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Royal Albert Hall
TIFFIN CHOIRS
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YOUTH CHOIR
PHILHARMONIC
CONCERT ORCHESTRA
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n chane
Gnaeis
VALVEe\es
Chorus
Maurice Ravel
Daphnis et Chloé (suite No 2)
Francis Poulenc
Gloria
Hector Berlioz
Te Deum
OSA
SS
Ot
LI
Nicky Spence
Tenor
Lucy Crowe
OT
Soprano
I
NSAOSH —
Vivace Chorus
Guildford Choral
The London Chorus
Twickenham Choral
Tiffin Choirs
Farnham Youth Choir
Royal Philharmonic Concert Orchestra
Conductor: Jeremy Backhouse
A Vivace Chorus promotion
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Francis Poulenc (1899 - 1963)
Gloria
Chorus, Soprano solo, orchestra
Francis Poulenc was one
Stravinskian
dissonance
of a somewhat notorious
progressions;
vigorous
group
and
lush,
sensuous
counterpoint
in
chord
clipped,
young
French
angular phrases alternates with lyrical melodic writing;
composers who
became
dynamics frequently range from a hushed piano to an
known
as
Six’,
emphatic forte within
epithet
clearly
of
‘Les
an
the space of a bar or two.
derived
Poulenc skilfully uses this colourful musical palette to
from the earlier ‘Russian
express a wide range of emotions, from lyrical serenity
Five’.
to unashamed glee.
French
The
aims
group
of
the
were
to
break away from the twin
The Gloria was commissioned
influences
Germanic
Foundation of America. The words from the Mass are
formality and French impressionism, and to employ a
set to music of an unmistakable freshness and vivacity.
of
by the
Koussevitsky
direct and simple style in their own music. Of the six,
Some critics at the time suggested that it bordered on
Poulenc was by far the most successful.
the sacrilegious; Poulenc replied, ‘While writing it |
had
Although
Poulenc
saw
himself
as
primarily
a
in
mind
those
Crozzoli
sticking out their tongues,
and
frescoes
with
angels
also some solemn-
composer of religious music, it was not in fact until
looking Benedictine monks that | saw playing football
1936, following his return to Catholicism, that he
one day.’
produced his first sacred work. A steady stream of
religious pieces then flowed from his pen, including a
The work is divided into six short movements. After a
Mass anda series of motets.
brief introduction, the chorus enters with a prominent
dotted figure to the word ‘Gloria’, which forms the
His first large-scale choral work, the Stabat Mater,
basis of this movement.
appeared in 1950, and the Gloria in 1959, only four
years before his death. Both employ the same forces -
The
chorus, soprano solo and large orchestra - and both
reveals Poulenc in playful mood, with the chorus for
enjoyed immediate acclaim. They have remained firm
the most part divided into pairs of voices - sopranos
favourites with performers and audiences ever since.
and tenors; altos and basses - exchanginga series of
animated
second
movement,
‘Laudamus
Te’,
short, pithy phrases. In the expressive third section,
Poulenc’s very distinctive style relies principally on
‘Domine Deus’, the soprano soloist is heard for the
strong musical contrasts. The harmony moves between .
first time with a typically yearning melody, whilst the
Vivace Chorus
3
chorus is allocated a supporting role. We are then
the dotted ‘Gloria’ figure of the very opening, before
abruptly whisked back to the playground for the brief
calm is restored for the final ‘Amen’.
and
chirpy
‘Domine
Fili
Unigenite’.
The
soprano
soloist returns for the exquisite ‘Dominus Deus, Agnus
Poulenc’s sense of humour and
Dei’, with soloist and chorus sometimes combining
through all his music, however solemn the text might
and sometimes exchanging lyrical phrases.
be. One of his friends said of him, ‘There is in him
something
of
monk =
these
characteristics,
solemnity and mischievous exuberance.
of
the
work
its
expresses
gives way to an animated section at the words ‘Qui
pages
with
street
sedes ad dexteram Patris’. Peace and serenity suffuses
closing
brilliantly
the_
urchin.’
radiant
Gloria
and_
In the sixth movement a short, majestic opening soon
the
The
the
love of life shine
captivating
mixture
of
but,
characteristically, Poulenc cannot resist a last, loud
interjection at the first ‘Amen’, where he briefly recalls
© John Bawden MMus (University of Surrey)
1. Maestoso (majestic)
Gloria in excelsis Deo
Glory to God in the highest
Et in terra pax hominibus bonae voluntatis.
and on earth peace to men of good will.
