Rachmaninoff | Liturgy of St. John Chrysostom, Op. 31

The Thirteen explores the vocal music of Sergei Rachmaninoff, following our “finely tune[d]… expert, highly responsive” (Washington Classical Review) performances of his All Night Vigil in 2023. Written five years before the Vigil, in 1910, the Liturgy of St. John Chrysostom is a work on a yet grander scale. “Beautiful and grandly mystical… exud[ing] a spiritual force that is deeply moving and restorative” (New York Times), Rachmaninoff’s Liturgy exalts the power, beauty, and emotive range of the human voice. This concerto for choir in a symphonic palette has moved audiences for over 100 years with soaring melodies, rich harmonies, and vocal pyrotechnics.

The Thirteen’s Vocal Fellows Program is made possible by a gift from the Andrew Warnock Clarke & Martin ‘Chip’ Sherrill Family Foundation.

Rachmaninoff | Liturgy of St. John Chrysostom, Op. 31

The Thirteen explores the vocal music of Sergei Rachmaninoff, following our “finely tune[d]… expert, highly responsive” (Washington Classical Review) performances of his All Night Vigil in 2023. Written five years before the Vigil, in 1910, the Liturgy of St. John Chrysostom is a work on a yet grander scale. “Beautiful and grandly mystical… exud[ing] a spiritual force that is deeply moving and restorative” (New York Times), Rachmaninoff’s Liturgy exalts the power, beauty, and emotive range of the human voice. This concerto for choir in a symphonic palette has moved audiences for over 100 years with soaring melodies, rich harmonies, and vocal pyrotechnics.

The Thirteen’s Vocal Fellows Program is made possible by a gift from the Andrew Warnock Clarke & Martin ‘Chip’ Sherrill Family Foundation.

Rachmaninoff | Liturgy of St. John Chrysostom, Op. 31

The Thirteen explores the vocal music of Sergei Rachmaninoff, following our “finely tune[d]… expert, highly responsive” (Washington Classical Review) performances of his All Night Vigil in 2023. Written five years before the Vigil, in 1910, the Liturgy of St. John Chrysostom is a work on a yet grander scale. “Beautiful and grandly mystical… exud[ing] a spiritual force that is deeply moving and restorative” (New York Times), Rachmaninoff’s Liturgy exalts the power, beauty, and emotive range of the human voice. This concerto for choir in a symphonic palette has moved audiences for over 100 years with soaring melodies, rich harmonies, and vocal pyrotechnics.

The Thirteen’s Vocal Fellows Program is made possible by a gift from the Andrew Warnock Clarke & Martin ‘Chip’ Sherrill Family Foundation.

Exuberant trumpet, soaring voices, and radiant orchestral colors—Vivaldi’s Gloria brims with vitality and joy. Alongside Bach’s rarely heard Lutheran Mass in G minor and Heinichen’s sparkling concerto, this program reveals the Baroque at its most inventive and uplifting. 

PROGRAM

Lutheran Mass in G minor, BWV 235
Johann Sebastian Bach (1685–1750)
28'
    
Concerto in G major, S.214
Johann David Heinichen (1683– 729)
9'30"
        
Gloria in D major, RV 589
Antonio Vivaldi (1678–1741)
30'

Concert Duration:
Approximately 75 minutes plus intermission

MUSICIANS

Kristin Olson, Oboe
Luke Conklin, Oboe
Aisslinn Nosky, Violin
Renée Hemsing, Violin
Francis Liu, Viola
Guy Fishman, Cello
Heather Miller Lardin, Bass
Perry Sutton, Trumpet
Ian Watson, Organ

Arwen Myers, Soprano
MaryRuth Miller, Soprano
Nicholas Garza, Countertenor
Laura Atkinson, Alto
Gene Stenger, Tenor
Haitham Haidar, Tenor
Edmund Milly, Bass
Andrew Padgett, Bass

The Polyphonists join forces with Berkeley’s Cantata Collective for the first time in a one-on-a-part program of Bach’s cantatas.

Christum wir sollen loben schon, BWV 121
Nach dir, Herr, verlanget mich, BWV 150
Wo gehest du hin? BWV 166

Amy Broadbent, soprano
Sylvia Leith, alto
Matthew Hill, tenor
Edmund Milly, bass

Edmund makes his National Philharmonic solo debut

Baltimore Choral Arts Society

Anthony Blake Clark, conductor

Sarah Hayashi, soprano

Lucia Bradford, mezzo-soprano

Brian Giebler, tenor

Edmund Milly, bass-baritone

Edmund makes his National Philharmonic solo debut

Baltimore Choral Arts Society

Anthony Blake Clark, conductor

Sarah Hayashi, soprano

Lucia Bradford, mezzo-soprano

Brian Giebler, tenor

Edmund Milly, bass-baritone

Edmund makes his solo debut with PBO under the direction of Jos van Veldhoven.

