Friday the 20thSt. Ignatius of Antioch

Church

Saturday the 21stOur Lady of Peace

Church

Sunday the 22ndSt. Peter Catholic

Church

Quire Cleveland is generously sponsored by the Ohio Arts Council and Cuyahoga Arts & Culture.

“Like” Quire’s Facebook page, and visit the Quire Cleveland website at https://www.quirecleveland.org

Carols for Quire XDecember 2019 Cleveland, Ohio

About Quire Cleveland With the vision of building global harmony through performance and education, Quire Cleveland is dedicated to exploring, preserving, and breathing new life into nine centuries of extraordinary choral music.

Quire Cleveland is a professional early music vocal ensemble established in 2008 to explore the vast and timeless repertoire of choral music over the last nine centuries. The singers of Quire Cleveland are highly skilled performers of choral music, with a particular knowledge of medieval, Renaissance, and Baroque music. Quire Cleveland plays a unique and vital role in the cultural landscape of Northeastern Ohio by enhancing the larger choral community and cultivating the highest artistic standards. Through concerts, recordings, broadcasts, and more than one million views on YouTube, Quire reaches people in 217 countries around the world. Quire Cleveland has earned both critical and popular acclaim for their “stunning panache” (ClevelandClassical.com) and “rich mosaic of music” (Early Music America Magazine), as they “combine stylistic truth with vocal elegance” (Cleveland Plain Dealer).

About the Artistic Director Countertenor Jay White joined Quire Cleveland in 2012 and assumed the position of Artistic Director in July of 2018. Jay has held choral positions with ensembles that include the Washington National Cathedral Choir of Men and Boys, Grace Cathedral San Francisco, Maryland Handel Festival, Washington Bach Consort, Folger Consort, Spire, Carmel Bach Festival Chorale, and Apollo’s Fire Singers. Sought after as an interpreter of repertoire from medieval to baroque and beyond, he has appeared at national and international early music festivals. In all, as a choral singer, soloist, and chamber singer, he has participated in more than 1,400 performances around the globe.

Jay sang eight seasons with the internationally acclaimed ensemble, Chanticleer, with which he traveled to more than 40 states and 15 foreign countries, performing more than 150 concerts each year. A unique aspect of his time with Chanticleer was engagement with a vast amount and diversity of repertoire, from chant to contemporary, interaction with more than a dozen living composers, and numerous US and world premieres of innovative new works for the choral en-semble. No stranger to the recording process, Jay can be heard on more than 45 albums, including three nominations and two GRAMMY® Award-winning recordings with Chanticleer. He has been heard on National Public Radio and Public Radio International programs such as Harmonia, St. Paul Sunday, Around New York, Weekend Edition, Performance Today, and The Today Show, as well as radio and television broadcasts in more than 10 countries.

Jay received his training at the Early Music Institute at the Indiana University Jacobs School of Music and the University of Maryland School of Music and Maryland Opera Studio. He holds Bachelor of Music, Master of Music, and Doctor of Musical Arts degrees, with studies in vocal per-formance, musicology and performance practice, and pedagogy and vocology. Jay has served on the faculties of the University of Maryland, University of Delaware, and DePauw University. He is currently Professor of Voice at the Kent State University Hugh A. Glauser School of Music with a full studio of music education, vocal performance, and musical theatre voice students, along with courses in diction, language, opera, and related undergraduate and graduate subjects in the voice curriculum. Jay has also served as Music Director for the Kent State Opera since 2012, working with productions of literature from the 17th to 21st centuries.

