JS Bach GF Händel - Atlanta Baroque Orchestra

Friends of Cathedral Music proudly presents the Emile T. Fisher Concert
J.S. Bach
Cantata 80, Ein feste Burg ist unser Gott
(A Mighty Fortress Is Our God)
G.F. Händel
Dixit Dominus
“Worthy is the Lamb” from Messiah
Atlanta Baroque Orchestra / Julie Andrijeski, artistic director
Cathedral Choir & Schola / Dale Adelmann, conductor
The Cathedral of St. Philip
Saturday, February 23, 2013, 7:30 p.m.
HOST COMMITTEE
Honorary Co-Chairs
Annabelle Malins, Her Majesty’s Consul General
Christoph Sander, Consul General of the Federal Republic of Germany
Chairs
Pam & Tom Ford † Mary Mercer † Jean Morris
Vernon G. Abrams
Dale Adelmann
Mr. & Mrs. William B. Astrop
Dr. & Mrs. John C. Barnes
Dr. & Mrs. Henry B. Benson, Jr.
Holly S. Berney
Cindra & Marshall Brown
Herbert Buffington
Rod & Karen Bunn
The Very Rev. & Mrs. Samuel G. Candler
Susan W. Carlisle
Michael Carrin
The Cathedral Thrift House
Sara & Donnie Chapman
J. Franklin Clark
Dr. Marian E. Dabney
Dorsey & Geoffrey DeLong
Linda & Owen Dorsey
Anne & Merritt Dyke
Mr. & Mrs. H. Randolph Farmer
Kathleen & Edward Field
David Fishburn
Dr. Emile T. Fisher
Pam & Tom Ford
Joe & Susan Gavalis
Ann Grovenstein-Campbell
Timothy Gunter
Rita Daly-Hendler & Roger Hendler
Mr. & Mrs. Malvern Hill, Sr.
Katherine & Ray Hill
Ann P. Howington
Bryan & Perrin Kibler
Alfred Kennedy & William Kenny
Bill Kinsey
Dr. & Mrs. James T. Laney
Rose & Charles Maddrey
Rebecca & Walker McCune
Caroline J. McNeel
Helen & Laurin McSwain
Mary & John Mercer
Dick Miller
Rex & Jean Morris
Gloria Bryant Norris
Carolyn & Larry Pearson
Bill Pennington
Alan & Ginny Plummer
Mary E. Raines
Mr. & Mrs. Bradley Reeves
Clare & Nigel Richardson
Nancy & Randy Rizor
Jennifer & Coty Rosenblath
W Chandler Rudd
Lana & Karl Sachsenmaier
Saint Veronica’s Guild
Debbie & Charles Shelton
Miyuki & Howard Sheppard
Holly Sims
Marjorie Singley-Hall
Elayne & Royce Stroud
Kathleen & Kenneth Tice
Sue Tierney
Mr. & Mrs. C. Hunter Tison
Mr. & Mrs. Frank Troutman
Ruth Vaught
Carolyn Smith Vigtel
Art & Laurie Vinson
George & Charlene Watson
Judy & Buddy Weston
The Rt. Rev. & Mrs. Keith Whitmore
Linda Defoor Wickham
Dr. & Mrs. W. Hamilton Williams III
Ellen & Mark Wilson
Lori Beth Wiseman
The Rt. Rev. Robert C. Wright
Anne R. Young
This list was believed complete as of Wednesday, February 20, 2013.
If your name has been inadvertently omitted, please accept our sincerest apologies and contact the Music Office at 404-365-1050.
Following the concert, all are invited to a reception in the Atrium (at the main entrance from the parking lot).
Our deepest appreciation to Mary Hataway and Soiree Catering for their generous support.
PROGRAM
Cantata 80, Ein feste Burg ist unser Gott
Johann Sebastian Bach (1685-1750)
I. Chorus
Ein feste Burg ist unser Gott,
ein gute Wehr und Waffen;
er hilft uns frei aus aller Not,
die uns itzt hat betroffen.
Der alte böse Feind,
mit Ernst ers itzt meint,
groß Macht und viel List
sein grausam Rüstung ist,
auf Erd ist nicht seinsgleichen.
II. Aria & Chorale
[Bass] Alles, was von Gott geboren,
ist zum Siegen auserkoren.
[Alto] Mit unsrer Macht ist nichts getan,
wir sind gar bald verloren.
Es streit’ vor uns der rechte Mann,
den Gott selbst hat erkoren.
Wer bei Christi Blutpanier
in der Taufe Treu geschworen,
siegt in Christo für und für.
Fragst du, wer er ist?
Er heißt Jesus Christ,
der Herre Zebaoth,
und ist kein andrer Gott,
das Feld muß er behalten.
Alles, was von Gott geboren,
ist zum Siegen auserkoren.
III. Recitative
Erwäge doch, Kind Gottes, die so große Liebe,
da Jesus sich
mit seinem Blute dir verschriebe,
womit er dich
zum Kriege wider Satans Heer und wider
welt und Sünde
geworben hat!
Gib nicht in deiner Seele
dem Satan und den Lastern statt!
Laß nicht dein Herz,
den Himmel Gottes auf der Erden,
zur Wüßte werden!
Bereue deine Schuld mit Schmerz,
daß Christi Geist mit dir sich fest verbinde!
A firm fortress is our God,
a good bulwark and weapon;
he sets us free from all the misery
that has now affected us.
The old evil foe:
serious is his intent,
great power and much cunning
are his cruel armament;
on earth is not his equal.
Words: Martin Luther (1483-1546)
Samantha Puckett, alto; Timothy Gunter, bass-baritone
Everyone who is born of God
is chosen for victory.
With our own power is nothing done,
we are very soon lost.
The just man fights for us,
whom God himself has chosen.
He who, by Christ’s bloodstained banner,
has sworn loyalty through baptism
triumphs in Christ forevermore.
Do you ask who he is?
He is called Jesus Christ,
the Lord of Sabaoth,
and there is no other God;
he will retain the [battle]field.
Everyone who is born of God
is chosen for victory.
Words: Author of aria unknown; chorale by Martin Luther (1483-1546)
Timothy Gunter, bass-baritone
Ponder well, child of God, the great love
that Jesus to you
has pledged with his blood,
with which he,
for war against Satan’s army and against
the world and sin,
has enlisted you!
Yield not your soul
to Satan and vices!
Let not your heart,
God’s heaven on earth,
become like a desert!
Repent your guilt through pain,
that Christ’s spirit might firmly unite with you!
Words: Author unknown
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IV. Aria
Komm in mein Herzenshaus
Herr Jesu, mein Verlangen!
Treib Welt und Satan aus
und laß dein Bild in mir erneuert prangen!
Weg, schnöder Sündengraus!
Komm in mein Herzenshaus,
Herr Jesu, mein Verlangen!
Megan Brunning, soprano
Come into the house of my heart,
Lord Jesus, my longing!
Drive the world and Satan out
and let your image shine anew in me!
