with Organ,

Carillon & Peal Bells

CATHEDRAL�CHORAL�SOCIETYat�Washington�National�Cathedral

1� When�in�our�music�God�is�glorified

2� Ye�watchers�and�ye�holy�ones

3� A�mighty�fortress�is�our�God

4 Where�cross�the�crowded�ways�of�life

5� O�sacred�head,�sore�wounded

6� All�glory,�laud�and�honor

7� Abide�with�me;�fast�falls�the�eventide

8� My�shepherd�will�supply�my�need

9� Come,�ye�thankful�people,�come

10� Let�all�mortal�flesh�keep�silence

11� Rock�of�ages,�cleft�for�me

12� Praise,�my�soul,�the�King�of�heaven

13� Come,�risen�Lord

14� Carillon�hymn:�St. Peter

15� Eternal�Father,�strong�to�save�

50thAnniversaryPhoto byMortonBroffman

16� Amazing�grace!�how�sweet�the�sound

17� Holy,�holy,�holy!�Lord�God�Almighty

18� Nearer,�my�God,�to�thee

19� Dear�Lord�and�Father�of�mankind

20� In�Christ�there�is�no�East�or�West

21� Were�you�there?

22� Crown�Him�with�many�crowns

23� Word�of�God,�come�down�on�earth

24� The�Church’s�one�foundation

25� God�of�our�fathers

26� Father,�in�thy�gracious�keeping

27� Peal�Bells

This recording made possible in part by grants from

Mr. & Mrs. Richard W. Hynson, & an anonymous donor.

The Gothic Catalogwww.gothic-catalog.com G-49112

Cathedral�Choral�Society

The Cathedral Choral Society joined the Washington musical scene in

1941 as the resident symphonic chorus of Washington National

Cathedral. Dr. Paul Callaway, founder and music director from 1941 until

1984, conducted its first performance, the Verdi Requiem, the following

spring. Since 1985, Dr. J. Reilly Lewis has conducted the Society, frequently

with members of the National Symphony Orchestra, in musical masterpieces

of Renaissance to contemporary composers. In its 58-year history, the

Cathedral Choral Society has performed twenty world premieres and has

served as a showcase for young vocal artists, many of whom have gone on to

major careers. In addition to concerts at Washington National Cathedral, the

chorus has performed at Constitution Hall, on the Washington Performing Arts

Society’s series at the Kennedy Center, and on nationwide radio and television.

It has appeared before prestigious visiting groups and frequently joins with

other musical groups in festival services at the Cathedral. During its 50th

Anniversary 1991-1992 season, the Choral Society produced an historical doc-

umentary, “Music In A Grand Space,” for public television, and in 1997, also

for PBS, performed nationally in A Cathedral Christmas with Denyce Graves,

which is available on compact disc and videocassette. Other recordings by the

Cathedral Choral Society, in addition to its tradi-

tional Joy of Christmas concert, include the 1994

North American premiere performance of the

Berlioz Messe Solennelle, the 1995 performance of

Dave Brubeck’s oratorio To Hope! A Celebration,

and a Russian choral music classic, Millennium.

J.�Reilly�Lewis has been music director of the

Cathedral Choral Society since 1985. Raised in

Washington, Dr. Lewis began his career as a

Photo byWalter

Smalling,Jr.

2 3

5

Washington�National�Cathedral

George Washington is frequently

credited with suggesting a “great

church for national purposes in the capital

city.” Such a church was sited in Pierre

L’Enfant’s original plan for the city of

Washington, but it was nearly a century

before Congress granted a charter in 1893

creating the Protestant Episcopal Cathedral

Foundation. Five years later, the present site

was selected on Mt. St. Alban, the highest

point of land in the city. President Theodore

Roosevelt spoke at the laying of the

foundation stone in 1907.