Cover image: Madonna and Child in Glory, c. 1605–17. Isaac Oliver (French, c. 1565–1617). Cleveland Museum of Art

JAY WHITE, ARTISTIC DIRECTOR

Carols for Quire XI. 17 December

O Sapientia Gregorian Chant Anonymous (16th-century French)The truth from above Traditional English, Arr. by Ralph Vaughan Williams (1872–1958)

II. 18 December

O Adonai Gregorian Chant Pierre Certon (1515–1572)O come, O come, Emmanuel 15th-century French Arr. by David Willcocks (1919–2015)

III. 19 December

O Radix Jesse Gregorian Chant Jean “Hotinet” Barra (fl 1510–1523)A spotless Rose Herbert Howells (1892–1983)

IV. 20 December

O Clavis David Gregorian Chant Antoine de Mornable (fl 1530–1553)Alleluya, a new work Peter Wishart (1921–1984)

Communal Carol

O come, all ye faithful John F. Wade (c1711–1786), Arr. by David Willcocks

V. 21 December

O Oriens Gregorian Chant Guillaume Leroy (fl 1530s)

Lo, how a Rose e’er blooming Michael Praetorius (1571–1621)

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VI. 22 December

O Rex Gentium Gregorian Chant Jean “Hotinet” BarraAdam lay ybounden Boris Ord (1897–1961)

VII. 23 December

O Emmanuel Gregorian Chant Pierre de Manchicourt (c1510–1564)In dulci jubilo 16th-century German, Arr. by Robert L. Pearsall (1796–1856)

VIII. 24 December

The First Nowell Traditional English, Arr. by David Willcocks

Communal Carol

Hark! The herald-angels sing Felix Mendelssohn (1809–1847), Arr. by David Willcocks

Settings of the ‘O’ Antiphons are published in the Motettorum Liber Book 7 Paris: Pierre Attaingnant (1534); Edition by Mick Swithinbank

Copyright © 2017 by CPDL

Director’s Message

Anticipation and AssemblyThe miraculous and inspirational story of Christ’s entrance into this world is well known among those of many faiths. Indeed, the prophet Isaiah foretold the birth of a boy, born of a virgin woman, who would save all people from darkness. The child’s name: Emmanuel—God in human form. This prophecy was spoken about 700 years before that holy night. For those seven centuries, followers of Judaism waited with great anticipation for the arrival of this savior.

As I pondered the thought of Isaiah’s story being told over and over to generation after generation, I was drawn to the reassembling of his words in what have become known as the Great ‘O’ Antiphons. These seven sentences, perhaps one for each of the long centuries of waiting, are heard during the seven nights of Vespers leading to the traditional midnight Mass on Christmas Eve. It is not known when the assembly of these anti-phons occurred. However, reference to them by Boethius (480–524) puts them at least within the 6th-century AD.

While the antiphons may not be familiar to many of you (not all were familiar to me), the traditional carol, “O come, o come, Emmanuel,” is an English summation of them. Thus came the impetus for the structure of this program. Each antiphon is presented first in Gregorian chant, followed by a composition from the 16th-century French publication by Pierre Attaingnant (1494–1552). These antiphon settings are paired with traditional and non-traditional 20th-century settings of carols that somewhat correspond to the message of each antiphon.

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No doubt, you will recognize most of the carols you will hear, and SING, as they have been sound-ed time and time again. The antiphon settings, while unfamiliar (more on that later), are certainly no less expressive in their intent to portray Isaiah’s words through simple, yet sonorous polyphony. One peculiarity of these settings is the textless ending of each. In the manuscript lie only notes. After some scholarly consultation, it was decided to sing these finales on a singular vowel, a practice common in the medieval era. In essence, the utterance of the human voice without the constriction of variable con-sonants and vowels expresses more readily the emotions of the soul.

Through a stroke of good fortune, or perhaps an unexpected Christmas gift, these antiphon settings are likely being heard here—in their entirety in a concert performance—for the first time in North America. Thus, one could argue, we in this assembly of musicians and listeners are practitioners of—and wit-nesses to—an unprecedented event. I could not dare go so far as to say it is as significant as that night over 2000 years ago, but perhaps just as meaningful in its expression of anticipation.

However you came to this assembly, we are grateful for your presence. We are delighted to share with you our gift of music that shines a bit of light into the world.

