The Earth and I
The National Presbyterian Church
October 28, 2018 at 5 PM
In the fall of 2013, the Washington Master Chorale released its first recording, “The Earth and I: New American Choral Music,” an exploration of humankind’s relationship with nature which drew its inspiration from a trio of “word paintings” by acclaimed composer Lori Laitman from texts by Emily Dickinson. On the fifth anniversary of that release, we reprise the themes and much of the content of “The Earth and I” to perform works by contemporary North American (Effinger, Finney, Chatman, Laitman, Lauridsen, Mechem) and classical Spanish (De Falla, Granados, Morera) composers. The program selections mine fertile ground: from works that contemplate the cosmos, the elements, aging and spirituality, to one that considers the fate of a fly. New additions to the choral canon, from composers Allison McIntosh (“The True Knowledge”) and Wendy Griffiths (“Stroking the Swan,” “The Fly,” and “The Noise of Water”), will receive world and local premieres, respectively. The centerpiece of the concert is a performance of Spanish composer and pianist Enrique Granados’s rarely-heard, Neo-romantic masterpiece, “Cant de les estrelles” (“Song of the stars”), inspired by the poetry of German Heinrich Heine. Composed for chorus and organ accompanying a virtuosic piano part, the piece was premiered to much acclaim on March 11, 1911 with the composer himself at the keyboard. It was instantly lauded as one of Granados’s finest compositions and unlike his other, more nationalistic works. In spite of its auspicious beginning, however, the piece languished for close to 100 years, mired in squabbles between the publisher and extended family who maintained the rights after Granados’s sudden and tragic death in 1916 when the passenger ferry he and his wife were aboard was torpedoed by a German U-boat. Granados had a profound influence on another Spanish composer represented on today’s program, Manuel de Falla. And finally, lest you think that songs about nature and humankind are inherently serious and philosophical, Artistic Director Thomas Colohan has written two delightful nonsense pieces (“The Cat and the Fiddle” and “There was a Young Woman”) for your (and our) amusement.
A pre-concert discussion with American pianist and Granados expert Douglas Riva and Artistic Director Thomas Colohan will take place at 4:00pm and is free and open to the public.
American pianist Douglas Riva has gained international recognition for his profound knowledge of Spanish music and no less an authority than the distinguished Spanish composer Xavier Montsalvatge has described him as an exceptional pianist. Douglas Riva’s interpretations of the works of Enrique Granados have earned him his reputation as today’s leading exponent of Granados’ piano music. His recordings for Naxos of the complete piano works of Granados, comprising 231works including 102 World Premiere recordings have won worldwide critical acclaim. Douglas Riva is the Assistant Director of the eighteen-volume critical edition of the Complete Works for Piano of Enrique Granados, directed by Alicia de Larrocha and published by Editorial Boileau, Barcelona. In November, 2016 the Complutense University, Madrid, published his critical edition of the complete orchestral works by Granados, including the first publication of 8 works. Mr. Riva recorded one of these works, Elisenda, with the City of Granada Orchestra, directed by Cristóbal Soler, for Deutsche Grammophon. Mr. Riva has performed at the White House, Carnegie Hall, Queen Elizabeth Hall and numerous festivals in Brazil, Spain, Portugal, Holland, and the United States. He gave the first American performance of a newly discovered Scarlatti sonata at the National Gallery of Art, Washington and the world première of Gazebo Dances by John Corigliano. Granados’s long-lost masterpiece Cant de les estrelles for piano solo, organ and choruses was performed for only the second time in history by Douglas Riva and the Voices of Ascension, directed by Dennis Keene in 2007. The Naxos recording of the première performance, Song of the Stars, was nominated for a GRAMMY award. Learn more
Lori Laitman is a critically acclaimed composer of multiple operas and choral works and over 250 songs. Fanfare Magazine described her as “one of the most talented and intriguing of living composers,” and The Journal of Singing wrote “It is difficult to think of anyone before the public today who equals her exceptional gifts for embracing a poetic text and giving it new and deeper life through music.” Her music is widely performed, internationally and throughout the United States and she has been commissioned by many distinguished organizations, among them, Opera America, Opera Colorado, Seattle Opera, The Virginia Choral Society, Music of Remembrance, The Susan B. Anthony Center for Women’s Leadership and The Baltimore Symphony Orchestra. Photo credit, Christian Steiner. Learn more
Allison McIntosh is a Midwest-based composer originally from the Pacific Northwest. She grew up playing the cello and piano, and began studying composition while in college. McIntosh graduated with a Master of Music in composition from the New England Conservatory, where she studied under Michael Gandolfi. She also graduated magna cum laude from Tufts University with a Bachelor of Arts in music. She was the co-director of the Boston concert series Art Made Audible, which pairs new music with visual art. In 2018, McIntosh began a Doctorate of Musical Arts at the University of Kansas. Learn more
Wendy Griffiths has composed chamber works, art songs, rock songs, orchestral works and dance scores. Her concert music has appeared on the Composers Concordance series, at the Merce Cunningham studio, the Manhattan School of Music, the Yale-Norfolk Chamber Music Festival, the Storm King Music Festival, Music Under Construction (of which she is a founding member) and in Stockholm performed by the Acidophilus Ensemble. Her opera “The Quiet American,” was supported by the National Endowment for the Arts and she has received grants from Meet the Composer and the American Music Center. Griffiths recently returned to her musical roots and appears as a keyboard player/singer/bassist with her band Changing Modes (www.changingmodes.com) with whom she has recorded 2 EPs and 4 full-length CDs. Learn more
Enrique Granados (1867—1916) was a pianist and composer and a leader of the movement toward nationalism in late 19th-century Spanish music. Granados made his debut as a pianist at 16. He studied composition in Barcelona with Felipe Pedrell, the father of Spanish nationalism in music. He composed extensively and fluently for the piano, in a somewhat diffuse, Romantic style. The Chorale will perform Granados’ Cant de les estrelles (Song of the Stars), featuring piano, organ, and voice. The piece was premiered on March 11, 1911, with Granados himself on the piano. The poetic text derives from an unknown source, and is entirely in Catalan. Granados was one of the defining composer of the Spanish nationalism movement, and this is one of his finer pieces.
