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Francis Pott
Saturday
22 March 2025
Vi
at 7.30 pm
Chorus
Holy Trinity,
Guildford High Street.
A message from Martin Davies
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PROSTATE
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Chairman of the Prostate Project
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Over nln ce
25 years, the Prostate Project has raised more than £11 million,
money that
has been used in the research, diagnosis and treatment of
prostate cancer,
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SVOLCNNCLLC
Based at The Stokes Centre for Urology at Royal Surrey Hospital, our charity has
helped to establish Guildford as a world leading centre of excellence, supporting
research, sponsoring PhD studies, purchasing equipment, and raising awareness
of the need for more men to ‘Get Tested’.
The PSA blood test is an effective early indicator of potential problems for a
disease that usually presents no symptoms in its early stages. More than 14,000
: 5
*
10 CLC
h *
®
mo
®
O SSIN1
men in the UK die each year from prostate cancer, and many of these deaths are
preventable because caught early enough, prostate cancer is usually curable.
If you, or someone you know is a man aged between 50 and 70, has a family
history of the disease, or is black, you should ask your GP for a free PSA blood
test. It really is a simple fact that this quick test can save, and prolong the lives of
a great many men.
ce
The Prostate Project is a volunteer led charity, and if you would like to know more
about our work or have any questions about the PSA Test, or prostate cancer,
please visit our website.
Thank you to the Vivace Chorus for allowing me the opportunity to say a few
words about the Prostate Project, together we can give mena better chance of
Grace Hope-Gill
Soprano
Clover Kayne
Mezzo-Soprano
Owen Lucas
Tenor
Alex Bower-Brown
;
Baritone
beating prostate cancer.
Regards,
Francis Pott
Edward Dean
Piano
Harmonium
Vivace Chorus
Conductor: Jeremy Backhouse
07724 465 883
Registered Charity No.1078523
Petite Messe Solennelle
reputation as a first-rate harpsichord player and pianist. He
Gioachino Rossini (1792 - 1868)
went
Rossini is remembered primarily for
his
immense
contribution
to
the
Italian
operatic
repertoire,
but he
also.
produced
two_
pieces
of sacred
music that are
important
notable, amongst other things, for
their overtly operatic style.
house
into the sacred
repertoire may appear to have been
a bold innovation, but in terms of
Photo
©Palazzetto Bru Zane
dramatic
Colourised using palette.fm
content
established
it
was
practice.
to
study
at
the
a
wellMost
composers who were familiar with the theatre as well as the
church used elements of the operatic style in order to give
their sacred compositions greater impact. A prime example is
Handel, but the tradition goes back to Monteverdi, the first
great opera composer, who even borrowed his own overture
to The Coronation of Poppea for the opening movement of his
1610 Vespers.
Academy
of
Music,
composing his first opera whilst still a student. From then on
his rise to fame was meteoric. He received his first professional
commission
in
1810,
which
led
to
a
string
of
further
commissions. With the enormous success of his first full-
length opera, Tancredi (1812), and the even greater triumph of
The
Italian
girl
in Algiers
(1813),
he
became
celebrated
throughout Italy and his international reputation was firmly
He was still only 23 when he was engaged as Musical Director
of the two opera houses in Naples, for each of which he was
required to compose a new opera annually, the ever-popular
Barber of Seville being one of the happiest results. Rossini was
always greatly attracted to a life of leisure, and as he was of a
somewhat indolent nature he would frequently put off until the
last possible moment the completion of his latest commission.
He would then work at an incredible speed: several of his
operas were written in under three weeks, an astonishing feat
by any standards. He travelled widely throughout Europe, and
in 1824 settled in Paris as Director of the Theatre Italien. A
string
of
new
compositions
followed,
culminating
in
his
acknowledged masterpiece, William Tell, completed in 1829
What is original about Rossini's sacred music is not so much
when he was still only 37.
its
At
dramatic
Bologna
launched.
This incorporation of the music of
the opera
on
power,
impressive
though
that
is,
but
its
unashamed romanticism.
this
point
Rossini's
life
changed
dramatically.
