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Tickets will be available at the door beginning at 7:00pm.

Thursday, March 28, 2019 8:00pm

Peter Phillips, Director

Program: Music from The Sistine Chapel

Palestrina: Missa Assumpta est Maria (Kyrie)
Morales: Regina caeli
Palestrina: Missa Ecce ego Johannes (Gloria)
Festa: Quam pulchra es
Carpentras: Lamentations
Palestrina: Missa Papae Marcelli (Credo)
Allegri: Miserere
Palestrina: Missa Confitebor tibi domine (Sanctus & Benedictus)
Campkin: Miserere Mei
Josquin: Inter natos mulierum
Palestrina: Missa Brevis (Agnus)‎
The Sistine Chapel, the heart of the Vatican in Rome, is well-known for having bequeathed a treasure-trove of visual art to posterity. With one notable exception, it is rather less known for the musical treasures which it has nurtured for many centuries. In many cases this is due to the jealous guarding of the music by a series of Popes, who would not allow certain pieces to pass beyond the walls of the chapel. Such is the case, famously, of Gregorio Allegri’s Miserere, which acquired such a mystique through the Sistine Chapel’s monopoly that tracing its journey has become one of the most intriguing musical problems of our time.

This program allows us a privileged glimpse into the heyday of the Vatican of the high Renaissance. The power and prestige of the Papacy was at its apex, and before long the Council of Trent would spur liturgists and artists to the heights of the Counter-Reformation. In this spirit, the continuity in this program is provided by that most prolific of polyphonists, Giovanni Pierluigi da Palestrina. Rather than choose just one setting of the Ordinary of the Mass, Peter Phillips has chosen individual movements from five different masses, forming a composite which shows the remarkable breadth and consistency of Palestrina’s style.

Presented by Mr. John H. Russell

Welcomed by Melanie & Anthony Fathman, MD

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Tickets Available at the Door Beginning at 7:00pm

Sunday, April 14, 2019 7:30pm
(PLEASE NOTE: Doors open at 7:00pm)

Robert Quinney, Director

Jubilate Deo by William Walton (1902-1983)
Sicut cervus – Sitivit anima mea by G. P. da Palestrina (1525/6-1594)
Ave maris stella by Tomás Luis de Victoria (1548-1611)
Organ solo
Toccata, Fugue et Hymne sur ‘Ave Maris Stella’, Op. 28 by Flor Peeters (1903-1986)
Charles Maxtone-Smith, Organ Scholar
Ave maris stella by Matthew Martin (b. 1976)
Like as the hart by Herbert Howells (1892-1983)
Magnificat (New College Service) by Paul Drayton (b. 1944)
Miserere mei, Deus (Psalm 51) by Gregorio Allegri (1582-1652)
In manus tuas by John Sheppard (c.1515-1558)
Loquebantur variis linguis by Thomas Tallis (c.1505-1585)
Organ solo:
Folk tune and Scherzo (from Five Short Pieces) by Percy Whitlock (1903-1946)
Timothy Wakerell, Assistant Organist
Hear my words, ye people by C. H. H. Parry (1848-1918)

The Choir of New College, Oxford is one of the most celebrated and acclaimed choral groups of the UK. When William of Wykeham founded his ‘New’ College in 1379, a choral foundation was at its heart, and daily chapel services have been a central part of college life ever since. The Choir comprises sixteen boy choristers and fourteen adult clerks; the latter a mixture of professional singers and undergraduate members of the College. The pattern set by New College Choir in the 1380s was later adopted by other foundations, and may be seen as the prototype for all choirs of its kind. The boy choristers benefit not only from the matchless education provided by daily contact with superb music, or the satisfaction of performing at a professional level, but also from generous bursaries at New College School.

Beyond Oxford, New College Choir is often to be heard in concert around the world, and on broadcasts and recordings. A wide range of music is represented in its discography; it was the first choral foundation to establish its own recording label, Novum, and has also recorded for CRD, Decca, Erato and Hyperion. The choir has released a number of CDs since Robert Quinney’s arrival as director. In summer 2016 John Blow: Symphony Anthems was Editor’s Choice for the September issue of Gramophone, and shortlisted for an award in the early music category. In 2017 the choir released two CDs: The Gate of Heaven: Favourite Anthems from New College, including works by Matthew Martin and Rhian Samuel; and Like as the Hart, settings of Psalm 42, to accompany the novel The Templar’s Garden by Catherine Clover.

