MUSIC COMPOSED FOR AND GIVEN TO

WASHINGTON CATHEDRAL IN HONOR OF THE

DEDICATION OF THE GLORIA IN EXCELSIS TOWER

ASCENSION DAY, MAY 7, 1964

Side 1 CHORALE FOR ASCENSION DAY, 1964 Samuel Barber

for 3 trumpets, 2 horns, 3 trombones, tuba and timpani.

ASCENTION Lee Hoiby

for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 3 trumpets, 2 horns, 3

trombones, tuba, timpani, percussion, 4 herald trumpets, and chorus.

Setting of a holy sonnet by John Donne (1572-1631).

COME RISEN LORD Leo Sowerby

A tune composed for Hymn 207 in the Protestant Episcopal Hymnal,

1940, and arranged for wind instruments by the composer.

Side 2 TE DEUM LAUDAMUS John La Montaine

for piccolo, 2 flutes, 2 oboes, 2 clarinets (E-flat, B-flat), bassoon and

contrabassoon, 3 trumpets, 2 horns, 3 trombones, tuba, timpani, per-

cussion, 4 herald trumpets, chorus, and Narrator.

Side 3 IN BABILONE Leo Sowerby

A chorale for 3 trumpets, 2 horns, 3 trombones, tuba, timpani, and

carillon.

O GOD, MY HEART IS READY Leo Sowerby

An unaccompanied setting for mixed chorus of the opening verses of

Psalm 108, as found in The Book of Common Prayer.

THE ASCENSION Ned Rorem

A festival setting of a sonnet by Joseph Beaumont (1615-1699) for 2

flutes, 2 oboes, 2 clarinets, 2 bassoons, 3 trumpets, 2 horns, 3 trombones,

tuba, timpani, percussion and mixed voices.

Side 4 FANTASY ON KING’S WESTON FOR CARILLON Milford Myhre

TE DEUM LAUDAMUS FOR CARILLON Roy Hamlin Johnson

GLORIA IN EXCELSIS DEO Stanley Hollingsworth

for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 3 trumpets, 2 horns, 3 trom-

bones, tuba, timpani, percussion, 4 herald trumpets, and mixed voices.

Piano reductions of the orchestral scores by Norman Scribner, Assistant

Organist and Choirmaster.

HYMNS, PSALMS, AND CANTICLES

Side 1 ALLELUIA, SING TO JESUS (Hymn 347) Tune: Hyfrydol

Accompaniment arranged for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons,

3 trumpets, 2 horns, 3 trombones, tuba, timpani, and organ, by David

Koehring, Assistant Organist and Choirmaster and Fellow of the Col-

lege of Church Musicians.

FATHER, WE THANK THEE (Hymn 195) Tune: Rendez a Dieu

HAIL THEE FESTIVAL DAY (Hymn 102) Tune: Salve Festa Dies

Accompaniments arranged for the above combination of instruments

with the addition of herald trumpets for the last refrain of "Salve festa

dies” by Norman Scribner.

Accompaniment arranges

of Church Musicians.

Side 2 PSALM 132 Chant: E. Edwards

From the American Psalter

BENEDICITE OMNIA OPERA Richard Dirksen

An excerpt from “The Fiery Furnace” composed for the dedication of

the South Transept in 1962. For flute, oboe, horn, trumpet,2 bassoons,

harp, percussion, and mixed voices.

Side 3 PSALM 47 Chant: Goss

MAGNIFICAT Tone VII; Solemn Form

Plainsong setting found at number 658 in The Hymnal, 1940. Hand-

bell accompaniment, ad libitum.

THE BELLS

Side 1 Immediately following the brass chorale, and preceding the Sanctus,

the tolling of the tenor bell of the ring is heard.

Side 2 At the conclusion of the TE DEUM LAUDAMUS, the Bourdon bell

of the carillon is heard against the narration, tolled manually.

Following the BENEDICITE it is heard as tolled by the machine.

Side 3 The tenor bell of the ring, tolling during the opening of the first nar-

ration, the Bourdon of the carillon striking three strokes following it.

Accompanying handbells in the magnificat are four bells from the set

made by the Whitechapel Foundry and used in the tower for change-

ringing practice.

The bells heard at the end of this side and again on side four are

bells 3 through 2 of the ten bell ring. (See p. 31 for specifications.) The

method is Grandsire Doubles.

Side 4 THE KIBBEY MEMORIAL CARILLON

Fifty-three bells ranging from the E-flat Bourdon to a fifteen pound

bell at the treble end.

Dedicated in September of 1963, this instrument is among the most

perfectly tuned carillons in the world and is the work of the John

Taylor Co. of Loughborough, England. (See p. 32 .)

At the Epilogue, the ringing of Grandsire Doubles on the six handbells

accompanies the reading. At the conclusion of the side, the peal is

again heard.

the narration

he compilation and editing of the script was done by Joan Dirksen

and the Canon Precentor.

His valuable time and talent was the gift of Mr. Basil Rathbone, and

Fh "7atl0,n WaS done in New York at the Riverside Church, Christ

Unapel, m January, 1964.