For
no
apparent reason he gave up composing, and apart from two
Like so many of the great composers, Rossini was born into a
musical family. His father was the town trumpeter in Pesaro
important religious works, the Stabat Mater (1842) and the
Petite Messe Solennelle (1863), he wrote nothing of significance
and his mother was an opera singer. Both parents worked in
during the last forty years of his life. It may be that he had run
various theatres in the region, and from an early age Gioachino
went with them. As a talented boy soprano he was soon in
great demand, and by the time he had reached his teens he
sixth opera in nineteen years - or perhaps simply that he was
could play the viola and the horn and was rapidly acquiring a
2
Vivace Chorus
out of energy and inspiration - William Tell had been his thirty-
by now so immensely wealthy that he had
no particular
incentive to go on working. He retired to a luxurious villa
Vivace Chorus
5
specially built for him at Passy, on the outskirts of Paris, where
he was able to live the life of idleness and self-indulgence that,
as a renowned gourmet and bon vivant, he had always found
SO
appealing. A visit to
his villa was
obligatory for every
musician of importance visiting the capital, and here Rossini
would hold court, entertaining everyone with his sparkling wit
and good food, and revelling in the adulation of the constant
stream
of admirers
and
eminent visitors. These
included
Wagner, of whom he once wryly observed, ‘His music has
The quiet A minor opening of the Kyrie Eleison contrasts
sustained choral writing with a running bass part in the piano
accompaniment. This soon gives way to a brighter mood as
the music
Rossini
moves into the major.
adopted
a
For the Christe Eleison,
deliberately archaic
style,
echoing
the
church music of Palestrina some 300 years earlier. As the
second Kyrie unfolds, the movement returns to the serious
mood
in which
introduction
it
for
began. The Gloria
chorus
and
begins with
soloists,
followed
a short
by
four
lovely moments but awful quarters of an hour!’
extended solo movements that are operatic arias in all but
In his latter years Rossini turned once again to composition,
extended fugue to the words ‘Cum sancto spiritu in gloria Dei
producing what he called his Péchés de Vieillesse (Sins of Old
Age), a collection of light-hearted pieces for piano, some also
with voices. Despite his withdrawal from the operatic world, he
continued to be held in such enormous esteem that when he
died 6,000 mourners, four military bands, a chorus of 400
singers and several of the finest opera soloists of the day
attended his funeral.
name. The chorus returns for the final section of the Gloria, an
Patris,
Amen.
craftsmanship,
This
is
a
real
tour
de
reflecting the thorough
harmony and counterpoint that Rossini
force
of
musical
classical training
in
received all those
years ago at the Bologna Academy.
In the Credo Rossini ingeniously uses the word ‘credo’ as a
unifying motif to which he repeatedly returns. This section of
the
Mass
concludes with
another
brilliant
fugue
for the
The Petite Messe Solennelle is the most substantial of the works
chorus, at the words ‘Et vitam venturi saeculi, Amen. There
written during Rossini’s Indian summer of composition. It was
follows an extended piano solo, leading to a lyrical Sanctus
composed in 1863 for private performance and is scored for
and Benedictus, and the work ends with a moving Agnus Dei
four
for the alto soloist and chorus.
soloists
and
chorus,
with
harmonium
and_
piano
accompaniment. It was not heard in public until 1869, the year
after his death, when it was performed in the composer's own
orchestral version at the Theatre Italien. The work's title is
misleading, since the Petite Messe Solennelle is neither petite
nor particularly solemn. It lasts well over an hour, and despite
the religious text is unmistakeably operatic in style, in common
with the Stabat Mater of twenty years earlier. The music ranges
from hushed intensity to boisterous high spirits, and abounds in
the memorable tunes and rhythmic vitality for which Rossini
becamejustly famous.
4
There
is a sense
in which
Rossini's extraordinary musical
facility was one of his weaknesses as well as one of his
strengths. He once remarked, ‘Show me a laundry list and |
will set it to music!’ and this neatly illustrates his complete
confidence in
his own
ability to
produce music to order,
whatever the words. To some extent, this is what he has done
in the Petite Messe. Of course, there are many sections which
beautifully reflect the words, such as the Christe Eleison and
the Agnus Dei, but in other places one feels that Rossini has
paid little regard to the essential meaning and form of the text.
Vivace Chorus
Vivace Chorus
5
The two extended choral fugues are good examples of this:
they are disproportionately grand in relation to the rest of the
Gloria and Credo. Yet at no point in the work does the music
become remotely dull or routine.
Such was Rossini's genius that even when the spirit of the
music seems to depart from the spirit of the text one can't help
but be captivated by the beautiful melodies and sheer joie-de-
vivre of the piece. As he himself said, ‘Delight must be the basis
and aim of this art’, and that is what he has achieved - a work
not of profound religious insight, but one that is a delightful,
life-enhancing musical experience.
