with Organ, Carillon & Peal Bells CATHEDRAL CHORAL SOCIETY at 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 50th Anniversary Photo by Morton Broffman 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 Catalog www.gothic-catalog.com G-49112
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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.
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
22
CATHEDRAL�CHORAL�SOCIETY
Washington National Cathedral
Wisconsin & Massachusetts Aves., NW
Washington, D.C. 20016-5098
Tel: 202-537-8980
23
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
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).