Construction continued through two

world wars and the Depression, and in 1964

the central tower was completed. It took 12

more years before the nave was dedicated in

1976 in a series of services involving the

President of the United States, the Queen of

England and the Archbishop of Canterbury,

among other dignitaries. With placement of

the final finial on the second of the two west

front towers, 83 years of building ended,

and the completed Cathedral was

consecrated on September 29, 1990.

Photo by Ken Cox4

member of the Cathedral Junior Boys Choir under the direction of Richard

W. Dirksen. He received his B.A. from Oberlin College and his master’s

and doctorate from the Juilliard School. While at Oberlin, Dr. Lewis was the

first-prize winner of the National Organ Playing Competition. His teachers

include Nadia Boulanger, Anthony Newman, and Albert Fuller. As a

Fulbright Scholar, Dr. Lewis spent a year in Germany doing specialized

study of the music of Bach with Helmut Walcha. Upon his return to the

Washington area, he was assistant staff pianist with the National Symphony

Orchestra under Antal Dorati and served for ten years as keyboard artist and

later associate conductor of the Handel Festival Orchestra at the Kennedy

Center. He has performed on harpsichord or organ with the Mostly Mozart

Festival, the Smithsonian Chamber Players, the Aspen Music Festival, and

the New Music Festival in Cologne, Germany. He is also music director and

founder of the Washington Bach Consort, the only American choral group

invited to participate in the 1985 Bach Tercentenary Festival at Leipzig.

Organist Nicholas�White,�a native of London, held his first organist and

choirmaster position at the age of fifteen and went on to become organ

scholar at Clare College, Cambridge. In 1994, following musical tenures in

Texas and New York State, he served from 1994-1998 as assistant organist

and choirmaster at Washington National Cathedral, where he also was key-

board artist with the Cathedral Choral Society.

Edward� Nassor is Cathedral Carillonneur and the Director-

Carillonneur of The Netherlands Carillon in Arlington, Virginia. As a

Fulbright Scholar to the Netherlands, he specialized in campanology, the

study of bells. His performances have been featured on all the major televi-

sion networks.

The Washington�Ringing�Society�closes this recording with a ring of

the great Peal Bells of the Cathedral, one of only two such sets in America.

7

Hymns�Through�the�CenturiesThe following notes, unless otherwise attributed, are based on three principal sources: Guide to the Pilgrim

Hymnal, copyright 1966, The United Church Press, by Albert C. Ronander and Ethel K. Porter, The Hymnal

1940 Companion and The Hymnal 1982 Companion, copyright 1949 and 1990, respectively, by The Church

Pension Fund, and prepared by the Joint Commission on the Revision of the Hymnal of the Protestant

Episcopal Church in the United States of America. Dr. Leonard W. Ellinwood, the noted hymnologist and

Library of Congress musicologist, was a member of that Commission and the principal editor of The Hymnal

1940 Companion. He also was a longtime singing member of the Cathedral Choral Society and author of its

program notes for nearly four decades.

When�in�our�music�God�is�glorified�(Engelberg) 20th�c.

Liverpool native Frederick Pratt Green (b. 1903) wrote this text in 1972 for use

with the tune Engelberg, which was com-

posed originally in 1906 by Charles Villiers

Stanford (1852-1924) for the text, “For all the

saints who from their labors rest.” It was

eclipsed by Ralph Vaughan Williams’ tune

Sine Nomine. Both hymns represent an ideal

marriage of 20th century texts and tunes.

Ye�watchers�and�ye�holy�ones�

(Lasst uns erfreuen) 17th�c.

