to bombards Russia.
13 put the unruly Serbs in their place. With no satisfactory reply from Serbia, Austria-Hungary declared war on Serbia on July 28, 1914. Germany and Russia, allies of Austria-Hungary and Serbia respectively, watched nervously. Generations of European noble November 2, 5, 6, 1914 intermarriage made the emperor of Russia declares war on Turkey, Germany, Kaiser Wilhelm, and the followed by Russian allies Britain emperor of Russia, Tzar Nicholas, and France. simultaneously third cousins and second-cousins once removed, with the bonus that Wilhelm was also the first cousin of Nicholas’ wife. (Further complicating the family tree, King George V of England was first cousins to both Wilhelm and Nicholas.) Wilhelm and Nicholas (literally) telegraped their worries to one another in a series of cables, written in English, addressing one another affectionately as Nicky and Willy.
Despite their best intentions, Late November neither was able to stem the tide After advancing through Belgium, of war. Simultaneous to their were very much all-or-nothing of “chicken” in which neither side German troops arrive in France. correspondence, both Russia and affairs, and highly intractable, which could dare flinch for fear of the World War I begins in earnest. Germany were busy mobilizing required that Russia mobilize not consequences. Unable to back August 1914 to January 1915 saw over one half-million deaths, their armies in anticipation of being only against Austria-Hungary, but down, on August 1st, the German putting to rest any ideas of a drawn into the Austro-Serbian against Germany as well. Thus, government officially declared war quick war that would end by conflict by virtue of their respective mobilization created what amounted on Russia. Russia’s ally, France, Christmas. alliances. The mobilization plans to an incredibly high-stakes game began to mobilize against Germany
14 and so Germany declared war on to France executed by marching The British government had, since France on August 3. through neutral Belgium, then 1839, been signatories to a treaty fighting a defensive war with Russia guaranteeing Belgium’s neutrality. Being effectively closed in on the Eastern front. In 1914, that Now, with the Germans advancing, geographically by the Franco- plan was put into motion. Germany the British had no choice. Russian Alliance, the Germans sent an ultimatum to Belgium developed a strategy known as the requesting free passage of German On August 4, 1914, Britain declared Schlieffen plan in 1905. The plan troops. Belgium refused, and so war on Germany. Europe was now was for a quick, knockout blow Germany declared war on Belgium. entirely at war.
April 6, 1917 USA declares war on Germany
November 11, 1918 At 11:00 AM the Armistice was signed, ending a war that saw over 16,000,000 deaths and over 37,000,000 million casualties.
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IN TERRA PAX, OP. 39 (1954) Gerald Finzi (1901-1956) Words by Robert Bridges (1844-1930) and from St. Luke II 8-14 Baritone Solo Soprano Solo A frosty Christmas Eve Fear not; for behold, I bring you good tidings of great joy, which shall when the stars were shining be to all people. For unto you is born this day, in the city of David, a Fared I forth alone Saviour, which is Christ the Lord. And this shall be a sign unto you; where westward falls the hill, ye shall find the babe wrapped in swaddling clothes, lying in a manger. And from many a village in the water’d valley Chorus Distant music reach’d me And suddenly there was with the angel a multitude of the heavenly peals of bells a-ringing: host praising God, and saying, Glory to God in the highest, and on The constellated sounds earth peace, good will toward men. ran sprinkling on earth’s floor As the dark vault above Baritone Solo with stars was spangled o’er. But to me heard afar Then sped my thoughts to keep it was starry music that first Christmas of all Angels’ song, comforting When the shepherds watching as the comfort of Christ by their folds ere the dawn When he spake tenderly Heard music in the fields to his sorrowful flock: and marveling could not tell The old words came to me Whether it were angels by the riches of time or the bright stars singing. Mellow’d and transfigured as I stood on the hill Chorus Heark’ning in the aspect And there were in the same country shepherds abiding in the field, of th’eternal silence. keeping watch over their flock by night. And lo, the angel of the Lord came upon them, and the glory of the Lord shone round about Chorus them, and they were sore afraid. And the angel said unto them: And on earth peace, good will toward men.
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A FAREWELL TO ARMS, OP. 9 Gerald Finzi (1901-1956)
The helmet now an hive for bees becomes, His golden locks Time hath to silver turned. And hilts of swords may serve for spiders’ looms; O Time too swift! Oh swiftness never ceasing! Sharp pikes may make His youth ‘gainst Time and Age hath ever spurned, Teeth for a rake; But spurned in vain; youth waneth by increasing. And the keen blade, th’arch enemy of life, Beauty, strength, youth are flowers but fading seen; Shall be degraded to a pruning knife. Duty, faith, love are roots and ever green. The rustic spade Which first was made His helmet now shall make a hive for bees, For honest agriculture, shall retake And lover’s sonnets turn to holy psalms. Its primitive employment, and forsake A man-at-arms must now serve on his knees, The rampires steep And feed on prayers which are Age’s alms. And trenches deep. But though from Court to cottage he depart, Tame conies in our brazen guns shall breed, His Saint is sure of his unspotted heart. Or gentle doves their young ones there shall feed. In musket barrels And when he saddest sits in homely cell, Mice shall raise quarrels He’ll teach his swains this carol for a song: For their quarters. The ventriloquious drum, Blest be the hearts that wish my Sovereign well. Like lawyers in vacations, shall be dumb. Curst be the soul that think her any wrong. Now all recruits, Goddess, allow this aged man his right But those of fruits, To be your beadsman now that was your knight. Shall be forgot; and th’unarmed soldier Shall only boast of what he did whilere, —Words by George Peele (1556–1596) In chimney’s ends Among his friends.
—Words by Ralph Knevet (1600–1671)
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GREATER LOVE HATH NO MAN (1912) John Ireland (1879-1962)
Many waters cannot quench love, neither can the floods drown it. Love is strong as death. Greater love hath no man than this, that a man lay down his life for his friends. Who his own self bare our sins in his own body on the tree, That we, being dead to sins, should live unto righteousness. Ye are washed, ye are sanctified, ye are justified in the name of the Lord Jesus. Ye are a chosen generation, a royal priesthood, a holy nation; That ye should shew forth the praises of him who hath call’d you out of darkness into His marvellous light. I beseech you brethren, by the mercies of God, that ye present your bodies, a living sacrifice, holy, acceptable unto to God, which is your reasonable service.
It is a fearful thing to lead this great peaceful people into war, into the most terrible and disastrous of all wars, civilization itself seeming to be in the balance.
Woodrow Wilson, April 2, 1917. Address to Congress seeking a Declaration of War against Germany.
18 t e x t a n d translations t e x t a n d translations
DONA NOBIS PACEM (1936) Ralph Vaughan Williams (1931-2003)
I Mind not the old man beseeching the young man, Agnus Dei qui tollis peccata mundi Let not the child’s voice be heard, nor the mother’s entreaties, [Lamb of God, who takes away the sins of the world,] Make even the trestles to shake the dead where they lie awaiting the Dona nobis pacem. hearses, [Grant us peace.] So strong you thump O terrible drums – so loud you bugles blow.
