Edmund makes his Carnegie Hall solo debut in a performance of Fauré’s Requiem under the baton of Jean-Sébastien Vallée.

Acts

Martín Palmeri, Composer/Conductor

Palmeri: Misatango

Jean-Sébastien Vallée, Guest Conductor

Fauré: Requiem

Marco K. Merrick, Director

The Community Concert Choir of Baltimore, Inc. (MD)

E'lissa Jones Maynard, Director

Warwick Valley High School Chamber & Symphony Orchestra (NY)

Participating Groups

The Community Concert Choir of Baltimore, Inc. (MD)

Warwick Valley High School Chamber Orchestra; Warwick Valley High School Combined Symphony & Chamber Orchestras

South Holland Master Chorale

Christelijke Oratorium Vereniging Veenendaal

Ensemble de Provence

The Arlington Chorale

Konzertchor Ratingen

Fürstenland Chor Gossau

Toronto Mendelssohn Choir

The Hudson-Mohawk Chorale

Vocalino Classic Pop Jazz Chor

BWV 229 - Komm, Jesu, Komm

Heinrich Schütz - Musikalische Exequien

Sung by an octet from the Trinity Choir

BWV 229 - Komm, Jesu, Komm

Heinrich Schütz - Musikalische Exequien

Sung by an octet from the Trinity Choir

BWV 229 - Komm, Jesu, Komm

Heinrich Schütz - Musikalische Exequien

Sung by an octet from the Trinity Choir

BWV 43 - Gott fähret auf mit Jauchzen

BWV 230 - Lobet den Herrn

BWV 92 - Ich hab in Gottes Herz und Sinn

Edmund joins the Baltimore Choral Arts Society as the baritone soloist in Ralph Vaughan Williams’ Five Mystical Songs.

Baltimore Choral Arts Society
Anthony Blake Clark, Music Director and Conductor 
Leo Wanenchak, Associate Conductor

Program

Ralph Vaughan Williams
Five Mystical Songs

Benjamin Britten
A Hymn to the Virgin
Hymn of Saint Colomba
Carry Her Over the Water from Paul Bunyan

Eric  Whitacre
Seal Lullaby
Leonardo Dreams of his Flying Machine

Alice Parker
Hark I Hear the Harps Eternal

James Erb
Shenandoah

Rosephanye Powell
Still I Rise

Jasmine Barnes
Every Great Dream

Eriks Esenvalds
Stars

Randall Thompson
Choose Something Like a Star
Alleluia

Experience the majesty of what Beethoven himself called “mein großes Werk” under the grand dome of the Baltimore Basilica, with the largest period instrument orchestra that the city has ever known. Hear this towering masterwork of the Romantic era in its first performance in over thirty years – a must-see event for any classical music lover in Baltimore.

Preconcert conversation with Melinda O’Neal, HCB Artistic Director Emeritus, and Jason Rudy, HCB Board President begins one hour before the program.

Handel Choir of Baltimore
Handel Period Instrument Orchestra
Laura Choi Stuart soprano
Caroline Tye alto
Steven Soph tenor
Edmund Milly bass
Keats Dieffenbach violin
Brian Bartoldus conductor

Bach Akademie Charlotte presents two of Johann Sebastian Bach’s most beloved solo cantatas, featuring veteran soloists Edmund Milly (bass) and Margaret Carpenter Haigh (soprano). Also featured is Bach's Concerto for Violin and Oboe, BWV 1060R. By the early 1700s, The ‘Vivaldian’ solo concerto was causing a stir throughout Europe, including Germany. Bach's Concerto for Violin and Oboe is a reconstruction of the supposed original form of the concerto for two harpsichords. Ich habe genug, BWV 82 "I have enough") is a church cantata that conveys the exhausted soul’s yearning for death’s sweet release, expressed enchantingly in the well-known ‘slumber aria’ Schlummert ein, ihr matten Augen (slumber, you tired eyes). Mein Herze schwimmt im Blut, BWV 199, one of Bach’s most overtly outgoing works, portrays a soul grievously tormented by a life of sin. The work’s apotheosis highlights the prayer of the tax collector, “God be gracious to me, a sinner!” in a moment of heightened drama and expression.

Oboist Kristin Olson joins us as guest soloist in both cantatas and performs alongside our very own Aisslinn Nosky in Bach’s Concerto for Violin and Oboe, BWV 1060R.