2. Tres vif et joyeux (very lively and joyful)
Laudamus te.
We praise you.
Benedicimus te.
We bless you.
Adoramus te.
We adore you.
Glorificamus te.
We glorify you.
Gratias agimus tibi propter magnam gloriam tuam.
We give you thanks for your great glory.
3. Trés lent et calme (very slow and calm)
Domine Deus, rex coelestis,
Lord God, heavenly king,
Deus Pater omnipotens,
God the Father almighty,
4. Trés vite et joyeux (very fast and joyful)
Domine Fili unigenite, Jesu Christe
Lord Jesus Christ, the only begotten Son
Vivace Chorus
Domine Deus, agnus Dei, Filius Patris,
Lord God, lamb of God, Sonof the Father,
Qui tollis peccata mundi
Who takes away the sins of the world,
Miserere nobis.
Have mercy on us
Qui tollis peccata mundi.
Who takes away the sins of the world,
Suscipe deprecationem nostram
Receive our prayer.
Qui sedes ad dexteram Patris,
You who sit at the right hand of the Father,
Miserere nobis.
Have mercy on us.
Quoniam tu solus sanctus,
For you alone are holy.
Tu solus Dominus,
You alone are the Lord.
Tu solus altissimus, Jesu Christe,
You alone, Jesus Christ, are most high,
Cum Sancto Spirito
With the Holy Spirit
In gloria Dei Patris. Amen.
In the glory of God the Father. Amen.
Poulenc at work in the music room of his house at Noizay
Photos © Association des Amis de Francis Poulenc
Vivace Chorus
Maurice Ravel (1875 - 1937)
Daphnis et Chloé
Suite No. 2
Chorus, Orchestra
Daphnis et Chloé was
In Part Il, Chloé tries in vain to escape the attentions
commissioned
of the pirate chief, but Pan intervenes with terrifying
by
Diaghilev for his dance
apparitions and the pirates flee.
company in 1909, but it
was
not
ready
performance
for
until
In Part Ill, dawn breaks as Daphnis lies unconscious,
dreaming
of
Pan’s
intervention.
He
is
woken
by
1912. Ravel had serious
nymphs, and Chloé appears; his vision was true. An
disagreements with the
old shepherd explains that Pan has rescued Chloé in
choreographer,
Fokine,
memory of his own
beloved, Syrinx.
Daphnis and
but also took his time
Chloé play out the story in mime; Syrinx rejects Pan’s
composing one
advances
longest
of his
and
most
and
he
in
his
sorrow
makes
a flute
(or
panpipe) out of reeds.
elaborate works.
As Daphnis/Pan plays, Chloé/Syrinx dances; then they
Although some of the finest dancers were employed, it
embrace and swear eternal love at the altar. The stage
was coolly
fills with young women dressed as Bacchantes and
and
received; the over-complicated
perhaps
comparison
too-symphonic
with
the
music
directness
of
scenario
suffered
the
by
young men; all join in a frenzied Bacchanale.
Stravinsky
ballets that preceded it (The Firebird, 1910; Petrushka,
Ravel
conceived
his
work
as
a
‘choreographic
1911). Ravel realised that his music would do better in
symphony’, although it reflects the plot and repeats
the concert-hall, and prepared Suite No. 7 even before
themes, like Wagnerian Leitmotivs, that are woven into
the ballet premiere; it consists of extracts from Parts |
the musical texture.
and 2, whereas Suite No.2 is essentially the music of
Part Ill.
He developed a more austerely ‘classical’ manner in
later works,
but
The action takes place on a Greek island (Lesvos) in
passionate
romanticism,
mythical times. In Part |, the love of Daphnis and
composed for a large orchestra with a major role for
Chloé is troubled by jealousy. They are reconciled, but
wordless chorus. If some passages suggest music of the
Chloé is kidnapped by invading pirates. Daphnis and
kind
that,
as
Daphnis
Debussy
et
Chloé
richly
put
it,
is
a
work
colourful
‘imbeciles
of
and
call
his friends pray for help from the god Pan.