Award-winning conductor Thomas Colohan has been the Artistic Director of the Washington Master Chorale since its founding in 2009. The Washington Post has acclaimed Colohan’s work with the Master Chorale as “skillfully wrought and moving.” He has led choruses at Carnegie Hall, The John F. Kennedy Center for the Performing Arts, Washington National Cathedral, The Library of Congress, Prague’s Rudolphinum Concert Hall, and the Stephansdom in Vienna. The Chorale will perform two new works composed by Maestro Colohan. Photo credit, Rhianna V. Nissen. Learn more
American pianist, Thomas Pandolfi, is an exciting virtuoso who, with each passing season, is becoming more and more sought after by audiences worldwide, and showered with superlatives by critics for his passionate artistry and amazing technique. His remarkably warm and communicative tone uniquely “sings,” projecting the poetry and emotion of whatever he plays—Thomas truly touches the hearts of all who hear him. His virtuosity is breathtaking, and his sense of phrasing and command of style are marvelously convincing.
Hailed as “a lyric soprano of ravishing quality” by the Boston Globe, Laura Choi Stuart has appeared on the mainstage with Boston Lyric Opera, Opera Boston, Annapolis Opera, Lake George Opera, the In Series, and Opera North in roles including Musetta, Adina, Gilda, Pamina, and Frasquita. Highlights of the upcoming season include a return to the Washington National Cathedral as soprano soloist for Handel’s Messiah in December, and as featured soloist in “Bach, Vivaldi & the Italian Influence” presented by the Washington Bach Consort in March 2019. Learn more
Carolyn Forte has performed throughout the D.C. metro area with such groups as the Advent Project, Alexandria Choral Society, St. Luke Festival Choir, Washington Master Chorale, and Washington Summer Sings. Solo concert work includes Handel’s Messiah, Brahms’ Ein Deutsches Requiem, Faure Requiem, and Mozart’s Exultate, jubilate. Carolyn recently sang Barber’s Knoxville: Summer of 1915 with the Kenwood Symphony (Mn.), as a 2017 winner of their Masters’ Concerto and Aria Competition. Her recent opera roles include Magda in Puccini’s La Rondine with Undercroft Opera (Pittsburgh, Pa.), Florencia (cover) in Daniel Catan’s Florencia en el Amazonas with Opera Steamboat (Co.), and Mimi (La Bohème) with the Boulder Symphony. Learn more
Noelle Drewes is a freelance oboe and English horn player in Washington, DC. She plays principal oboe with the Washington DC-based Apollo Orchestra, and is a founding member of the Capital Reeds, a DC-based reed trio. Dr. Drewes maintains a private teaching studio and is a woodwind repair specialist. Ms. Drewes received her Bachelor of Music from Ithaca College in New York, and attended the University of Maryland for graduate school, earning both Master of Music and Doctor of Musical Arts degrees. Learn more
Spencer Adamson’s recent performances include leading roles in local opera houses, including Tonio in Pagliacci, and Alfio in Cavalleria Rusticana. He is regularly heard ministering to the congregation of Mt. Vernon United Methodist Church in Baltimore, MD where he performs sacred and contemporary works during radio-broadcast worship services. Mr. Adamson holds a Bachelor’s degree in Voice Performance from Westminster Choir College, and graduate work at Indiana University, Bloomington.
Birth Dance! Christmas with the Chorale
A mix of time-honored English, French and Spanish carols, hymns and anthems accompanied by brass, percussion and the merry organ. A spirited audience sing-along with Maestro Colohan will put you in a holiday mood.
Paris to London
The National Presbyterian Church
March 3, 2019 5 PM
The 2018-19 season closes with a musical journey between two capitals of western music, Paris and London. Our journey begins in Paris with excerpts from Maurice Duruflé’s luminous Requiem, Op. 9, and works by several of his contemporaries and successors including Louis Vierne, Pierre Villette, and Francis Poulenc. For the second half of the program, we travel to London to present selections from Ralph Vaughan Williams’s rousing In Windsor Forest based on Shakespeare’s “The Merry Wives of Windsor” with music from his opera, Sir John in Love and works by his composition teacher Charles Wood. A highlight of the concert will be the second performance of Washington, DC native and Juilliard student Alistair Coleman’s “I Wandered Lonely as a Cloud,” text by British Poet William Wordsworth. Composed for chorus, piano and string quartet, the piece was premiered at Strathmore Hall during Mr. Coleman’s tenure as Composer-in-Residence of the National Philharmonic Orchestra and Chorale for their 2017-18 season.
For this concert, the Chorale will be joined by the Children’s Chorus of Washington under the artistic direction of Margaret Nomura Clark.
A pre-concert discussion with composer Alistair Coleman and Artistic Director Thomas Colohan will take place at 4:00pm and is free and open to the public.