This antiphonal song of praise, written in

1906 by John Athelstan Riley (1858-1945),

was set to the tune Lasst uns erfreuen, a

melody from Auserlesene Catholische

Geistliche Kirchengesäng, published in

Cologne in 1623. One of the leading figures

in the preparation of the English Hymnal 1906, Riley had travelled extensive-

ly in Persia, Turkey, and Kurdistan, which influenced his use of many phras-

es from ancient Greek liturgies in this text.6

Built in the same manner as medieval Gothic churches, stone-on-stonewith no structural steel, the Cathedral is the sixth largest in the world, the sec-ond largest in this country. It is built in the shape of a cross 518 feet inlength—about one-tenth of a mile—and contains 215 stained glass windows.The top of its Gloria in Excelsis central tower rises 301 feet above the groundand is 675 feet above sea level, by far the highest point in the city. While the

first design was by English architects GeorgeBodley and Henry Vaughan, American PhilipHubert Frohman was its prime architect, takingover the design in 1921 and working until hisdeath in 1972. Popularly and officially calledWashington National Cathedral, it fulfills its“national” character through services for manynational, civic, and government occasions,including celebration for the swearing in of apresident, thanksgiving for the release ofhostages, and mourning for the death of a leader.

Truly a house of worship for all people, theCathedral construction was financed entirelyby individuals, without a penny of church orgovernment money. Its operation and main-ten-ance are similarly funded. The Cathedral’secclesiastical name is the Cathedral Church ofSaint Peter and Saint Paul, and as such it is theseat of the Episcopal bishop of Washington andof the presiding bishop of the EpiscopalChurch, U.S.A. In addition to fifteen hundred

daily worship services conducted each year from the Episcopal Book ofCommon Prayer, there are services for other denominations as well. TheCathedral is open to visitors and worshippers of all faiths.

Photo byKenneth

Cobb

9

O�sacred�head,�sore�wounded�(Passion Chorale) 12th�c.�or�13th�c.

The origin of this hymn is the poem Salve mundi salutare, which scholars

date variously from the early 12th century to the 13th century. The poem was

passed from Latin, to German, to English and was proclaimed by three

faiths—Catholic, Lutheran, and Reformed. Robert Seymour Bridges (1844-

1930) made this 1899 translation of Paul Gerhardt’s (1607-1676) German

text, which is based on the last part of the poem, “Salve caput cruentatum.”

In 1647, Johann Crüger (1598-1662) coupled the text to the music of a 17th

century German love song written by Hans Leo Hassler (1564-1612). But it

was Johann Sebastian Bach (1685-1750) who would immortalize the

Crüger/Gerhardt hymn by including it in both Passion settings, several can-

tatas and even the opening and closing of his Christmas Oratorio.

All�glory,�laud,�and�honor�(St. Theodulph) 9th�c.

Legend recalls that Bishop Theodulph of

Orleans (d. 821), a leading intellectual in

Charlemagne’s court, composed this hymn

from prison on Palm Sunday and conducted

its performance from the window of his cell as

Charlemagne’s son and successor, Louis I,

and his court rode past on their way to the

cathedral at Angers. Although Theodulph had

been accused of conspiring against the king,

the hymn so impressed Louis, according to

the story, that he ordered the bishop’s immedi-

ate release. John Mason Neale’s (1818-1866)

translation was set to the tune Valet will ich

dir geben by Melchior Teschner (1584-1635) at Leipzig in 1615 and was har-

monized by William Henry Monk (1823-1889).8

A�mighty�fortress�is�our�God�

(Ein feste Burg) 16th�c.

Martin Luther (1483-1546) wrote both

text and music of this “Battle Hymn of

the Reformation,” probably published in

1529. The text, a paraphrase of Psalm 46,

was translated by Frederic Henry Hedge

(1805-1890) into English, one of nearly

200 languages in which the hymn

appears. Scholars believe Luther based

the music, Ein feste Burg, on a 12th cen-

tury troubadour song.

Where�cross�the�crowded�ways�of�life

(Gardiner)�20th�c.

Frank Mason North (1850-1935) wrote

this hymn at the request of Caleb T.

Winchester, who was preparing the

Methodist Hymnal of 1905. Based on a

sermon preached by Dr. North that

reflected his deep interest in mission, the

text depicts scenes found in large cities.