Programme notes © John Bawden MMus (University of Surrey)
Flash photography, audio and video recording are not permitted without
the prior written consent of the Vivace Chorus. Please also kindly switch
off all mobile phones and alarms on digital watches. Thank you.
3. Gratias agimus tibi
Mezzo, Tenor & Bass soloists
Gratias agimus tibi propter
We give You thanks for Your
magnam gloriam tuam,
great glory,
4. Domine Deus
enor solois
Domine Deus, Rex caelestis,
Lord God, heavenly King, O
Deus Pater omnipotens.
God almighty Father.
Domine Fili unigenite Jesu
Lord Jesus Christ, Only
Christe, Domine Deus, Agnus
Begotten Son, Lord God, Lamb
Dei, Filius Patris.
of God, Son of the Father,
5. Qui tollis
Soprano & Mezzo soloists
Qui tollis peccata mundi,
You take away the sins of the
miserere nobis;
world, have mercy on us;
Qui tollis peccata mundi,
You take away the sins of the
suscipe deprecationem
world, receive our prayer;
nostram.
1. Kyrie eleison
Choir & soloists
Kyrie, eleison.
Lord, have mercy.
Christe, eleison.
Christ, have mercy.
kyrie, eleison.
Lord, have mercy.
2. Gloria
Choir & soloists
Qui sedes ad dexteram Patris,
You are seated at the right
miserere nobis.
hand of the Father, have mercy
On us.
6. Quoniam tu solus
Bass soloist
Quoniam, tu solus Sanctus, tu
For You alone are the Holy
solus Dominus, tu solus
One, You alone are the Lord,
Altissimus, Jesu Christe.
You alone are the Most High,
Gloria in excelsis Deo et in
Glory to God in the highest,
terra pax hominibus bonae
and on earth peace to
voluntatis.
people of good will.
7. Cum sancto
Choir & soloists
Laudamus te, benedicimus te,
We praise You, we bless You,
Cum Sancto Spiritu: in gloria
With the Holy Spirit, in the
adoramus te, glorificamus te.
we adore You, we glorify You.
Dei Patris. Amen.
glory of God the Father. Amen.
Vivace Chorus
Jesus Christ.
Vivace Chorus
Interval (20 minutes)
10. Et resurrexit
Refreshments will be available at the back of the church
Choir & soloists
Et resurrexit tertia die secundum
He rose again on the third day
scripturas. Et ascenait in caelum,
according to the Scriptures. He
sedet ad dexteram Patris.
ascended into heaven, and is
seated at the right hand of the
8. Credo
Choir & soloists
Credo in unum Deum, Patrem
| believe in one God, the
omnipotentem, factorem ceeli
Father Almighty, maker of
et terree, visibilium omnium et
heaven and earth, of all things
invisibilium, et in unum
visible and invisible, and in
Dominum, Jesum Christum,
one Lord, Jesus Christ, the
Filium Dei unigenitum.
only-begotten Son of God.
Et ex Patre natum ante omnia
Born of the Father before all
sazecula. Deum de Deo, Lumen
ages, God from God, Light
de Lumine, Deum verum de
from Light, true God from true
Deo vero.
God.
Genitum, non factum,
Begotten, not made,
consubstantialem Patri: per
consubstantial with the
quem omnia facta sunt.
Father, by whom all things
Father.
were made.
Qui propter nos homines et
Who for us men and for our
propter nostram salutem
salvation came down from
descendit de ceelis.
heaven.
Et incarnatus est de Spiritu
And by the Holy Spirit was
Sancto ex Maria virgine, et
incarnate of the Virgin Mary,
homo factus est.
and was made man.
9. Crucifixus
Soprano soloist
Crucifixus etiam pro nobis, sub
For our sake He was crucified
Pontio Pilato: passus, et
under Pontius Pilate, suffered
sepultus est.
death and was buried.
Vivace Chorus
Et iterum venturus est cum
He will come again with glory,
gloria, judicare vivos et mortuos.
to judge the living and the
Cujus regni non erit finis.
dead, and his kingdom will have
no end.
Ft in Spiritum Sanctum,
| believe in the Holy Spirit, the
Dominum et vivificantem, qui ex
Lord, the giver of life, who
Patre Filioque procedit, qui cum
proceeds from the Father and
Patre et Filio simul adoratur et
the Son, who with the Father
conglorificatur, qui locutus est
and the Son is adored and
per prophetas.
glorified, who has spoken
through the prophets.
Et in unam, sanctam, catholicam
| believe in one, holy, catholic
et apostolicam ecclesiam.
and apostolic Church.