Away, despicable horror of sin!
Come into the house of my heart,
Lord Jesus, my longing!
Words: Author unknown
Megan Brunning, soprano
V. Chorale
Und wenn die Welt voll Teufel wär
und wollten uns verschlingen,
so fürchten wir uns nicht so sehr,
es soll uns doch gelingen.
Der Fürst dieser Welt,
wie sauer er sich stellt,
tut er uns doch nicht,
das macht, er ist gericht’,
ein Wörtlein kann ihn fällen.
VI. Recitative
So stehe dann bei Christi blutgefärbten Fahne,
O Seele, fest
und glaube, daß dein Haupt dich nicht verläßt,
ja, daß seine Sieg
auch dir den Weg zu deiner Krone bahne!
Tritt freudig an den Krieg!
Wirst du nur Gottes Wort
so hören als bewahren,
so wird der Feind gezwungen auszufahren,
dein Heiland bleibt dein Hort!
VII. Aria
Wie selig sind doch die,
die Gott im Munde tragen,
doch selger ist das Herz,
das ihn im Glauben trägt!
Es bleibet unbesiegt
und kann die Feinde schlagen
und wird zuletzt gekrönt,
wenn es den Tod erlegt.
VIII: Chorale
Das Wort sie sollen lassen stahn
und kein’ Dank dazu haben.
Er ist bei uns wohl auf dem Plan
mit seinem Geist und Gaben.
Nehmen sie uns den Leib,
Gut, Ehr, Kind und Weib,
laß fahren dahin,
sie habens kein’ Gewinn;
das Reich muß uns doch bleiben.
And if the world were full of devils
who wanted to devour us,
we would not fear too much,
for we shall still succeed.
The prince of this world,
how sourly he positions himself,
yet he can do nothing to us,
which means, he is judged;
one little word can fell him.
Words: Martin Luther (1483-1546)
Ben Thomas, tenor
So stand then by Christ’s bloodstained banner,
O soul, firmly,
and trust that your leader does not abandon you—
yea, that his victory
will also prepare for you the way to your crown!
Step joyfully into war!
If you will only God’s word
hear and preserve,
then the foe will be forced to flee,
and your Savior will remain your shield!
Words: Author unknown
Samantha Puckett, alto; Ben Thomas, tenor
How blessed are those
who carry God in their mouths;
yet more blessed is the heart
that holds him in faith [belief]!
It remains unconquered
and can strike at foes
and will at the last be crowned
when it puts down [defeats] death.
Words: Author unknown
The Word they shall allow to stand
and receive no thanks for it.
He is surely with us on the plain [battlefield],
along with his Spirit and its gifts.
If they take from us our body [life],
goods, honor, child and wife,
let them depart;
they still have nothing won;
the Kingdom shall remain for us.
Words: Martin Luther (1483-1546)
The Cathedral Choir
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Dixit Dominus
George Frideric Handel (1685-1759)
I. Chorus
Megan Brunning, soprano; Amy Chastain, mezzo soprano; Brian Lustig, tenor
Dixit Dominus Domino meo: Sede a dextris meis
The Lord said unto my Lord: Sit at my right hand
donec ponam inimicos tuos scabellum pedum tuorum.
until I make your enemies your footstool.
Words: Psalm 110:1
II. Aria
Amy Chastain, mezzo soprano
The sceptre of your power
the Lord shall send forth from Zion:
Rule thou in the midst of your enemies.
Virgam virtutis tuae
emittet Dominums ex Sion:
dominare in medio inimicorum tuorum.
Words: Psalm 110:2
III. Aria
Megan Brunning, soprano
The power to rule is with you on the day of your strength,
in the splendor of the holy ones
I have begotten you from the womb
before the rising of the day-star.
Tecum principium in die virtutis tuae,
in splendoribus sanctorum
ex utero
ante luciferum genui te.
Words: Psalm 110:3
IV. Chorus
Juravit Dominus, et non poenitebit eum.
The Lord has sworn an oath, and will not repent of it.
Words: Psalm 110:4a
V. Chorus
Tu es sacerdos in aeternum
secundum ordinem Melchisedech.
You are a priest forever,
after the order of Melchisedech.
Words: Psalm 110:4b
VI. Chorus
Megan Brunning, soprano; Amy Chastain, mezzo soprano; Samantha Puckett, alto;
Brian Lustig, tenor; Timothy Eachus, baritone
Dominus a dextris tuis,
The Lord at your right hand
confregit in die irae suae reges.
destroys kings on the day of his wrath.
Words: Psalm 110:5
VII. Chorus
Judicabit in nationibus.
Implebit ruinas,
conquasabit capita in terra multorum.
He shall judge among the heathen.
He shall pile up ruins,
and scatter skulls on many lands.
Words: Psalm 110:6
VIII. Chorus
De torrente in via bibet,
propterea exaltabit caput.
He shall drink of the torrent in his way;
therefore he shall lift up his head.
Words: Psalm 110:7
IX. Chorus
Megan Brunning, soprano; Amy Chastain, mezzo soprano
Glory be to the Father, and to the Son,
and to the Holy Spirit.
As it was in the beginning, is now,
and ever shall be, world without end. Amen.
Gloria Patri, et Filio,
et Spiritui Sancto.
Sicut erat in principio, et nunc,
et semper, et in saecula saeculorum. Amen.
The Cathedral Schola
Words: Gloria Patri
“Worthy is the Lamb” from Messiah
George Frideric Handel (1685-1759)
Worthy is the Lamb that was slain, and hath redeemed us to God by His blood, to receive power, and
riches, and wisdom, and strength, and honour, and glory, and blessing. Blessing and honour, glory and
power, be unto Him that sitteth upon the throne, and unto the Lamb, for ever and ever. Amen.
The Cathedral Choir
Words: Revelation 5:12-14
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PROGRAM NOTES
The cantata Ein feste Burg ist unser Gott (BWV 80) was created for use at the Feast of the Reformation, which
Lutherans traditionally celebrate on October 31 as one of the lesser festivals. The version of the cantata we
hear tonight represents an accretion of compositional layers, thus complicating an easy, clear understanding
of the cantata’s genesis, provenance, and final shape. The earliest known version (known as BWV 80a) dates
to 1715 in Weimar, only the text of which survives, based on a text by Salomo Franck (1659–1725). Shortly
after Bach moved to Leipzig in 1723 to assume duties as Kantor of the Thomasschule of the Thomaskirche,
which included music instruction, a new setting of Franck’s text was made. Scholarly opinion differs as to
when. This version (minus the opening chorus) was likely the one heard at a performance in 1730. The
opening chorus “Ein feste Burg” was not added until 1734 or 1735. Otherwise, the loss of sources prevents
us from learning much regarding the method by which the other movements were borrowed or parodied,
compositional practices that were wide spread in the early eighteenth century.