Vivace Chorus
impressionism’,
at others
it
is
violent
(pirates,
the
Bacchanale).
of Pan and Syrinx begins almost tentatively; then for
the long flute solo Ravel requires two standard flutes
of equal virtuosity and enlarges the flute section’s
Suite No.
dawn;
2 opens with
the
rippling woodwind
ravishing depiction
represent
of
running water,
range with piccolo and alto flute. A grand, and slow,
passage
represents
Daphnis’s
oath
of fidelity.
The
birdsong, and the flute of Pan, forming a background
finale is a wildly orgiastic dance, much of it in 5/4;
to long,
doubtless Ravel had noted Stravinsky’s use of 7/4 at
rather melancholy melodic lines associated
with the lovers.
Daphnis is woken from his dream, and Chloé appears;
their embrace brings a mighty crescendo. The mime
Vivace Chorus
the end of The Firebird.
© Julian Rushton
Emeritus Professor of Music, University of Leeds
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Te Deum
Hector Berlioz (1803 - 1869)
Op. 22 (1849)
Chorus, Youth Choirs, Tenor solo, Orchestra
In
1821,
Berlioz
the
came _
teenage
Emperor was his nephew, Berlioz hoped that it was his
Paris,
turn for such support. He had recently completed his
to
officially to study medicine.
Te
Deum,
and
hoped
But
coronation;
but
he
despite
opposition
he
parental
was
intent
of
as
teSS:
was
no_
virtuoso,
might
hoped
in
be
used
vain.
He_
for
the
himself
organized the only performance in his lifetime, in one
on a musical career which,
he
it
the
grandest
Paris
churches,
Saint-Eustache,
in
meant composing. He soon
found
a
sympathetic
Composing the Latin canticle known as the 'Te Deum
teacher in Jean-Francois Le
laudamus', which was traditionally used to celebrate a
Sueur,
military
whose
output
was
triumph,
seems
to
have
been
a
decision
mostly in opera and sacred
Berlioz must have made simply because he wanted to
choral music. Berlioz followed him, at least for a time.
set these words; there was nothing much to celebrate
He didn’t have the success he deserved with opera,
in
but despite losing his religious faith in the 1820s he
Second
wrote
political spectrum. By contrast, the earlier Requiem
starting
sacred
works
with
a
nearly to
full-length
the end
Mass
of his
setting
life,
(Messe
solennelle) in 1824.
1849,
the year
it was finished,
Republic threatened from
(Grande
Messe
Symphonie
des
funébre
morts,
et
with
the
infant
both ends of the
1837)
and = Grande
triomphale..
were
both
commissioned by the government.
One of his life’s turning-points was 1830, when he
composed
his
Symphonie
fantastique,
won
the
Perhaps he decided on the Latin canticle 'Te Deum'
prestigious Rome Prize, and welcomed the revolution
with the idea of crowning his output of monumental
that overthrew the King Charles X; to celebrate the
works on major texts of the Christian tradition. The
latter, he orchestrated the Marseillaise. However, his
Spacious layout of the Te Deum, in which he wanted
political views hardened with age, and by the next
the orchestra and the double chorus to be placed at
revolution,
the opposite end of the performing space from the
chaos,
and
in
1848, he lamented that the resulting
lack
of
a
firm,
indeed
authoritarian,
organ,
justifies
Berlioz’s
epithet
‘architectural';
the
government, was dangerous for the arts. Soon there
final
came a Second Empire; and since the first Napoleon
translation of Berlioz’s memoirs) "unquestionably the
had supported
most imposing thing | have produced".
Vivace Chorus
his teacher Le Sueur and the new
'Judex crederis'
he called
(in
David
Cairns’s
Deeply impressed, as was Haydn before him, by the
Whereas
Charity Children singing in St Paul’s Cathedral, Berlioz
Berlioz, like Le Sueur, was prone to alter them to suit
added an optional children’s chorus, which can be
his musical purposes. He reordered lines into what, at
wonderfully effective.
least in the Te Deum, might be considered a more
Also optional were two instrumental movements: a
variously labelled 'Hymn' and 'Prayer', except that the
'Prelude' to the third choral movement, andafinal
final
'March
fifth movement is mainly for solo tenor; the others are
logical
for
presentation
of
the
colours'.
Both
instrumental movements quote material from the first
most
composers
sequence.
There
respect
are
six
liturgical
vocal
texts,
movements,
'Judex crederis' combines these elements. The
entirely choral.