Johann Sebastian BACH Concerto for Violin and Oboe, BWV 1060R

JS BACH Ich habe genug, BWV 82

JS BACH Mein Herze schwimmt im Blut, BWV 199

Bach Akademie Charlotte presents two of Johann Sebastian Bach’s most beloved solo cantatas, featuring veteran soloists Edmund Milly (bass) and Margaret Carpenter Haigh (soprano). Also featured is Bach's Concerto for Violin and Oboe, BWV 1060R. By the early 1700s, The ‘Vivaldian’ solo concerto was causing a stir throughout Europe, including Germany. Bach's Concerto for Violin and Oboe is a reconstruction of the supposed original form of the concerto for two harpsichords. Ich habe genug, BWV 82 "I have enough") is a church cantata that conveys the exhausted soul’s yearning for death’s sweet release, expressed enchantingly in the well-known ‘slumber aria’ Schlummert ein, ihr matten Augen (slumber, you tired eyes). Mein Herze schwimmt im Blut, BWV 199, one of Bach’s most overtly outgoing works, portrays a soul grievously tormented by a life of sin. The work’s apotheosis highlights the prayer of the tax collector, “God be gracious to me, a sinner!” in a moment of heightened drama and expression.

Oboist Kristin Olson joins us as guest soloist in both cantatas and performs alongside our very own Aisslinn Nosky in Bach’s Concerto for Violin and Oboe, BWV 1060R.

Johann Sebastian BACH Concerto for Violin and Oboe, BWV 1060R

JS BACH Ich habe genug, BWV 82

JS BACH Mein Herze schwimmt im Blut, BWV 199

Bach Akademie Charlotte presents two of Johann Sebastian Bach’s most beloved solo cantatas, featuring veteran soloists Edmund Milly (bass) and Margaret Carpenter Haigh (soprano). Also featured is Bach's Concerto for Violin and Oboe, BWV 1060R. By the early 1700s, The ‘Vivaldian’ solo concerto was causing a stir throughout Europe, including Germany. Bach's Concerto for Violin and Oboe is a reconstruction of the supposed original form of the concerto for two harpsichords. Ich habe genug, BWV 82 "I have enough") is a church cantata that conveys the exhausted soul’s yearning for death’s sweet release, expressed enchantingly in the well-known ‘slumber aria’ Schlummert ein, ihr matten Augen (slumber, you tired eyes). Mein Herze schwimmt im Blut, BWV 199, one of Bach’s most overtly outgoing works, portrays a soul grievously tormented by a life of sin. The work’s apotheosis highlights the prayer of the tax collector, “God be gracious to me, a sinner!” in a moment of heightened drama and expression.

Oboist Kristin Olson joins us as guest soloist in both cantatas and performs alongside our very own Aisslinn Nosky in Bach’s Concerto for Violin and Oboe, BWV 1060R.

Johann Sebastian BACH Concerto for Violin and Oboe, BWV 1060R

JS BACH Ich habe genug, BWV 82

JS BACH Mein Herze schwimmt im Blut, BWV 199

This winter, the Riverside Choral Society extends the warmest welcome to Dr. John Wilson, our new director. Dr. Wilson, who holds degrees from both Westminster Choir College and Rutgers University, is the current director of choral activities at SUNY New Paltz (where he is an Assistant Professor) and director of the Choral Art Society of New Jersey. Learn more about Dr. John Wilson.

This spring, Dr. Wilson will conduct his RCS inaugural at the renowned Romanesque Church of St. Francis Xavier. In a concert that will be highlighted by a performance of Duruflé’s magical, meditative, and plainchant-based Requiem, the program will also include: 

• ​Evening Hymn – Henry Balfour Gardiner

• Lord, Thou Hast Been Our Refuge – Ralph Vaughan Williams 

• ​Magnificat – John Wilson

Edmund joins the Yale Consort for a choral evensong, and will sing the first of Ralph Vaughan Williams’ Five Mystical Songs as a soloist.

The only piece of music from the baroque period performed every year since its creation, Handel’s Messiah was originally written for actors. Hence, we’ll capitalize on the drama, the transformation from dark to light, and the humanistic journey that is a triumph to complete, each and every time.

Baroque Music Montana and Roots in the Sky team up with a period band and top-notch soloists from across the nation to present the region’s first period-instrument, highly crafted Handel’s Messiah.