—Words by Walt Whitman II
Beat! beat! drums! – blow! bugles! blow! III Reconciliation Through the windows – through the doors – burst like a ruthless force, Word over all, beautiful as the sky, Into the solemn church, and scatter the congregation, Beautiful that war and all its deeds of carnage must in time be Into the school where the scholar is studying; utterly lost, Leave not the bridegroom quiet – no happiness must he have now That the hands of the sisters Death and Night incessantly, softly, with his bride, wash again and ever again this soiled world; Nor the peaceful farmer any peace, ploughing his field, or gathering For my enemy is dead, a man divine as myself is dead, in his grain, I look where he lies white-faced and still in the coffin – I draw near, So fierce you whirr and pound you drums – so shrill you bugles blow. Bend down and touch lightly with my lips the white face in the coffin.
Beat! beat! drums! – blow! bugles! blow! —Words by Walt Whitman Over the traffic of cities – over the rumble of wheels in the streets; Are beds prepared for the sleepers at night in the houses? IV Dirge for Two Veterans No sleepers must sleep in those beds, The last sunbeam No bargainers’ bargains by day – would they continue? Lightly falls from the finished Sabbath, Would the talkers be talking? Would the singer attempt to sing? On the pavement here, and there beyond it is looking Then rattle quicker, heavier drums – you bugles wilder blow. Down a new-made double grave. Lo, the moon ascending, Beat! beat! drums! – blow! bugles! blow! Up from the east the silvery round moon, Make no parley – stop for no expostulation, Beautiful over the house-tops, ghastly, phantom moon, Mind not the timid – mind not the weeper or prayer, Immense and silent moon.
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I see a sad procession, The moon gives you light, And I hear the sound of coming full-keyed bugles, And the bugles and the drums give you music, All the channels of the city streets they’re flooding And my heart, O my soldiers, my veterans, As with voices and with tears. My heart gives you love.
I hear the great drums pounding, —Words by Walt Whitman And the small drums steady whirring, And every blow of the great convulsive drums V Strikes me through and through. 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 For the son is brought with the father, sprinkle with blood the lintel and the two side-posts of our doors, In the foremost ranks of the fierce assault they fell, that he may spare and pass on. Two veterans, son and father, dropped together, And the double grave awaits them. —Words by John Bright
Now nearer blow the bugles, Dona nobis pacem. And the drums strike more convulsive, [Grant us peace.] And the daylight o’er the pavement quite has faded, And the strong dead-march enwraps me. We looked for peace, but no good came; and for a time of health, and behold trouble! In the eastern sky-up buoying, The snorting of his horses was heard from Dan; the whole land The sorrowful vast phantom moves illumined, trembled at the sound of the neighing of his strong ones; for they are ‘Tis some mother’s large transparent face, come, and have devoured the land…and those that dwell therein… In heaven brighter growing. 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 O strong dead-march you please me! not the health of the daughter of my people recovered? O moon immense with your silvery face you soothe me! O my soldiers twain! O my veterans passing to burial! —Jeremiah VIII. 15-22 What I have I also give you.
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And it shall come, that I will gather all nations and tongues. O man greatly beloved, fear not, peace be unto thee, be strong, And they shall come and see my glory. And I will set a sign among yea, be strong. them, and they shall declare my glory among the nations. For as the new heavens and the new earth, which I will make, shall —Daniel X. 19. remain before me, so shall your seed and your name remain for ever.
The glory of this latter house shall be greater than of the former… Glory to God in the highest, and on earth peace, and in this place will I give peace. good-will toward men.
— Haggai II. 9. (Adapted from Micah iv. 3, Leviticus xxvi. 6, Psalms lxxxv. 10, and cxviii. 19, Isaiah xliii. 9, and lxvi. 18-22, and Nation shall not lift up a sword against nation, neither shall they Luke ii. 14.) learn war any more. And none shall make them afraid, neither 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.
Two armies that fight each other is like one large army that commits suicide. French soldier, Henri Barbusse. From his novel Le Feu, 1916.
21 We’re telling lies; we know we’re telling lies; we don’t tell the public the truth, that we’re losing more officers than the Germans, and that it’s impossible to get through on the Western Front. Lord Rothermere, 1917. In conversation with fellow journalist J.L. Garvin. 22 t e x t a n d translations It looked like what “the JERUSALEM (1916) abomination of desolation” must Sir Charles Hubert Hastings Parry (1848-1918) look like. And all through the Words by William Blake (1757-1827) long night those big guns flashed and growled just like the
And did those feet in ancient time lightning and the thunder when Walk upon England’s mountains green? it storms in the mountains at And was the Holy Lamb of God home. And, oh my, we had to pass On England’s pleasant pastures seen? And did the countenance divine the wounded. And some of them Shine forth upon our clouded hills? were on stretchers going back to And was Jerusalem builded here the dressing stations, and some Among these dark satanic mills? of them were lying around...And Bring me my bow of burning gold! the dead were all along the road. Bring me my arrows of desire! And it was wet and cold. And it Bring me my spear! O clouds unfold! Bring me my chariot of fire! all made me think of the Bible and I will not cease from mental fight the story of the Anti-Christ and Nor shall my sword sleep in my hand Till we have built Jerusalem Armageddon. And I’m telling In England’s green and pleasant land. you the little log cabin in Wolf Valley in old Tennessee seemed a long long way off.
Alvin C. York, October 7, 1918. In the Diary of Alvin York.