'Hymn', adding (if they are used) to the architectural -
grandeur of the whole. But Berlioz said that the March
The
should be omitted unless the performance was part of
choral fugue, at least for Berlioz, punctuated by the
a grand
plainchant theme. A magical transition leads without a
national celebration, and
he withdrew the
'Te
Deum
laudamus'
break into the second
Prelude altogether when the work was published.
is a
strikingly
orthodox
hymn. The incantatory 'Tibi
omnes Angeli' is passed between chorus sections; they
Not
exceptional
in
a
grand
choral
work,
though
then combine for the ecstatic 'Sanctus' and climactic
exceptional for Berlioz, is his inclusion of the organ. It
'Pleni sunt coeli',
adds a ritualistic quality to the work, being often heard
again, much varied in its orchestral clothing.
in
alternation
with
the
voices
and_
orchestra.
a
musical
sequence that comes
It
introduces the plainchant-like theme that punctuates
The first movement to be headed Prayer ('Dignare,
the magnificent opening chorus of praise and plays a
Domine’) is built on sustained bass-notes that rise to,
prelude to each of the next two movements, but is
and descend from, a central climax (Berlioz was rather
silent in the fourth and fifth.
proud of this device). Renewed energy permeates the
Berlioz was in the habit of re-using the best ideas from
the
works he decided not to keep. He gave the autograph
melody is given to choral tenors is sometimes taken by
of the Mass to a friend, and it was rediscovered only in
a solo tenor.
hymn 'Christe, Rex Gloriae', which uses material from
‘Resurrexit'.
An
expressive
passage
where
the
1992. One section, the 'Resurrexit! which culminates
in a vision of the Last Judgement, was performed on
The
its own but then he destroyed the autograph; however,
particularly fine example of how the mature Berlioz
two copies survived. Thus it has long been known that
could revise an early piece in which fine ideas don’t
ideas from it reappear, much revised, in the Requiem
quite reach their potential. It was originally the 'Agnus
and Te Deum; when the Mass resurfaced, more were
Dei' of the 1824 Mass; Berlioz added a brass.chorale
found in both these works and (surprisingly) in the
and
Symphonie fantastique.
haunting coda for unaccompanied voices.
10
fifth
movement,
murmured
'Te
responses
ergo
for
quaesumus',
the..chorus,
is
and
a
a
Vivace Chorus
The 'Judex crederis' is another fugue, but this time
like sections, and leads througha series of tremendous
splendidly
it
climaxes to end in a blaze of brass fanfares.
entries
keys
in
is
unorthodox
in
a
higher.
semitone
design,
successive
This
powerful
evocation of the last judgement is contrasted to prayer-
© Julian Rushton
Emeritus Professor of Music, University of Leeds
I. Te Deum (Hymne)
Te Deum laudamus; te Dominum confitemur,
We praise thee, O God; we acknowledge thee to be
Te veneratur omnis terra,
the Lord. All the earth doth worship thee, the Father
Te, aeternum Patrem, omnis terra veneratur.
everlasting.
Il. Tibi omnes (Hymne)
Tibi omnes Angeli: tibi Coeli et Potestates;
To thee all angels cry aloud, the heavens and all the
Tibi Cherubim et Seraphim incessabili voce
powers therein. To thee Cherubin and Seraphim
proclamant:
continually do cry:
Sanctus, Sanctus, Sanctus Deus Sabaoth!
Holy, Holy, Holy, Lord God of Sabaoth!
Pleni sunt coeli et terra majestatis gloriae tuae.
Heaven and earth are full of the majesty of thy. glory.
Te gloriosus chorus Apostolorum,
The glorious company of the apostles praise thee.
Te Prophetarum laudabilis numerus,
The goodly fellowship of the prophets praise thee.
Te Martyrum laudat candidatus exercitus.
The noble army of martyrs praise thee.
Omnes, omnes tibi incessabili voce proclamant:
To thee, all continually do cry:
Sanctus, Sanctus, Sanctus Deus Sabaoth!
Holy, Holy, Holy, Lord God of Sabaoth!
Pleni sunt coeli et terra majestatis gloriae tuae.
Heaven and earth are full of the majesty of thy glory.
Te per orbem terrarum sancta confitetur Ecclesia
The holy Church throughout all the world doth
Patrem immensae majestatis,
acknowledge thee: the Father of an infinite majesty;
venerandum tuum verum et unicum Filium,
thine honourable, true and only Son; Also the Holy
sanctum quoque.Paracletum Spiritum.