William Gardiner (1770-1853) credits the

tune, which bears his name and which

first appeared in Sacred Melodies, 1815,

to being “somewhere in Beethoven, but

where I cannot point out.” The Allegretto

ma non troppo of Beethoven’s Piano

Trio, Opus 70, No. 2, written in 1808, would appear to be the source.

11

Castle, prompted the tune name. The descant is by Craig Sellar Lang (1891-

1971).

Let�all�mortal�flesh�keep�silence�(Picardy) 5th�c.

This “cherubic hymn” from the Liturgy of St. James of Jerusalem, para-

phrased by Gerard Moultrie (1829-1885), was used in the Eastern Orthodox

churches possibly as early as the 5th century. The melody is named for

Picardy, formerly a province in northern France, and is a traditional

“romancero” of the 17th century, first recorded in Julien Tiersot’s Mélodies

in 1887.

Rock�of�ages,�cleft�for�me�(Toplady) 18th�c.

Tenor: D.C. Washington

Written by Augustus Montague Toplady

(1740-1778) in 1776, the words appeared in

Gospel Magazine at the end of an article of

“…questions and answers relative to the

National Debt,” in which Toplady compared

the size of the national debt with the enormity

of man’s sins, contending that neither could

ever be paid off by human effort alone.

The tune originally was called Rock of Ages;

Devotion when composed for the text by

Thomas Hastings (1784-1872) in Spiritual

Songs for Social Worship published in Utica,

New York in 1833, edited by Hastings and

Lowell Mason. The rhythm was altered and

the name changed to Toplady, in Mason’s

Sabbath Hymn and Tune Book, 1859.10

Abide�with�me:�fast�falls�the�eventide�(Eventide) 19th�c.

The text is believed written in 1820 by a young clergyman, Henry Francis

Lyte (1793-1847), after visiting the bedside of a dying friend, who kept

repeating the phrase “abide with me.” Lyte also composed music for his

text, but the tune Eventide, by William Henry

Monk, has been firmly associated with this

hymn since 1861. Monk’s widow said it was

written at a time of great sorrow after she and

her husband had been watching “the glories of

the setting sun.” Although most frequently

associated with funerals and the close of day,

this hymn traditionally is sung by the great sta-

dium crowds awaiting the start of The Cup Tie,

Britain’s annual football championship.

My�shepherd�will�supply�my�need

(Resignation) 19th�c.

Soprano: Barbara Van Woerkom

This paraphrase by Isaac Watts (1674-1748) of the

23rd Psalm was originally sung to a tune named

Hopewell in the 1828 edition of Beauties of Harmony. The tune Resignation is

an American folk melody, which first appeared in The Southern Harmony pub-

lished in Philadelphia in 1854. David Hurd (b. 1950) made the present arrange-

ment for The Hymnal 1982.

Come,�ye�thankful�people,�come�(St. George’s, Windsor) 19th�c.

This English harvest hymn, written in 1844 by Henry Alford (1810-1871),

was set to a tune composed in 1858 by Sir George Job Elvey (1816-1893),

whose 47-year association as organist of St. George’s Chapel, Windsor

12

Praise,�my�soul,�the�King�of�heaven�

(Lauda anima) 19th�c.

First published in Henry Francis Lyte’s Spirit of

the Psalms, 1834, the words of this hymn are the

second of two paraphrases of Psalm 103, Benedic,

anima mea and were written by Lyte for his fish-

ing village congregation at Lower Brixham,

Devon-shire. Sir John Goss (1800-1880) com-

posed the music for the text, and it first appeared

in 1869 in the third edition of Robert Brown-

Borthwick’s Supplemental Hymn and Tune Book.

The descant is by Craig Sellar Lang (1891-1971).

Come,�risen�Lord�(Rosedale) 20th�c.