Fig. 1: Martin Luther, Ein feste Burg
The cantata consists of six movements and two short recitatives. Bach organizes each movement around
Martin Luther’s chorale melody Ein feste Burg (1527-1529). Easily one of the most recognizable chorales in
German Lutheranism, Luther may have sung it as he entered the Diet of Worms on April 16, 1521. The
cantata opens with a majestic polyphonic motet-chorus. The oboes carry the original hymn tune. The
continuo echoes this line in canon. Within this framework, Bach inserts a complex polyphonic chorus in four
parts, often with fugal imitation of the main contours of Luther’s chorale. The second movement features a
bass aria, which we can date back to Bach’s second period in Weimar (1708-1717), featuring the soprano
soloist, who offers a highly decorated version of the hymn in counterpoint to the Bass. In the subsequent
aria, the soprano soloist, underpinned by continuo alone, brings a sense of sudden calm and intimacy to the
text “Come into the house of my heart.” By contrast, the chorale in the following movement returns us to the
theme of victory over the devil, sung in unison by the choir. Strings, oboe, and two oboes d’amore offer an
intricate, frenetic counterpoint underneath. The next two segments refer back to the earlier Weimar cantata,
on which most of the present work is based. In the recitative-arioso, the tenor receives some highly florid
passagework on the text “your Savior will remain your shield.” Following the arioso is the lovely duet for
tenor, alto, oboe d’amore, strings, and continuo, whose text illustrates a state of grace. The cantata ends with
a Bach’s harmonization of Luther’s Chorale, likely sung by Bach’s congregation in Leipzig.
Robert Torre
Although audiences think “oratorio” when the name George Frideric Händel comes up, the driving force
behind his whole career was opera, and specifically opera in the Italian style. To be sure, the oratorios for
which Handel is known – Messiah, Israel in Egypt, Saul, and many others – were in many ways distinct from the
operas, but they were an evolution from them, born of the same impulse to compose dramas in music.
At the age of 18, Handel (set free by his father’s death from his filial obligation to study law) left his
native city of Halle and traveled 200 miles to Hamburg, the center of operatic life in Germany. He was hired
as a violinist and harpsichordist for the Hamburg Opera, and there he composed his first two operas. While
working in Hamburg he also met the last Medici Duke of Florence, who invited Handel to move to Italy.
There he spent time in Florence and Venice, where he composed and produced some operas, but lived
primarily in Rome, where performances of opera were forbidden.
In Rome, in 1707 he composed his highly dramatic setting of Psalm 110, Dixit Dominus, for a Vespers
service at the church of Santa Maria in Montesanto. The Psalm has seven verses, which Handel set in nine
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movements. Verse 4 is divided into two movements, and the concluding movement is “Glory to the
Father…” which is traditionally appended to each Psalm in a Vesper service. The chorus plays a significant,
even dominant, role in the composition, unlike the operas of the time. This characteristic reappeared thirty
years later when Handel re-invented himself as a composer of oratorios.
The musical idiom of Dixit Dominus contains many moments that foreshadow the more familiar idiom of
Messiah, particularly the figures that are used for the word “Hallelujah” in the later work. Much of the rest of
the Dixit, including the vocal lines, resemble the instrumental music of Corelli (Handel’s friend while he was
in Rome, and probably the concertmaster for the first performance of Dixit Dominus). There are also
moments in the first, fourth, and sixth movements that resemble the instrumental and choral writing of
Vivaldi, who was music director for the Ospedale della pietà in Venice at the time that Handel was there
producing his opera Agrippina.
Daniel Pyle
Although we regard Handel today as one of the great exponents of German and English music, his standing
in London society at the time he composed Messiah in 1741 burgeoned en passé. Born in Halle, Germany,
Handel, a brilliant organist and violinist, moved to Italy in his early twenties to study composition, particularly
Italian opera. He achieved major success there in vocal music but especially with the Venetian opera Agrippina
(1707). These early triumphs in Italy resulted in a commission for a new Italian opera for London, his entrée
to the British Isles. Handel’s Rinaldo (1711) resulted, which is arguably the first Italian serious opera for the
London stage. Previous attempts at Italian opera (often in the form of a pasticcio wherein arias by different
composers would be interpolated into a preexisting operatic subject) had largely been unsuccessful. Rinaldo
triumphed, and yielded further commissions and collaborations, including Teseo, Amadigi, Giulio Cesare,
Radamisto, and Alcina. By 1727 Parliament naturalized Handel as a British citizen. Throughout the late 1730s,
however, Handel’s popularity, and indeed the popularity of Italian serious opera, began to wane. The
premiere in 1728 of Gay’s The Beggar’s Opera, an English-language ballad opera, renewed interest in exploring
the possibilities of English-language vocal music and popular culture, whereas previously Italian opera had
reigned supreme.
Handel focused on the oratorio form from the late 1730s on. Oratorios were primarily Lenten sacred
dramas whose narratives derive from the Old and New Testaments. They were often performed without
costume. Unlike the Italian oratorio whose form emphasized the succession of arias and recitatives, the
English oratorio cultivated primarily by Handel included arias, recitatives, choruses (sometimes for double
choir, as in Solomon), and occasional instrumental interludes (the Funeral March from Saul). With a string of
important works including Saul and Israel in Egypt (1739), Handel’s new musical venture proved for the
moment a brilliant choice.
By 1741, however, Handel’s career appeared once again in trouble, as London audiences began turning to
newer composers and fads. His finances dwindled to dangerous levels, and he was reportedly ill. The same
year the Duke of Devonshire, the Lord Lieutenant of Dublin, visited him to request a new work, which
would aid several charities in Dublin. Handel drew on scriptural texts chosen by Charles Jennings from the
King James Bible and the Book of Psalms as printed in the Book of Common Prayer. Jennings wrote of this new
libretto, which he called Messiah, “I hope [Handel] will lay out his whole Genius & Skill upon it, that the
Composition may excel [sic] all his former Compositions, as the Subject excells [sic] every other subject. The
Subject is Messiah.” Handel finished the commission in just twenty-four days, a speed which, though
impressive, was not uncommon.
Handel sailed to Dublin in November 1741 for the premiere. His presence there created such a buzz that
the Dublin Journal announced that at the premiere “The Stewards of the Charitable Musical Society request the
Favour of the Ladies not to come with Hoops [i.e., hoop skirts] this Day to the Musick-Hall in Fishamble
Street. The Gentlemen are desired to come without their Swords, as it will greatly encrease [sic] the Charity,
by making Room for more company.” Messiah opened on April 13, 1742, causing a great stir among Dublin
audiences. The Dublin Journal reported, “It gave universal Satisfaction to all present; and was allowed by the
greatest Judges to be the finest Composition of Musick that ever was heard.”
Jennings and Handel organized Messiah in three parts. Each one represents a series of commentaries on
the three periods of Jesus’ life: Nativity, Passion, and Resurrection. “Worthy is the Lamb,” which we hear
tonight, concludes Part III. Scored for chorus, two trumpets, drums, oboes, strings, and continuo, “Worthy is
the Lamb” is a musical triptych on the glorification of the messianic victim. The opening largo,
complemented by the full orchestra and chorus, declare “Worthy is the Lamb that was slain.” In the middle
section the choir sings “Blessing and honour, glory and pow’r be unto him” in fugal style. A second, more
complex fugue, initiated in the bass line, concludes with “Amen.”
