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.

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)

II. Aria & Chorale Samantha Puckett, alto; Timothy Gunter, bass-baritone [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.

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)

III. Recitative Timothy Gunter, bass-baritone 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!

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 Megan Brunning, soprano

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!

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.

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)

VI. Recitative Ben Thomas, tenor 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!

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

VII. Aria Samantha Puckett, alto; Ben Thomas, tenor 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.

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

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.

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 donec ponam inimicos tuos scabellum pedum tuorum.

The Lord said unto my Lord: Sit at my right hand until I make your enemies your footstool.

Words: Psalm 110:1

II. Aria Amy Chastain, mezzo soprano Virgam virtutis tuae emittet Dominums ex Sion: dominare in medio inimicorum tuorum.

The sceptre of your power the Lord shall send forth from Zion: Rule thou in the midst of your enemies.

Words: Psalm 110:2

III. Aria Megan Brunning, soprano Tecum principium in die virtutis tuae, in splendoribus sanctorum ex utero ante luciferum genui te.

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.

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, confregit in die irae suae reges.

The Lord at your right hand 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 Gloria Patri, et Filio, et Spiritui Sancto. Sicut erat in principio, et nunc, et semper, et in saecula saeculorum. Amen.

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.

Words: Gloria Patri

The Cathedral Schola

“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.

Words: Revelation 5:12-14

The Cathedral Choir 3

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 Julie Andrijeski, concertmaster

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

Cello 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

Bass Martha Bishop

Violone, San Pédro, 2007, after 17th- & 18th-century examples; baroque bow by Ralph Ashmead

Oboe Debra Nagy, principal

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 Daniel Pyle

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

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.

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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

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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-Ludwigs-Universität 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

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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.

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.

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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) 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

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) Ian Hare, “Toccata” from Tryptych Charles-Marie Widor, Movements from Symphony No. 3 in E minor, Op. 13,

No. 3 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

Palm Sunday, March 24, 2013 4:00 p.m., A Meditation on the Passion of Christ, with Carols,

Cathedral Schola 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

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 Choir

Herbert Howells, Te Deum (Collegium Regale) Orlando di Lasso, Surgens Jesu

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

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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) 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 & All Choristers Bernard Rose, Preces & Responses Herbert Howells, St. Paul’s Cathedral Edgar Bainton, And I saw a new heaven Roland Martin,”Easter” from Such Glorious Gifts

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)

4:00 p.m., Choral Evensong, Cathedral Choir Richard Shephard, Preces & Responses Sir David Willcocks, All Saints’, Beverly Hills Roland Martin, “Whitsunday” from Such Glorious Gifts Morten Lauridsen, “Veni Sancte Spiritus” from Lux Aeterna

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

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The Cathedral Choir England Pilgrimage 2013 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.

Canterbury Cathedral

August 12-18

St. Paul’s Cathedral

August 5-11

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.