Alistair Coleman is a young composer from Washington, DC. Recently, he was appointed the Composer-in-Residence of the National Philharmonic Orchestra and Chorale for their 2017-18 season. In this position, he received two commissions from the ensemble that were premiered at Strathmore Hall. His music has been programmed broadly, including commissions and performances by the “The President’s Own” United States Marine Band, Atlantic Music Festival Orchestra, Maryland Classic Youth Orchestra, Houston Brass Band, Washington Master Chorale, Boston University Marsh Chapel Choir, Takoma Ensemble, National Cathedral Choral Society, and musicians from the Baltimore and National Symphonies, New York Philharmonic, and Minnesota Opera Orchestra. With three published works, Alistair is the youngest composer ever published by E.C. Schirmer Music Company in its one-hundred-year history. Photo credit, Sam Siegel. Learn more
Founded in 1995 as a single chorus of 70 children, Children’s Chorus of Washington (CCW) was led for its first 20 years by founder Joan Gregoryk, who established the organization’s reputation for artistic excellence. Over the years, CCW has provided exemplary choral music training to more than 2,500 young people. Now in its 23nd season, CCW has embarked on a new era under the artistic leadership of Margaret Nomura Clark, who continues the mission of providing outstanding choral music education to vocalists ages 5-18 in metropolitan Washington, DC. By emphasizing artistic excellence, personal responsibility, and teamwork, CCW fosters students’ growth as young musicians and leaders. Students learn how to use their singing voice in a healthy and artistic manner, and to read music through the Kodály-based pedagogical approach. Learn more
Hailed as “a lyric soprano of ravishing quality” by the Boston Globe, Laura Choi Stuart has appeared on the mainstage with Boston Lyric Opera, Opera Boston, Annapolis Opera, Lake George Opera, the In Series, and Opera North in roles including Musetta, Adina, Gilda, Pamina, and Frasquita. Highlights of the upcoming season include a return to the Washington National Cathedral as soprano soloist for Handel’s Messiah in December, and as featured soloist in “Bach, Vivaldi & the Italian Influence” presented by the Washington Bach Consort on Sunday, March 10, 2019. Learn more
FRANZ LISZT’S SARDANAPALO
Washington Master Chorale will be featured in the U.S. premiere of Sardanapalo as part of the Library of Congress Concert Series. It is exceptionally rare that we have the opportunity to hear a previously unknown work by a major composer. Scholar and pianist David Trippett has reconstructed one act of an opera composed by Franz Liszt that the composer abandoned in 1852.
April 27, 2019 at 2 PM (Library of Congress)
END OF THE WAR TO END ALL WARS
In addition to our standard season, the Chorale joined the New Orchestra of Washington (NOW) and Music Viva (NY) in two concerts commemorating the end of World War I. The concerts featured works by Ravel, Holst, Radiohead, and a new work by American composer, Joseph Turrin on texts by WWI poets.
November 10, 2018 at 5 PM (Washington, DC)
November 11, 2018 at 5 PM (NYC)
“And Crimson Roses Once Again Be Fair” by Joseph Turrin
Learn more and listen to the performance
“Art is the great democrat, calling forth genius from every sector of society.”
– John F. Kennedy, 35th President of the United States, November 29, 1962.
During the 2017-18 season, the Chorale commemorated a trio of centenaries: the births of composer/conductor Leonard Bernstein and President John F. Kennedy, and the entry of the United States into World War I. Through a new choral commission, concert programming and special events, the Washington Master Chorale’s season of “remembrance” will encourage our audiences to reflect upon the man who was, arguably one of the most important composers of our times, a president whose commitment to the arts remains unparalleled and a war, so devastating, it was to be the war to end all wars.
Youthful Indulgence: Early Masses of Mozart and Martin
The National Presbyterian Church
October 29, 2017 at 5 PM
The Washington Master Chorale opens its 2017-2018 season with a celebration of early works by Wolfgang Amadeus Mozart (1757-1791) and Swiss composer, Frank Martin (1890-1974). While the works have in common a relative immaturity given the ages of the composers, they could not be more different stylistically. Mozart’s Missa Brevis in C major, KV 258 for chorus and chamber orchestra, one of three set in C Major he composed in November and December 1776, is lively, bright and buoyant. By contrast, Martin’s a cappella Mass for Double Chorus is a deeply personal work that the composer kept hidden for 40 years. Sober, modal, influenced by Gregorian plainsong, the Mass was composed in 1922 except the “Agnus Dei” movement which was added in 1926. After its premiere in November 1963 by Franz Brunnert and the Bugenhagen Kantorei of Hamburg, Martin explained why the Mass had remained unseen and unheard for 40 years: “I considered it to be a matter between God and myself,” he wrote. “I felt then that an expression of religious feelings should remain secret and removed from public opinion.”
Also on the program, Mozart’s “Regina Coeli,” KV 276, for soloists, chorus and chamber orchestra. An antiphon in honor of the Virgin Mary, it is the last of three settings of this text by Mozart.
New Joy! Christmas with the Chorale
The holiday season will be celebrated by a pair of holiday concerts, December 3rd and 21st presented at the historic Church of the Epiphany in Washington, DC. Concert goers can look forward to hearing the seldom performed Lauda per la Natività del Signore by Italian neo-classical composer Ottorino Respighi (1879-1936). A cantata for soloists, instrumental ensemble and chorus, Respighi’s pastoral reading of the birth of Christ combines modern harmonies and instrumentation with late-renaissance and early baroque idioms to produce a work that evokes both the mystery and joy of the nativity.