Ghost the Comforter.
Omnes tibi proclamant:
To thee all do cry:
Vivace Chorus
Bs
Salvum fac populum tuum et benedic hereditati tuae,
O Lord, save thy people and bless thine heritage
Domine,
Per singulos dies benedicimus, laudamus
te et
Day by day we magnify thee; and we worship thy
laudamus nomen tuum.
name,
Judex crederis esse venturus.
We believe that thou shalt come to be our judge.
In te, Domine, speravi,
O Lord, in thee have | trusted;
Non confundar in aeternum.
Let me never be confounded
OPEN EVENTS
| Friday 19 September 2025
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9am - I2noon
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week, nine choirs, Symphony and
"&
| Friday 26" September 2025
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5.30pm - 9pm
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Sixth Form Open Evening
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| Tuesday 14 October 2025
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9am - I2noon
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music opportunities are unending.
To book your place please visit
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;
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The Royal Philharmonic Concert Orchestra (RPCO) is
The Orchestra is a regular visitor to the Royal Albert
a dynamic and versatile ensemble that performs a
Hall
wide range of styles and genres of music in shows
Concert’ such as The English Patient, Brassed Off! in a
where
it
collaboration
across the UK and around the world.
has
with
premiered
many
films
‘Live
the Grimethorpe Colliery
in
Band,
Skyfall, and the blockbuster Bollywood film Baahubali
The Orchestra’s repertoire includes film music, video
— The Beginning screened in the original language of —
game scores, music from the musicals and symphonic
Tamil.
arrangements of classic rock and pop songs, as well as
new commissions and the traditional core orchestral
The
2024-25
repertoire, reaching an audience of over 170,000 live
premiere
of
performances
listeners per year.
Season
sees
Top
Gun:
of
Avatar,
the
‘Live
Maverick,
Home
in
Concert’
as
well
Alone,
a
as
40th
anniversary screening of Ghostbusters, and the final
The
Orchestra’s
creative
partnerships
with
artists,
promoters and producers have resulted in ambitious
instalments of the Harry Potter series and Lord of the
Rings trilogy.
performances in venues from vast arenas and leading
concert venues around the UK to smaller and more
The RPCO also regularly appears at the Royal Albert
intimate settings. The RPCO aims to reach as wide and
Hall with pop acts, including Kylie Minogue, Matt
diverse an audience as possible and is unafraid to
Goss and, most recently, Ellie Goulding:
explore new orchestral experiences.
14
Vivace Chorus
The RPCO continues to be at the forefront of bringing
concerts in the first ever Battersea Park in Concert
new
series in 2023. The RPCO will return to both venues
audiences
to
orchestral
performances,
in the summer of 2024.
specialising in innovative concert formats and diverse
repertoire. The Orchestra has toured the UK with the
music of Roy Orbison, featuring the late artist in a
Further
groundbreaking
by
multiple performances with the hugely popular Italian
performances at the London Coliseum alongside the
tenor, Andrea Bocelli, as well as concerts with José
hologram of Maria Callas. 2023 also saw the RPCO’s
Carreras, Anna Netrebko and the stars of the West End
fourth
stage,
national
hologram
arena
format,
tour
of
followed
Elvis
in
Concert,
accompanying the ‘King of Rock and Roll’ up close
recent
such
as
highlights
Kerry
for
Ellis,
the
Alfie
RPCO_
Boe
include
and
Ruthie
Henshall.
and on screen.
The Orchestra undertook a major tour of South East
The Orchestra also remains a leader in the field of
Asia,
video
and Vietnam, where it reached out to new audiences
game
music.
concerts,
having
recently
performed sell-out concerts of the music of Genshin
in
including Thailand, Cambodia,
these territories,
incorporating
Laos, Malaysia
songs
and_ artists
Impact and NieR. In 2024, it will perform the UK leg
from these countries into each concert, making the
of the Final Fantasy VII Rebirth Orchestra World Tour.
tour all the more special for audience and Orchestra
alike. Recent international touring has also seen the
In
2023, the
RPCO
made
its debut at the
British
RPCO visit Gibraltar, Greece, India, Saudi Arabia and
Abu Dhabi, as part of the UAE National Day.