Lord Rothermere, 1917. In conversation with fellow journalist J.L. Garvin. 23 m e e t t h e a r t i s t s
Come on, you sons of b------, do you want to live forever? Daniel Daly, June 1918. Battle cry at the Battle of Belleau Wood. 24 m e e t t h e a r t i s t s
“In just a few seasons, artistic director Hamlisch. City Choir has also been honored to Maryland, south to Springfield, Virginia, and Robert Shafer has shaped The City Choir join with The Defiant Requiem Foundation and sometimes into Pennsylvania and West Vir- of Washington into another of the area’s Maestro Murry Sidlin to present performances ginia. The singers state enthusiastically that it first-class choruses.” The Washington Post of The Defiant Requiem at the Kennedy Center, is worth the drive to have the privilege to sing Strathmore Hall, and Avery Fisher Hall at New with Maestro Shafer. The City Choir of Washington, which is begin- York’s Lincoln Center. ning its 12th season under the artistic leadership The City Choir of Washington seeks to of Robert Shafer, is known for its beautiful Additional memorable orchestral performances inspire singers, audience members, and the choral sound, attention to musical detail, and by City Choir during its first ten seasons under community at large to discover the rich moving performances. Maestro Shafer, an ac- Maestro Shafer’s baton include Bach’s Mass in musical and cultural heritage of choral complished life-long educator and conductor, is B Minor and Magnificat, Bernstein’s Chichester music and, in the words of Maestro Shafer, a master at preparing his singers, giving careful Psalms, Fauré’s Requiem, Monteverdi’s Marian “to create beauty and give our audiences an attention to vocal technique and musical style Vespers of 1610, Mozart’s Requiem, Vivaldi’s escape from our deeply troubled world and to communicate each composer’s vision. Shafer Gloria, and the world premiere of Lux Aeterna by a vision of a new world truly at peace and challenges his singers and audiences by creative Robert Shafer. filled with love.” Also, through performances programming, breathing new life into old and educational and community outreach masterworks—most recently, Handel’s oratorio In the spring of 2014, the Choralis Foundation programs such as The City Singers, the high Solomon—and pairing them with stunning rendi- nominated The City Choir of Washington for school Partners in Song, and commitment tions of new or under-performed works, such as an Ovation Award for Most Creative Program- to spotlighting emerging American soloists, Arvo Pärt’s Te Deum, Benjamin Britten’s Cantata ming. Maestro Shafer feels that “our great affin- The City Choir of Washington aims to Misericordium, and Tarik O’Regan’s Triptych. ity for and dedication to the music of our time is nurture the next generation of performers what really sets us apart. We have given many and audience members. Besides performing to capacity audiences in its premiere performances, including several of the own yearly subscription series, City Choir has final compositions by one of England’s greatest Photo credit: Jill Bochicchio Robert Shafer, recog- sung with The National Symphony Orchestra composers, Sir John Taverner.” nized as one of America’s and The Washington National Opera major choral conductors, Orchestra at The Kennedy Center and at The City Choir roster is composed of approx- has served as Artistic Wolf Trap Farm Park for the Performing Arts. imately 130 experienced, professional-caliber Director of the City Choir The chorus has sung under the batons of such volunteer singers who hail from throughout the of Washington since its noted conductors as Stephen Lord, Randall greater Washington metropolitan area, even launch in September Craig Fleischer, Ludwig Wicki, and Marvin extending out to Annapolis and Frederick, 2007. For 50 years, Mae-
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stro Shafer has served the Washington, D.C. Active as a teacher, Shafer taught at James scene and long-time friend of Bob Shafer, is area as a choral conductor, composer, educa- Madison High School from 1968-1975, the founder and director of Choralis. A true tor, and church musician. He was the Music producing one of the finest madrigal groups in advocate for choral music in all schools and Director of The Washington Chorus for more the country. He served as Artist-in-Residence communities, she has spent her career honing than 35 years. In February 2000, he was hon- and Professor of Music at the Conservatory choral ensembles into musically sensitive ored by the National Academy of Recording of Music of Shenandoah University in performers and encouraging singers of all ages Arts & Sciences with a GRAMMY® Award Winchester, Virginia, from 1983 until his to develop their skills. In addition to being a for Best Choral Performance, for a live concert retirement in 2016, when he was named sought-after conducting and choral clinician, recording of Benjamin Britten’s War Requiem. professor emeritus. In 1989, Shafer was Ms. Kuhrmann has shown great success honored by the Virginia Council on Higher with building choral organizations and is in Shafer prepared The Washington Chorus for Education with an Outstanding Faculty demand as a speaker and consultant on the the GRAMMY®-Award-winning recording of Award for his outstanding public service, topic around the world for choral conventions John Corigliano’s Of Rage and Remembrance with research, and teaching, the first teacher in and workshops. Leonard Slatkin and The National Symphony the arts to receive this award. In June 2011, Orchestra and for the GRAMMY® Award- the Choralis Foundation Board of Directors Ms. Kuhrmann is an especially sensitive nominated compact disc and film soundtrack and Artistic Director Gretchen Kuhrmann interpreter of English choral music, and recording of Mussorgsky’s Boris Godunov with named Robert Shafer as the winner of the worked closely with British composer Bob Mstislav Rostropovich and The National 2nd Annual Greater Washington D.C. Area Chilcott when he was composer-in-residence Symphony Orchestra. Shafer has prepared Choral Excellence Award. This award is given with Choralis. This relationship culminated in choruses for many of the world’s leading to a person or organization that has made the world premiere of Chilcott’s Gloria; in April conductors, including Sir Neville Marriner, significant contributions to the art of choral 2017 Ms. Kuhrmann and Choralis recorded Seiji Ozawa, Zdenek Macal, Christopher singing in the greater D.C. metropolitan area. In Winter’s Arms: Seasonal Music by Bob Chilcott. Warren-Green, Charles Dutoit, Kent Nagano, Mstislav Rostropovich, and Leonard Slatkin. The City Choir of Ms. Kuhrmann says of her opportunity to He has guest-conducted The National Washington is honored to work with City Choir, “I am honored that Bob Symphony Orchestra on several occasions be singing under the baton asked me to take this concert; they are huge and also conducted choral performances for of Maestra Gretchen shoes to fill, but I know we will make music NBC national telecasts. In addition, he has Kuhrmann for our he will be proud of.” Ms. Kuhrmann also has conducted numerous European concert tours November 11, 2018 concert. prepared choruses for many notable U.S. and with the choral groups that he has prepared. Ms. Kuhrmann, a mainstay international conductors as well as numerous of the Washington choral area diplomatic and political events. She is
26 m e e t t h e a r t i s t s m e e t t h e a r t i s t s
the Director of Music for Fairfax Presbyterian She is currently pursuing a Master’s Degree Monteverdi’s Vespers 1610, notably in Venice, Church and holds performance degrees in con- in Historical Performance from the Peabody Italy, in the National Cathedral with the ducting from the University of North Carolina Conservatory in Ah Young Hong’s studio. Folger Consort, and at Strathmore Music at Greensboro and George Mason University. While her studies occupy some of her time, Center with the City Choir of Washington. she continues to serve as the Assistant Artistic His performing travels have also taken him Hailed by the Washington Director of the Six Degree Singers and made to Italy, England, and Germany, where he Post for her “supple, her professional debut with the American Bach was tenor soloist with the Washington Bach haunting soprano,” Soloists in April 2018. Consort for their Bach anniversary tours Katelyn G. Aungst in 1985 and 2000 and sang the role of performs with intelligence, Called “one of the Jupiter in Handel’s Semele in the 1990 Halle “particular purity of tone” enduring joys of the local Handel Festival. (San Francisco Classical Voice), early-music scene” by and grace. She has soloed the Washington Post, tenor Robert has been a fan of Renaissance with the Washington Bach Consort (St. John Robert Petillo has polyphony and mediaeval music since college Passion), the Nashville Symphony Orchestra appeared many times with days, and sang both tenor and countertenor (Messiah), the Washington Master Chorale virtually every oratorio with collegium musicum ensembles at Rutgers (Lauda per la Natività del Signore), the City Choir society in the greater DC and the University of Maryland. At Rutgers of Washington (Solomon), and the Peabody area since the early 1980s. He is perhaps he studied the music of 16th century composer Symphony Orchestra (Harmoniemesse). Katelyn best known as the Evangelist in numerous Claude LeJeune and wrote an honors thesis was also the first soprano Vocal Fellow at the performances of the Bach passion settings of on his polyphonic settings of the Psalms in Oregon Bach Festival under Matthew Halls. Matthew and John, as well as passion settings the French translations of Clement Marot and Her choral and chamber experiences include by Telemann, CPE Bach, Johann Theile, others in Calvin’s circle. performances with the Washington Master and others. Chorale, the U.S. Air Force Singing Sergeants, Sergeant Major Petillo retired in 2017 after Third Practice, and Church Circle Singers. He is often heard in performances of Handel’s almost 32 years of service to our nation as a Messiah and Bach’s Mass in B Minor with member of one of the most elite male vocal en- A dedicated choral educator, Ms. Aungst organizations like the National Philharmonic sembles in the world, The United States Army spent six years teaching in the Montgomery Orchestra and Chorus, the Cathedral Choral Chorus. Often called upon as a special soloist County Public Schools and is the Assistant Society, City Choir of Washington, and the for visiting foreign dignitaries, he has sung in Artistic Director of the Six Degree Singers, a Washington Bach Consort. He has received 38 languages and made enormous contribu- community choir based in Silver Spring, MD. acclaim for his many performances of tions to diplomacy and cultural exchange.