Confiteor unum baptisma in
| confess one baptism for the
remissionem peccatorum. Et
forgiveness of sins, and | look
expecto resurrectionem
forward to the resurrection of
mortuorum, et vitam venturi
the dead and the life of the
seecull.
world to come.
Amen.
Amen.
11. Preludio Religioso (Offertory)
Harmonium
Vivace Chorus
12. Sanctus
Choir & soloists
Grace Hope-Gill
Sanctus, Sanctus, Sanctus,
Holy, holy, holy,
Dominus Deus Sabaoth.
Lord God of Hosts.
Welsh soprano Grace Hope-Gill is in her
Pleni sunt ceeli et terra gloria
Heaven and earth are full of
first year at the Royal Academy Opera as a
Bicentenary
Scholar.
Growing
up
in
Your glory.
Wales, she regularly sang in her church
Hosanna in excelsis.
Hosanna in the highest.
at the Royal Welsh College of Music and
Benedictus qui venit in
Blessed is He who comes in
nomine Domini
the Name of the Lord.
the Royal Academy of Music, graduating
Hosanna in excelsis.
Hosanna in the highest.
and being awarded the Eldee Scholarship
13. O Salutaris
Soprano solois
O salutaris Hostia,
O saving victim, open wide
Quae caeli pandis ostium:
The gate of heav'n to us below.
Bella premunt hostilia,
Our foes press on from every
Da robur fer auxilium.
side; Your aid supply, your
- tua.
choir and attended the junior department
Drama, before beginning her studies at
in 2022 with a First-Class Honours degree
for outstanding studentship.
strength bestow.
Photo © Broadway Studios
In 2024 Grace gained her Master of Arts in Performance with
distinction; she is a member of the Academy Song Circle and is
generously supported by the Matt Ferrey Opera scholarship
and the Josephine Baker Trust. She has had recent successes in
a number of prize competitions.
Her versatility and innovative nature have led to an array of
14. Agnus Dei
Choir & Mezzo soloist
Agnus Dei, qui tollis peccata
Lamb of God, Who takest
mundi: miserere nobis.
away the sins of the world,
have mercy on us.
performance opportunities, from performing cantatas in the
Academy's
Bach
in
Leipzig
series,
premiering
new
compositional works both as a soloist and within an ensemble,
to singing
on
the CBeebies channel.
She was awarded a
scholarship at the Bayerische Staatsoper in Munich, making her
Agnus Dei, qui tollis peccata
Lamb of God, Who takest
mundi: miserere nobis.
away the sins of the world,
international recital debut with
renowned baritone Christian
Gerhaher.
have mercy on us.
Her other recent engagements
Agnus Dei, qui tollis peccata
Lamb of God, Who takest
associated with the Royal Academy Opera, and performing in
mundi: dona nobis pacem.
away the sins of the world,
grant us peace.
include a
number of roles
Mahler's Third Symphony under the baton of Semyon Bychkov
at the Royal Festival Hall.
In her spare time, Grace loves to go running, do watercolour
painting and is an avid birdwatcher.
Vivace Chorus
Vivace Chorus
a
Clover Kayne
Mezzo-Soprano
Clover
iS
a
Con brio
mezzo-soprano whose
SE
ro
Journey into music began in a small
] H Cae
opera theatres and concert halls where
Charitable Trust
Wiltshire town, far removed from the
es a8
The Humphrey ery eM ed
hy
she now performs.
Raised in a non-musical family, she fell
in
love with
local youth
classical
music
through
Peter Hicks - Conducto iH
|
music groups and school
productions, later pursuing her passion
eile
je
§=6at the Guildhall School of Music and
Photo
©Tara Rooney
Drama, where she graduated with First
Class Honours, and the Royal Academy
of
Music,
where
she
earned
her
Master's
degree
with
distinction. She is now completing her training at the Royal
Academy Opera and is supported by the Josephine Baker Trust
and the Carr-Gregory Award. Last summer, she was honoured
to be a Young Artist at the prestigious Georg Solti Accademia.
Clover's artistry has been shaped by a love of story-telling and
collaboration, whether performing on stage or exploring new
repertoire.
settings,
She
with
is
equally
her
warm,
at
home
flexible
in
opera
voice
and
concert
and _ expressive
performances earning critical praise. Recent highlights include
Mahler's Ruckert Lieder, Purcell's The Fairy Queen, and leading
operatic roles such as Hansel and Ariodante. Clover is also
drawn
to contemporary music,
premiering
new works and
engaging with innovative projects that connect tradition with
the present day.