Summer Time Festival in London’s Hyde Park, giving
the Festival’s first orchestral concert since it began in
2013. The Orchestra also had two highly successful
To
discover
more
about the
RPCO
and
view our
upcoming events, please visit rpco.co.uk.
Orchestra
First violins:
Eleanor Mathieson
Anna Giddey
Jennifer Wilkinson
Patrick Savage
Nicola Bates
Frances Richards
Mark Gibbs
Oscar Perks
Tanya Sweiry
Dawn Kelleher
Charlotte Lake
Emma Lisney
Second violins:
John Dickinson
Cellos:
Emily Davis
Violas:
Sébastien van Kuijk
Joanne Chen
Miranda Allen
Nicola Hutchings
lan Rathbone
William Heggart
Izzy Howard
Daniel Meyer
Triona Milne
Emma Black
Felicity. Broome-Skelton
Sheila Law
Raymond Lester
Lucy Gijsbers
Anais Boyadjieva
Colin Callow
Terry Nettle
Alessandro Sanguineti
Aysen Ulucan
Elspeth Macleod
Delyth John
Molly McWhirter
Vivace Chorus
_
715
Double basses:
Clarinets:
Olivia Gandee
Timpani:
Chris West
Peter Sparks
Andrew Sutton
Emmanuel Joste
Lewis Reid
Fiona Mitchell
Jake Parker
Percussion:
Elen Roberts
E> Clarinet:
Trumpets:
Austin Beattie
Guillermo Arevalos
Jernej Albreht
Aaron Akugbo
Joe Mathers
Flutes:
Bass Clarinet:
Angela Whelan
Geoffrey Boynton
Anna Wolstenholme
Lewis Graham
James Nash
John McCutcheon
Will Thomas
Joe Cooper
Joshua Wilson
Trombones:
Chris Goody
Piccolo:
Stuart Russell
Merin Rhyd
Tim Gunnell
Helen Keen
Laura Vincent
Ruth Molins
Glynn Matthews
Oboes:
Contra bassoon:
Bass trombone:
Harp:
Peter Facer
Dominic Morgan
Edward Hilton
Sue Blair
Lianne Barnard
Jenny Farley
Katie Bennington
Bassoons:
French Horns:
Cor Anglais:
Steve Stirling
Jack Tostevin-Hall
Paul Cott
Tuba:
Stuart Beard
Nicolette Chin
Organ / Celeste:
Richard Gowers
ad - 10th August
Choral Music of Five Cen
The Lighter Side Choral
Photo © Paul Dibben
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“#3:
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Nicky Spence
Hailed
by the
Tenor
Daily Telegraph
as
‘a voice of real
distinction’, Nicky Spence’s unique skills as a singing
actor and the rare honesty of his musicianship have
earned him a place at the top of the classical music
profession.
The
BBC
Music
Magazine
named
him
‘Personality of the Year’ in 2022, he was made an OBE
in the 2023 King’s Birthday Honours, and in 2024 was
the winner of the RPS Singer Award.
In the 2024/25 season, Nicky’s roles include the title
role in The Excursions of Mr. Broucek to the Moon and
to the 15th Century at the Brno Janaéek Festival, Laca
Jenufa for the
Royal
Ballet and
Opera,
Boris
Kat'a
Kabanova for the Glyndebourne Festival and his debut
as the title role in Peter Grimes for Welsh National
Opera.
On
the concert stage,
performances
include
English
National
Opera,
Loge Das Rheingold at La
Beethoven’s Ninth Symphony with the Hallé Orchestra
Monnaie, Edmundo, Marqués de Nobile in Adés’ The
and
Exterminating Angel for the Opéra national de Paris.
Kahchun
espagnole with
Nacional
de
Wong
and
Orquestra
Catalunya.
Torquemada
in_
Sinfonica de
He
has
L’heure
Barcelona
i
curated
a
also
residency at Wigmore Hall.
Nicky gives recitals internationally, and has curated a
residency at Wigmore Hall. His extensive discography
includes
Noted
in
particular
for
interpretation
of
Janaéek's
Strauss
(Hyperion),
Lieder
with
Roger
Vignoles
Brahms’ Liebeslieder-Walzer with Joseph
music, Nicky has appeared worldwide in his operas,
Middleton and Dylan Perez (Resonus Classics) and the
being awarded the Leo’ Janadéek Memorial Medal at
title role in La Clemenza di Tito (Alpha). In 2020, he
the Janacek Brno Festival in 2024, for his contribution
won
the
BBC
Music
Magazine
Vocal
Award
and
to the performance and promotion of Janaéek’s works
Gramophone’s
on the international opera and concert stages. Other
acclaimed recording of Janacek’s The Diary of One
operatic roles include Siegmund The Valkyrie for the
Who Disappeared.