Dr. Leo Sowerby (1895-1968), founder and dean,

from 1962 to 1968, of the College of Church

Musicians at Washington National Cathedral, com-

posed this hymn for the 1964 dedication of the Gloria in Excelsis Tower, the

central tower of the Cathedral. The text is by George Wallace Briggs (1875-

1959). The tune bears the name of the 18th century Georgetown home of

General Uriah Forrest, a hero of the Revolutionary War Battle of Germantown.

Dr. Sowerby lived at “Rosedale” during his tenure at the Cathedral.

Carillon�hymn:�(St. Peter) 19th�c.

Composed by Alexander Robert Reinagle (1799-1877) and first published

in 1836 in his Psalm Tunes for the Voice and Piano Forte, this hymn was

also known as Christ Church. It appeared in a later Reinagle publication,

Collection of Psalm & Hymn Tunes, 1840, under the name St. Peter, the

name of the church in Oxford where the composer was organist.13

Eternal�Father,�strong�to�save�(Melita) 19th�c.

Written by William Whiting (1825-1878) in 1860 and

popularly known as the “Navy Hymn,” the text was set

to music composed by John Bacchus Dykes (1823-

1876) in 1861. The name Melita is taken from the

Island of Malta, where St. John was shipwrecked

(Acts 28:1). Every service at the U.S. Naval Academy

at Annapolis and The Navy Chapel in Washington

closes with the first stanza of this hymn, which also

was played at the funerals of presidents Franklin D.

Roosevelt and John F. Kennedy, both with strong

Navy associations.

Amazing�grace!�how�sweet�the�sound�

(New Britain)�18th�c.

John Newton (1725-1807) wrote the text which first

appeared in the Olney Hymns (London, 1779). It is

sung to the tune New Britain from Virginia Harmony

(1831). The performance of the hymn on this record-

ing is representative of America’s rich Sacred Harp

style of shape-note singing.

Holy,�holy,�holy!�Lord�God�Almighty�(Nicaea) 19th�c.

Written by Bishop Reginald Heber (1783-1826) and first published in 1826,

this hymn was set to John Bacchus Dykes’ (1823-1876) tune, Nicaea, in

1861. Nicaea is based on the John Hopkins’ tune Trinity, and owes its name

to the ancient city in Asia Minor where the church council, convened by

Constantine in 325 A.D., formulated the Nicene Creed, which clearly defined

the doctrine of the three persons of the Trinity. A favorite of Alfred Lord

Tennyson, this hymn was sung at his Westminster Abbey funeral in 1892.

14

Nearer,�my�God,�to�thee��(Bethany) 19th�c.

Lowell Mason (1792-1872), who composed the tune Bethany in 1856 for

this text, said it came to him one night while lying awake in bed. An earlier

form of the tune was found as “The Auld House”

from Scots Minstrelsie II by John Greig (1766-

1845). The text, written in 1840 by Sarah Flower

Adams (1805-1848), is based on Genesis 28:11-19,

the dream of Jacob at Bethel. According to some

accounts, members of the ship’s band played this

hymn as they and the Titanic slipped beneath the icy

waters of the North Atlantic on April 15, 1912.

Dear�Lord�and�Father�of�mankind�(Repton) 19th�c.

The text is from John Greenleaf Whittier’s (1807-

1892) 17-stanza poem, “The Brewing of Soma,” first

published in The Atlantic Monthly (April 1872), in

which he describes the ritual of a sect in India that

hoped to approach the Deity by drinking an intox-

icating beverage made from the Soma plant. The orig-

inal source of the tune Repton is the oratorio Judith by Sir Charles Hubert

Hastings Parry (1848-1918) composed for the Birmingham Festival of 1888.

In�Christ�there�is�no�East�or�West�(McKee) 20th�c.