Beyond the stage, Clover has a deep love for poetry, with some
of her performances broadcast on BBC Radio 4. She draws
inspiration from the natural world, literature, and her Wiltshire
|
eu
;
2,
:
roots, and is passionate about making classical music
Tickets: £16 (16 and under: £2)
accessible to all.
Scan the QR code or phone
12
Vivace Chorus
GU2 4AW
07969 906 439
Registered Charity No. 1128357
Rareiy
oe
eteoyrr
Join us at the Royal Albert Hall!
| Here's a reminder that we will
be
putting
on
concert at the
a-—
grand
Royal Albert
Bm Hallin July!
m
Put the date in your diary now
i - Sunday July 13° 2025 and
join
Jeremy
us
to.
POULENC
celebrate
Backhouse's | final
eked
a
concert as Music Director of
the Vivace Chorus.
Jeremy will soon have been with us for 30 years, and we have
had many, many musical adventures during that time, including
two astounding concerts at the Royal Albert Hall - Mahler's 8%”
Symphony and Verdi's Requiem. He's taking a well-earned rest
from the end
of this season,
and we wanted to mark the
occasion with something special.
We've
invited
delighted
several choirs to join
that
Guildford
Choral,
our ranks,
and we are
Twickenham’
Choral,
The London Chorus, Tiffin Choirs and Farnham Youth Choir will
be joining
us
to
raise
the
roof,
supported
by
the
Royal
Philharmonic Concert Orchestra and two of the world's most
celebrated
singers,
tenor Nicky Spence
and
soprano
Lucy
Crowe. Together, we'll be performing Ravel's Daphnis et Chloe,
Poulenc's
Gloria
and
the
Berlioz
Te
Deum
-
a
wonderful
programme for such an exceptional setting.
STOP PRESS - our tickets are now on sale - Scan the code!
https://www.royalalberthall.com/tickets/events/2025/berlioz-te-deum
Join us, and tell all your friends!
VIVACE CHORUS
GUILDFORD CHORAL
THE LONDON CHORUS
TWICKENHAM CHORAL
eee
FARNHAM
pCO]SaE Rel ell
Guildford Opera Company Presents
Owen Lucas
GEORGES BIZET
In
2019
Owen — successfully
auditioned for the Glyndebourne
The Pearl Fishers
Academy
(2019)
under’
the
direction of Mary King where his
journey towards a singing career
began.
Owen
has
with
Northern
through
performed
regularly
Ireland
Opera
his involvement in the
chorus of Die Fledermaus (2019)
and
La
Boheme
(2021).
He
performed the role of Gastone
(September
2022)
in
Northern
lreland Opera's La Traviata.
Photo © David Cavan
Along with frequent appearances with local choral societies,
he
performs
regularly with
the
Ulster Consort under the
direction of Matthew Owens.
He has competed successfully in singing competitions in both
Northern Ireland and the Republic of Ireland; he won the tenor
solo in the Dublin Feis in 2021 and won Northern Ireland
Opera's
Festival of Voice
Deborah Voigt Opera
prize and
Audience prize (2022).
He is currently studying at the Royal Academy of Music under
Professor Mark Wildman.
Oo)
ea
el aA
AVECole
(—)
guildfordopera.com
od
Oo)
_—,
Vivace Chorus
Alex Bower-Brown
TM
Tr
~
«=CAlex
«als
=Bower-Brown
Baritone
Francis Pott
a_
Francis Pott retired in summer 2023 as
is
British
baritone, currently studying in the
opera
school
at
the _
Academy
of
professors
Glenville
and
Ledingham.
Alex
supported
by
lain’
gratefully
Norman Ayrton
the Academy,
regular
Music
Royal
the
Hargreaves
is
the
award. Whilst
Alex
performer
Academy
with
has
in
been
the
Bach
at
a
Royal
consort,
performing with some of the best
conductors of our age
including
Philippe Herreweghe, John Butt and Jane Glover. A highlight of
the series was singing Pilate in a production of Bach's great
work, St John's Passion, conducted by Philppe Herreweghe.
Alex has also sung
in various masterclasses whilst at the
Academy, the most recent of which was singing for Thomas
Quasthoff at Wigmore Hall.
Tobias Mill in Rossini's La Cambiale di matrimonio, Mr Gedge
(the Vicar) in Britten's Albert Herring, Die Sprecher in Mozart's
Die Zauberflote and Alexander in Martinu's Alexandre Bis.