Vivace Chorus
Solo
Vocal
Award
for
his
critically
19
Soprano
Lucy Crowe
Widely regarded as one of the most versatile and respected singers of
her generation, Lucy Crowe was awarded an OBE in the 2023 King's
birthday honours.
Globally renowned as a leading Handelian, she delighted audiences last
season singing the role of Rodelinda on tour with The English Concert
and Harry Bicket in Asia and the U.S.A., culminating in a stunning
performance at Carnegie Hall. She previously sang the role in staged
performances in Madrid, Frankfurt and Amsterdam and will revive it at
the Garsington Festival in 2025.
In 2024/25 she will also make her role debut as Malinka/Etherea/Kunka
in Janacek's The Excursions of Mr Broucek at the Deutsche Staatsoper
Berlin and in concert with the London Symphony Orchestra and Sir
Simon Rattle.
In
concert
she
sings
Mozart
arias
with
the
San
Little
Vixen,
has
sung with
opera
companies
world.
Highlights
of the
last two
she
Francisco Symphony and Bernard Labadie, Brahms
German Requiem with the Bavarian Radio Symphony
Orchestra and Sir Simon Rattle, and numerous recitals
at Wigmore Hall, as part of her artist focus there this
throughout the
season.
Liceu Barcelona.
In concert last season she sang with Sir Simon Rattle,
Sir Andras Schiff, Sir John Eliot Gardiner, Bernard
Her discography is extensive and in 2021 she received
a Grammy nomination for Best Opera Recording for
Janaéek's The Cunning Little Vixen (title role) with the
Labadie, Harry Bicket and Maxim Emelyanychev in
Munich, Esterhazy, Gdansk, Tampere, Paris, Boston,
New York, Los Angeles, Beijing, Seoul and London.
With repertoire ranging from Purcell, Handel and
Mozart to Verdi's Gilda and Janacek's The Cunning
20
seasons include Musetta La bohéme at the Royal Opera
House, Susanna Le Nozze di Figaro at The
Metropolitan Opera and Pamina Die Zauberfléte at the
London Symphony Orchestra and Sir Simon Rattle, a
BBC Music Magazine award nomination for Rodelinda
(title role) with The English Concert and Harry Bicket,
and released her debut recital recording for Linn
Records featuring Berg, Strauss and Schoenberg.
Vivace Chorus
Jeremy Backhouse
Music Director
Francis Pott
Accompanist
Richard Dacey
ce O XSa) vrie
Chairman
Vivace Chorus - celebrating 30 years of Jeremy's leadership
Since 1995, Vivace has thrived under the leadership of
Over the years, these have included most of the major
our
Jeremy’s
choral
works,
passion for choral music and enthusiasm for music
Music
Director,
Mahler
Symphony
making
Beethoven Symphony No 9, and all the core Requiem
are
Jeremy
evident
at
Backhouse.
every’
rehearsal
and
performance.
works.
including
No
multiple
2
Our performance
and
performances
Symphony
of the Verdi
of
No_
8,
Requiem
in
Guildford alongside the Liverpool Welsh Choral
in
Jeremy initially joined the choir as Chorus Master, and
May
his
Liverpool Cathedral was hailed by many audiences as
first
task
was
to
prepare
the
choir
for
a
performance of the Berlioz Te Deum — programming
2024,
following
a
very
successful
concert at
one of the best they had heard.
this work for his final concert is a nod to coming full
circle with the choir.
Jeremy’s
been
a_
focus
on
high
hallmark
of
quality
his
Jeremy has a unique approach to choral leadership — a
programmed
balance
performances,
including
concertos
Jeremy
of
imaginative
programming,
alongside
Supportive
attitude
to
and _
an
rehearsals
exceptional final.performances.