Sharing and SupportQuire Cleveland is delighted to begin its twelfth season by returning to a tradition started by our Artis-tic Director Emeritus, Ross Duffin. With this tenth iteration of Carols for Quire, we honor his legacy, of which many of you have been a part over the years.

This season, we share this and two other new programs, thanks to funding from Cuyahoga Arts and Culture (CAC), the Ohio Arts Council (OAC), and donations to our annual appeal campaigns. With each new project in the Quire season costing between $10,000 and $15,000, we rely on the income re-ceived from our concerts—60% of our total budget—to truly make these programs possible. Therefore, in the tradition of receiving a little something as carolers travel from door-to-door, we will collect a free-will offering from person-to-person as we sing the communal carol, O come all ye faithful. A $25 per person donation will help cover the full cost of producing our concerts and the rehearsals that they require. Of course, if the caroling spirit moves you to contribute more, such generosity will go far in continuing to make our concerts affordable for our current and future audiences. Please enclose your donation—of any amount—in the envelope you’ll find inserted into your program, and drop it in the offering basket our carolers will be carrying. You may also take the envelope home and mail it in with your donation.

Quire’s all-volunteer working Board of Directors would like a few volunteers to help us produce our concerts. If you would like to volunteer YOUR skills and time as a box office volunteer or in a more substantial role, please contact us at info@quirecleveland.org or speak to a board member.

Finally, our institutional funding organizations require us to provide demographic and other informa-tion about our audiences. Please help us honor the conditions of our grant funding by completing the tear-out survey on the back of this program and either dropping it in the offering basket or returning it to an usher as you leave the concert.

Again, we are delighted you have chosen to spend your time with us. It is with you we share our gifts, and it is because of you that we are all the Quire Cleveland family.

Have a Blessed Christmas and a Happy New Year!

Jay White, DMA Artistic Director

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About the Singers

Kristine Caswelch made her choral debut singing Ein Deutsches Requi-em as a nine-year-old. Kristine has sung with Apollo’s Fire and is the Artistic Director and Co-Founder of Cleveland Transgender Choir. She has appeared as a soloist for the Westminster Choir College Summer Festival, most recently in Montever-di’s Vespers of 1610.

Melanie Emig holds Bachelor’s and Master’s degrees from the Oberlin Conservatory of Music. Locally, she performs with Apollo’s Fire and Trinity Cathedral. In addition to her performing credits, she maintains a studio of Suzuki piano students at The Music Settlement in University Circle.

Sarah Coffman is pursuing a Doc-torate of Musical Arts in Historical Performance Practice at Case West-ern Reserve University. In 2016, she graduated from Lawrence University in Appleton, Wisconsin, where she studied voice with Steven Spears. Currently, Sarah sings with several Early Music ensembles at Case.

Megan Kaes Long holds a Ph.D. in Music Theory from Yale University and a B.A. in Music from Pomona College. She teaches music theory and aural skills at the Oberlin Col-lege Conservatory of Music. Megan has performed with Audivi and the Yale Schola Cantorum and has col-laborated with the Bach Collegium Japan and Juilliard 415.

Ian Crane currently teaches music at Cuyahoga Falls High School. He has performed as both a vocalist and instrumentalist with Apollo’s Fire. Ian earned a bachelor’s degree in music education from Cleveland State University and a master’s in conducting from Kent State Univer-sity.

Daniel Kenworthy teaches music at Bard Early College in Cleveland. He earned his MA at Case West-ern Reserve University, where he studied historical musicology and vocal performance. Daniel holds a BM from The College of New Jersey in music education and trombone performance.

SopranosKristine CaswelchMelanie EmigMegan LongMalina Rauschenfels

AltosSarah CoffmanJohn McElliottJoe SchlesingerRobert Stark

TenorsBryan MunchGregory RistowBrian Wentzel

BassesIan CraneDaniel KenworthyBrian MacGilvrayMichael McKayJohn Mills

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Brian Wentzel is an organist, com-poser, singer, and writer. He is Director of Music at First Lutheran Church in Lorain. He holds degrees in mathematics, organ performance, and sacred music, and has earned the Fellowship certification from the American Guild of Organists.