A mix of time-honored carols, hymns and anthems and a spirited audience sing-along with Maestro Colohan will put you in a holiday mood.
Carolyn Forte has performed throughout the D.C. metro area with such groups as the Advent Project, Alexandria Choral Society, St. Luke Festival Choir, Washington Master Chorale, and Washington Summer Sings. Solo concert work includes Handel’s Messiah, Brahms’ Ein Deutsches Requiem, Faure Requiem, and Mozart’s Exultate, jubilate. Carolyn recently sang Barber’s Knoxville: Summer of 1915 with the Kenwood Symphony (Mn.), as a 2017 winner of their Masters’ Concerto and Aria Competition. Her recent opera roles include Magda in Puccini’s La Rondine with Undercroft Opera (Pittsburgh, Pa.), Florencia (cover) in Daniel Catan’s Florencia en el Amazonas with Opera Steamboat (Co.), and Mimi (La Bohème) with the Boulder Symphony.
Hailed as “a lyric soprano of ravishing quality” by the Boston Globe, Laura Choi Stuart has appeared on the mainstage with Boston Lyric Opera, Opera Boston, Annapolis Opera, Lake George Opera, the In Series, and Opera North in roles including Musetta, Adina, Gilda, Pamina, and Frasquita. Highlights of the upcoming season include a return to the Washington National Cathedral as Soprano Soloist for Handel Messiah, B Minor Mass and solo cantata 82a Ich habe genug with Washington Bach Consort, Bach Magnificat and Bruckner Te Deum with Choralis, and Laura’s Washington National Opera debut in the American Opera Initiative 20-minute operas in January.
Hailed by the Washington Post for her “supple, haunting soprano,” Katelyn G. Aungst has soloed with the Washington Bach Consort, the Nashville Symphony Orchestra, and the City Choir of Washington. She was the first soprano Vocal Fellow at the Oregon Bach Festival under Matthew Halls and completed the American Bach Soloists Academy in August 2017. Her choral and chamber experiences include performances with Third Practice, Church Circle Singers, and the choir at Christ Church Georgetown. This spring, she will make her professional debut with the American Bach Soloists and appear as the soprano soloist for the Washington Bach Consort’s St. John Passion.
A native of Laurel, MD, Matthew Hill has performed with Washington National Opera, Wolf Trap Opera, Annapolis Opera, Ohio Light Opera, and Opera Saratoga. Past solo concert work includes Handel’s Messiah, Mozart’s Requiem, Rachmaninoff’s All-Night Vigil, and the Evangelist in J.S. Bach’s St. Matthew Passion. He has won first place in a number of vocal competitions, including both the local and regional rounds of the National Association of Teachers of Singing competitions, the Choralis Young Artist Competition, and the Metropolitan Opera National Council Auditions at the Washington DC District Level, as well as 3rd place in the Mid-Atlantic Regional Metropolitan Opera National Council auditions. Hill received his Bachelor of Music in Vocal Performance from the University of Maryland on a Creative and Performing Arts full scholarship, and recently finished his Master of Music degree in Opera Performance at the University of Maryland.
American Voices: Celebrating the Legacy of Leonard Bernstein
The National Presbyterian Church
March 4, 2018 5 PM
The Washington Master Chorale is among 14 arts organizations partnering with the John F. Kennedy Center for the Performing Arts in honoring the legacy of Leonard Bernstein (1918-1990), Leonard Bernstein at 100. Longtime Washingtonians will remember Bernstein and his relationship to the Kennedy White House, an unprecedented time in modern political history when art and culture took their rightful places at the vanguard of American life. The Chorale will perform Bernstein’s Missa Brevis, a 1988 work based on incidental music he composed for the 1955 Broadway production of “The Lark” starring Julie Harris. In honor of the occasion, the Chorale will perform the world premiere of “To the Thawing Wind” by award winning composer and rising star Joshua Fishbein, from a poem by Robert Frost (1874-1963). Washingtonians will further recall Frost’s recitation of his poem “The Gift Outright,” a history of America in 16 lines of blank verse, at the blustery cold Kennedy Inaugural. A singer and pianist, Fishbein composes vocal and instrumental music and is a Teaching Fellow and PhD candidate (A.B.D.) in Music Composition at UCLA.
The rest of the program is a celebration of American voices in words and music. Noted sopranos Angeli Ferrette and Marlissa Hudson will join the Chorale in a spirited musical journey moving from early American hymns, through iconic works by Aaron Copland, Moses Hogan, Alice Parker, Stephen Paulus and Randall Thompson among others.
A pre-concert lecture on Bernstein and his association with the Kennedy White House will be held at 4pm and is free and open to the public.
Lena Seikaly is a fresh voice on the national jazz scene from Washington, D.C. Named “one of Washington’s preeminent jazz singers” and “brightest voices in jazz” (The Washington Post), as well as a “major league young talent in jazz” by Duke Ellington’s biographer, Dr. John Hasse, Lena is already making her mark as both a revivalist of traditional jazz vocals, as well as an innovator in contemporary vocal jazz styles. She began her training at age four with piano, continued with classical voice in her teens, and went on to complete a B.M. in classical vocal performance at the University of Maryland School of Music. Lena is also very active in the D.C. area as a professional classical mezzo-soprano, a recording artist in varying genres, and arranger, and in 2012 had the unique privilege of being commissioned to arrange a suite of Antonio Carlos Jobim’s music for a 16-piece version of the New Orchestra of Washington, which premiered later that same year. An avid educator, Lena was the jazz vocal instructor at the Duke Ellington School of the Arts during 2008-09, and has lead seasonal workshops at the Strathmore Music Center for aspiring jazz vocalists since 2010. She currently teaches privately, focusing on jazz vocal coaching, style and technique.