Robert Torre
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CONCERT PERSONNEL
Atlanta Baroque Orchestra
First Violin
Oboe
Julie Andrijeski, concertmaster
Debra Nagy, principal
Violin by Mark Norfleet, Ann Arbor, MI, 1990, after
Stradivarius; bow by Louis Bégin, Montréal, Canada, 2012,
after “French sonata” bow, c. 1700
Karen Clarke
Violin by Johann Christian Ficker, 1722
Stephen Redfield
Violin by Hopf family, Klingenthal, Germany, c. 1750;
bow by Giovanni Lucchi, Cremona, Italy, 2000
Second Violin
Evan Few, principal
Violin by Matthieu Besseling, Amsterdam, 2010, after
Stradivarius, c. 1695
Martha Perry
Violin by David Van Zandt, 1999, after Stainer, 1620; bow
by Chris English, after 18th-century example
Ute Marks
Baroque violin by unknown maker, c. 1900, after Giuseppe
Guarneri, 1732
Viola
Gesa Kordes, principal
Viola by Celano Iesta workshop, China, 2006; bow by Rick
Riggal, Boston, 1996, after Italian bow, c. 1700
Elena Kraineva
Viola by unknown maker, Cremona: 1670
Oboe by Randy Cook, 2004, after Bradbury, London, c.
1720; oboe da caccia by Piet Dohnt 2004 after Weigl,
Nuremburg, c. 1715
George Riordan *
Oboe by Harry Vas Dias, 1986, after Thomas Stanesby of
London, first half of 18th Century; Oboe d’amore by
Bosworth & Hammer, 1999, after Johann Heinrich
Eichentopf, Leipzig, first half of 18th century
MaryAnn Shore
Baroque oboe by Sand Dalton, 1998 after J.H. Eichentopf,
Germany, first half 18th century; Baroque oboe d’amore by
Sand Dalton, 2001, after Johann Heinrich Eichentopf,
Leipzig, first half 18th century
Trumpet
Barry Bauguess, principal
Natural trumpet by Rainer Egger, Basel, 2012, after Johann
Wilhelm Haas, Nuremburg, c. 1720
Amanda Pepping
Baroque trumpet by Rainer Egger, Basel, with a bell after
Johann Leonhard Ehe II, c. 1700, Nuremberg
Timpani
Scott Douglas
Baroque timpani by Brian Stotz, Rochester, New York,
1988, after 17th-century German timpani
Harpsichord
Cello
Daniel Pyle
Katherine Rietman, principal
Cello by William Forster, London, c. 1790; bow by Rene
Grope, Belgium, c. 1993
Christopher Stenstrom
Cello by Michael Wanner, Mittenwald, c. 1880; bow by
Harry Grabenstein, Vermont
Harpsichord, copy of 1728 harpsichord by Christian Zell,
built in 1987 by Anden Houben of Tuscaloosa; formerly
owned by Daniel Pyle, it was a gift to the Cathedral of St.
Philip by Dr. Emile T. Fisher
Organ
John O’Brien
Bass
Martha Bishop
17th-
Violone, San Pédro, 2007, after
&
examples; baroque bow by Ralph Ashmead
18th-century
Organ by Henk Klop, Netherlands, 2002, copy of
Compenius organ Copenhagen, 1610
*Principal oboe for Messiah
The Atlanta Baroque Orchestra is the first and longest- running professional Baroque chamber orchestra
in the Southeast, and has been performing continuously since 1998. The ABO has been applauded for its
freshness and verve, and for its delightful, convincing performances of instrumental works, sacred vocal
music, and dance. Orchestra members are life-long specialists in Baroque and early music; many serve on the
faculty of leading music schools across the United States, and gather from around the country for each
concert. ABO musicians frequently perform within a large network of other early music ensembles and
chamber orchestras throughout the nation and across the world.
Julie Andrijeski, Artistic Director of the Atlanta Baroque Orchestra and one of the foremost Baroque
violin soloists in the U.S serves as full-time Lecturer in the Music Department at Case Western Reserve
University in Cleveland, Ohio, where she directs the Case/CIM Baroque Orchestra and Chamber Ensembles.
Dr. Andrijeski served as Visiting Assistant Professor at Oberlin College during 2009-10. She regularly appears
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with ensembles including Apollo’s Fire, the New York State Baroque Orchestra, Quicksilver, the Boston
Early Music Festival Orchestra, Cecilia’s Circle, and the Renaissance group The King’s Noyse, and for many
years was a member of Chatham Baroque. Dr. Andrijeski’s unique performance style is further informed by
her expertise as a Baroque dancer. She teaches violin and dance at summer festivals including the Baroque
Performance Institute at Oberlin, Madison Early Music Festival, Vancouver Early Music Festival, and
Magnolia Baroque in North Carolina. She has recorded for the Dorian, Centaur, and Musica Omnia labels.
The St. Philip Cathedral Choir
Soprano
Carolyn Alexander
Carol Baker *
Carolyn Bender
Megan Brunning *
Amy Chastain *
Claudia Corriere *
Rebecca Harris
Catherine Jachthuber
Ruth Marley *
Susan McDaniel *
Deanna Queen *
Megan Schaum *
Marjorie Singley-Hall
Wimberly Thomas *
Alto
Susan Carlisle *
Pamela Cunningham
Kristin Gray
Adrianne Hill *
Melissa Himstreet
Marion Hopkins
Fran McDowell
Marian Palmore
Anne Peters
Brenda Pruitt *
Samantha Puckett *
Robert Torre *
Gail Wescott
Ellen Wilson *
Tenor
Jon Arnold *
Leslie Boyette *
Carlisle Dent
Eric Dickerson
George Galloway
David Jones
Del King *
Brian Lustig *
Ted Park *
Fred Rose *
Bill Roth *
John Stivarius *
Ben Thomas *
Michael Vandergriff
Kevin Wickware *
Bass
Shaun Amos *
Chuck Beaudrot
Josh Borden *
Timothy Eachus *
Timothy Gunter *
Mal Hill
Bill Jachthuber
Joseph O’Berry *
Ron Peters
Sam Polk *
Art Vinson
*Cathedral Schola member
The Cathedral Choir is an auditioned group of approximately 55 singers who provide the primary music
leadership at the Cathedral’s 11:15 Sunday Eucharist. The choir tours regularly, and has accepted invitations
to sing in residence for a week each at St. Paul’s Cathedral, London, and Canterbury Cathedral in August
2013. Previous tours have taken them to Westminster Abbey, Coventry Cathedral, and St. Patrick’s Cathedral
in Dublin. The group has also performed at Piccolo Spoleto, as well as in many other churches and cathedrals
throughout the U.S.