Written in 1908, this hymn was published in John Oxenham’s (1852-1941)

first book of verses, Bees in Amber, 1913. It was set to the tune McKee, a

1935 adaption by Harry Thacker Burleigh (1866-1949) from the African

American spiritual, “I know the angel’s done changed my name.” He named

the tune in honor of the Rev. Elmore M. McKee, then rector of St. George’s

Church in New York City, where Burleigh was baritone soloist for 52 years.15

Were�you�there�when�they�crucified�my�Lord?�

(Were You There?) 19th�c.

Soprano: Debra C. Echtenkamp

This 19th century African American spiritual first appeared in print in 1899

in Old Plantation Hymns (Boston). The original tune was first harmonized by

Canon Charles Winfred Douglas (1867-1944) for The Hymnal 1940

(Episcopal). The Douglas Music Collection of more than 2,000 volumes is

one of the treasures of Washington National Cathedral’s Rare Book Library.

Crown�him�with�many�crowns�

(Diademata) 19th�c.

Written by Matthew Bridges (1800-1894), the

words of the first stanza are from the second edi-

tion of his Hymns of the Heart, 1851. Stanzas 2

through 5 are from Godfrey Thring’s (1823-1903)

poems in Hymns and Sacred Lyrics, 1874. Sir

George Job Elvey (1816-1893) composed the

music, Diademata, the Greek word for crown, to

go with the text in 1868 and Richard Proulx (b.

1937) added the descant for The Hymnal 1982.

Word�of�God,�come�down�on�earth�

(Mt. St. Alban NCA) 20th�c.

Composed in 1983 by then-Cathedral organist

and choirmaster Richard Wayne Dirksen (b.

1921) for the National Cathedral Association and

in response to an appeal for new tunes for The

Hymnal 1982, then in preparation, the words are

by the noted Scottish poet and theologian James Quinn, S.J. (1919-1983).

16

The�Church’s�one�foundation�(Aurelia) 19th�c.

Written by Samuel John Stone (1839-1900) in 1866, in seven stanzas, the

text was expanded in 1885 to ten for use as a processional in Salisbury

Cathedral. Aurelia, “The Golden,” was originally written by Samuel

Sebastian Wesley (1810-1876) in 1864 for use with the words, “Jerusalem

the Golden,” but is now seldom

thought of apart from this hymn.

God�of�our�fathers�

(National Hymn) 19th�c.

Written in 1876 by Daniel Crane

Roberts (1841-1907), rector of St.

Thomas Church, Brandon,

Vermont, for a centennial Fourth of

July service, the words originally

were set to the tune Russian Hymn.

However, the text since has been

inextricably linked to the music,

National Hymn, c. 1892, which

George William Warren (1828-1902), organist of St. Thomas Church in

New York City, composed for an 1892 celebration of the 100th anniversary

of the adoption of the U. S. Constitution.

Father,�in�thy�gracious�keeping,�20th�c.

Richard Wayne Dirksen’s setting of John Ellerton’s (1826-1893) text, “Now

the laborer’s task is o’er,” is based on the traditional 15th century French

carol, “Il est né le divin enfant.” Composed for the 1975 funeral of

Cathedral Treasurer Benjamin Warder Thoron, a longtime benefactor of the

Cathedral and of the Cathedral Choral Society, this memorial anthem was

sung again in 1995 at the funeral of the composer’s wife, Joan Shaw17

Dirksen. Associated with the Cathedral Choral Society since its founding,

Canon Dirksen was interim music director for the 1984-85 season.

Peal�Bells�

The Washington�Ringing�Society�closes this recording with a ring of the

great Peal Bells of the Cathedral.

Organ�Arrangements

Many of the free organ harmonizations on final verses of these hymns—

where not the spontaneous creation of organist Nicholas White—are taken in

total or in part from arrangements by either Eric H. Thiman, Varied

Harmonizations of Favorite Hymn Tunes for Organ, New York: The H.W.