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Baritone James Described as “a pillar of the company” Virginia with his wife Mary, a lyric soprano Shaffran’s versatility and by former director Placido Domingo, Mr. and health tech executive with whom he per- audience appeal have made Shaffran has amassed over 50 roles in over forms regularly in charity events and recitals, him a long-sought-after 300 performances with Washington National and with their son Stephen, 18, a senior honors performer, accomplished Opera, and enjoys an active stage presence student at Woodson High School. singing actor and regionally as well. Recent performances his perennial favorite. Equally participation in the critically-acclaimed world Organist Todd Fickley comfortable in chamber, premiere adaptation of Glass’ Appomattox as is the Assistant Director symphony hall and opera stage, Mr. Shaffran the Union Soldier, an Inmate in Jake Heggie’s and Keyboard Artist for has sung with virtually every arts organization Dead Man Walking, and the Registrar in Madame The Choralis Foundation, in the Washington-Baltimore area and many Butterfly. He will continue his collaboration and the Interim Organist beyond. A WAMMIE nominee for Best with the WNO Young Artists by appearing as for National Presbyterian Classical Vocal Soloist for the past five years, Sergeant in their production of Barber of Seville Church. He is the long-time he soloed on the Grammy®-winning recording next season, after singing Antonio earlier this protégé of the late Bach of Corigliano’s Of Rage And Remembrance with season in their Marriage of Figaro. expert Dr. J. Reilly Lewis, having served as his Leonard Slatkin and the NSO. Artistic Assistant at both the Washington Bach He has several world premiere productions to Consort and the Cathedral Choral Society. The past season included Brahms’ German his credit, including creating the role of the Equally comfortable at the podium, harpsi- Requiem with the Lawton (OK) Philharmonic Principal in the acclaimed Greg Spears opera chord, piano, and organ, his career spans over and the Haydn Nelson Mass with the Choral Paul’s Case (a New Yorker Top-10 production of 25 years performing across the United States, Arts Society of Washington. His performance 2015 at the Prototype Festival, and which will Europe, and Israel. He is frequently seen in in the title role of Bob Chilcott’s Wenceslas, be released worldwide next year on the VIA concert with a wide variety of ensembles, such written with him in mind and which saw its label), and the title role of Bernie Madoff in as the National Symphony Orchestra, The American premiere in 2016 by Choralis, will Luna Pearl Wolff’s The Pillar in 2016. Washington Ballet, the National Philharmonic, be released next year on the Signum Classics and the Three Notch’d Road baroque ensemble. label. This season sees him performing Mr. Shaffran is a regular local presence as a Vaughan Williams’ Five Mystical Songs with National Anthem singer, and is a frequent per- A native Washingtonian, Mr. Fickley began New Dominion Chorale, the Bach Christmas former with the Washington Nationals. He is a his organ studies at the Washington National Oratorio with the Kentucky Bach Choir staff bass chorister and soloist in the esteemed Cathedral under Bruce Neswick. At the age (Lexington), and Bach Magnificat and Bruckner Choir of Men, Boys and Girls of Washington of 23, Mr. Fickley was made a Fellow of the Te Deum with Choralis. National Cathedral. He lives in Annandale, American Guild of Organists (AGO). He also
28 m e e t t h e a r t i s t s m e e t t h e a r t i s t s
holds the AGO Choirmaster Diploma as well ral director at River Bend Middle School with Director, Festivals and as the M.A. in Organ Performance with High Loudoun County Public Schools in Sterling, Seasons with a recent stint Distinction from the University of Wales. Virginia. Ms. Binger has served as department as Director, Partnerships & A prize-winning organist and specialist in chair, vocal director, and accompanist to musi- Business Development the music of J.S. Bach, Mr. Fickley has been cals, and her ensembles have received excellent at the British Council. featured numerous times on NPR and PRI. and superior ratings at festival competitions Recent postings include: and assessments. Executive Director, In 2014 he launched “The Bach Project,” a UK-Russia Year of Culture cycle of concerts performing and recording Ms. Binger is an active member of NAfME, 2014; Director, UK NOW Festival, China, all of Bach’s organ works, the first time in and ACDA. Her select ensemble, Raven Choir, 2010–2012; Director for Content and almost a quarter of a century that such a has also performed the National Anthem Programme, Shanghai 2010 World Expo. project has been undertaken in the DC area. as guest for the Washington Wizards at the The first volume on the MSR Classics label Verizon Center for the past three years. Since joining the British Council in Hong was praised in Fanfare Magazine as “some of Kong in 1981, Leigh has held numerous the most enthralling Bach organ playing you Andrew Woods is the positions. From 1993 to 1999 she was Director are likely to hear anywhere by anyone.” Mr. senior Research Historian of Operations in Hong Kong, responsible for Fickley is frequently seen as conductor, soloist, at the McCormick re-structuring operations after the handover accompanist and speaker in the Washington Research Center, part in 1997 and subsequently served in the Policy DC metro area. He is an Officer in the Order of of the Cantigny First Directorate for East Asia and the Americas in St. John and a member of the National Society Division Foundation and London. She also led the global Arts team as of Washington Family Descendants. First Division Museum Director of Arts from 2004 to 2007. at Cantigny, in Wheaton, Rachel Binger is director Illinois. Mr. Woods has researched and written Leigh read Modern History at the University of The City Singers, TC- about the history of the 1st Division, and of Oxford and did post-graduate work at the CW’s outreach ensemble. WWI, since 1986. He is shown here holding London School of Economics. She also taught She attended Shenandoah a photo of Major General William L. Sibert, a course in The Government and Politics of Conservatory of Shenando- first commanding general of the First Division the Soviet Union at the University of Hong ah University and has over in WWI. Kong during her time there in the 1980s. 20 years of conducting and performing experience. Leigh Gibson has just taken up the post of Leigh is married to a financial journalist and Currently, she is in her thirteenth year as cho- Director, USA having previously worked as has two grown-up sons.