The Cathedral Schola, selected from the ranks of the Cathedral Choir, carries as its primary responsibility
the singing of Evensong every Sunday in the Cathedral at 4 p.m. Schola also sings the Cathedral’s Festival of
Christmas Lessons and Carols; the Meditation on the Passion of Christ, with Carols; occasional full choral
Eucharists; and other services as assigned. During the summer of 2005, several members of Schola
accompanied the Girls’ and Boys’ Choirs to France and England to sing at Notre Dame and the American
Cathedral in Paris, and York Minster and Winchester Cathedral in England. Schola also performs occasional
concerts around the U.S. as the opportunity arises.
Cathedral Choir & Schola members featured as soloists this evening
Megan Brunning, soprano, holds a Master of Music in Vocal Performance from the University of Georgia.
She was recently named a winner of the Georgia District Metropolitan Opera National Council Auditions.
Her upcoming engagements include La Traviata with the Atlanta Opera Chorus and a concert with the
Skylark Vocal Ensemble.
Claudia Corriere, soprano understudy, holds a Bachelor of Music degree from Georgia State University with
an emphasis in Choral Music Education. She is the Middle School chorus and drama director at Mt. Bethel
Christian Academy in Marietta. Claudia has appeared with the Atlanta Symphony Orchestra Chorus and
Chamber Chorus in Miami, New York, and Berlin.
7
Amy Chastain, mezzo soprano, is originally from Augusta, Georgia. She has appeared in opera productions at
Georgia State University and Mercer University. She is currently pursuing a Masters of Music degree in voice
at Georgia State University, and received a Bachelor of Music Education from Mercer University. She
currently studies with Richard Clement.
Samantha Puckett, mezzo soprano, is originally from Houston, Texas. She received her Master of Music
from West Texas A&M University. She is currently a student of Kay Paschal-Freeman.
Brian Lustig, tenor, is currently pursuing a master’s degree in Choral Conducting at the University of
Georgia. At UGA Brian serves as the assistant conductor of the Men’s Glee Club and the University Chorus.
Most recently Brian played the role of Monostatos in Mozart’s Magic Flute at UGA, and also served as the
chorus master for the same production.
Ben Thomas, tenor, is a graduate student at Georgia State University studying Vocal Performance in the
studio of Richard Clement. He has performed many operatic roles including Kaspar in Amahl and the Night
Visitors, Don Ottavio in Don Giovanni, Don Basilio in Le Nozze di Figaro, Rinuccio in Gianni Schicchi, Tamino in
Die Zauberflöte, and Laurie in Little Women. Ben made his international debut this past October in Beijing,
China. Currently, he is preparing the role of Peter Quint in Benjamin Britten’s Turn of the Screw, to be
presented at the Rialto Center for the Performing Arts in Atlanta.
Timothy A. Eachus, baritone, is a native of Atlanta. He holds the Bachelor of Arts degree in Music from
Samford University. Timothy currently serves as the baritone staff singer for the Cathedral and has a voice
studio based in Roswell, Georgia.
Timothy Gunter, bass-baritone, serves as the Coordinator for Music and the Choral Librarian as well as one
of the staff singers at the Cathedral. He has sung with many choral groups over the years, including the
Atlanta Symphony Orchestra Chorus and Chamber Chorus, the Robert Shaw Chamber Singers, the Atlanta
Singers, and the Kansas City Chorale, and has served as a soloist with each of these groups. His degrees are in
piano and organ performance from the University of Montevallo in Alabama.
Program Note Authors
Robert Torre, annotator, is a musicologist specializing in 17th- and 18th-century music, particularly issues
pertaining to opera seria, performance practice, musical intertextuality, and music and identity. He has
presented research at national and international conferences, including the Annual Meeting of the American
Musicological Society and the International Biennial Conference on Baroque Music. His work has been
funded by the German-American Fulbright Commission, Harvard University’s Houghton Library, and the
U.S. Department of Education. He currently teaches at Agnes Scott College.
Daniel Pyle is Organist-Music Director for the Church of Our Saviour in Atlanta, and harpsichordist &
organist for the Atlanta Baroque Orchestra, which he helped found. His ensemble Harmonie Universelle has
performed in London, Paris, Amsterdam, at the Utrecht Early Music Festival, and throughout the American
Midwest and Southeast, including several times at the Cathedral. He was a student of Warren Hutton at the
University of Alabama and of Gustav Leonhardt at the Amsterdam Conservatory, and holds a doctoral
degree from the Eastman School of Music.
Cathedral Music Staff
Dale Adelmann was named Canon for Music at the Cathedral of St. Philip in 2009, having served
previously as Director of Music of All Saints’, Beverly Hills; St. Paul’s Cathedral, Buffalo; and the Buffalo
Philharmonic Chorus. He has conducted choral festivals in Ann Arbor, Atlanta, Birmingham, Denver, Erie,
Greenwich, Hartford, New York City, Pittsburgh, Raleigh-Durham, St. Louis, Tucson, Washington DC, and
Wilmington DE, often under the auspices of the Royal School of Church Music (RSCM) in America, and
has presented for national conventions of the American Guild of Organists in Los Angeles (2004) and
8
Nashville (2012). His choirs have recorded for Gothic Records and Pro Organo; his choral arrangements are
published by Paraclete Press and Trinitas (Oregon Catholic Press). He currently serves on the external
advisory board of the Institute of Sacred Music at Yale University and on the board of the Anglican
Musicians Foundation. He is a past president of the Association of Anglican Musicians (AAM), co-chaired its
2009 national conference in Los Angeles, and has served both as editor and consulting editor of the
Journal of AAM. He holds bachelor’s and master’s degrees in music from the University of Michigan and
Yale, respectively, and was a Fulbright Scholar at the University of Cambridge, England, where he
remained to complete a Ph.D. specializing in Anglican choral worship. His subsequent book, The
Contribution of Cambridge Ecclesiologists to the Revival of Anglican Choral Worship 1839-1862, was declared
“essential reading” for Anglican musicians and English Church historians by critics both in the scholarly
and the international Church press. While at Cambridge, he became the first North American to sing in
the renowned Choir of Men & Boys at St. John’s College, then under the direction of George Guest. He
also served as Musical Director of The Gentlemen of St. John’s, the semi-professional choral ensemble
comprised of the choral scholars of the St. John’s College Choir, conducting concert tours of Sweden,
Northern Ireland, Wales, England, and the U.S.A. He also studied for a year at Albert-LudwigsUniversität in Freiburg, Germany.
David Fishburn has served as the Cathedral’s associate organist-choirmaster since 1986, having previously
served other parishes in Atlanta as well as in Lancaster and Philadelphia, PA. He is a graduate of
Elizabethtown College in Pennsylvania, and completed additional organ study with Dr. Robert Clippinger in
Harrisburg. He has performed with the Cathedral choirs in Washington, DC; San Antonio; New York City;
Los Angeles; and Charleston, SC; as well as in England at Westminster Abbey and the cathedrals in York,
Coventry, and Winchester, and at St. Patrick’s Cathedral in Dublin.