John McElliott holds degrees in voice and organ performance from the University of Akron and served as a choral scholar at Winchester Ca-thedral in the UK. John is President of Karen McFarlane Artists, Inc., where he manages concert careers for many of the world’s great con-cert organists and choirs.

Bryan Munch received his engineer-ing degree, music minor, and MBA from Case Western Reserve Univer-sity, where he participated in Early Music Singers, Case Concert Choir, and the all-male a cappella octet Speakeasy. He has sung with St. Paul’s Episcopal Church, the Tem-ple-Tifereth Israel, and Apollo’s Fire.

John Mills currently works as an announcer for WCLV 104.9 FM. He holds degrees in voice and conduct-ing from Coe College and the Uni-versity of Nebraska-Lincoln. When not behind a radio microphone, he has worked as a college professor, conductor, and church musician.

Brian MacGilvray is currently teaching music history at Case Western Reserve University and the Cleveland Institute of Music. He holds a Ph.D. in musicology from CWRU and degrees in voice from Northwestern University and the University of Kentucky. Brian sings regularly with the Trinity Cathedral Choir and Chamber Singers.

Michael McKay is office manager in the Performing Arts, Music, and Film department at the Cleveland Museum of Art. He holds a bachelor of music degree in vocal and organ performance from Cleveland State University. Michael has performed in various Cleveland-area chamber ensembles.

Gregory Ristow is director of vocal ensembles at the Oberlin Conserva-tory and conductor of the Interlo-chen Singers at the Interlochen Arts Camp. He has sung with the Hous-ton Chamber Choir and Houston’s Mercury Baroque and conducted as artistic director of Encore Vocal Arts in Indianapolis.

Malina Rauschenfels, an Eastman and Juilliard graduate, is a vocalist, multi-instrumentalist, and com-poser who specializes in early and brand-new music. She is co-founder of Burning River Baroque and per-forms with Crescendo, El Fuego, and other groups. She has performed and coached emerging musicians in multiple countries.

Joseph Schlesinger played principal trumpet in the Augustana College Symphony, where and earned a Master of Music from DePaul Uni-versity. He studied baroque music at the Royal Conservatory (The Hague) under a Netherlands-America/Ful-bright Fellowship. Joe sings locally with Apollo’s Fire.

Robert Stark is studying for his M.S.M in Operations Research and Supply Chain Management at Case Western Reserve University. A lifelong church chorister, he grew up singing at St. James Episcopal Church in New York City. He cur-rently sings at Trinity Cathedral and with the Case Men’s Glee Club.

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Texts and Translations

O Sapientia,quae ex ore Altissimi prodiisti,

attingens a fine usque ad finem fortiter,suaviterque disponens omnia:

veni ad docendum nos viam prudentiae.

O wisdom, coming forth from the Most High, filling all creation and reigning to the ends of the earth; come and teach us the way of truth.

O Sapientia

This is the truth sent from above,The truth of God, the God of love;Therefore don’t turn me from your door,But hearken all, both rich and poor. The first thing, which I do relate,Is that God did man create;The next thing which to you I’ll tellWoman was made with man to dwell. Thus we were heirs to endless woes,Till God the Lord did interpose;For so a promise soon did runThat He would redeem us by his Son.

And at that season of the yearOur blest Redeemer did appearHe here did live, and here did preach,And many thousands He did teach. Thus He in love to us behaved,To show us how we must be saved;And if you want to know the way,Be pleased to hear what he did say.

The truth from above (Traditional English)

O Adonai,et dux domus Israël,

qui Moyse in igne flammae rubi apparuisti,et ei in Sina legem dedisti:

veni ad redimendum nos in brachio extento.

O Lord of Lords, and ruler of the House of Israel, you appeared to Moses in the fire of the burning bush, and gave him the law on Sinai: come with your outstretched arm and ransom us.

O Adonai

O come, O come, Emmanuel! Redeem they captive Israel,That into exile drear is goneFar from the face of God’s dear Son.