Celebrate the season with the glorious sounds of Messiah! Handel’s beloved oratorio comes to life once more, performed on exquisite period instruments just as
it was meant to be heard. From the triumphant Hallelujah to the soaring arias and stirring choruses, this is Messiah in its full, breathtaking splendor.

Under the dynamic guest direction of Jos van Veldhoven, this year’s performance promises to be an unforgettable musical event. With world-class soloists and the vibrant debut of Portland Baroque Voices infusing every note with passion, power, and soul-stirring emotion, this Messiah will be a truly transcendent experience.

Edmund makes his solo debut with PBO under the direction of Jos van Veldhoven.

Celebrate the season with the glorious sounds of Messiah! Handel’s beloved oratorio comes to life once more, performed on exquisite period instruments just as
it was meant to be heard. From the triumphant Hallelujah to the soaring arias and stirring choruses, this is Messiah in its full, breathtaking splendor.

Under the dynamic guest direction of Jos van Veldhoven, this year’s performance promises to be an unforgettable musical event. With world-class soloists and the vibrant debut of Portland Baroque Voices infusing every note with passion, power, and soul-stirring emotion, this Messiah will be a truly transcendent experience.

Edmund makes his solo debut with PBO under the direction of Jos van Veldhoven.

Celebrate the season with the glorious sounds of Messiah! Handel’s beloved oratorio comes to life once more, performed on exquisite period instruments just as
it was meant to be heard. From the triumphant Hallelujah to the soaring arias and stirring choruses, this is Messiah in its full, breathtaking splendor.

Under the dynamic guest direction of Jos van Veldhoven, this year’s performance promises to be an unforgettable musical event. With world-class soloists and the vibrant debut of Portland Baroque Voices infusing every note with passion, power, and soul-stirring emotion, this Messiah will be a truly transcendent experience.

Edmund makes his solo debut with PBO under the direction of Jos van Veldhoven.

Celebrate the season with the glorious sounds of Messiah! Handel’s beloved oratorio comes to life once more, performed on exquisite period instruments just as it was meant to be heard. From the triumphant Hallelujah to the soaring arias and stirring choruses, this is Messiah in its full, breathtaking splendor. Featuring Jos van Veldhoven and Portland Baroque Orchestra.

Since 1933, Duke University Chapel has welcomed the holiday season with the sublime music of Messiah. From the haunting strains of "The people that walked in darkness" to the exuberant triumph of "Hallelujah" and "Worthy is the Lamb," George Frideric Handel's masterwork weaves a musical tapestry that recounts the story of Christ's life, from birth through death and resurrection.

Tickets will be available to purchase through the Duke Box Office at https://tickets.duke.edu.

This year's "Messiah" performances will be presented on period instruments with Baroque-era tuning, under the direction of guest conductor David Rayl, Professor Emeritus of Choral Conducting in the College of Music at Michigan State University. Each performance will include selections from Parts I, II, and III, and will last approximately two hours and fifteen minutes with intermission.

Chea Kang, soprano
Key'mon Murrah, countertenor
Kay'mon Murrah, tenor
Edmund Milly, bass
Duke Chapel Choir
Mallarmé Music
Zebulon M. Highben, chorusmaster
David Rayl, guest conductor

Since 1933, Duke University Chapel has welcomed the holiday season with the sublime music of Messiah. From the haunting strains of "The people that walked in darkness" to the exuberant triumph of "Hallelujah" and "Worthy is the Lamb," George Frideric Handel's masterwork weaves a musical tapestry that recounts the story of Christ's life, from birth through death and resurrection.

Tickets will be available to purchase through the Duke Box Office at https://tickets.duke.edu.

This year's "Messiah" performances will be presented on period instruments with Baroque-era tuning, under the direction of guest conductor David Rayl, Professor Emeritus of Choral Conducting in the College of Music at Michigan State University. Each performance will include selections from Parts I, II, and III, and will last approximately two hours and fifteen minutes with intermission.

Chea Kang, soprano
Key'mon Murrah, countertenor
Kay'mon Murrah, tenor
Edmund Milly, bass
Duke Chapel Choir
Mallarmé Music
Zebulon M. Highben, chorusmaster
David Rayl, guest conductor

Since 1933, Duke University Chapel has welcomed the holiday season with the sublime music of Messiah. From the haunting strains of "The people that walked in darkness" to the exuberant triumph of "Hallelujah" and "Worthy is the Lamb," George Frideric Handel's masterwork weaves a musical tapestry that recounts the story of Christ's life, from birth through death and resurrection.

Tickets will be available to purchase through the Duke Box Office at https://tickets.duke.edu.