FRIENDS OF CATHEDRAL MUSIC BOARD
Chandler Rudd, President; Susan Carlisle, Vice President; Royce Stroud, Treasurer; Dr. Emile T. Fisher, Assistant Treasurer;
Timothy Gunter, Secretary; Dale Adelmann, Canon for Music, David Fishburn, Associate Organist/Choirmaster, Karen Bunn,
Rod Bunn, J. Franklin Clark, Dorsey Delong, Geoffrey DeLong, Pam Ford, Tom Ford, Bill Kinsey, Rose Maddrey,
Mary Mercer, Dick Miller, Jo Reeves, Nigel Richardson, Karl Sachsenmaier, Debbie Shelton, Marjorie Singley-Hall,
Elayne Stroud, Sue Tierney, Ruth Vaught, George Watson, Buddy Weston, Dr. W. Hamilton Williams III
MUSIC DEPARTMENT
Dale Adelmann, Ph.D., Canon for Music
David Fishburn, Associate Organist/Choirmaster
Brenda Pruitt, Director of Allegro: Music for Young Children
Boog Candler, Assistant Allegro Instructor
Timothy Gunter, Coordinator for Music
www.stphilipscathedral.org/music
9
DONORS 2012-2013
Saint: $1000 or above
Mr. & Mrs. William B. Astrop
Chuck Beaudrot
Karen & Rod Bunn
Susan Carlisle
Cathedral Book Store
Ms. Suzanne Dansby
Dr. Emile T. Fisher
Ann Grovenstein-Campbell
Kathy McLean
Erik Padgen, in memory of Wanda M. Henson
Jo & Bradley Reeves
Clare & Nigel Richardson
Jean Fisher Smith & Max Smith
Dr. & Mrs. W. Hamilton Williams, III
Ellen & Mark Wilson
Archangel: $500 - $999
Dr. Dale Adelmann
Holly S. Berney
Herbert Buffington
Richard Burgin
J. Franklin Clark
Dr. B.J. & Mr. Bruce Crabtree
Dr. Marian E. Dabney
Anne & Merritt Dyke
Ms. Elizabeth Lamberth
James D. Land, Jr.
Mrs. Kathryn McGrew
Dick Miller
Dr. William W. Roth
John & Terri Stivarius
Linda Defoor Wickham,
in memory of Robert K. Wickham
Angel: $200 - $499
Carol & Newell Baker
Julia Ballard
Leslie & Henry Benson
Leslie Billian, in memory of Douglas Billian
Bill & Sharon Brockman
Cindra & Marshall Brown
Ken & Madonna Brownlee
Cathedral Thrift House
John Champion & Penelope Malone,
in honor of Emile T. Fisher
Dorsey & Geoffrey DeLong
Linda & Owen Dorsey
Vinnie Dowling, in honor of Lavinia Pellosalo
Mr. & Mrs. H. Randolph Farmer
Stuart & Elsie Gould, in honor of Emile T. Fisher
Mary Hataway
Nancy & Rowland Hawthorne
Marion & Mike Hopkins
Mr. & Mrs. Malvern Hill, Sr.
Mr. D. Lowell Jacks
Judy & Bill Johnson
Mr. Alfred Kennedy & Dr. William Kenny
Bryan & Perrin Kibler
Bill Kinsey
The Reverend Canon Beth Knowlton
The Rev. Kirk A. Lee
Mr. & Mrs. Paul A. Lutz,
in honor of David M. Fishburn
Rose & Charles Maddrey
Helen & Laurin McSwain
Mary & John Mercer
Jean & Rex Morris
Debby & Ted Park
Brenda J. Pruitt
Angel (continued)
Dan Pruitt & Don Gambrell
Mary E. Raines
The Rev. & Mrs. Charles Roper
W. Chandler Rudd
Lana & Karl Sachsenmaier
William Fred Scott III
John O. & Fay B. Selvage
Debbie & Charles Shelton
Patricia & William Shropshire
Marjorie Singley-Hall
Linda & Richard Stallcup,
in memory of Stephen B. Stallcup
Elayne & Royce Stroud
Roy Unkefer, in memory of Eleanor
Ruth Vaught
Dr. Grant D. Venerable II
Art & Laurie Vinson
Rob & Tiffany Walton
George & Charlene Watson
Carole Weil
Judy & Buddy Weston
Widener & Co., Inc.
Lynne & Warren Wood
Mr. & Mrs. Bruce Young
Guarantor: $100 - $199
Vernon G. Abrams
Anonymous
Joanne & Norman Askins
Dr. & Mrs. John C. Barnes, Sr.
Ms. Lane Barnum
Lola & Charles Battle
Mr. & Mrs. Brian S. Brown
Sally & David Burge
Michael Carrin
Sara & Donnie Chapman
Aimee & Thomas Chubb
Mr. Lawrence W. Clarkson
Larose D. Coar & Susan Coar Clamon,
in memory of Richard Coar
Robert I. Coulter
Becky & Rob Davis
Joann A. Dunbar, in memory of Mrs. Hussen
Ms. Darrin Ellis-May
Kathleen & Edward Field
Dottie & Jimmy Fluker
Phoebe & Ed Forio
Mr. George H. Galloway, Jr.
Dr. James Gerhart &
The Rev. Canon Todd Smelser
Dr. Doyce W. Gunter
Mr. & Mrs. Joseph E. Gotch Jr.
Margaret T. Hall
Lindsey E. Hardegree
Rita Daly-Hendler & Roger Hendler
Ms. Melissa S. Himstreet
Ann Howington
Carter Hoyt
Gregg & Michael Irby
Mrs. Bonnie Lamberth
Ada & Harry Lamon
Libby & David Lanier
Mrs. Norma C. Larson
Jessica & Grover Maxwell
Yancey & John McCollum
Elisabeth & Stephen McCune
Rebecca & Walker McCune
Linda & John McGowan
Caroline J. McNeel
Guarantor (continued)
Kimberly & Buz McOmber
Lisa & Charles Meriwether
Karen & Stephen Merz
Ms. Mary E. Morris
Al & Twinkle Nelson
Gloria Bryant Norris
Charlotte Ann & Greg O'Neal
Mrs. Marian Palmore
Drs. Marvin & Melody Palmore
Patti & Stephen Parker
Dr. Manning M. Pattillo, Jr.
Carolyn & Larry Pearson
Bill Pennington
Mary & Kirk Rankin
Tobin E. Reed
Patricia & Raymond Riddle
Nancy & Randy Rizor
Jennifer & Coty Rosenblath
Miyuki & Howard Sheppard
Sydney & David Shipps, Sr.
Holly Sims
Mrs. Marie Smelser
Jacqueline Stewart
Jeannie & Matt Tarkenton
Kathleen & Kenneth Tice
Mr. & Mrs. C. Hunter Tison
Mr. & Mrs. Frank Troutman Jr.