29 Break of Day W a r P o e m s in the Trenches by Isaac Rosenberg (1890-1918) In Flanders Fields by John McCrae (1872-1918) The darkness crumbles away. It is the same old druid Time as ever, Only a live thing leaps my hand, In Flanders fields the poppies blow A queer sardonic rat, Between the crosses, row on row, As I pull the parapet’s poppy That mark our place; and in the sky To stick behind my ear. The larks, still bravely singing, fly Droll rat, they would shoot you if they knew Scarce heard amid the guns below. Your cosmopolitan sympathies. We are the Dead. Short days ago Now you have touched this English hand We lived, felt dawn, saw sunset glow, You will do the same to a German Loved and were loved, and now we lie Soon, no doubt, if it be your pleasure In Flanders fields. To cross the sleeping green between. Take up our quarrel with the foe: It seems you inwardly grin as you pass To you from failing hands we throw Strong eyes, fine limbs, haughty athletes, The torch; be yours to hold it high. Less chanced than you for life, If ye break faith with us who die Bonds to the whims of murder, We shall not sleep, though poppies grow Sprawled in the bowels of the earth, In Flanders fields. The torn fields of France. What do you see in our eyes At the shrieking iron and flame “In Flanders Fields,” a war poem written in 1915 by Canadian physician Lieutenant-Colonel John McCrae, was inspired by the funeral of a friend Hurled through still heavens? and fellow soldier of McCrae’s who died in the Second Battle of Ypres. What quaver—what heart aghast? Legend has it that fellow soldiers retrieved the poem after McCrae had Poppies whose roots are in man’s veins initially discarded it. The poem—and poppy—are prominent Drop, and are ever dropping; Remembrance Day symbols throughout the Commonwealth of Nations, But mine in my ear is safe— and in the United States, where it is widely associated with Veteran’s Day on November 11. Just a little white with the dust.
30 Anthem for Doomed Youth by Wilfred Owen (1893-1918)
What passing-bells for these who die as cattle? — Only the monstrous anger of the guns. Only the stuttering rifles’ rapid rattle Can patter out their hasty orisons. No mockeries now for them; no prayers nor bells; Nor any voice of mourning save the choirs,— The shrill, demented choirs of wailing shells; And bugles calling for them from sad shires.
What candles may be held to speed them all? Not in the hands of boys, but in their eyes Shall shine the holy glimmers of goodbyes. The pallor of girls’ brows shall be their pall; Their flowers the tenderness of patient minds, And each slow dusk a drawing-down of blinds.
31 Nineteen-Fourteen: Everyone Sang The Soldier by Siegfried Sassoon (1886-1967) by Rupert Brooke (1887-1915) Everyone suddenly burst out singing; And I was filled with such delight If I should die, think only this of me: As prisoned birds must find in freedom, That there’s some corner of a foreign field Winging wildly across the white That is forever England. There shall be Orchards and dark-green fields; In that rich earth a richer dust concealed; on - on - and out of sight. A dust whom England bore, shaped, made aware, Gave, once, her flowers to love, her ways to roam; Everyone’s voice was suddenly lifted; A body of England’s, breathing English air, And beauty came like the setting sun: Washed by the rivers, blest by suns of home. My heart was shaken with tears; and horror Drifted away ... O, but Everyone And think, this heart, all evil shed away, Was a bird; and the song was wordless; A pulse in the eternal mind, no less the singing will never be done. Gives somewhere back the thoughts by England given; Her sights and sounds; dreams happy as her day; And laughter, learnt of friends; and gentleness, In hearts at peace, under an English heaven.
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ROBERT SHAFER, Artistic Director GRETCHEN KUHRMANN, Guest Conductor RACHEL BINGER, Assistant Conductor PETER UHLIR, Accompanist
SOPRANO I Muriel Morisey Anne Harding Woodworth* Anita O’Leary Robert Finley Martha Blakely Barbara Neuhoff Patricia Yee Joshua Rovou William Gilcher Laura Bradford** Emmilu Olson Kristin Zimmer Robert Stansbery Drew Goins Linda Cirba Mary Peterson Laura Szakmary Joe Hill Leslie Hall Susan C. Schreurs ALTO II Benjamin Tsai Richard Lolich Emma Harger Donna Kaye Simonton Audrey Bigelow* Richard E. Morrison* Marie Hyder Nastasia Stipo Dearbhla Doyle TENOR II Roger Oliver Anna Jeide Kathryn Tidyman Cita Furlani L. Robert Barnes Patrick Pau Lanette Kanakry Emily Hantman Tsai Pat Giraldi Armin Bondoc Chandler Stephan Lynn Kaplan Marian Ware Barbara W. Greene Ted Ellis Alex Szoka Thelma K. Leenhouts Carleen Dixon Webb Elizabeth Horowitz Cameron Farley Jenna Lindeke Heavenrich Anne Hunter Douglas Fisher** BASS II Kathryn Lupinacci ALTO I Rhoda Metcalfe Joe Jones Jim Blackburn Loris McVittie Sharon E. Alexander Carole Lynne Price Tony Lee Al Bradford* Jessica Robbins Hannah Anderson-Dana Kate Purcell Lou Maroulis Jarrett Cohen Susan Schumacher Marie Colturi Connie Ridgway Joel C. Miller Nathan Detweiler Amy D. Solomon++ Gail Crane** Shelley Stewart Justin Moul H. Mark Gibson Rachel Tester* Marianne Epstein Claudia Tornblom David Nelson Nathaniel Hodges Bernadette Valdellon Beth Gawne Joanna Ward** Drew Riggs Jeff Jenkins Juliet Weenink-Griffiths Anita Glick Elaine Wunderlich Alexander Riley Donald Juran Debra Wynn Meaghan Heselden Leo H. Settler* Philip Kopper Audrey Jenkins TENOR I Jay Labov David Boomsma William R. Stewart SOPRANO II Joyce Korvick Scott Tousley Howard Lincoln Rachel Binger Xochilt Melendez Carl W. Deanell David Robinson Vivian Chakarian** Patricia Morris-Falconi Michael Doan BASS I Verdon Staines Deborah Dewey Carol B. Perez William J. Doepkens**+ Gene Beye Rod Sterling** Carol Green Edison* Beth Riggs Margaret Hemingway* Peter Bonner Glenda Finley Ann Roddy James B. Hutchinson, Jr Kevin Boteler * Section leader Katie Jagielski Maggie Stewart Geoffrey D. Kaiser Steve Briggs** ** Assistant section leader Christine Jones Maggie Sullivan Christopher Kanakry Richard Brush Kristen Lewandowski Chi-Yu Sun Kyle Miller Avery Davis Lamb + Chorus President ++ Chorus Vice-President Elizabeth McWhirt Alfhild Winder Betsy Morse Ryan Davis