Outside of the Academy, Alex has a wealth of experience
Singing both as an oratorio soloist and in professional choirs.
He has performed as a soloist in a wide variety of works
Handel's
College of Music, University of West
London.
He began musical life as a
chorister
at
New
subsequently
scholarships
and
then
holding
at
at
Cambridge,
College,
Oxford,
music
Winchester
College
Magdalene
College,
where
he_ studied
composition with Robin Holloway and
Hugh Wood while
.
:
,
also
i
undertaking
;
piano studies privately in London with
an
Bpcties
al AR alta teds
otography
Hamish Milne. He holds the qualifications MA and MusB from
the University of Cambridge, an FLCM, a PhD and a Principal
Fellowship of the Higher Education Academy. Throughout the
1990s he was John Bennett Lecturer in Music at St Hilda's
College, University of Oxford, and a member of the Choir of
Winchester Cathedral. He joined the staff of London College of
Music as its administrative Head in 2001.
Opera roles include Father in Humperdinck's Hansel und Gretel,
including
Professor of Composition at London
Messiah,
Bach's
St
Matthew
Passion,
Brahms’ Requiem, Mendelssohn's Elijah, Vaughan Williams’ Five
Francis’s music has been performed and broadcast in over 50
countries worldwide, published by five major houses in the UK
and widely recorded. He has received four national and two
international composition prizes and in 2021 was a recipient of
the Medal of the Royal College of Organists, its highest award,
for ‘distinguished achievement in the field of sacred choral and
organ composition’. He has also composed three major works
for chorus and orchestra, a violin concerto, chamber music and
works for piano. He has been married for 32 years to Ginny and
and Alec
they have two adult children, both musicians. Francis has been
Roth's A Time to Dance. Alex has made his solo debuts at some
accompanist to the Vivace Chorus since 2008. He has made a
Mystical Songs,
Rossini's
Petite
Messe Solennelle
of London's most illustrious venues including Wigmore Hall,
number of appearances at Vivace concerts, including the solo
Cadogan Hall and St John's Smith Square.
role in Rachmaninov's Second Piano Concerto in 2012.
18
Vivace Chorus
Vivace Chorus
19
Harmonium
Edward Dean is Director of Music and
Debain Harmonium
Monastic
The
Organist
at Worth
Abbey,
harmonium
as
an
and is a graduate of both the Royal
instrument
College of Music and
the middle of the 19
the
Eastman
School of Music (Rochester NY, USA).
At Worth Abbey, he accompanies the
Benedictine
monks
daily for
Lauds,
Conventual Mass and Vespers: he also
has responsibility for developing and
conducting the Abbey Choir. He was
previously Assistant Director of Music,
dates
from
century; this was a great
time
of
innovation
for
keyboard — instruments,
and
there
different
make
were
many
attempts
an
instrument
to
expressive
using
brass
then later Organist of Holy Trinity Sloane Street: a building
reeds.
once described by John Betjeman as “The Cathedral of the
Alexandre-Fran¢cois Debain developed what we now know to
Arts and Crafts”.
He is in
high
be the harmonium, and it is one of his instruments that is being
demand as an
harmonium
player, and
has
used for this evening's performance (which dates from the
restored harmoniums and acted as a consultant for the BBC;
same decade as the Rossini Petite Messe Solenelle).
he has provided
The person playing the harmonium needs to pump the foot
Organisations
and
instruments for use by many prestigious
groups,
including
for
the
Royal
Opera
House, The Barbican, and Garsington Opera.
pedals (treadles) all the time;
bellows are forced
closed
(creating pressure) and air is allowed past the brass reeds
when a note Is pressed.
The player can select which set of different-sounding reeds
are allowed to sound by using different stops.
Sign up to the Vivace neuusletter to keep up
to date with all our news!
The reeds are like metal springs - and they can produce either
a quiet sound (with less wind pressure) or a loud sound (with
more wind pressure, or more foot-pumping).
Just scan this QR code on your mobile and
sign up, and we'll do the rest.
Some of the stops are softer in nature - and others more
bright and ‘nasal’ - exactly the same evocative sounds for
which Rossini composed.
https://wwUuw.vivacechorus.org/vc/newsletter
20
Vivace Chorus
Vivace Chorus
21
Jeremy Backhouse
Conductor
Jeremy
Backhouse
is
one
of
Britain's
leading choral conductors. He began his
musical career in Canterbury Cathedral
where he was Senior Chorister.