American soprano Marlissa Hudson has been described as a “superb lyric coloratura” (St. Louis Post-Dispatch). At home both on the operatic and concert stage, she made her professional debut while a student, performing Summertime from Porgy and Bess with the Baltimore Symphony Pops Orchestra under the baton of Marvin Hamlisch. Recognized as an international concert performer, Marlissa has been featured in Bulgaria and Paraguay, and has collaborated in the U.S. with such esteemed organizations as the Saint Louis Symphony Orchestra, Baltimore Symphony Pops Orchestra, Vocal Essence, the 92nd Street Y, and members of the Arianna Quartet. Marlissa received her formal training at Duke University and the Peabody Institute of Johns Hopkins University, earning awards for music at both schools.
Angeli Ferrette is a native Washingtonian whose career in music began at the tender age of 3 when her mother asked her to sing with her for church services. Her classical training began when she attended the Duke Ellington School of the Arts and, inspired by the voice of the great lyric soprano Leontyne Price, decided to pursue a career in vocal performance. Ms. Ferrette has degrees and certificates from the University of Northern Iowa and The Peabody Conservatory, and is currently an M.B.A. candidate at Trinity University of Washington, DC. She has performed across the US and abroad, appearing in concert, oratorio and opera. Locally,Ms. Ferrette has performed as a concert soloist and recitalist with The Washington Opera, Alexandria Choral Society, the City Choir of Washington, Vocal Arts Society, Aria Club, and the Repertory Opera Theater of Washington. She has received an award for artistic excellence from the National Association of Negro Musicians and was recognized as a Life Time Member from the Coalition for African Americans in the Performing Arts. Ms. Ferrette has been a finalist in several competitions including those sponsored by the Rochester Oratorio Society, Harlem Opera Theater, and the National Association of Negro Musicians, and she was a semi-finalist in the Classical Singer Competition. And music is not her only interest — she is a “fierce feline lover.”
Hail, Gladdening Light: Choral Works from the British Isles
On Sunday, October 30, 2016 at the Church of the Epiphany, the chorale presented a program of sacred and secular works from the British Isles featuring Herbert Howells’ impressionistic Requiem, written in 1932. Originally intended for Boris Ord and the choir of King’s College, King’s never received it, and the piece languished until it was released for performance in 1980, three years before Howells’ death. The women’s voices were spotlighted in several works written by Howells’ close friend Gustav Holst, among them the Rigveda. Indian Sanskrit hymns translated by Holst himself, the Rigveda were likely written between c.1500–1200 BC. The men soloed on Benjamin Britten’s dramatic “Ballad of Lady Barnard and Little Musgrave,” a tale of love and murder that dates to the seventeenth century and was collected by scholar James Francis Child. Other composers on the program included Ralph Vaughan Williams, Charles Wood, James MacMillan, C. Kenneth Turner, and Thomas Tallis.
Comfort and Joy: Christmas with the Washington Master Chorale
On Sunday, December 18, 2016 at the historic Church of the Epiphany, the Washington Master Chorale presented a tasty blend of seasonal treats as we drove away the dark and prepared to usher in a promising new year. There were carols, motets, and hymns by Chorale favorites – Lauridsen, Vaughan Williams, Jacques, Tavener, MacMillan, Pärt, Purcell, Mendelssohn, Willcocks, and more. Of special interest was the Chorale’s performance of two carols by little known, post-WWII Scottish composer Ronald Center (1913-1973). An intensely shy man who lived with his wife, soprano Evelyn Morrison Center, in the rural town of Huntly, Center taught piano to local school children, directed the church choir and played the organ. He rarely allowed his music to be played and at the time of his death in 1973, many of his compositions remained unpublished. Thankfully, we have his Three Nativity Carols, two of which, “There is no Rose” and “Wither’s Rocking Hymn” were performed by the Chorale. In tribute to the late J. Reilly Lewis, the Chorale joined with other Washington-area choruses in honoring the man and his music and performed “Lobet Den Herrn Alle Heiden” by Johann Sebastian Bach. Trumpets, merry organ, high spirits, and bright voices – yours and ours – a joyful afternoon!
Time and Memory
On Sunday March 5, 2017 at the National Presbyterian Church, the Washington Master Chorale presented a meditation on the themes of nostalgia, love, and immortality expressed in both poetry and music. The centerpiece of the concert was the world premiere of Ruminations—a work for soloists, chorus, and chamber ensemble by Pulitzer Prize-winning American composer Jennifer Higdon. Ruminations is based on the poetry of thirteenth-century Persian mystic and poet Jalāl ad-Dīn Muhammad Rūmī. The concert will also featured John Corigliano’s Fern Hill, Dylan Thomas’s poetic evocation of his childhood in Wales; Tarik O’Regan’s Triptych, a memento mori for chorus and strings; and Imant Raminsh’s Songs of Lights, based on Native American texts. There was a 4:00 p.m. pre-concert conversation with Maestro Colohan and Dr. Higdon on the art of bringing poetry to life through music.
Somewhere I Have Never Traveled: New Directions in American Choral Music
On Sunday, October 18 at The National Presbyterian Church, the Washington Master Chorale performed “Modern Romantics,” pairing Morten Lauridsen’s choral cycle Les Chansons Des Roses based on texts of Rainer Maria Rilke with the world premiere of a new work by composer and conductor Julian Wachner. Song selections examined the shift from Romanticism to Modernism through musical settings of Rilke, Christina Rossetti and others, and revealed the connections among poetry, fine art and music.