Rejoice! Rejoice! EmmanuelShall come to thee, O Israel.

O come, thou Branch of Jesse! DrawThe quarry from the lion’s claw;From the dread caverns of the grave,From nether hell, they people save. Rejoice!...

O come, O come, thou Dayspring bright!Pour on our souls thy healing light;Dispel the long night’s ling’ring gloom,And pierce the shadow of the tomb. Rejoice!...

O come, thou Lord of David’s Key!The royal door fling wide and free;Safeguard for us the heav’nward road,And bar the way to death’s abode. Rejoice!...

O come, O come, Adonaï, Who in thy glorious majestyFrom that high mountain clothed with aweGavest thy folk the elder law. Rejoice!...

O come, O come, Emmanuel (15th-century French)

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O Radix Jesse,qui stas in signum populorum,

super quem continebunt reges os suum,quem gentes deprecabuntur:

veni ad liberandum nos,jam noli tardare.

O root of Jesse, standing as a sign among the nations; kings will keep silence before you for whom the nations long; come and save us and delay no longer.

O Radix Jesse

A spotless Rose is blowing,Sprung from a tender root,Of ancient seers’ foreshowing,Of Jesse promised fruit;Its fairest bud unfolds to lightAmid the cold, cold winter,and in the dark mid-night.

The Rose which I am singing,Whereof Isaiah said,Is from its sweet root springingIn Mary, purest Maid;For through our God’s great love and mightThe Blessed Babe she bare usIn a cold, cold winter’s night.

A spotless Rose (14th-century)

O Clavis David,et sceptrum domus Israël,

qui aperis, et nemo claudit,claudis, et nemo aperuit:

veni, et educ vinctumde domo carceris,

sedentem in tenebris,et umbra mortis.

O key of David and scepter of the House of Israel; you open and none can shut; you shut and none can open: come and free the captives from prison, and break down the walls of death.

O Clavis David

Alleluya!A new work is come on handThrough might and grace of Godès sonTo save the lost of every land.For now is free that erst was bound.We may well sing Alleluya!

Now is fulfilled the prophecyOf David and of JeremyAnd also of Isaiah.Sing we therefore both loud and highAlleluya!

Alleluya, this sweetè songOut of a green branch it sprung;God send us the life that lasteth long.Now joy and bliss be him amongThat thus can sing Alleluya!

Alleluya, a new work is come on hand (15th-century)

O Oriens,splendor lucis aeternae,

et sol justitiae:veni, et illumina

sedentes in tenebris,et umbra mortis.

O morning star, splendor of the light eternal and bright sun of righteousness: come and bring light to those who dwell in darkness and walk in the shadow of death.

O Oriens

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O Rex Gentium,et desideratus earum,

lapisque angularis,qui facis utraque unum:veni, et salva hominem,quem de limo formasti.

O king of the nations, you alone can fulfil their desires: cornerstone, binding all together: come and save the creature you fashioned from the dust of the earth.

O Rex Gentium

Lo, how a Rose e’er bloomingFrom tender stem hath spring!Of Jesse’s lineage comingAs men of old have sung.It came, a flow’ret bright,Amid the cold of winter,When half spent was the night.

Isaiah ’twas foretold it,The Rose I have in mind,With Mary we behold it,The Virgin Mother kind.To show God’s love aright,She bore to men a Saviour,When half spent was the night.

Lo, how a Rose e’er blooming (16th-century German)

Adam lay ybounden,Bounden in a bond;Four thousand winterThought he not too long.And all was for an apple,An apple that he took,As clerkës finden writtenIn their book.Nor had one apple taken been,The apple taken been,Then had never Our LadyA-been heaven’s queen.Blessed be the timeThat apple taken was.Therefore we may singenDeo gratias!

Adam lay ybounden

O Emmanuel,Rex et legifer noster,expectatio gentium,

et Salvator earum:veni ad salvandum nos,

Domine, Deus noster.