About Vivace Chorus
Jeremy Backhouse
Music Director
Francis Pott
Accompanist
Richard Dacey
Chairman
Jeremy has been the sole conductor of the
internationally-renowned chamber choir,
Vasari Singers, since its inception in 1980.
Since winning the prestigious Choir of the
Year competition in 1988, Vasari Singers
has performed regularly at major concert
venues and cathedrals throughout the UK
and abroad. Jeremy and Vasari Singers
broadcast frequently on Classic FM and
BBC Radio 3 and have a discography of
over 25 CDs on EMI, Guild, Signum and
Naxos. Their recordings have been nominated for a Gramophone
award, received two Gramophone Editor's Choice awards, the top
recommendation on Radio 3's “Building A Library" and two recent
CDs both achieved Top Ten status in the Specialist Classical Charts.
He is totally committed to the performance of contemporary music
and, with Vasari, he has commissioned over 25 new works.
In January 1995 Jeremy was appointed Music Director of the Vivace
Chorus. Alongside the standard classical works, Jeremy has
conducted the Vivace Chorus in some ambitious programmes
including Howells’ Hymnus Paradisi, Szymanowski's Stabat Mater,
Mahler's "Resurrection" Symphony, Prokofiev's Alexander Nevsky and
lvan the Terrible, then Mahler's “Symphony of a Thousand" and Verdi's
Requiem in the Royal Albert Hall with the Royal Philharmonic
Orchestra.
Until July 2022, Jeremy was also the Music Director of the Salisbury
Community Choir. In 2013 the choir celebrated its 21st Anniversary
with a concert in Salisbury Cathedral, premiering a specially-
commissioned work by Will Todd, The City Garden, which they toured
to Lincoln (2014) and Guildford (2015) cathedrals. A new work from
Alexander LEstrange was premiered in Winchester Cathedral in
November 2018.
Jeremy has also worked with a number of the country's leading
choirs, including the BBC Singers, the London Symphony Chorus,
the Philharmonia Chorus, and the Brighton Festival Chorus.
22
Vivace Chorus
Photo © Ash Mills
The choir began in 1946 as the Guildford Philharmonic Choir
and was rebranded as Vivace Chorus in 2005. We have an
enviable reputation for performing first-class concerts across a
wide range of musical repertoire. Particular successes include
a sell-out performance in May 2011 of Mahler's Symphony No. 8,
the "Symphony of a Thousand", at the Royal Albert Hall, a highly
acclaimed performance in November 2012 of Britten's War
Requiem and another Royal Albert Hall success in May 2014
when we performed the Verdi Requiem. In 2017 we celebrated
our 7oth birthday with the Philharmonia Orchestra in the Royal
Festival Hall and 2018 saw a sell-out performance at G Live
Guildford for our "Concert for Peace".
Vivace Chorus
23
On
13
July
2025,
we
will
be
Vivace Chorus Patrons
The Vivace Chorus is extremely grateful to all patrons for their support.
returning again to the Royal Albert
Hall, where we will be joined by
other
local
choirs,
Philharmonic
and
Concert
the
Royal
Orchestra
Honorary Life Patrons
John Trigg MBE
John Britten
James Garrow
internationally-renowned
soloists
Nicky
Spence
and
Lucy
Crowe, to perform Ravel's Daphnis
and Chloe Suite,
Poulenc’s Gloria
and the spectacular Te Deum by
Life Patrons
John and Jean Leston
Platinum Patrons
Hector Berlioz.
Richard & Mary Broughton
Peter Norman
Amanda Burn
Robin Privett
Humphrey Cadoux-Hudson CBE
David & Linda Ross
Norman Carpenter
Geoffrey Johns & Sheila Rowell
Andrea & Gunter Dombrowe
Catherine & Brian Shacklady
Rosemary & Michael Dudley
Prue & Derek Smith
Geoffrey Forster
Dennis & Marjory Stewart
He is supported by Francis Pott, who is an academic and a
Susan Hinton
Idris & Joan Thomas
composer
Stephen Linton
Pam Usher
John McLean OBE & Janet McLean
Rob and Susie Walker
Ron & Christine Medlow
Anthony J T Williams
Lionel & Mary Moon
Bill & June Windle
Vivace
has
thrived
under
the
exceptional leadership of our conductor, Jeremy Backhouse.
Jeremy's passion for choral music and his sheer enthusiasm for
music-making are evident at every rehearsal and performance.