Gray Co., Inc., 1945, or T. Tertius Noble, Free Organ Accompaniments to

One Hundred Well-Known Hymn Tunes, Glen Rock, N.J.: J. Fischer & Bro.,

1946. Used by permission.

Notes prepared by W.B. Harwood and M.E. Shannon

Photo�Identifications

All items are from The Rare Book Library of Washington National Cathedral unless otherwise

noted: (p. 7) “The Salzburg Missal” printed in Vienna, 1506, by Joannes Winterburger “for use of

Salzburg”; (p. 8) the “space window” in Nave of Cathedral, with moon rock brought back by

Apollo 11 astronauts; (p. 9) “The Suffering Christ,” with simulated shell burst for crown of thorns,

by British artist Steven Sykes, above altar in the War Memorial Chapel; (p. 10) detail of Psalm 23

from the personal copy of the Book of Common Prayer, 1612, used by Henry, Prince of Wales, son

of King James I; (p. 11) page from “The Salzburg Missal” rubricated red-and-black, showing the

Pater noster, or Lord’s Prayer; (p. 12) copperplate engraving from Angelo Roccha’s Treatise on

bell-ringing, De Campanis commentarius, Rome: Apud Guillelmum Facciottum, 1612; (p. 13) title

page of the Olney Hymns (1795 edition), where “Amazing Grace!” first appeared; (p. 14) one of

22 pen-and-ink illustrations executed by famed African American WPA artist Allan Crite for Were

You There?, Cambridge: Harvard University Press, 1944; (p. 15) engraving by Albrecht Dürer,

“Christ with the crown of thorns,” from his Little Passion Series, tipped into The Anson Phelps

Stokes Extra-Illustrated Bible, 1800; (p. 16) needlepoint cushion in Great Choir depicting the can-

ticle, “Holy, holy, holy Lord, God of Sabaoth.” (All “Notes” photography by Ken Cox.)

18

Cathedral�Choral�Society

J. Reilly Lewis, Music Director

Gisèle Becker, Chorus Master

Nicholas White, Keyboard Artist

Soprano�I

Norma BlackwellKaren J. ChrissosLisa ColeDebra EchtenkampLynn FitzhughCarla GelbandJulia Dolan GreenMichelle HuckabyJennifer KerslakeJanice L. LockardKathleen MaloneyJennifer MangeSusan Fowler MoyerElizabeth W. OwensStefanie ReiserMillicent RunnerSusanne SchnellSaeko TsuchihashiBarbara Van WoerkomBarbara Bulger VerdileNora WebbCynthia Young

Soprano�II

Suzanne Abu-SharrKaycé BerryCatherine BettsKim BurkeSusan ClauserTari CooperJeannie CumminsKelly K. HaganCharlotte JaegerMary E. LordJocelyn McCarthyMargaret-Anne McGibbonPatricia MitchellJ. Alison MorrisKate O’SullivanMary OlchCatherine Ort-MabryPat PhillipsClaudia RosenNancy StoltzfusKeith Nelsen StroudDianne VandivierMargot T. Young

19

Alto�I

Elaine AlpernSusan AndreaCatherine BeauchampDeborah BilyeuTheresa A. CameronJudy F. DavisPeggy DillenburgSara EdwardsRamona ForbesJulia FortierChris Cozadd GilmourLucy GriffinEmbry HowellMary IrvingJane JurkevicsMartha E. KossoffSally LackmanMartha LewisMary Brennan LukensPatricia Ann LyonLilli MeierAlece MorganKathleen MoriartyMary PrussingMargaret ShannonKatherine SimensonSuzanne SmithNessa SpitzerMargarett WhildenJane Widmayer

Alto�II

Cynthia AllenDiane BongiorniLinda ChristensonLaurie ChurchMary Elizabeth ColeyRobin CostanzaElaine CulshawHelen DackisElizabeth DavisonKim DeckerSue DeLeonRoberta DuffySally GillespieJulie R. GuilbeauPamela HazenAnn IngramPatricia JungreisShirley S. KostikKaren Erickson LangyherMarion D. LeachJane LesterAndrea MerrillJennifer MorganMelissa J. PittardBrenda ShaferSharon SladeChris StaceyBeth SullivanM. Elizabeth TidballKathleen Welling