O Emmanuel, our King and Lawgiver, hope of the nations and their savior: come and save us, O Lord our God.

O Emmanuel

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In dulci jubilo [In quiet joy]Let us our homage showOur heart’s joy reclinethIn praesepio [in a manger]And like a bright star shinethMatris in gremio! [in the mother’s lap]Alpha es et O! [Thou art Alpha & Omega]

O Jesu parvule. [O tiny Jesus]My heart is sore for Thee!Hear me, I beseech Thee,O puer optime! [O best of boys]My prayer, let it reach Thee,O princeps gloriae! [Prince of glory]Trahe me post te! [draw me unto thee]

O patris caritas, [O father’s caring]O nati lenitas, [O newborn’s mildness]Deeply were we stainedPer nostra criminal [by our crimes] But Thou, Thou hast gainedCoelorum gaudia. [heavenly joy]O that we were there!

Ubi sunt gaudia. [where be joys]If that they be not there?There are angels singingNova cantica: [new songs]There the bells are ringingIn Regis curia. [at the king’s court]O that we were there!

In dulci jubilo (16th-century German)

The First Nowell, the Angels did sayWas to certain poor shepherds in fields as they layIn fields where they lay keeping their sheepOn a cold winter’s night that was so deep.Nowell, Nowell, Nowell, NowellBorn is the King of Israel!

They looked up and saw a starShining in the East beyond them farAnd to the earth it gave great lightAnd so it continued both day and night.Nowell, …

And by the light of that same starThree Wise men came from country farTo seek for a King was their intentAnd to follow the star wherever it went.Nowell, …

This star drew nigh to the northwestO’er Bethlehem it took its restAnd there it did both Pause and stayRight o’er the place where Jesus lay.Nowell, …

Then entered in those Wise men threeFull reverently upon their kneeAnd offered there in His presenceTheir gold and myrrh and frankincense.Nowell, …

Then let us all with one accordSing praises to our heavenly LordThat hath made Heaven and earth of noughtAnd with his blood mankind has bought.Nowell, …

The first Nowell (Traditional English)

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Quire Cleveland thanks our generous donors (Cash and in-kind gifts received 12/1/2018 – 12/1/2019)

$10,000 and upBeth Cooper &

Paul HerrgesellDavid & Florence

SchlesingerDoreen & John Ziska

$5000–$9,999Joseph Schlesinger &

Bill PodojilJay White & Craig Resta

$2500–$4,999John & Yuri McElliottGerald P. Weinstein

$1000–$2,499Ursula KorneitchoukDiane & Lewis SchwartzJoseph Sopko &

Elizabeth MacIntyreElizabeth Ring Mather

and William Gwinn Mather Fund

$500–$999Arthur V. N. BrooksMichael & Heather

McKayElena MullinsDr. Valerie PowersKim SherwinGregory Videtic

$250–$499AnonymousJohn & Laura BertschStephen & Elizabeth

KaufmanFr. Robert KropacSteve & Carolyn KuerbitzJames & Virginia MeilGreg RistowDr. Daniel & Ruth

ShoskesPeter Stark &

Kathy Rubendall

$100–$249AnonymousJay & Julie BeinhardtEvan BescanTerry BoyarskyPatricia Brownell &

James CollinsLloyd Max Bunker &

Anthony BianchiElizabeth & Timothy

CoffmanMatt & Virginia CollingsRobert ConradIan CraneNathan DoughertyDr. Ross W. Duffin &

Dr. Beverly J. Simmons in memory of Geraldine McElliott

Mary DunbarEaton Corporation

Charitable FundMelanie EmigRobin Herrington-BowenSteve & Sally HotchkissPaul & Mary JenksWilliam Johnston &

Cynthia PeckDaniel KenworthyAdrian G. Krudy, MDMegan LongNathan LongneckerBrian MacGilvrayCatherine C. Miller

in memory of Geraldine McElliott

Craig & Kay MuhlbaierDon & Sharon MullinsBryan MunchThomas & Valerie PiatakPeter Politzer &