Welcomed by The English Speaking Union & Bill and Debbie Voss

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Tickets avaialba at the door beginning at 7:00pm

Friday, April 26, 2019 8:00pm

Schola Antiqua of Chicago is a professional early music ensemble dedicated to the performance of repertory before the year 1600. An ensemble that executes pre-modern music with “sensitivity and style” (Early Music America), Schola Antiqua takes pride in providing the highest standards of performance, research, and education as it highlights underserved repertories from this period. Founded in 2000, the organization has received invitations to perform from museums, libraries, festivals, universities, and other institutions across the country. The ensemble is currently Artist-in-Residence at the Lumen Christi Institute and formerly a resident artist at the University of Chicago.

PROGRAM (subject to change)

Music in Secret

Michael Alan Anderson, Artistic Director

Naomi Gregory, Guest Director and Organist

Cora Swenson Lee, bass viol

Motet: “Ave sanctissimae Maria” Anonymous
from Musica quinque vocum motteta materna lingua vocata: Venice, 1543

Three Matins responsory plainchants for the feast of the Annunciation
From the late thirteenth-century antiphoner at the Art Institute of Chicago, Mrs. William E. Kelley Collection, MS 1911.142b

“Missus est Gabriel”
“Non auferetur”
“Ave Maria”

Motet: “Suscipe verbum, virgo Maria” from Musica quinque vocum Anonymous

Motet: “Sicut lilium inter spinas” from Musica quinque vocum Anonymous

Hymn: “Ave generosa” Hildegard von Bingen (1098-1179)

Motet: “Sancta et immaculata virginitas” Raffaella Aleotti (c.1570 – after 1646)

Organ solo: Toccata in F Ercole Pasquini (c.1560-1608/19)

Motet: “Ego flos campi” from Sacrae cantiones: Venice, 1593 Aleotti

Motet: “Duo seraphim” Caterina Assandra (c.1580-1620)
from Motetti à dua, & tre voci, op. 2: Milan, 1609

Solo motet: “Vulnerasti cor meum” (October 20) Alba Tressina (c.1590-after 1638)
from Sacri Fiori, libro quarto: Venice, 1622

Organ solo: Ego flos campi (October 21) Assandra

Motet: “Amo Christum” Lucrezia Vizzana (1590-1662)
from Componimenti Musicali: Venice, 1623

Organ solo: “La Organistina Bella in Echo” Adriano Banchieri (1568-1634)
from Canzoni alla francese, libro secondo: Venice, 1596

Motet for two voices: “O invicta Christina sancta” Vizzana

Plainchant Responsory: “Maria Magdalena et altera Maria”
from the Art Institute of Chicago, Mrs. William E. Kelley Collection, MS 1911.142b

Motet: “Maria Magdalena et altera Maria” Sulpitia Cesis (1577-after 1619)

Motet: “Stabat mater” Cesis

Motet: “Cantate domino canticum novum” Cesis
from Motetti spirituali: Modena, 1619

Notes on the Program

The sounds flowing from pre-modern convents constitute one of the better kept secrets of music history. Behind cloistered walls, nuns sang Gregorian chant and sacred choral music that their counterparts in monasteries would have performed, though in their own celestial vocal range and sometimes accompanied by instruments. Although many convents lacked the wealth and resources of local monasteries and cathedrals, monastic women still collected manuscripts of plainchant and sang the music of the Mass and the Divine Office. Their active participation in the liturgy is clear from surviving liturgical books. This program brings out vocal and instrumental music from medieval and early-modern convents that has scarcely received a modern hearing. In doing so, we hope to unveil a rich repertoire that has been neglected all too often.

Sonorous sixteenth-century convent polyphony and monophonic medieval chant interweave in the first part of this program. We will sing three five-voice motets from the first known collection of published convent polyphony—an anonymous set of partbooks, printed in Venice in 1543. All three motets have Marian texts; their liturgical use included the feasts of the Immaculate Conception and the Annunciation. These motets are complemented by three plainchants drawn from a thirteenth-century liturgical book currently on display at the Art Institute of Chicago in the Deering Family Galleries of Medieval and Renaissance Art, Arms, and Armor. This breathtaking source of music was compiled for an Italian convent and illuminated by artist Jacobus de Salerno. We will sing from images of this precious book tonight – three prescribed for the feast of the Annunciation. These beautiful melodies represent a small window into this rare convent manuscript of the late Middle Ages

It is impossible to talk about pre-modern music for the convent without mentioning the recently-canonized St. Hildegard of Bingen, the twelfth-century abbess from the Rhineland, who not only composed music but also authored treatises on natural science and medicine and was further known for her prophetic visions. Our program includes Hildegard’s Ave generosa, a hymn in praise of the Virgin Mary. The richness of Hildegard’s poetic expression is matched by the beauty of her musical setting. With its sweeping melodic gestures and wide range, the hymn is well suited for talented female voices.