Soloists:

Sarah Brailey, soprano

Elisa Sutherland, alto

James Reese, tenor

Reginald Mobley, countertenor

Edmund Milly, bass

Choir: Roots in the Sky

Period Orchestra:

Carrie Krause, Rachel Fellows-Schnackel, Loy Koch, David Greenberg, Anna Okada & Reynaldo Patiño – baroque violin

Lindsey Strand Polyak & Kathy Mellander – baroque viola

Adaiha MacAdam-Somer & Adam Collins – baroque cello

Jerry Fuller – baroque bass

Curtis Foster & Caroline Giassi – baroque oboe

Perry Sutton & Jens Jacobson – baroque trumpet

Dongsok Shin – harpsichord & organ

Jeff Vick – timpani

The only piece of music from the baroque period performed every year since its creation, Handel’s Messiah was originally written for actors. Hence, we’ll capitalize on the drama, the transformation from dark to light, and the humanistic journey that is a triumph to complete, each and every time.

Baroque Music Montana and Roots in the Sky team up with a period band and top-notch soloists from across the nation to present the region’s first period-instrument, highly crafted Handel’s Messiah.

Soloists:

Sarah Brailey, soprano

Elisa Sutherland, alto

James Reese, tenor

Reginald Mobley, countertenor

Edmund Milly, bass

Choir: Roots in the Sky

Period Orchestra:

Carrie Krause, Rachel Fellows-Schnackel, Loy Koch, David Greenberg, Anna Okada & Reynaldo Patiño – baroque violin

Lindsey Strand Polyak & Kathy Mellander – baroque viola

Adaiha MacAdam-Somer & Adam Collins – baroque cello

Jerry Fuller – baroque bass

Curtis Foster & Caroline Giassi – baroque oboe

Perry Sutton & Jens Jacobson – baroque trumpet

Dongsok Shin – harpsichord & organ

Jeff Vick – timpani

The only piece of music from the baroque period performed every year since its creation, Handel’s Messiah was originally written for actors. Hence, we’ll capitalize on the drama, the transformation from dark to light, and the humanistic journey that is a triumph to complete, each and every time.

Baroque Music Montana and Roots in the Sky team up with a period band and top-notch soloists from across the nation to present the region’s first period-instrument, highly crafted Handel’s Messiah.

Soloists:

Sarah Brailey, soprano

Elisa Sutherland, alto

James Reese, tenor

Reginald Mobley, countertenor

Edmund Milly, bass

Choir: Roots in the Sky

Period Orchestra:

Carrie Krause, Rachel Fellows-Schnackel, Loy Koch, David Greenberg, Anna Okada & Reynaldo Patiño – baroque violin

Lindsey Strand Polyak & Kathy Mellander – baroque viola

Adaiha MacAdam-Somer & Adam Collins – baroque cello

Jerry Fuller – baroque bass

Curtis Foster & Caroline Giassi – baroque oboe

Perry Sutton & Jens Jacobson – baroque trumpet

Dongsok Shin – harpsichord & organ

Jeff Vick – timpani

The Chapel Choir and orchestra present W. A. Mozart’s beloved Requiem, With Nicole Aldrich, Director of Chapel Music. Free admission.

Edmund Milly, bass-baritone

Sylvia Leith, mezzo-soprano

Lenten Meditations: Remorse to Redemption 
Works by Jonathan Woody, William Byrd, Thomas Tallis, John Sheppard, and others
Trinity Choir tenors and basses; Thomas McCargar, conductor

PATRICK DUPRE QUIGLEY, CONDUCTOR

CHORUS, VOCAL SOLOISTS, PERIOD ORCHESTRA

REBECCA CYPESS, CONSULTING SCHOLAR, RUTGERS UNIVERSITY

Explore the vibrant works of Marianna Martines, a star of Viennese Classical music. A pupil of Franz Joseph Haydn and duet partner to Wolfgang Amadeus Mozart, Martines' music radiates simplicity and elegance. In a concert featuring chorus and period orchestra, we highlight the modern world premiere of Martines' O, Virgo, cui salutem, alongside bedrock works by Haydn Mozart, including the ravishing "Laudate Dominum" from the Vesperae solennes de confessore.