The Royal Albert Hall concert will be his last with Vivace, as he
is retiring after 30 years of dedicated service.
of
international
repute,
and
an
accomplished
concert pianist - who better to accompany our rehearsals?
We have also enjoyed successful European and UK tours,
including trips to France,
Italy, Germany, Austria, the Baltic
states and, most recently, northern Spain.
We are always happy to welcome new members, so if you
BECOME A VIVACE PATRON
would like to try us out, do come along to any of our regular
If you have enjoyed this concert, why not become one of our patrons? We
havea loyal band of followers whose regular presence at our concerts is
rehearsals on Monday evenings at 7.15 in the Guildford Baptist
Church, Millmead, Guildford.
Just
contact
our
membership
greatly appreciated. With the valued help of our patrons, we are able to
secretary,
Becky
Kerby,
at
membership@vivacechorus.org or pay a visit to our website,
perform a wide range of exciting music, with world-class, professional
musicians in venues such as G Live, Dorking Halls, the Royal Albert Hall and
vivacechorus.org. You can also follow us on Facebook and X
the Royal Festival Hall. If you are interested, please contact Anna Arthur by
(Twitter) - @VivaceChorus.
emailing: patrons@vivacechorus.org.
24
Vivace Chorus
Vivace Chorus
25
‘Saturday 17th
Vivace Chorus Singers
FIRST SOPRANO
Sarah von
SECOND ALTO
Charles Martin
Amelia Atkinson
Schweinitz
Geraldine Allen
Graham Vincent
Helen Beevers
Olwyn Westwood
Evelyn Beastall
Tim Wray
Mary Broughton
Christine Wilks
Mary Clayton
Jo Haviland
Eiri Williams
Liz Hampshire
FIRST BASS
Pauline Higgins
Phil Beastall
Penny Macfarlane
Richard Broughton
Lois McCabe
Richard Dacey
Isabel Holdaway
Isobel Humphreys
Becky Kerby
Claudia Loiacono
Fran MacKay
Suzie Maine
Sue Norton
Robin Onslow
Sian Prentice
Sarah Smithies
Joan Thomas
Hilary Vaill
Georgie von
Schweinitz
Miriam White
FIRST ALTO
Anna Arthur
Barbara Barklem
Jackie Bearman
Jane Brooks
Amanda Burn
Philippa Curtis
Fiona Davidge
Valentina Faedi
Lynne Hargreaves
Sheila Hodson
Jean Leston
Lis Martin
May 2025
7:30pm
Surrey
Mozart
Kay McManus
Brian John
Val Morcom
Jeremy Johnson
Pamela Murrell
Jon Long
Sonja Nagle
Keith McClurey
Adults: £21
Jo Stokes
Malcolm Munt
21 &under: £5
Rosey Storey
Chris Newbery
Tickets available at:
Pamela Usher
Robin Privett
Esther Van Rooyen
Andrew Skinner
Alison Vincent
Philip Stanford
June Windle
Rob Walker
surreymozartplayers.com
Holy Trinity Church
High Street, Guildford
Surrey, GU1 3RR
Charlotte
Mathieson
FIRST TENOR
SECOND BASS
SECOND SOPRANO
Penny McLaren
Bob Bromham
Peter Andrews
Gill Backhouse
Rosalind Milton
Andrea Dombrowe
Norman Carpenter
htsmguildford.org
Sarah Badger
Lilly Nicholson
Rosie Jeffery
Nick Gough
Jane Barnes
Jackie Payne
Nick Manning
Mike Johns
Violin:
Scarlett Close
Elinor Pinnegar
Martin Price
Neil Martin
Charlotte
Ann Fuller
Linda Ross
John Trigg
Chris Peters
Alex Nash
Catherine
Susie Walker
Andrew Robertson
Alison Palmer
Shacklady
Kate Peters
Hilary Trigg
SECOND TENOR
Mary Somerville
Anna Williams
Drew Alcott
Valerie Thompson
Maggie Woolcock
Richard Wood
Borodin
Overture to Prince Igor
Brahms
Violin Concerto in D Major
Geoff Johns
Stephen Linton
Vivace Chorus
Spruit
Dvorak
Symphony No.8
Conductor:
Philip Ellis
Leader:
Annmarie
McDade
GALLERY
SII
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SUNDAY 23RD:
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Tickets
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ma sn 8212/ royalalberthall.com>tickets
Be rlioz aT: Deum
ato) Philharmonic Concert Orchestra
Royal Albert Hall
BERLIOZ _
Sunday 13 July 2025
(STE DEU
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