The second half of tonight’s program explores northern Italian convent music of the late sixteenth and early seventeenth century. We begin with two works by Raffaella Aleotti, taken from a collection of motets for five to ten voices published in 1593. This source is remarkable as the first known publication of polyphony by an Italian nun.Aleotti was the music director at the convent San Vito in Ferrara, which maintained a high reputation for its musical performances. Included among the eighteen motets of Aleotti’s Sacrae Cantiones are two motets by her teacher, Ercole Pasquini. Pasquini was born in Ferrara, and later became organist of St. Peter’s in Rome. The Toccata in F exemplifies the kind of piece that Pasquini might have improvised during the liturgy: to introduce singing, accompany a liturgical procession, or to conclude the service.

Sacred music styles changed markedly in early seventeenth century Italy, with a turn towards a more intimate type of musical expression. Composers frequently used newly composed motet texts with a more personal, even sensual, devotional cast found in the biblical Song of Songs. The motets by Caterina Assandra, Alba Tressina, and Lucrezia Vizzana exemplify this new style. Alongside their careful text declamation, these works contain vivid examples of musical word-painting, surprising harmonic progressions, moments of striking vocal virtuosity, and an independent instrumental accompaniment. Assandra’s seraphim echo each other back and forth; Tressina’s setting captures the amorous intensity and languor of its Song of Songs text. Vizzana’s motets speak to her personal commitment to Christ and the church (Amo Christum) and to the patronal festival of her convent, San Cristina in Bologna (O invicta Christina sancta). Tonight’s program also includes an organ piece by Adriano Banchieri, one of the composers who published choral works dedicated to Vizzana’s convent.

The program closes with three motets by Sulpitia Cesis, a nun in the Augustinian convent of San Geminiano in Modena. These works are found in a collection of “spiritual motets” from 1619, which contained music for up to twelve parts. Maria Magdalena et altera Maria recounts a scene of the Resurrection, taken from Matthew 28:1, 6-7, while Stabat mater is a truncated version of a liturgical sequence for the Virgin Mary at the foot of the cross. Cantate Domino is a compilation of verses from psalms 95 and 99, highlighting the devotional act of praise through music. Its echoing double choirs create a musical space in which we can overhear the splendors of Italian convent polyphony and those talented musicians who created it.

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Call About Reservations: 314-533-7662

The Grand Hall at Union Station

We are pleased to honor Dennis M. Reagan, President & CEO of The Muny, with our “Great Music Award” for his exemplary leadership in the arts in St. Louis. The Honorary Co-Chairs of the event are Drs. Elizabeth & Paul Stroble.

Funds raised this evening go to support Cathedral Concerts’ mission of presenting affordable live concerts in the Cathedral Basilica of St. Louis featuring world-class musicians and the finest repertoire of sacred and classical music for the cultural enrichment, education, and enjoyment of the entire region.

Performance by Broadway star Ken Page, accompanied by Greg Schweizer.

Regular Reservation: $195 / VIP Reservation: $295

Premiere Sponsor:

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Tickets available at the door at 7:00pm.

Monday, July 29 at 8:00pm

The distinctive sound of Libera has traveled the world in the last few years. The group’s albums have topped both mainstream and classical charts in many countries, and their recordings hold their place in top-tens alongside major artists like Bocelli.

We are happy to have them back in St. Louis!

Program (subject to change)

Veni Creator Music & Words – traditional

Orinoco flow Music – Enya; Words – Roma Ryan

Sanctus Based on ‘Canon’ Music – Johann Pachelbel; Words – Traditional; Arranged – Robert Prizeman

Angele Dei Music – Robert Prizeman; Words – Traditional & Robert Prizeman

The prayer Music – David Foster; Words – Carole Bayer Sager; Arranged – Sam Coates

Salve Regina Based on ‘Impromptu in G flat’ Music – Franz Schubert; Words – Traditional; Arranged – Robert Prizeman

From a distance Music & Words – Julie Gold; Arranged – Sam Coates

Stay with me Words & Music – Robert Prizeman

Angel Music – Takatsugu Muramatsu; Words – Robert Prizeman

Voca me Music – Robert Prizeman; Words – Traditional

Joyful joyful Music – Ludwig van Beethoven; Words – Henry Van Dyke; Arranged – Robert Prizeman


How shall I sing that majesty Music – Robert Prizeman; Words – John Mason

Wonderful world Words & Music – Bob Thiele and George David Weiss; Arranged – Sam Coates

In paradisum Music – Ben Robbins; Words – Traditional

How great thou art Music – traditional; Words – traditional translated by S Hine; Arranged – Robert Prizeman

Always with you Music – Robert Prizeman; Words – Robert Prizeman & Ben Crawley

Amazing grace Music – traditional; Words – John Newton; Arranged – Robert Prizeman

Libera Music & English words – Robert Prizeman

Poor little Jesus Music & Words – traditional; Arranged – Sam Coates

Exultate Music – Robert Prizeman; English words – Henry Burton

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Cathedral Concerts continues its series of FREE concerts that brings the great music to you.