Program Includes

MARIANA MARTINES — O, Virgo, cui salutem (modern world premiere)

MARIANA MARTINES — Ah, Berenice, che fai

FRANZ JOSEPH HAYDN — “La Roxelane” from Symphony No. 63

WOLFGANG AMADEUS MOZART — Missa Brevis in F Major

WOLFGANG AMADEUS MOZART — “Laudate Dominum” from Solemn Vespers for a Confessor

PATRICK DUPRE QUIGLEY, CONDUCTOR

CHORUS, VOCAL SOLOISTS, PERIOD ORCHESTRA

REBECCA CYPESS, CONSULTING SCHOLAR, RUTGERS UNIVERSITY

Explore the vibrant works of Marianna Martines, a star of Viennese Classical music. A pupil of Franz Joseph Haydn and duet partner to Wolfgang Amadeus Mozart, Martines' music radiates simplicity and elegance. In a concert featuring chorus and period orchestra, we highlight the modern world premiere of Martines' O, Virgo, cui salutem, alongside bedrock works by Haydn Mozart, including the ravishing "Laudate Dominum" from the Vesperae solennes de confessore.

Program Includes

MARIANA MARTINES — O, Virgo, cui salutem (modern world premiere)

MARIANA MARTINES — Ah, Berenice, che fai

FRANZ JOSEPH HAYDN — “La Roxelane” from Symphony No. 63

WOLFGANG AMADEUS MOZART — Missa Brevis in F Major

WOLFGANG AMADEUS MOZART — “Laudate Dominum” from Solemn Vespers for a Confessor

PATRICK DUPRE QUIGLEY, CONDUCTOR

CHORUS, VOCAL SOLOISTS, PERIOD ORCHESTRA

REBECCA CYPESS, CONSULTING SCHOLAR, RUTGERS UNIVERSITY

Explore the vibrant works of Marianna Martines, a star of Viennese Classical music. A pupil of Franz Joseph Haydn and duet partner to Wolfgang Amadeus Mozart, Martines' music radiates simplicity and elegance. In a concert featuring chorus and period orchestra, we highlight the modern world premiere of Martines' O, Virgo, cui salutem, alongside bedrock works by Haydn Mozart, including the ravishing "Laudate Dominum" from the Vesperae solennes de confessore.

Program Includes

MARIANA MARTINES — O, Virgo, cui salutem (modern world premiere)

MARIANA MARTINES — Ah, Berenice, che fai

FRANZ JOSEPH HAYDN — “La Roxelane” from Symphony No. 63

WOLFGANG AMADEUS MOZART — Missa Brevis in F Major

WOLFGANG AMADEUS MOZART — “Laudate Dominum” from Solemn Vespers for a Confessor

PATRICK DUPRE QUIGLEY, CONDUCTOR

CHORUS, VOCAL SOLOISTS, PERIOD ORCHESTRA

REBECCA CYPESS, CONSULTING SCHOLAR, RUTGERS UNIVERSITY

Explore the vibrant works of Marianna Martines, a star of Viennese Classical music. A pupil of Franz Joseph Haydn and duet partner to Wolfgang Amadeus Mozart, Martines' music radiates simplicity and elegance. In a concert featuring chorus and period orchestra, we highlight the modern world premiere of Martines' O, Virgo, cui salutem, alongside bedrock works by Haydn Mozart, including the ravishing "Laudate Dominum" from the Vesperae solennes de confessore.

Program Includes

MARIANA MARTINES — O, Virgo, cui salutem (modern world premiere)

MARIANA MARTINES — Ah, Berenice, che fai

FRANZ JOSEPH HAYDN — “La Roxelane” from Symphony No. 63

WOLFGANG AMADEUS MOZART — Missa Brevis in F Major

WOLFGANG AMADEUS MOZART — “Laudate Dominum” from Solemn Vespers for a Confessor

JAMES K. BASS, CONDUCTOR

CHORUS, VOCAL SOLOISTS, PIANO

ANDREW H. WEAVER, CONSULTING SCHOLAR, THE CATHOLIC UNIVERSITY OF AMERICA

Clara and Robert. Fanny and Felix. Experience expressive songs from both brilliant, yet underrecognized composers —like Clara Schumann, Fanny Mendelssohn Hensel, and Samuel Coleridge-Taylor—and artists who have traditionally defined the era—like Robert Schumann, Felix Mendelssohn, and Franz Schubert. Immerse yourself in hummable melodies and passionate lyrics in an evening that celebrates the beauty and diversity of Romantic choral music.