33 34 t h e c i t y c h o i r o f w a s h i n g t o n
THE CITY CHOIR OF WASHINGTON THE CITY CHOIR OF WASHINGTON CHAMBER ORCHESTRA BOARD OF DIRECTORS VIOLIN I CELLO ORGAN Carol B. Perez, Michael Doan Chorus Officers Eva Cappelletti Chao, Marion Baker* Todd Fickley President Barbara W. Greene William J. Doepkens, Concertmaster Dan Shomper Elizabeth McWhirt, Meaghan Heselden President Karin Kelleher Matthew Harmon PERSONNEL Vice President Jeff Jenkins Amy Durant Solomon, Laura Knutson Pam Lassell David B. Robinson, Thelma Leenhouts Vice President Jennifer Rickard BASS Secretary/Counsel Carole Lynne Price *Principal Annie Loud Matt Nix* Cita Furlani, Susan Holaday Staff Sonya Hayes Morgan Daly Treasurer Schumacher Robert Shafer,
Margaret Hemingway, Zain Shariff Artistic Director VIOLIN II TRUMPET Lisa Cridge* Woody English General Manager Amy Solomon Zain Shariff, Bill Tortolano Benjamin Tsai Operations Director Shelley Mathews HARP Anne Harding Rachel Binger, Ivan Hodge Marian Rian Hayes Woodworth Assistant Conductor Pam Lassell Debra D. Wynn Nathaniel Hodges, PERCUSSION Chorus Manager VIOLA Julie Angelis Boehler Peter Uhlir, Ann Steck* Accompanist Jennifer Ries TYMPANI Nana Vaughn Joseph McIntyre Marta Howard
We would like to particularly thank the members of the The City Choir of Washington would like to thank the following in- World War I Concert Committee for conceiving and organizing dividuals and organizations for their support and assistance with the concurrent events and visual aspects of this concert: this performance: Paul Herbert, Executive Director, First Division Audrey Bigelow, Barbara Greene, Meg Hemingway, Museum at Cantigny Park; Thelma Leenhouts, Zain Shariff, Shelley Stewart (Chair), Eric Gillespie, Director, Colonel Robert R. McCormick Research Nastasia Stipo, Emily Tsai, and Patricia Yee. Finally, thank Center; Philip Brookman, National Gallery of Art; you to Michael Bigelow, Command Historian for the Army Colonel Michael G. Carberry, USMC Reserve, Ret.; Intelligence and Security Command, for sharing a curated WAMU, Washington’s NPR station; display of his World War I artifacts with today’s concert-goers. Anne and Fred Woodworth
35 PHOTO NOTES Cover: Infantry soldiers, 1914, France. Drawing by Renefer. Alamy.com Page 2: Soldier reading in a trench at the front. Page 4: Window commemorating Gerald Finzi in Gloucester Cathedral’s Lady Chapel. Commissioned by the Finzi Trust; created by Tom Denny, 2016. Pages 6: German soldiers surrendering with white flag (seen in rear) to American troops, France.* // Men of the 18th Infantry, 1st Div. marching through deep mud. Ardennes, France, 1918.* Page 7: Subsurface hospital during Battle of Verdun, 1916, showing wounded soldier’s dog and patients.+ Page 8: French refugees returning home and thanking American troops for driving Germans from their village. Ardennes, France, 1918.* Page 11: Serbian trench on hilltop.+ Page 12: Kaiser Wilhelm II of Germany. Puck magazine, January 12, 1898 // Belgian soldiers resisting German advance on the River Nethe.+// Britain and Russia get “Tough on Turkey”, Puck magazine, April 22, 1885. Page 13: Russian soldier wearing gas mask, 1917.+//Russian soldiers on the way to detention camps in Germany after the battle of Tannenberg.+ Page 14: Ataturk Statue in The Canakkale Martyrs Memorial, commemorating Turkish soldiers who participated in the Battle of Gallipoli. // Captured German prisoners being brought in by troops of 16th Infantry, 1st Div., Beaumont, France.*// American soldiers holding up trampled statue of Christ they had cleared from road before resting it against monument base. France.* Page 15: American soldiers wearing gas masks in front line trench, France. Shutterstock.com//Celebration of the Armistice, Washington, D.C., Nov. 1918.+// Ypres 1919. Watercolor, artist unk (signed T.B.). Courtesy of V. Dodson. Page 18: Wounded American soldiers tending and feeding injured German prisoner on stretcher. France.* Page 22: Wounded British soldiers in trench. Note gas mask pouches on chest.+ Page 24: American gun crew from the 23rd Infantry, firing a French 37mm cannon in Belleau Wood. June 3, 1918.+ Page 29: German artillery soldiers taking a meal break during their shelling of Verdun, 1915.+ Page 31: “Trench of Death” in Flanders, near Diksmuide, Belgium. Called Le Boyau de la Mort in French and the Dodengang in Dutch. Page 32: American soldier playing piano—abandoned by Germans—for fellow 16th Infantry, 1st Div. troops. Hansard, France.* Page 34: Americans and British soldiers celebrating the Armistice. + This Page: British soldiers enter Lille, France, which had been under German occupation for four years.+
* Courtesy of the Cantigny First Division Foundation and First Division Museum at Cantigny + Everett Historical / Shutterstock.com 36 t h a n k you t o ou r d o n o r s & s u p p o rt e r s