The program opened with settings of ancient love songs “Song of Solomon” or “Song of Songs” from the Hebrew scriptures and Wachner’s “Arise My Love” for organ and chorus. Excerpts from his Rilke Songs and Jennifer Higdon’s stunning setting of e.e. cummings’s “somewhere i have never traveled” followed. The chorus closed the first half with Morten Lauridsen’s choral cycle “Les Chansons des Roses.” The second half featured settings of love poetry by Samuel Barber and Norman Dello Joio, and concluded with the premiere of the new work by Julian Wachner, a 10-15 minute multi movement choral work drawn from the secular texts of Christina Rossetti and modeled on Francis Poulenc’s chamber instrumental works.
On Sunday, December 20 at The Church of the Epiphany, we ushered in the holiday season with “Noel! Noel!” — a delightful program of seasonal classics, both old and new — including works by Heitzeg, Willan, Mathias, Rheinberger, Vaughan Williams, Howells, Lauridsen, Mechem, Paulus, Poulenc, etc. A highlight of the program was the world premiere of a new choral work by Russell Nadel on a text by Sara Teasdale. Nadel’s compositions have been premiered by a number of notable groups, including the distinguished Vancouver Chamber Choir. A spirited audience sing along with Maestro Colohan and the Chorale rounded out the festive afternoon.
On Sunday, March 6 at The National Presbyterian Church, the Chorale presented “Song of the Beloved,” featuring Gabriel Fauré’s moving Requiem, Op. 48 in its elegant original chamber orchestra instrumentation, along with the world premiere of Song of the Beloved, a choral cantata for soprano and tenor soloists, chorus, and strings, by renowned composer Robert Kyr.
Kyr’s commission was made possible by a generous gift from the Fetzer Institute whose work reflects a belief in the transformative power of love and forgiveness. Texts were drawn from such disparate sources as Sappho, Emily Dickinson, Walt Whitman, Sir Philip Sidney, Vietnamese poet Thich Nhat Hanh, East Indian Rabindranath Tagore, and others.
Robert Kyr’s music has been performed widely around the world and he has been commissioned by numerous ensembles, including Chanticleer, Cantus (Minneapolis), San Francisco Symphony Chorus, New England Philharmonic, Conspirare, Oregon Symphony, Yale Symphony Orchestra, Cleveland Chamber Symphony), and the Moscow State Chamber Choir (Russia) among others.
On October 5, 2014, we opened our 5th season with a tribute to the celebrated American composer and conductor Leonard Bernstein. Appearing as special guests on the program were the Children’s Chorus of Washington and NPR’s Nina Totenberg.
“A Choral Tribute to Leonard Berstein” included both beloved and rarely heard choral works by Bernstein, including his 1946 Hashkiveinu for chorus and organ, the French and Latin Choruses from The Lark with narration by Ms. Totenberg, and his 1989 Missa Brevis, based on those choruses. We also presented excerpts from Candide and his Mass of 1971. In this our anniversary year, we marked the 50th Anniversary of the Chichester Psalms, Bernstein’s 1965 choral masterpiece in the setting for organ, harp, and percussion.
A pre-concert discussion was held at 3:00pm, moderated by Mark Eden Horowitz, Senior Music Specialist and Curator of the Leonard Bernstein Collection at the Library of Congress. He was joined by Norman Scribner, Founder and Artistic Conductor Emeritus of the Choral Arts Society of Washington; Michael Slon, Director of Choral Programs at the University of Virginia; and, Alicia Kopfstein-Penk, Author of “Leonard Bernstein and his Young People’s Concerts.” Reproductions of holdings from the Library’s extensive Leonard Bernstein Collection were on display, including facsimiles of original manuscripts, photographs, and letters. The concert was reviewed by Anne Midgette of The Washington Post on October 6 <read the review online>
December 11-13, 2014, marked the Chorale’s first appearance with the National Symphony as part of its Holiday Pops Concerts. Mentioned in the DC Metro Theater Arts review — “The best combination came early, when the haunting vocals of Schubert’s Ave Maria (provided by the third component of the performance, the Washington Master Chorale) were paired with aerialist Christine van Loo’s triumphant silks choreography.” <read the review online>
On December 14 and 22, 2014, the Chorale presented its winter concerts at the historic National City Christian Church. “Peace and Grace” explored the relationship between peace within oneself and the pursuit of peace in the global community. The concerts featured Kirke Mechem’s moving anthem to global peace Island in Space and the world premiere of a new Gloria by composer Scott Humburg. The programs also included time-honored carols and anthems including Franz Biebl’s Ave Maria, selections from Ralph Vaughan Williams’s Hodie and other seasonal works.
On February 19-21, 2015, the Chorale made its second appearance with the National Symphony in Ravel’s Daphnis et Chloé, conducted by Matthias Pintscher. The Chorale’s performance was singled out in The Washington Post review by Anne Midgette — “Deserving of praise was the Washington Master Chorale, which was only founded in 2010 and which mustered a warm sound in the choral parts that helped unify this piece and make it a highlight of the evening.” <read the review online>
On March 8 and 15, 2015, we marked the 100th Anniversary of the world premiere of the Sergei Rachmaninoff’s All Night Vigil, Op. 37 in a program entitled, “Rachmaninoff Vespers at 100.” The Chorale performed this luminous and spiritual sixty-five minute without intermission. A pre-concert conversation took place between Maestro Colohan and Peter Jermihov, an internationally recognized specialist in Russian music and Orthodox liturgical music prior to the March 8 concert.