Jane S. MurrayCourtney PoppLisa RainsongMalina RauschenfelsKen & Rebecca Rocco

Larry Rosche & Judy Semroc

Michael SeiderJulie ShawShirley SimmonsLaura Sims &

Nancy StemmerRobert StarkSarah & James SteinerRalph & Barbara TrepalBradley UphamVal & Eugenia VinyarMary WarrenAnn WatersMary WehrleGail WestFrank & Patricia WileyNancy H. Zambie

$50–$99Anonymous (3)Eleanor & Richard AronNanette Canfield &

Jeff GreenMichiel & Francisca

De ZwaanPaul & Mary Kay

FergusonJanet HerrgesellThe Holtkamp Organ

CompanyJames Jagger Juknialis &

Becky MorganJohn & Kathie MastersPaula MindesEdmund J. Mowka, Jr.Debra NagyCarol Nesper &

Bruce OnutzKaren L. PrasserGay & Quentin QuereauNancy TuttleEve SandbergAndrew & Daniel

Singer-SordsEdith Yerger

Up to $49Anonymous (5)John & Arlene BeinhardtTed & Jane BerkeleyMatt BittnerCarol BravermanJane CardulliasKatie CrossRobert R. Cutler IIIDr. Joanne DenkoAndrew DobayDon & Kathy DregallaDoug & Kim FryJason Gibbons &

Julie KennyKathryn HackMichael & Sarah

KnoblauchBC & DM KondrichWilliam J KubatGisela LuckMary McDonaldCecilia Ilg McKayMarilyn & Tom

McLaughlinMary & Richard MillerBetty Jo MooneyAnita NeumannKathryn PfaffEllen Hook PietzJoanne M. PoderisTimothy ReganGerry ReillyRon & Mary RivettKaren RothmanMrs. Martha RyanRobert RybkaDean & Tammy ShafferRobert SkerdaJean SommerBill & Joanne SpellacyBruce TaylorElizabeth K. Todd &

Philip SchillawskiJean ToombsJohn & Augusta

Van DomelenMarcia Wittenbrook

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Acknowledgements

Quire Cleveland is grateful for the hospitality and support of our friends at the performance venues for this concert series:

St. Ignatius of Antioch Church Jason R. Lewis, Director of Music Rev. Kevin E. Estabrook, Pastor

Our Lady of Peace Church Rev. Gary Chmura, Pastor

St. Peter Church Paul Janis, Concert Coordinator

Rev. Robert Marva, OFM Cap., Pastor Photos of Quire Cleveland that appear in this concert program were taken by

Roger Mastroianni, Roger Mastroianni Photography. This concert program was designed by Michael McKay.

The postcard for the Carols for Quire X concert series was designed by Jerry Jezek, Cubicle Dreams Design.

Beth Cooper, PresidentJohn McElliott, Secretary

Gerald P. Weinstein, TreasurerFr. Robert Kropac, Community Outreach

Elena Mullins, Educational OutreachDiane Schwartz, Development Director

Jay White, Artistic DirectorDoreen Ziska, Concert Manager

Board of Directors

— 14 —

Journey Home: Finding Unity after Loss

Quire Cleveland’s 2019–2020 Season

David Gilson, Artistic Director

28th Season 2019-2020

Sing Song, Merrily on High Lauda per la Nativita del Signore

by Respighi and other seasonal selections

Sunday, December 8, 3:00 p.m

Mass in C minor by Mozart Sunday, March 22, 3:00 p.m.

In Her Voice:

Celebrating the Poetry of Women through Choral Music

Sunday, June 7, 3:00 p.m.

westernreservechorale.org

216-282-4022

All performances at Church of the Gesu, University Heights.

Reception following concerts.

Western Reserve Chorale

Special Sponsorship Opportunities

Quire Cleveland welcomes donations of any amount, and

we also offer these special sponsorship opportunities:

Series – $15,000Concert – $5,000

If you would like to speak to someone about sponsoring Quire Cleveland, call us at 216.223.8854 or send us an email at info@quirecleveland.org.