THE CITY CHOIR OF GOLD CLUB Joyce A. Korvick Thank you to our 2018–2019 WASH I NGTON ($5,000 to $9,999) Betty & Gary Lortscher Season Underwriters acknowledges with gratitude the generous Charles Hazlehurst Moura Family In honor of Meg Hemingway support of its donors. Foundation Susan Schumacher Thelma K. Leenhouts In memory of Gus Schumacher Beth & Drew Riggs Leo H. Settler & Joel A. Cuffman GRATIAS IN PERPETUAM THE CITY CHOIR OF David & Sandy Robinson Maude A. Williams WASHINGTON The City Choir of Washington is forever Robert & Sharon Shafer In memory of Patrick Wolfram Jacobson indebted to Elaine and Marv Wunderlich Amy & Eric Solomon SEASON for their 2007 matching grant of $100,000, UNDERWRITERS Donald Vreuls without which this chorus would not have Anne & Fred Woodworth FRIENDS OF been formed. Vivian Chakarian THE CITY CHOIR Glenda Finley & Frank Maddox All donations to The City Choir are accepted SILVER CLU B Cita & John Furlani with gratitude. Individuals or corporations THE ARTISTS’ CIRCLE ($2,500 to $4,999) contributing $20–$999 are recognized as Barbara & Jonathan Greene The City Choir of Washington invites you to William J. Doepkens Friends of The City Choir and listed below. Charles Hazlehurst Moura support our mission by becoming a valued Glenda Finley & Frank Maddox Family Foundation member of The Artists’ Circle (with a Margaret Hemingway Margaret Hemingway contribution of or above $1,000). The Joseph E. Jones BENEFACTORS ($500 to $999) Judith James Elizabeth McWhirt Anonymous support of committed and generous patrons Joseph E. Jones Richard E. Morrison & Joyce Siegel Sue & Kim Ahearn enables us to pursue the very highest artistic Constance G. Ridgway Richard & Judith Berglund Geoffrey D. & Marion Kaiser standards in our performances and to In memory of Richard & Marjory Ridgway Thelma K. Leenhouts & Peter T. Bonner & Elba M. Pacheco inspire singers and audiences to discover Shelley, Ed, Maggie & Bill Stewart Stephen L. Briggs Joseph W. MacDoniels the boundless musical and cultural heritage Takeda Pharmaceuticals America, Inc. Patricia Byram Elizabeth McWhirt of great choral music. The City Choir is Gail & Donald Crane Richard E. Morrison & deeply grateful for this support. Douglas J. Fisher Joyce Siegel BRONZE CLUB Mary L. Fisher Carol & Antonio Perez ($1,000 to $2,499) Bill & Kay Gilcher PLATINUM CLUB Carole Lynne Price Anonymous John L. Goodrow ($10,000 and up) Beth & Drew Riggs Morris Antonelli In memory of Judith Pyles Goodrow Cita & John Furlani Bob & Terry Barnes David & Sandy Robinson Barbara & Jonathan Greene Barbara & Jonathan Greene The Busis Family In memory of William Carter Robert & Sharon Shafer Geoffrey D. & Marion Kaiser Cindy Carlton In memory of Gus Schumacher Amy & Eric Solomon Carol & Antonio Perez Carol & William Edison Whitney Greene Benjamin & Emily Tsai Carole Lynne Price Patricia & Albert Giraldi In honor of Barbara Greene Donald Vreuls In memory of Joseph B. Price, Jr. Barbara Esposito Ilacqua IBM Matching Grants Program Anne & Fred Woodworth Benjamin & Emily Tsai Jeff & Carol Jenkins Lani Kanakry Elaine Wunderlich Elaine Wunderlich David A. Klaus In memory of Sam Kanakry Debra Wynn & Allen Maberry In honor of Bob Shafer Lynn & Simon Kaplan 37 t h a n k you t o ou r d o n o r s & s u p p o rt e r s
Brian G. Laush Jennifer & Will Gotten SPONSORS ($100 to $249) Monica Jeffries Hazangeles Steve & Nancy Lohman Thomas A. & Ruth R. Green Joanne Balzano-LaRusso In honor of Laura Bradford In honor of Barbara Greene Peggie J. Hatton Linda Whelan Barber Christopher Kanakry Peter Laugesen & William Stewart Neeta Helms In honor of Barbara Greene Dr. Theo Kano Anita O’Leary Tim & Anne Hemingway Scott Barton In honor of Bob’s 50 years conducting! Caroline E. Price Meaghan Heselden Audrey Bigelow Patricia & John Koskinen Amy Claire Smith Dennis & Sachiko Humenik Anne P. Black Anita K. Kowalski Claudia Tornblom James B. Hutchinson, Jr. Virginia Martino Bland Dr. & Mrs. Lennart Ljungman In honor of Bob Shafer Marie A. Hyder Marlene Blevins In memory of Gus Schumacher Joe & June Widmayer Elliott & Susan Jacks Dave Boomsma Leslie Luxemburg Robin Woollatt Nell Jeter Kevin Boteler Constance Mathers Wayne & Gale Johnson Robert & Sharon Bothwell In memory of James Mathers PATRONS ($250 to $499) Don & Carol Juran Albert G. Bradford, Jr. Russell Matthias Ari & David Antonelli Lynn Koerbel G. H. Patrick Bursley In honor of Robert Stansbery In memory of Amy Antonelli Jay B. Labov Jarrett S. Cohen Christine Mayo Kenneth Bailes Ilona & Richard Landfield Thomas Colohan Sandy R. McKenzie Rachel A. Binger Dorothy Dort Levy James & Ann Connell Mary Megson Paul Bohne In memory of Amy Antonelli Carol & Will Cooke In memory of Gus Schumacher Kenneth L. Bourque Howard Lincoln Trish & John Corbett Bill Miller Bruce Bouton Kathryn & Michael Lupinacci Margaret A. Crabtree Betsy Morse Joellen Brassfield Loris McVittie & Mario Rinaudo Andrea M. Diggs William Newman Morgan Brophy Muriel Morisey Anne Edgar David M. Petrou Vivian Chakarian Patricia Morris-Falconi Nancy Eichelberger In memory of Bebe & John Petrou Marie & Mark Colturi Martha Newman Cita & John Furlani Nancy Plum Alison Combes Lori Ann Horne Pendleton In memory of Gus Schumacher David C. Rees Anita & Carl W. Deanell Diane & Frank Peterson Jeffrey Gedmin Alexander Riley In memory of Carl L. Deanell, Jr. & Edward E. Purcell, III David Gibbs Louise Romanchak Maiga Bindemanisi Lydia Rice Mark & Sara Gibson Nancy & Michael Shank Adele dePolo Susan & Stephen Schreurs Ralph Gingery Donald M. Simonds Michael Doan James Shaffran Lynne Glassman Melissa H. Sitter Pat & Delores Dunn Sing for America Foundation Alice C. Green In loving memory of her brother Richard Seide Carol & William Edison Paul Skevington In honor of Green & Godfrey Family Joan Snowden In memory of William Carter William & Judith Stephenson Joan Gregoryk J. Timothy Sprehe & Elaine Bloomfield In memory of August Schumacher In honor of Shelley Stewart Michael Hill Sidney Stone In memory of Ann Woollatt Dr. Michael Stepniak Bruce Hunter Jeanie W. Teare Paula & Franco Einaudi Rod Sterling Judith James Patti Tice In honor of Anne Harding Woodworth Alan & Krista Taffel Carol Jason E. Fuller & Barbara Torrey Karen L. Florini & Neil R. Ericsson Kathryn M. Tidyman In honor of Amy Durant Solomon Scott & Julie Tucker Anita Glick
38 t h a n k you t o ou r d o n o r s & s u p p o rt e r s
LOGO & IDENTITY GUIDELINES THE UNITED STATES WORLD WAR I CENTENNIAL COMMISSION
PRIMARY LOGO