The 2013-2014 concert season will begin on October 20 with a contemplative program featuring the Mass in G Minor by Ralph Vaughan Williams, along with a pioneering American masterpiece of the 20th century, Charles Ives’ Psalm 90 for organ and chorus. “Wisdom and Eternity” will also include excerpts from Heitor Villa-Lobos’ rarely performed Bendita Sabedoria, a six-movement suite for a cappella chorus, as well as Vaughan Williams’ own magnificent Psalm 90.
In December the Chorale will present works for winter and the holidays, including Poulenc’s hauntingly beautiful Soir de Neige, written in 1944, and Herbert Howells’ brilliant carol-anthem Long, Long Ago, written in 1950. “A Winter’s Night” will also feature debut performances by the Chorale’s new assistant conductors, Rachel Carlson and C. Paul Heins, our annual carol sing-along, and the world premiere of a new six-movement Christmas work for harp and chorus by composer and conductor Donald McCullough.
The Chorale returns to The National Presbyterian Church on March 2, 2014, presenting “Perpetual Light,” a meditation on death and eternity. Thematically, all works presented are connected by the comforting notion of a peaceable afterlife of eternal rest. Yet the music and texts can be also be understood secularly as timeless connections between music and humanity. The centerpiece of the concert is Maurice Duruflé’s 1948 masterpiece, Requiem Op. 9, featuring organist, Paul Skevington and mezzo-soprano soloists, Melissa Kornacki.
In June 2014, the Washington Master Chorale will be a featured performing ensemble for Voices of Our Nation — a week-long celebration of America’s choral tradition.
“Given the high level of quality of choruses to choose from in Washington and Chorus America’s rigorous standards, it is an honor to be selected as a featured ensemble for the 2014 conference. We look forward to sharing our passion for choral art with our friends and colleagues in the profession,” said Thomas Colohan, WMC’s Artistic Director.
During this festival — a partnership between Chorus America and the John F. Kennedy Center for the Performing Arts—the Chorale will additionally perform in the “kick-off” event on June 9 (which will be held at a variety of venues throughout the city) and the festival’s culminating concert on June 14.
“… music is a spiritual food for which there is no substitute…” — Zoltán Kodály
We began our fourth season with a moving tribute to moral courage exemplified by Zoltán Kodály’s sublime masterpiece Missa Brevis, for organ and chorus. Zoltán Kodály was not only a great Hungarian composer and educator, he was also a courageous public figure of the 20th century. Indeed, courage and spiritual nourishment are at the core of his 1944 masterpiece Missa Brevis, composed for chorus and organ while he was in hiding with his Jewish wife during the Nazi occupation of Hungary in WWII. The piece was premiered in the cloakroom of the Budapest Opera House during the Russian bombardment of Nazi positions in Budapest in February of 1945. In the midst of the Holocaust, the 60 year-old Kodály sought comfort in a choral form rooted in a spiritual meal. The notion of the liturgy as a meal lies at the heart of both the Western Roman Mass and the Eastern Liturgy of St John Chrysostom. And both liturgies have their ritual roots in the Jewish tradition of the Passover meal.
The Mystical Supper: Sacred Food amid Spiritual Famine will be performed on Sunday, October 14, 2012 at 4pm in the magnificent nave of The National Presbyterian Church in Washington, DC. In addition to Kodály’s stirring masterpiece, the Chorale will perform a cappella motets from the Russian Orthodox tradition, including works by Rachmaninoff, Tchaikovsky, Gretchaninoff, and others. To contextualize this profound, compassionate and ultimately exultant music, a pre-concert moderated panel discussion of music scholars and historians is planned.
The Chorale will “drive the cold winter away” with a seasonal blend of reverence and merriment in two performances of Noel! Noel! The concerts will feature Stephen Paulus’s Nativity Carols, ancient carol texts set for oboe, harp, and chorus, as well as Steve Heitzig’s hauntingly evocative little tree from a text by e.e cummings. The program will include several holiday favorites and audiences can lift their voices in song with a spirited sing-along led by Maestro Colohan. The first performance of Noel! Noel! will be presented on December 16 at 4pm in the beautiful acoustic of Bradley Hills Presbyterian Church. The program will be repeated on December 23rd at 4pm in the exquisite surroundings of one of Washington’s architectural masterpieces – John Russell Pope’s National City Christian Church.
Our season will conclude on March 3, 2013 at 4pm with a return to The National Presbyterian Church. The Splendid Silent Sun, taken from a text by poet Walt Whitman, will explore the contrasting and transcendent themes of light and dark, finite and infinite, nature and man as seen through the eyes of some of America’s most celebrated poets and composers. The centerpiece will be the premiere of an exciting new work by composer and conductor Donald McCullough, commissioned by the WMC in partnership with Words&Music, Inc., a Virginia-based vocal chamber music ensemble. Other featured composers will include Daniel Pinkham, Cecil Effinger and Adolphus Hailstork.
We hope you will join us for a season of unforgettable performances that promises to affect both the head and the heart.
We began our third season with great excitement, reaching into the treasure trove of American repertoire, as we prepared for a day in celebration of the glory of the human voice with choral great, Alice Parker. On October 2, 2011, at 1:30pm, we offered a unique opportunity to “learn from the master” as we presented a Choral Workshop with Alice Parker. Leading up the to concert, Till the Vaults of Heaven Ring, at 5:00pm, Parker will also led a Community Sing for all ticket holders. The concert featured classic compositions original arrangements and by Parker, as well as arrangements created with her long time collaborator Robert Shaw. The program also included works of Ron Nelson and Moses Hogan, as well as newer arrangements by rising composer Kevin Siegfried.