Quire Cleveland is a 501(c)(3) non-profit organization. Your contributions are tax-deductible to the extent permitted by law.

February 28–29, 2020 St. John Cantius Church (Cleveland)

& St. Vitus Church (Cleveland)

Quire performs settings of the Lamen-tations of Jeremiah by the Renaissance English composers Thomas Tallis and Robert White. Their message asks for the restoration of a community that has lost its home. Quire offers these concerts at the beginning of the Lenten season to provide awareness of the trials and tribu-lations of our modern world and of those who immigrated to the Cleveland area over a century ago.

Resonant Glory: Music for Grand Spaces

May 8–10, 2020 Cathedral of St. John the Evangelist

(Cleveland), St. Noel Church (Willoughby Hills),

& St. Sebastian Parish (Akron)

As the earth begins its return to life af-ter the long winter, Quire Cleveland of-fers musical splendor to awaken the soul, highlighting double choir treasures and works in which grand spaces truly live.

https://www.quirecleveland.org/resonant-gloryhttps://www.quirecleveland.org/journey-home

Quire Cleveland Concert Patron SurveyQuire Cleveland’s concerts are supported in part by grant funding from the Ohio Arts Council and Cuyahoga Arts & Culture. Will you please help us honor our grant reporting agreements by providing some demographic information about our audiences?

Please tear out this page when you’re finished completing the survey, and return it to an usher as you leave the concert. If you’d prefer to complete and submit it online, scan the QR code here or type in this URL https://www.quirecleveland.org/concert-patron-survey/ to access the survey. We thank you in advance for your feedback!

1. Geographic My city of residence is

2. Which describes you? Check all that apply. □ African American □ Appalachian □ Asian/Asian American □ Hispanic, or Latina, Latino, Latinx,

or Spanish Origin □ Middle Eastern □ Native American, American Indian,

or Alaska Native □ Native Hawaiian or Other Pacific Islander □ White □ Other □ Prefer not to answer

3. Age Group I consider myself to be a (check the box that

best describes you) □ elementary or middle school student □ high school student □ college age □ adult □ senior adult □ prefer not to answer

4. Education Level Check the box that best describes you. □ Current K–12 student □ high school graduate □ some college □ college graduate □ post-graduate degree(s) □ none of the above

5. Disability Check if this applies to you □ I consider myself to have a physical disabili-

ty that affects my mobility, hearing, or vision

6. Musical Involvement I consider myself to be a (check all that apply) □ instrumentalist (amateur or professional) □ singer (amateur or professional) □ choral director (church, university,

community, or professional) □ frequent concert-goer

7. How many people are in your party today? □ just myself □ myself and one other person □ 3–5 people □ more than 5 people

8. Is this your first Quire Cleveland concert? □ no □ yes

9. How did you hear about this concert? Check all that apply □ ClevelandClassical.com (concert listing,

banner ad, or preview article) □ Facebook post or event □ Quire Cleveland email announcement(s) □ Quire Cleveland postal marketing postcard □ Quire Cleveland website □ WCLV/WCPN □ Cool CLE interview podcast □ Plain Dealer or Cleveland.com □ Apollo’s Fire concert program ad □ Cleveland Arts Events listing □ Word of mouth □ Other

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10. Today’s (concert) date is:

11. Why did you choose to attend this concert?

12. How did this concert affect you? What did you like about it?

13. Please share any other feedback you wish to offer.

Please tear out this page when you’re finished completing the survey, and return it to an usher as you leave the concert. If you’d prefer to complete and submit it online, scan the QR code here or type in this URL https://www.quirecleveland.org/concert-patron-survey/ to access the survey. We thank you in advance for your feedback!

Quire Cleveland is generously sponsored by the Ohio Arts Council and Cuyahoga Arts & Culture.

“Like” Quire’s Facebook page, and visit the Quire Cleveland website at https://www.quirecleveland.org