St. Mary's Cathedral

Special Guest: Founder & Director Doug Fullington Tudor England (c1485–1603) was deeply unstable—yet monuments of its Latin sacred music survived, including the Sarum rite chant used before the Reformation. This chant formed the basis of devotional works by Taverner, Sheppard, Fayrfax, and Tye. It appears directly in several pieces on this program—among them Sheppard’s deeply moving Libera nos, whose chant melody is shown here. This music is inseparable too from the stone abbeys and cathedrals it was made to fill. These Stones Remain restores these masterworks to their spiritual home, performed by the Northwest’s own Tudor Choir.

Conductor: John Michael Boyer Long before gift-giving and reindeer, there was St. Nicholas of Myra—the 4th-century bishop whose deep compassion made him one of Christianity’s most beloved saints. From the medieval West, we’ll sing the remarkable isometric motet O Gemma lux by Guillaume Dufay. From the Byzantine tradition an exquisite Kalophonic (“beautiful sounding”) chant for his feast day by Manuel Chrysaphes (15th c.). We finish with Arvo Pärt’s “O Holy Saint Nicholas,” featured on Cappella Romana’s acclaimed recording Odes of Repentance, a contemporary meditation that bridges ancient tradition and modern spirituality.

For twenty years, IM’s annual December program has captured the quiet anticipation and wonder of the holiday season. This year’s concerts feature Benjamin Britten’s beloved A Ceremony of Carols alongside ancient songs, traditional carols, and audience favorites that honor the community whose support has sustained IM over the past two decades. Harpist Kate Petak returns as special guest. Single Ticket Prices (Fees Included) Section A: $47.78 Section B: $37.33 Section C: $26.88 25 & Under: $15 Arts for All: $5

3:00 PM St. Mary’s Cathedral 1716 NW Davis Street Portland, OR

Reprising Cappella Romana’s first all-chant concert in 2001, Epiphany features an ecstatic repertoire of Old Roman and medieval Byzantine chant. Celebrated across the Roman Empire, Epiphany honored both Christ’s nativity and baptism. New Rome (Constantinople) focused on his baptism in the Jordan (Theophany) while Old Rome embraced the adoration of the Magi, expanding Christmas to twelve days. Old and New Rome: two eternal Cities, one eternal Epiphany.

Born in ninth-century Constantinople, Kassia the Nun was a precocious scholar, defender of icons, abbess, poet, and composer. She stands as the preeminent woman hymnographer of the Byzantine tradition. Her hymns still resound in Orthodox worship today, her voice especially echoing through Lent and Holy Week. Her most famous work, known popularly as “The Hymn of Kassianí,” is a hauntingly beautiful lament of the anonymous woman who anointed Jesus’s feet before his crucifixion. Discover Kassia’s medieval melodies as she herself sang them—before centuries of tradition shaped them into the versions Orthodox faithful know today.

Our anniversary season culminates with Vivaldi’s Gloria, performed by IM and chamber orchestra—a rare opportunity to hear this Baroque masterpiece as the composer originally intended. Written for the all-female choir and orchestra of the Ospedale della Pietà, Venice’s renowned orphanage and music school for young women, this jubilant work offers a festive close to the season. Special reception to follow the final concert on May 8. All are welcome!

7:30 PM St. Mary’s Cathedral 1716 NW Davis Street Portland, OR

Conductor: John Michael Boyer Fifty days after the Resurrection, the promised Paraclete, the Holy Spirit, descended upon the Apostles in tongues of fire—transforming frightened disciples into fearless witnesses. Orthodox Christianity has celebrated this cosmic moment with some of its most magnificent music, from ancient Byzantine chant to contemporary works from across the Orthodox world. Central to our celebration is the ecstatic Teleutaion (Final Antiphon) of the Kneeling Vespers from Cappella Romana’s acclaimed recording Byzantium in Rome. This monumental 13th-century chant from Grottaferrata Abbey near Rome features extended psalmody on Psalm 18 and exuberant settings of “Alleluia,” capturing the wonder of that first Pentecost—“speaking in tongues,” Byzantine style.