This year's "Messiah" performances will be presented on period instruments with Baroque-era tuning, under the direction of guest conductor David Rayl, Professor Emeritus of Choral Conducting in the College of Music at Michigan State University. Each performance will include selections from Parts I, II, and III, and will last approximately two hours and fifteen minutes with intermission.

Chea Kang, soprano
Key'mon Murrah, countertenor
Kay'mon Murrah, tenor
Edmund Milly, bass
Duke Chapel Choir
Mallarmé Music
Zebulon M. Highben, chorusmaster
David Rayl, guest conductor

Begin your holiday music season with the Polyphonists, a vocal quartet performing Renaissance and Baroque works by members of the Bach family, Leonarda, Victoria and more.

Experience the pinnacle of Baroque sacred music with Bach’s monumental Mass in B Minor. Majestic, deeply spiritual, and musically breathtaking, this masterwork weaves together intricate choral writing, powerful solos, and transcendent orchestration. Performed in the stunning acoustics of St. Joseph Parish, this special concert is a soul-stirring journey through one of the greatest achievements in Western music.

Bach is our favorite composer, and we have a special place in our hearts for his motets. Hear Seraphic Fire’s singers and the first-rate instrumentalists of the Seraphic Fire Period Orchestra bring six of Bach’s most virtuosic and celebrated works to life.

Bach is our favorite composer, and we have a special place in our hearts for his motets. Hear Seraphic Fire’s singers and the first-rate instrumentalists of the Seraphic Fire Period Orchestra bring six of Bach’s most virtuosic and celebrated works to life.

Bach is our favorite composer, and we have a special place in our hearts for his motets. Hear Seraphic Fire’s singers and the first-rate instrumentalists of the Seraphic Fire Period Orchestra bring six of Bach’s most virtuosic and celebrated works to life.

Bach is our favorite composer, and we have a special place in our hearts for his motets. Hear Seraphic Fire’s singers and the first-rate instrumentalists of the Seraphic Fire Period Orchestra bring six of Bach’s most virtuosic and celebrated works to life.

From its mysterious opening movement to its triumphant “Ode to Joy,” Beethoven’s Ninth Symphony changed the course of music and remains one of its most recognizable landmarks. Tonight, the storied Orchestra of St. Luke’s performs the masterwork with choir and soloists under conductor Raphaël Pichon, who recently led a sold-out performance in Boston’s Symphony Hall, revealing that “the Ninth can still be a source of evergreen freshness and vitality” (The Boston Musical Intelligencer). Boston Classical Review agreed: “Pichon finds fresh illumination in Beethoven’s Ninth … it thundered.” The concert also features the Carnegie Hall premiere of selections from Beethoven’s incidental music for a never-performed play: Leonore Prohaska. 

BEETHOVEN Selections from Leonore Prohaska

SILCHER "Persischer Nachtgesang" (after Allegretto from Beethoven's Symphony No. 7)

BEETHOVEN Symphony No. 9

Raphaël Pichon, Conductor
Liv Redpath, Soprano
Beth Taylor, Mezzo-Soprano
Laurence Kilsby, Tenor
Alex Rosen, Bass
The Clarion Choir
Steven Fox, Director

Join us as Trinity organists past and present — Bruce Neswick, Alex Leonardi, and Alcée Chriss III — team with Trinity Choir to spotlight the artistry of another former Trinity organist: the incomparable David Hurd. A leading composer and organist in Episcopal church music for decades, Hurd will direct his own choral works, which blend spiritual depth and bold harmonies. 

The Washington Chorus and National Philharmonic are thrilled to present their next collaboration, One Song: Exultávit! This program features J.S. Bach’s beloved setting of the Magnificat and Reena Esmail’s extraordinary new work This Love Between Us, which juxtaposes Western classical music and Indian musical traditions. Both works explore the power of prayer, humility, and kindness while also presenting a bold vision for the future where more unites us than divides us—and the least among us matter the most.

Eugene Rogers, conductor

Juliet Schlefer, soprano

Heather Petrie, contralto

Jacob Perry, tenor

Edmund Milly, bass-baritone

Charles Hubert Hastings Parry I Was Glad
William Henry Harris Faire is the Heaven
Cecilia McDowall O sing unto the Lord
Ralph Vaughan Williams Five Mystical Songs
Herbert Howells Take Him, Earth, for Cherishing
Gerre Hancock Deep River
Thomas Dorsey Take My Hand, Precious Lord
Alice Parker Hark, I Hear the Harps Eternal
Edward Bairstow Sing Ye to the Lord
Janet Yieh, organ; Edmund Milly, baritone; Downtown Voices; Stephen Sands, conductor 
Sarah MacDonald Fugue, Sicilienne, & Toccatina on Jesu, Dulcis Memoria 