Following are the general sources of the narration:

THE BUILDING OF A CATHEDRAL

The Right Reverend Henry Yates Satterlee, D.D., L.L.D., The First

Bishop of Washington

Published in 1902 by Edwin S. Gorham, New York

THE GLORIA IN EXCELSIS TOWER

An article from the Cathedral Age, 1937, by Philip Hubert Frohman

REPORTS OF DEAN FRANCIS B. SAYRE, JR., TO THE

CATHEDRAL CHAPTER

THE BOOK OF COMMON PRAYER

Specific Sources:

Side 1—“Lord Jesus! With what sweetness and delights.”

The poem, ASCENSION DAY, by Henry Vaughan (1621-1695)

Side 3—The Litany of Reconciliation from Coventry Cathedral

The close of this side and opening of Side 4:

Excerpts from THE BENEDICTION OF A CHURCH BELL, as

earlier found in the Pontifical of Anianus, and reprinted in Divine

Worship in England. (Earliest probable source: EGBERT’S PAN-

TIFICAL, A.D. 738)

PARTICIPATING GROUPS AND INDIVIDUALS

Narrator- Basil Rathbone

The Washington Cathedral Choir of Men and Boys

The Cathedral Choral Society

The National Cathedral School for Girls Glee Club

The Saint Albans School for Boys Glee Club

Members of the National Symphony Orchestra and Local 161,

D. C. Federation of Musicians, A.F.M.

THE CATHEDRAL MUSIC STAFF

Paul Callaway, Organist and Choirmaster

Norman Scribner, Assistant Organist and Choirmaster

David Koehring, Assistant Organist and Choirmaster

Ronald Barnes, Cathedral Carillonneur

Richard Dirksen, Director of the Glee Clubs

BELL RINGERS

Geoffrey Dirksen, Treble

David Bartlett

Thomas Brushart

John Lillard

Richard S. Dirksen

Wayne Dirksen, Tenor

RECORDING ENGINEER

Kenneth Mapes, Vice-President of Mirrosonic Records, Ltd.,

of New York

TECHNICAL SUMMARY

Mirrosonic Records of New York produced this recording under the

personal supervision of Kenneth Mapes, Chief Technician and Engi-

neer. The equipment necessary for the five sessions held in the

Cathedral in late February included. 2 Ampex (/00) recorders, two-

thousand-five hundred feet of cables, a twelve-channel mixer, nine

Neumann microphones with power packs and on eighteen-foot adjust-

able stands, two stereo playback speakers, and all

and rigs to power and combine the many units.

3M-201 tape were used.

The carillon bell heard in the Te Deurn (Side 2) was recorded at the

time of the orchestra performance, not dubbed in later. The hymn

singing on Side 1 was produced by mixing the three choral groups

(350 singers) haphazardly over the entire west Nave area. The fact

that they are not in sections explains the unusual homogeneity of the

sound.

necessary amplifier

Forty-eight reels of

INDEX OF MUSIC

chorale for ascension day, 1964, Samuel Barber

ascention, Lee Hoiby

come, risen lord, Leo Sowerby

te deum laudamus, John La Montaine

benedicite omnia opera, Richard Dirksen

in babilone, Leo Sowerby

o god, my heart is ready, Leo Sowerby

the ascension, Ned Rorem

fantasy on king’s weston, Milford Myhre

te deum laudamus, Roy Hamlin Johnson

gloria in excelsis, Stanley Hollingsworth

TECHNICAL SUMMARY

Mirrosonic Records of New York produced this recordin

personal supervision of Kenneth Mapes, Chief Technician thc

neer. The equipment necessary for the five sessions fi

Cathedral in late February included: 2 Ampex (700) reco I Ule

thousand-five hundred feet of cables, a twelve-channel tW°*

Neumann microphones with power packs and on eighteenT^’ n‘ne

able stands, two stereo playback speakers, and all necessar 0<>t a<9Ust’

and rigs to power and combine the many units. Forty-e \ am^lifiers

3M-201 tape were used. lee^s of

The carillon bell heard in the Te Deum (Side 2^ wae

r i i r k ' was recorded nt n

time of the orchestra performance, not dubbed in later 'll Ulc

singing on Side 1 was produced by mixing the three ch 1° hymn

(350 singers) haphazardly over the entire west Nave area^TJ81011^

that they are not tn sections explains the unusual homogeneitv

sound. gmetty ol the

index of music

page

39 chorale for ascension day, 1964, Samuel Barber

41 ascention, Lee Hoiby

59 come, risen lord, Leo Sowerby

61 te deum laudamus, John La Montaine

85 benedicite omnia opera, Richard Dirksen

125 in babilone, Leo Sowerby

131 o cod, my heart is ready, Leo Sowerby

139 the ascension, Ned Rorem

154 fantasy on king’s weston, Milford Myhre

159 te deum laudamus, Roy Hamlin Johnson

165 gloria in excelsis, Stanley Hollingsworth