On December 18 at 4:00pm, we presented our first winter holiday concert, The Pleasure of the Fleeting Year, in the beautiful acoustic of Bradley Hills Presbyterian Church in Bethesda, Maryland. The concert featured the world premiere of Lori Laitman’s choral cycle “The Earth and I,” on poetry by Emily Dickinson. The program also included winter songs, rare and beautiful carol arrangements, and traditional holiday favorites.
In the Spring, we celebrated small masterpieces of the French choral tradition with, The Ravishing Hour, returning to The National Presbyterian Church on March 18 at 4:00pm, and at St. Luke Catholic Church in McLean, Virginia on April 22 at 4:00pm. The concerts highlighted well known and rarely heard gems of the impressionist and modern repertoire, including Lili Boulanger’s “Soir Sur La Plaine” and excerpts from Maurice Duruflé’s Quatre Motets sur des thèmes grégoriens. The programs also featured art songs by Debussy and appearances by guest artist Paul Skevington who accompaned the Chorale in dramatic works for organ and chorus.
Join us as we explore these rich traditions and pay tribute to the choral ancestry that has influenced and shaped the American music we love today.
American choral music today is deeply rooted in both the choral traditions of Europe and in music of colonial America. In particular the German Romantic choral tradition and the English Choral Revival of the late 19th century played strong roles in shaping the consciousness of American choral art.
Romantic Classics: Mendelssohn, Bruckner, Brahms
The German choral tradition was first brought to the United States by the waves of German immigrants who began coming to America in the first half of the 19th century. These groups established singing societies in major cities throughout the United States, and they sang a variety of choral music from part songs to classical masterworks. Democratic ideals were embedded in these societies in both Germany and America, and these guiding principles continue to animate independent American choruses to this day.
We celebrated this legacy October 24th at The National Presbyterian Church in Washington and October 31st at Saint Luke Catholic Church in McLean, Virginia, as we reveled in the lush choral motets and part-songs of Rheinberger, Schumann, Mendelssohn, Bruckner, and Brahms, as well as a complete performance of Brahms’s spirited Zigeunerlieder.
British Masterpieces: Jewels from the English Choral Revival
The European choral tradition most linguistically close to our own with a concert of English choral masterpieces. English church music experienced a remarkable revival in the latter half of the 19th century. This revival extended to the United States via the Episcopal Church, the primary source of Anglican Church music in this country. The excellence and rigor of the choral training received in this tradition has been transferred through organists, choirmasters, and choristers for nearly two centuries, and it has informed choral excellence at the highest levels of music making throughout the United States.
On March 20, we paid tribute to this great tradition with a program at The National Presbyterian Church, comprised of some of the most treasured and timeless choral works of Holst, Stanford, and others, as well as lesser-known but equally exquisite secular works by the beloved English masters Benjamin Britten and Ralph Vaughan Williams.
Inaugural Season: Mid-Century Modern
We launched our inaugural season with a program of remarkably beautiful middle and late 20th-century choral works in two fine examples of mid-century architecture, The National Presbyterian Church and The John F. Kennedy Center for the Performing Arts. The sense and spirit of this music and these venues are intimately intertwined, and they are the perfect places to begin our endeavor. The second half of the 20th-century saw a great blossoming of choral music in America, from the emergence of the great choral singing schools and the appearance of graduate choral conducting programs to the overall rise in choral excellence and the founding of major professional choral groups and associations.
While we as a chorus will sing music from many backgrounds, in light of our mission of advancing American choral excellence our first two appearances will be devoted principally to American choral music. We have invited distinguished American composer Morten Lauridsen to join us for our inaugural concert to highlight both his excellent contribution to the choral art, as well as our commitment to the creation of new choral music.
As with our current season, future seasons will feature concerts in architecturally-significant settings that are historically and culturally linked to the repertoire on each program. As we explore the many beautiful concert spaces throughout the city, The National Presbyterian Church will continue to serve as our home venue.
Winter Into Spring: Choral Music for a Time of Transition
On February 28, 2010, the Washington Master Chorale presented a 20th-century program of choral works on themes of transition and transformation. The music touched on notions of both metaphoric and literal winter and spring, and the transition between the two. The program included selections from Poulenc’s Quatre Motets pour un temps de Penitence, Hindemith’s Six Chansons, as well as the music of Pablo Casals and distinguished American composers Aaron Copland, Morten Lauridsen, Adolphus Hailstork, Ross Lee Finney, and Kirke Mechem.
There was a particular emphasis on Morten Lauridsen’s remarkable early works, which are distinct in style from his later, better-known output. Alongside his first choral cycle, Mid-Winter Songs, we presented his solo vocal cycle, A Winter Come. We were honored to have Mr. Lauridsen with us for our inaugural concert.
Choral Workshop with Morten Lauridsen
Prior to the inaugural concert, distinguished composer and 2007 National Medal of Arts recipient Morten Lauridsen led an interactive workshop exploring his most well-known compositions. Singers and conductors of all levels and voice parts were in attendance while Lauridsen shared his insights on composing and singing, and discuss the inspirations behind six of his most beloved works:
- Dirait-On and Contre Qui, Rose from Les Chansons des Roses
- Se Per Havervi, Oime from Madrigali
- Agnus Dei from Lux Aeterna
- Sure on this Shining Night from Nocturnes
- O Magnum Mysterium