Maurice Duruflé | Requiem, Op. 9
Frank Martin | Cantate pour le 1er Août
Palestrina | Missa Papae Marcelli
Diedre Robinson | World Premiere

Eric Plutz, organ

The Thirteen performs works of remembrance and celebration with Duruflé’s poignant Requiem and, in honor of the 500th anniversary of Palestrina’s birth, the composer’s most renowned work, the Missa Papae Marcelli. Palestrina’s mass represents the high point of Renaissance polyphony, with a purity of counterpoint, deeply affecting dissonance, and clear text setting—qualities that formed the basis of an enduring myth that through this work, Palestrina saved Church music. Duruflé’s 1941 Requiem, also based on Gregorian chant, was begun under the Vichy occupation but completed after the liberation of France. Paired with Swiss composer Frank Martin’s celebratory 1941 Cantata pour le 1er août (the text of which inspires this concert’s title) and a new work by composer Diedre Robinson, this concert is sure to “transfigure the listener” (The Washington Post). Princeton University Chapel organist Erik Plutz, hailed as a “master craftsman… sensitive, emotional, stunningly accurate, and spectacularly musical… world-class” (The Diapason) joins The Thirteen in this tour-de-force performance.

The commissioning of the World Premiere by Diedre Robinson is made possible by a gift to The Thirteen’s Building for Tomorrow fund by Donald Sutherland and Phyllis Bryn-Julson.

Maurice Duruflé | Requiem, Op. 9
Frank Martin | Cantate pour le 1er Août
Palestrina | Missa Papae Marcelli
Diedre Robinson | World Premiere

Eric Plutz, organ

The Thirteen performs works of remembrance and celebration with Duruflé’s poignant Requiem and, in honor of the 500th anniversary of Palestrina’s birth, the composer’s most renowned work, the Missa Papae Marcelli. Palestrina’s mass represents the high point of Renaissance polyphony, with a purity of counterpoint, deeply affecting dissonance, and clear text setting—qualities that formed the basis of an enduring myth that through this work, Palestrina saved Church music. Duruflé’s 1941 Requiem, also based on Gregorian chant, was begun under the Vichy occupation but completed after the liberation of France. Paired with Swiss composer Frank Martin’s celebratory 1941 Cantata pour le 1er août (the text of which inspires this concert’s title) and a new work by composer Diedre Robinson, this concert is sure to “transfigure the listener” (The Washington Post). Princeton University Chapel organist Erik Plutz, hailed as a “master craftsman… sensitive, emotional, stunningly accurate, and spectacularly musical… world-class” (The Diapason) joins The Thirteen in this tour-de-force performance.

The commissioning of the World Premiere by Diedre Robinson is made possible by a gift to The Thirteen’s Building for Tomorrow fund by Donald Sutherland and Phyllis Bryn-Julson.

Maurice Duruflé | Requiem, Op. 9
Frank Martin | Cantate pour le 1er Août
Palestrina | Missa Papae Marcelli
Diedre Robinson | World Premiere

Eric Plutz, organ

The Thirteen performs works of remembrance and celebration with Duruflé’s poignant Requiem and, in honor of the 500th anniversary of Palestrina’s birth, the composer’s most renowned work, the Missa Papae Marcelli. Palestrina’s mass represents the high point of Renaissance polyphony, with a purity of counterpoint, deeply affecting dissonance, and clear text setting—qualities that formed the basis of an enduring myth that through this work, Palestrina saved Church music. Duruflé’s 1941 Requiem, also based on Gregorian chant, was begun under the Vichy occupation but completed after the liberation of France. Paired with Swiss composer Frank Martin’s celebratory 1941 Cantata pour le 1er août (the text of which inspires this concert’s title) and a new work by composer Diedre Robinson, this concert is sure to “transfigure the listener” (The Washington Post). Princeton University Chapel organist Erik Plutz, hailed as a “master craftsman… sensitive, emotional, stunningly accurate, and spectacularly musical… world-class” (The Diapason) joins The Thirteen in this tour-de-force performance.

The commissioning of the World Premiere by Diedre Robinson is made possible by a gift to The Thirteen’s Building for Tomorrow fund by Donald Sutherland and Phyllis Bryn-Julson.

The Elm City Consort kicks off the season with a concert of music by the 14th century composer and poet, Guillaume de Machaut (1300-1377). The undisputed master of the Ars nova style, Machaut composed in a wide range of musical forms and styles. This performance will feature selections from the twenty-three surviving isorhythmic motets, with additional selections of music from Machaut’s epic poem, Le Remede de Fortune.

Michael Rigsby, vielle and director
Rosamund Morley, vielle
Sylvia Leith, mezzo-soprano
Clifton Massey, countertenor
Edmund Milly, bass-baritone
Kevin Payne, lute

Free; no tickets required