Program Includes

Gondoliera – CLARA SCHUMANN

O Schöne Nacht, Op. 92 — JOHANNES BRAHMS

Schilflied — FANNY MENDELSSOHN-HENSEL

Mitten Wir im Leben sint — FELIX MENDELSSOHN

Whispers of Summer — SAMUEL COLERIDGE-TAYLOR

JAMES K. BASS, CONDUCTOR

CHORUS, VOCAL SOLOISTS, PIANO

ANDREW H. WEAVER, CONSULTING SCHOLAR, THE CATHOLIC UNIVERSITY OF AMERICA

Clara and Robert. Fanny and Felix. Experience expressive songs from both brilliant, yet underrecognized composers —like Clara Schumann, Fanny Mendelssohn Hensel, and Samuel Coleridge-Taylor—and artists who have traditionally defined the era—like Robert Schumann, Felix Mendelssohn, and Franz Schubert. Immerse yourself in hummable melodies and passionate lyrics in an evening that celebrates the beauty and diversity of Romantic choral music.

Program Includes

Gondoliera – CLARA SCHUMANN

O Schöne Nacht, Op. 92 — JOHANNES BRAHMS

Schilflied — FANNY MENDELSSOHN-HENSEL

Mitten Wir im Leben sint — FELIX MENDELSSOHN

Whispers of Summer — SAMUEL COLERIDGE-TAYLOR

JAMES K. BASS, CONDUCTOR

CHORUS, VOCAL SOLOISTS, PIANO

ANDREW H. WEAVER, CONSULTING SCHOLAR, THE CATHOLIC UNIVERSITY OF AMERICA

Clara and Robert. Fanny and Felix. Experience expressive songs from both brilliant, yet underrecognized composers —like Clara Schumann, Fanny Mendelssohn Hensel, and Samuel Coleridge-Taylor—and artists who have traditionally defined the era—like Robert Schumann, Felix Mendelssohn, and Franz Schubert. Immerse yourself in hummable melodies and passionate lyrics in an evening that celebrates the beauty and diversity of Romantic choral music.

Program Includes

Gondoliera – CLARA SCHUMANN

O Schöne Nacht, Op. 92 — JOHANNES BRAHMS

Schilflied — FANNY MENDELSSOHN-HENSEL

Mitten Wir im Leben sint — FELIX MENDELSSOHN

Whispers of Summer — SAMUEL COLERIDGE-TAYLOR

JAMES K. BASS, CONDUCTOR

CHORUS, VOCAL SOLOISTS, PIANO

ANDREW H. WEAVER, CONSULTING SCHOLAR, THE CATHOLIC UNIVERSITY OF AMERICA

Clara and Robert. Fanny and Felix. Experience expressive songs from both brilliant, yet underrecognized composers —like Clara Schumann, Fanny Mendelssohn Hensel, and Samuel Coleridge-Taylor—and artists who have traditionally defined the era—like Robert Schumann, Felix Mendelssohn, and Franz Schubert. Immerse yourself in hummable melodies and passionate lyrics in an evening that celebrates the beauty and diversity of Romantic choral music.

Program Includes

Gondoliera – CLARA SCHUMANN

O Schöne Nacht, Op. 92 — JOHANNES BRAHMS

Schilflied — FANNY MENDELSSOHN-HENSEL

Mitten Wir im Leben sint — FELIX MENDELSSOHN

Whispers of Summer — SAMUEL COLERIDGE-TAYLOR

Figure Humaine
Benjamin Britten Advance Democracy 
Ilsa Weber Wiegala
Jacob Beranek Abendgebet 
Francis Poulenc Un soir de neige and Figure Humaine
Elsa Barraine Prelude
Trinity Choir; Melissa Attebury, Director 

Es ist das Heil uns kommen her, BWV 9
Mache dich, mein Geist, bereit, BWV 115

Nola Richardson, soprano
Sylvia Leith, alto
Kyle Stegall, tenor
Edmund Milly, bass

Our first Sunday concert of 2025 features two giants of Baroque and classical eras.

Bach: Cantata 83: Erfreute Zeit im neuen Bunde

Bach’s Cantata 83 celebrates the Feast of the Purification of Mary with joyous melodies and intricate harmonies, reflecting both spiritual significance and Bach’s mastery of Baroque composition.

Mozart: Symphony No. 25

Mozart’s Symphony No. 25 in G minor is marked by its dramatic intensity and emotional depth, featuring powerful orchestration and dynamic contrasts that exemplify the Sturm und Drang style.

Kristen Dubenion-Smith, mezzo-soprano

Ben Hawker, tenor

Edmund Milly, bass-baritone