Thomas J.C. Williams Anna Jeide CORPORATE AND WW1 100 THE UNITED STATES In memory of Patrick W. Jacobson Michael Knipe IN-KIND SPONSORS YEARS WORLD WAR ONE Alfhild & James Winder Robert E. Lee, Jr. We would like to thank the following CENTENNIAL COMMISSION E. Dollie Wolverton Kristen Maria Lewandowski sponsors for their generous in-kind Elaine Wunderlich Gisela Marcuse donations: COLORS FONTS Rhoda Metcalfe PERPETUA REGULAR In memory of William Carter Morris Antonelli A B C D E F G H I J K L M N O In memory of August Schumacher Clare Miller Robert Aubry Davis P Q R S T U V W X Y Z Patricia E. Yee Margaret Minton Frank Conlon 1 2 3 4 5 6 7 8 9 0 ! @ # $ % ^ & * ( ) - = + PANTONE 296C PANTONE 7621C Jerry Mishler William J. Doepkens & Doepkens Farm C: 90 M: 76 Y: 55 K: 68 C: 21 M: 100 Y: 95 K: 12 PERPETUA BOLD R: 6 G: 27 B: 43 R: 178 G: 30 B: 39 A B C D E F G H I J K L M N O FRIENDS ($40 to $99) Nina Morwell Barbara Greene Hex #061b2b Hex #b21e27 P Q R S T U V W X Y Z Anonymous Kay O’Neal Diane Henderson 1 2 3 4 5 6 7 8 9 0 ! @ # $ % ^ & * ( ) - = + Cheryl & Ed Adkins Donna I. Page Hillwood Estate Museum & Garden ALTERNATIVE LOGO VERSIONS VERTICAL STAMP Jamie Ahearn In honor of Carol Edison Barbara Esposito Ilacqua ALTERNATIVE COLOR VERSIONS BLACK
Erica Antonelli Willa B. Perlmutter WW1 Kenneth & Anita Kulman 100 THE UNITED STATES YEARS WORLD WAR ONE Cedric & Mary E. Bielawski Karen Peterson Carole Lynne Price CENTENNIAL COMMISSION Kathleen Binger Donna Petruska Emmilu Olson HORIZONTAL SQUARE WHITE
WW1 Jim Blackburn Peter & Betsy Reddaway 100 THE UNITED STATES David Robinson Law THE UNITED STATES YEARS WORLD WAR ONE Armin Bondoc & Bennett Lindauer In honor of Robert Shafer 100 WORLD WAR ONE CENTENNIAL COMMISSION Susan Schumacher CENTENNIAL COMMISSION Carol Borut Carolyn Richmond Sima Seide World Bank Laura Bradford In honor of Barbara Greene Paul Skevington Community Connections Fund Genie Brown Ann Roddy Amy Solomon Richard & Sharron Cain Debra Silimeo Shelley & Edward Stewart Charles Clark Mary Ann Simmons Kerry Wilkerson Jan Crews Barry Smith Willard InterContinental Hotel Liana C. Cuffman Verdon & Susan Staines Debra Wynn & Allen Maberry Deborah DeGeorge Robert G. Stansbery Nathan Detweiler Joseph Summerill Deborah Dewey Rachel Tester The list above reflects gifts received from Agnes Donahue David C. Thomas July 1, 2017 through October 8, 2018. Trudy Downs James R. Tidyman Shannon Ehrich Warren Bernadette Valdellon Every effort has been made to ensure this Pam Freeman Martha Vayhinger list is complete and accurate. Evan Gittlein Joanna Ward If your name has been misspelled or Jerry Haggin Carleen Dixon Webb omitted, please accept our apologies and E. DeVere Henderson Juliet Weenink-Griffith contact Zain Shariff, Operations Director, Cynthia Hibbert Lawrence D. Weiler at [email protected] In honor of Barbara Greene Suzanne M. Worth so the error may be corrected. George Hobart In honor of Meg Hemingway Kathleen Jagielski Patricia Wynn
39 Shenandoah Conservatory offers a wealth of exciting opportunities for vocalists and choral
singers. Photo by Chris Lee - Music Performance - Music Education - Music Therapy - Music Production & Strauss Symphony of America Recording Technology - Five performing ensembles and Waltzes, Polkas & Operetta Hits two major opera productions each year European Singers, Ballroom Dancers & Ballet - International travel & performance Sunday, Dec. 30, 2018 at 3:00 pm Learn more. su.edu/conservatory 301.581.5100 • strathmore.org 540-665-4581 salutetovienna.com/washington
Winchester, Virginia Produced by Attila Glatz Concert Productions
40 www.choralis.org DON’T MISS THESE MAKING A DIFFERENCE 2018–2019 Concert Season UPCOMING CONCERTS!
Handel’s Messiah Part 1 Sing-Along A TWELFTH NIGHT CONCERT Sunday, December 2, 2018 at 2 pm Sunday, January 6, 2019 | 4:30 PM Fairfax Presbyterian Church National Presbyterian Church, Washington, D.C. featuring: Bring the joy of the season into the new year by celebrating A Classic Brass Christmas Erin Sanzero, soprano Twelfth Night with us! We will also continue our long- Roger Isaacs, countertenor Friday, December 7, 2018 at 7 pm standing tradition of showcasing another exceptional, local high school Rob Petillo, tenor choir as our Partner in Song. Join us as we explore the rich musical The Church of the Epiphany offerings of the extended season! Saturday, December 8, 2018 at 7 pm Mendelssohn’s Elijah Providence Presbyterian Church Sunday, June 2, 2019 at 5 pm THE GLORY OF FRANCE National Presbyterian Church Sunday, March 10, 2019 | 4:30 PM featuring: St. Luke Catholic Church, McLean, VA My Song Is Love Unknown Danielle Talamantes, soprano Kristen Dubenion-Smith, mezzo-soprano In March, The City Choir of Washington transports you to Saturday, March 9, 2019 at 5 pm Dennys Moura, tenor France, with a program of works in the great tradition of The Falls Church Episcopal Kerry Wilkerson, baritone, as Elijah French choral music, including works by Jean Langlais and the beloved, Washington, D.C. composer Russell Woollen.
1918-1919: AN ODE TO SPRING The Armistice did not bring an end to mili- Sunday, May 19, 2019 | 4:30 PM tary duties. The long, National Presbyterian Church, Washington, D.C. hard road up to the The City Choir of Washington’s twelfth season concludes with a jubilant Rhine was led by the ode to spring with shimmering works by Purcell, Mozart, and Bach.In oldest and most expe- the words of Maestro Shafer, “We need this music now, more than ever.” rienced divisions. The First Division was first to cross, and remained TICKETS: $15-$59. Group discounts available. until August—the last Visit www.citychoir.org or call 571-206-6865 of the fighting divisions to return home. for tickets. Courtesy of the Cantigny P.O. Box 9673, Washington, D.C. 20016 First Division Foundation 202-495-1613 • [email protected] and First Division Museum at Cantigny citychoir.org
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