Tuesday, September 3
Fontbonne University Doerr Chapel @ 7:30 PM

Monday, September 9
St. Clement of Rome Catholic Church in Des Peres @ 7:30 PM

Monday, September 23
St. Joseph Catholic Church in Cottleville @ 7:30 PM

Tuesday, September 24
St. Clare of Assisi Catholic Church in Ellisville @ 7:30 PM

Kristin Ahlstrom, violin
Eva Kozma, violin
Shannon Farrell Williams, viola
Bjorn Ranheim, cello
Matthew Mazzoni, piano

Boccherini: Cello Sonata (A Major)
Clarke: Passacaglia
Shostakovich: 5 Pieces
Schumann: Piano Quintet, Op. 44

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Tickets available at the door beginning at 7:00pm

Tuesday, October 29 at 8:00pm


Direct from Rome, Italy

For the first time in the United States, the Four Italian Tenors: Alessandro D’Acrissa, Federico Serra, Federico Parisi, and Giovanni Maria Palmia perform the greatest Sacred Tenor Arias and Songs of all time in wonderful unique arrangements created for this concert at the Cathedral on their U.S. Debut Tour.

SACRED ARIAS PROGRAM / USA TOUR 2019 (Subject to Change)

SCHUBERT: “Ave Maria”
BELLINI: Messa in sol – “Quoniam cum sancto spiritu”
HANDEL: “O Mio Signor”
ROSSINI: Missa Solemnelle – “Domine Deus”
NIEDERMEYER: “Pietà Signore”
MASCAGNI: “Sancta Maria”
SCHUBERT: “Mille cherubini in coro”
FRANCK: “Panis Angelicus”
VERDI: Messa da Requiem – “Ingemisco”
BIZET: “Agnus Dei”
VIVALDI: Magnificat – “Fecit Potentiam”
GOUNOD/BACH: “Ave Maria”

Looking for diner before the concert?

Why not join us for an Italian “Family Style” Dinner at 5:30pm Dinner at Bar Italia Ristorante

This Italian “Family Style” dinner includes 3 appetizers, homemade ciabatta, salad, 3 main dishes including a luscious cheese tortellini, steak and chicken, vegetables, polenta, and for dessert a fantastic tiramisu as well as soft drinks and iced tea. There will be a cash bar for those interested in wine or cocktails.

Package prices for concert ticket and dinner are:
Section 1: $92
Section 2: $79
Section 3: $69

If you already have tickets for the concert the dinner is just $50.

We will have reserved seating at the concert for those coming from the dinner, and with the FREE valet parking there is no need to rush to the concert early.

To RSVP please call 314-533-7662 by October 21 to make your reservations.

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Tickets will be available at the Door begining at 7:00pm

Saturday, November 16 at 8:00pm

One of the world’s leading vocal ensembles, renowned for its passion and precision. We invite you to  join us for an unforgettable evening with them at the Cathedral.





Presented by Stifel, Russell Wealth Management Group
Welcomed by Melanie and Anthony Fathman, MD

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A Limited Number of Tickets will be available at the door beginning at 1:30pm

Friday, November 29 at 2:30pm

Sections 1 & 2 are SOLD OUT

Kick-off the holidays with the delightful sounds of the Vienna Boys Choir as they bring their holiday program to St. Louis!

Program (subject to change) includes:
Hodie Christus natus est (Christ is born today)

Gaudete (Rejoice!)
from the Finnish Piae cantiones (Pious songs, 1582)

Es ist ein Ros´entsprungen
(Lo, How a Rose E’er Blooming)
Carol from the Speyer Hymnal, Cologne 1599

Adeste fideles (O Come, All Ye Faithful)

Es wird scho glei dumpa (It will be dark soon)
Sacred lullaby from Upper Austria

Hirtenterzett – Tuet eilends erwachen
(Shepherds’ trio – Quickly, wake and rise)

El burrito de Belén (The little donkey from Bethlehem)
Villancico from Venezuela

Adorar al niño (Worship the child)
Traditional villancico from Venezuela

Les anges dans nos campagnes
(Angels from the Realms of Glory)
Traditional French carol

Hark! The Herald Angels sing

Jesous Ahatonhia (Huron Carol)

Joy to the World

O Holy Night (Cantique de Noël)

Stille Nacht (Silent Night)

Welcomed by
Paul & Amy Mittelstadt &

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Tickets Available at the door beginning at 7:00pm

Saturday, December 7 at 8:00pm

Experience the joy of the music of Christmas with the St. Louis Archdiocesan Choirs and Orchestra . The program includes the Christmas portion of The Messiah and other Christmas classics old and new.

Welcomed by
John Winski & Liesel Duhon and

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