Carolyn Smith Vigtel
Caroline & John Wallace
Bob & Gail Wescott
Patrick & Susan White
Anne C. Willingham
Martha Wilson, in memory of Linda Black
Lori Beth Wiseman
The Rt. Rev. Robert C. Wright
Anne R. Young
Patron: $50 - $99
Ms. Margaret B. Ballard
Mr. & Mrs. Hunter S. Bell Jr.
Mrs. Judith H. Bodner
Susan R. Bray
Mr. Stephen Brereton
Robert & Victoria Denson
Susan & George Dunn
Louis A. Erbs
Joe & Susan Gavalis
Mr. & Mrs. Henry D. Gurley
The Rev. Susan C. Harriss,
in memory of Marie Harriss Schnell
Ms. Rebecca Hendrix
Mr. David H. Jones
Dr. & Mrs. James T. Laney
Mrs. Olivia A. Leon
Mrs. Susan L. McDaniel
Mary Ann Neale
Philip Newton
Dr. William Pettas
Mrs. Eleanor H Ridley,
in honor of our choir, director, and staff
Mr. & Mrs. Brent Rosengren
Mr. Jeffrey G. Ross-Bain
Mr. & Mrs. Scott J. Russell
Ms. Martha J. Simms
Sue Tierney
Don & Priscilla Van Wagner
Kaye Watts
Dr. & Mrs. Timothy Wissler
Camille & Stuart Yahm, in memory of Linda Black
Donors in Kind
Cathedral Flower Guild
Tucker & Associates
Soiree Catering & Events
Eric Bowles for Local Color Inc.
10
This list was believed complete as of Wednesday, February 20, 2013.
If your name has been inadvertently omitted, please accept our sincerest apologies and contact the Music Office at 404-365-1050.
MUSIC AT THE CATHEDRAL OF ST. PHILIP
Tuesday, March 5, 2013, 8:00 p.m.
THOMAS TROTTER, ORGAN
Birmingham City Organist; and Organist of St Margaret’s, Westminster
Co-Sponsored by Friends of Cathedral Music and the Atlanta Chapter of the American Guild of Organists
Free admission
Saturday, May 11, 2013, 7:30 p.m.
CATHEDRAL CHOIR PRE-ENGLAND CONCERT
Dale Adelmann, conductor
Tickets available in advance from the Cathedral Book Store
General Admission in Advance: $15 / Day of Concert $20
Students & Seniors in Advance $10 / Day of Concert $15
Wednesday, June 26, 2013, 7:30 p.m.
JACK MITCHENER, ORGAN
Associate Professor of Organ and University Organist, Mercer University
Atlanta Summer Organ Festival
Suggested Donation at the Door $15
Sunday Afternoons at the Cathedral
Sunday, February 24, 2013
3:15 p.m. Recital, Daniel Hahn, organ
(from St. Columba’s, Suwanee, GA)
Palm Sunday, March 24, 2013
4:00 p.m., A Meditation on the Passion of Christ, with Carols,
Cathedral Schola
J.S. Bach, Passacaglia and Fugue in C minor, BWV 582
J.S. Bach, An Wasserflüssen Babylon, BWV 653
Widor, Cantabile from Symphonie VI, Op. 42, No. 2
César Franck, Choral No. 3 in A minor
Appalachian folk carol, arr. John Rutter, I wonder as I wander
Traditional English Carol, arr. Dale Adelmann, Tomorrow shall be my dancing
day
Peter Illyich Tchaikovsky, The Crown of Roses
Arr. Michael Sitton, Wondrous love
Daniel Gawthrop, Mary speaks
Antonio Lotti, Crucifixus
4:00 p.m. Choral Evensong, Choir of St Columba’s, Suwanee,
Daniel Hahn, Director of Music
Henry G. Ley , A Prayer of King Henry VI
Richard Ayleward, Preces & Responses
C. Hylton Stewart in C
Orlando Gibbons, Almighty and everlasting God
Samuel Sebastian Wesley, Wash me throughly
Sunday, March 10, 2013
3:15 p.m., Recital, Adrian Foster, organ
Olivier Messiaen , Movements from Méditations sur le mystère de la Sainte
Trinité
Felix Mendelssohn , Sonata IV in B-flat Major, Op. 65, No. 4
4:00 p.m., Choral Evensong, Cathedral Schola
Alan Lewis, Seek Him that made the Pleides
Thomas Tomkins, Preces & Responses
Thomas Tomkins, Fifth Service
Thomas Tomkins, Almighty God, the fountain of all wisdom
Charles Villiers Stanford, Beati quorum via
Sunday, March 17, 2013
3:15 p.m., Recital, Brian Harlow, organ
(from St. Luke’s Episcopal Church, Gladstone, NJ)
Maundy Thursday, March 28, 2013
7:00 p.m., Foot-Washing & Holy Eucharist, Cathedral Choir &
Senior Choristers
Paul Mealor, Ubi caritas
Dan Locklair, O sacrum convivium
Maurice Duruflé, Ubi caritas
Maurice Duruflé, Tantum ergo
Good Friday, March 29, 2013
12:00 noon & 7 p.m., Good Friday Liturgy, Cathedral Schola
Tomás Luis de Victoria, The Passion Gospel According to St. John
Clemens Non Papa, Crux fideles
Kenneth Leighton, “Drop, Drop, Slow Tears,” from Crucifixus pro nobis
Easter Sunday, March 31, 2013
6:00 a.m., Great Vigil of Easter, Staff Singers & All Choristers
African American Spiritual, arr. Livingston Gearhart, Dry Bones
Roland Martin, “Easter” from Such Glorious Gifts
Edward Bairstow, Sing ye to the Lord
8:45 a.m. & 11:15 a.m., Holy Baptism & Holy Eucharist, Cathedral
Ian Hare, “Toccata” from Tryptych
Choir
Charles-Marie Widor, Movements from Symphony No. 3 in E minor, Op. 13, Herbert Howells, Te Deum (Collegium Regale)
No. 3
Orlando di Lasso, Surgens Jesu
Pamela Decker, Fantasy on the name Marilyn Keiser
4:00 p.m., Choral Evensong, Cathedral Schola
Charles Beaudrot, Be my prayer
William Smith, Preces & Responses
Thomas Tallis, Short Service
Adrian Batten, When the Lord turned again
Giovanni Maria Nanino, Adoramus te, Christe
Sunday, April 7, 2013
3:15 p.m., Recital, Brennan Szafron, organ
(from Episcopal Church of the Advent, Spartanburg, SC)
Jean Langlais, Incantation pour un jour saint
Dietrich Buxtehude, Praeludium in D Major, BuxWV 146
Alexandre Guilmant, Offertoire sur O filli et filiae
Denis Bédard, Méditation sur O filli et filiae
J.S. Bach, Fantasie in G Major, BWV 572
11
4:00 p.m., Choral Evensong, Cathedral Schola
Kenneth Leighton, Preces & Responses
George Dyson in D
Craig Phillips, We walk by faith
Edward Bairstow, Sing ye to the Lord
Sunday, April 14, 2013
3:15 p.m., Recital, John Richardson, organ
(from First Presbyterian Church, Allentown, PA)
César Franck, Grande Piece Symphonique, Op. 17
4:00 p.m., Choral Evensong, Cathedral Schola
Henry Purcell , Hear my prayer, O Lord
William Smith, Preces & Responses
Henry Purcell in G Minor
Orlando di Lasso, Surgens Jesu