20

Tenor�I

Walter D. BaileyGregg BreenRobert N. CulshawDouglas O. FitzsimmonsBill FoxTim JarrettRichard F. LarkinNeal LogueJohn E. MoyerChristine H. MulliganRaymond RhinehartMarjorie SchraderMelbert E. SchwarzWilliam ShafferBill SoftkyDavid SulserDaniel TilletD.C. Washington

Tenor�II

George CervantesAlfred ChiplinColin B. ChurchJames ClayDavid CostanzaKenneth FeatherWesley FosterKathy V. JacksonClayton KaufmanJohn T. MooreRobert J. OrrDavid S. PattersonChristopher G. RiggsRick SealeArthur SmithSeth StoppelmoorPeter K. SunJohn VickClifton N. West IIIGary W. Winans

Bass�I

Matt BenkoDoug BunkerRichard F. CalhounJim CampbellAnthony E. FlournoyRobert HarrisJohn Hewes

Richard HoffmanJeffrey HughesLes JohnsonW. Robert JohnsonYoung Ho KongPeter LarsenKeith Mayes

21

Bass�IIBazil W. Brown, Jr.Chris BuechlerHarold ClearyDavid DoughertyBrian EriksenGregory FunkMark GenszlerAndrew GilmourFranz GimmlerMark GreshamWillam HartungWilliam B. HarwoodDavid McB. HowellDavid Katz

Alvin LinGary MarPhilip MerrillHarold QuayleJeffery ReaganBern SaxeJames M. SchaefferHuston SimmonsNikos SingelisWalter SmithFrank J. SullivanAndrew ThompsonEllis K. Wisner

James D. Campbell, President; Douglas O. Fitzsimmons, President-elect.

Marion D. Leach, Executive Director (1976 to 1996); Mark W. Ohnmacht,Executive Director; Jean F. Jawdat, Associate Director; Martha S. Westin,Development Director; Judith F. Davis, Administrative Assistant; MichelleHile, Arts Management Intern. (personnel as of June 1996)

Bass�I�(continued)Scott McCorkindaleCharles C. McLaughlinMichael MüllerBradford NormanGerald W. PadweWalter ParkStephen S. RobertsMichael Shortal

Chris SollerBrad StanfordJames W. StonePatrick SweetRobert VerdileDaniel WeigandRandall Worthington

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CATHEDRAL�CHORAL�SOCIETY

Washington National Cathedral

Wisconsin & Massachusetts Aves., NW

Washington, D.C. 20016-5098

Tel: 202-537-8980

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Technical�Information

Recorded in Washington National Cathedral, Washington D.C., April 14, 15, 17, 1996

Microphones: Neumann U 87a

Console: Mackie CR-1604

Microphone Cables: Mogami Quad custom-made by The Perfect Connection, Nashville, Tennessee

Recorded on: Panasonic SV-3700 Digital Audio Tape Recorder

Recorded to: Ampex 467 Digital Mastering Tape

Digital Editing on: Sound Stage 56K Digital Editing System

CD Mastering: Third-Floor Productions, Nashville, Tennessee

Executive Producer: John R. Hall

Recording Assistants: John M. Howlett, Tracy A. Siebold

Recording Consultant: Mark Huffman, Washington National Cathedral sound engineer

Photography: Walter Smalling, Jr., Kenneth Cobb, Ken Cox, and Morton Broffman Graphic Design: J. Algene Steele, Algene & Co., Henderson, Tennessee

© 1996 Cathedral Choral Society All�Rights�Reserved.

Performance rights secured. All rights reserved by copyright holders.From the initial digital recording process to the CD mastering process, the signal was notpassed through any processing device (limiting, compression, or equalization).