Henry Purcell, I was glad
Sunday, April 21, 2013
3:15 p.m., Recital, Joseph O’Berry, organ
(from Holy Trinity Episcopal Church, Atlanta, GA)
Craig Phillips, Triptych
Julius Reubke , Sonata on the 94th Psalm
4:00 p.m., Choral Evensong, Cathedral Schola
Richard Shephard, Preces & Responses
William Mathias, Jesus College, Cambridge
Lennox Berkeley, The Lord is my Shepherd
John Tavener, The Lamb
Sunday, April 28, 2013
3:15 p.m., Recital, Alvin Blount, organ
(from St. Mary on the Hill Catholic Church, Augusta, GA)
Sunday, May 5, 2013
3:15 p.m., Recital, William Callaway, organ
(from First United Methodist Church, Chamblee, GA)
Rupert Stoutt, Triumphal March
Camille Saint-Saens, “My Heart at Thy Sweet Voice” from Samson and
Delilah
Richard Wagner, “The Ride of the Valkyries” from Die Walküre
Edward Elgar, Larghetto from Serenade for Strings, Op. 20
Gioachino Rossini, Overture to “William Tell”
4:00 p.m., Choral Evensong, Cathedral Schola
Martin Neary, Preces & Responses
Herbert Sumsion in G
Richard Shephard, The Secret of Christ
Malcolm Boyle, Thou, O God, art praised in Sion
Sunday, May 12, 2013
3:15 p.m., Recital, Jeff Johnson, organ
(from Messiah Lutheran Church, Panama City, FL)
Maurice Duruflé, Fugue sur le thème du Carillon des Heures de la Cathédrale de
Soissons, Op. 12
Oliver Messian, Movements from L’Ascension
Jan Pieterszoon Sweelinck, Mein junges Leben hat ein End
César Franck, Pièce héroïque
4:00 p.m., Choral Evensong, Cathedral Schola
Richard Ayleward, Preces & Responses
Charles Wood in E-Flat (No. 1)
Ralph Vaughan Williams, O clap your hands, all ye people
Charles Villiers Stanford, Coelos ascendit hodie
Pentecost Sunday, May 19, 2013
3:15 p.m., Recital, Herbert Buffington, organ
(from Peachtree Christian Church, Atlanta, GA)
J.S. Bach, Concerto in G Major, BWV 592 (after Prince Johann Ernst)
J.S. Bach, Chorale Prelude on Liebster Jesu, wir sind hier
Charles Marie Widor, Movements from Symphony No. 2 in D Major, Op. 13 4:00 p.m., Choral Evensong, Cathedral Choir
Richard Shephard, Preces & Responses
4:00 p.m., Choral Evensong, Cathedral Choir & All Choristers
Sir David Willcocks, All Saints’, Beverly Hills
Bernard Rose, Preces & Responses
Roland Martin, “Whitsunday” from Such Glorious Gifts
Herbert Howells, St. Paul’s Cathedral
Morten Lauridsen, “Veni Sancte Spiritus” from Lux Aeterna
Edgar Bainton, And I saw a new heaven
Roland Martin,”Easter” from Such Glorious Gifts
Friends of Cathedral Music would like to thank the following individuals and organizations for their support in
terms of time, talent and services in promoting this evening’s concert and reception:
Hélène Courault-Touré, Alliance Français d’Atlanta
Jeff Cochran, Arts ATL
Sue Tierney, The Cathedral Book Store
Laura Iarocchi & Victoria Denson, Cathedral Flower Guild
All the Guilds, the board of the ECW and the Antiques Show Committee, The Cathedral of St Philip
Anne Young & Nellie Holleman, The Cathedral Thrift House
Richard Prior, Emory University
Charles Maddrey & Jean Morris, English-Speaking Union
Suzy Wasserman, The French Heritage Society
Shell Stuart, Georgia Council for International Visitors
Phil Bolton, GlobalAtlanta
Miriam Bruns, Goethe-Institute
Kim Link Photography
Everett Catts, Northside Neighbor
Hunt Archbold, Patch
Mary Hataway, Soirée Catering & Events
Susan Tucker, Tucker & Associates
Lois Reitzes & John Lemley, WABE 90.1 FM
Kimberly Harbrecht, WABE - AtlantaPlanit
Solange Warner, World Chamber of Commerce
World Trade Center Atlanta
12
The Cathedral Choir England Pilgrimage 2013
St. Paul’s Cathedral
August 5-11
Canterbury Cathedral
August 12-18
In August of 2013, the Cathedral Choir will make a pilgrimage to England, where the choir has been
invited to serve as the choir-in-residence for a week each at St. Paul’s Cathedral in London and
Canterbury Cathedral, singing Evensong each weekday afternoon and a full day of Sunday services
at each cathedral. This provides the choir the opportunity to experience the centuries-old tradition
of daily worship and music in these magnificent places, and to give witness to local congregations
and tourists from all over the world to the exceptional musical worship traditions of the American
branch of the Anglican Communion.
Thomas Trotter
Tuesday, March 5, 2013, 8:00 p.m.
The Cathedral of St. Philip, Atlanta
Free admission
Thomas Trotter is one of the world’s most admired organists. Under some of the world’s
greatest conductors, he has performed in the Berlin Philharmonie, Leipzig Gewandhaus,
Amsterdam Concertgebouw, Vienna Musikverein and Konzerthaus, and London’s Royal
Albert Hall. He has inaugurated organs from New Zealand to Moscow and the United
States, and he thrilled the National Convention of the American Guild of Organists last
summer with a breathtakingly brilliant memorized recital in Nashville’s Schermerhorn
Symphony Center. At home in England, he serves in the prestigious posts of Birmingham
City Organist; organist of St Margaret’s, Westminster, the parish church of the British House
of Commons; and on the faculty of the Royal Northern College of Music.
Thomas Trotter appears under the exclusive management of Karen McFarlane Artists, Inc.
Save the Date!
December 14, 2013, 7:30 p.m.
The Cathedral of St. Philip
The Atlanta Baroque Orchestra presents
“Spring in Spain”
Sunday, May 5, 2013, 4 p.m.
Roswell Presbyterian Church
755 Mimosa Boulevard
Roswell GA 30075
Pre-concert talk at 3:15 p.m.
For more information, go to atlantabaroque.org
Tickets at atlantabaroque.ticketleap.com
Guest soprano Nell Snaidas sizzles in
this program of Spanish Baroque songs
and dances, accompanied by a small
band of violins, guitars, and percussion.