Vivace Chorus
often
unusual
encouraging
which
results
and
in
with
and
collaborations
leadership.
conducted =
major
He
respectively as soloists. Other
and
has
concerto
Rachmaninov
Filsell
has
piano
Francis
Pott
partnerships include
the Elgar Cello Concerto with Julian Lloyd-Webber,
the Mendelssohn Violin Concerto with Tasmin Little,
In 2018, Jeremy and the choir conceived ‘A Concert
the Bruch Violin Concerto with Chloé Hanslip and the
for Peace’ — an event to mark 100 years since the end
Mozart
of World War One.
With
Jeremy has also commissioned works from composers
Keith and the Lord
Lieutenant of Surrey, alongside
Clarinet
Concerto
with
Michael
Collins.
readings from
Penelope
including Francis Pott and Will Todd, giving the choir
colours paraded by representatives of local military
the opportunity to premier substantial new works in
troops and a programme of related music, this was a
venues including the Royal Festival Hall.
moving
and
memorable
concert,
played
to
a
full
house.
Programming concerts that are accessible to wider
audiences has been part of Jeremy’s focus for the choir
“lam always delighted when | ask a potential new
for many years. We have enjoyed two sell-out ‘Night
member why they chose to come to Vivace,” says
at the Opera' concerts, teamed up with the award-
Jeremy. “They nearly always pinpoint the variety of
winning Friary Brass Band for 'Best of Broadway' and
programming and quality of performance. That is a
'West
real reflection
End
Extravaganza'
shows,
worked
with
the
amazing Mighty Zulu Nation dancers and percussion
not just of my approach
to
choral
singing, but of the support and confidence of the
quartet Backbeat for a joyous African Sanctus by David
Vivace committee and singers who continue to make
Fanshawe (a cousin of Jeremy’s!) and performed tango
sure that we really do have fun delivering the best
music with
possible music.”
the
Santiago
Quartet and
professional
tango dancers.
Last year, we sang Duke Ellington’s Sacred Concert
with jazz band and singer both in Guildford and in
Liverpool as part of our tour there. We have also
Would you like to sing with Vivace Chorus,
and take part in the exciting concerts we have
planned for the next season?
undertaken tours to France, Spain, Italy, Germany and
the Baltic States.
Under Jeremy’s baton, the choir has been
heavily
involved
For the
in Guildford’s community events.
If so, contact our Membership Secretary, Becky
Kerby, membership@vivacechorus.org.
Your first term will be free!
entirety of his 30-year career with the choir, Jeremy
We rehearse on Mondays at 7:15pm in the
has
Guildford Baptist Church, Millmead, Guildford.
led
the
Mayor
of
Guildford’s
annual
charity
Christmas concert, and the choir has been part of
raising thousands of pounds for local charities in the
process. We also sing every year at the town’s Service
of Remembrance, and just recently joined the lighting
of the Guildford Beacon to celebrate VE 80.
Ze
Details of what we're singing can be seen on
this programme's rear cover, or via our website,
vivacechorus.org
i
y
Vivace Chorus
Jeremy Backhouse
Jeremy is one of Britain’s leading choral conductors. He began his musical career
in Canterbury Cathedral where he was Senior Chorister.
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
Photo © Ash Mills
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, Stzymanowski Stabat Mater, Mahler Resurrection Symphony, Prokofiev Alexander Nevsky and Ivan the
Terrible, then Mahler Symphony of a Thousand and Verdi 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 L'Estrange 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.
Vivace Chorus
23
Francis Pott
{
Francis retired in summer 2023 as Professor of Composition at London College
of Music, University of West London. He began musical life as a chorister at
New College, Oxford, subsequently holding music scholarships at Winchester
College
and
then
at
Magdalene
College,
Cambridge,
where
he_ studied
composition with Robin Holloway and Hugh Wood while also undertaking
piano studies privately in London with 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.
1
_
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 wasa 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’. His oeuvre to date includes three major works
for chorus and orchestra, a violin concerto, extensive chamber music and works for piano.
Francis has been accompanist to the Vivace Chorus since 2008.
Vivace Chorus singers
First Soprano
Sandra Adamson
Amelia Atkinson
Jan Barklem
Helen Beevers
Mary Broughton
Rachel Crookenden_—
Fran MacKay
Suzie Maine
Paula Garcia Pardo
Sarah Smithies
Sarah Badger
Jo Haviland
Isobel Humphreys
Becky Kerby
Claudia Loiacono
Barbara Tansey
Joan Thomas
Jane Thorp
Hilary Vaill
Jane Barnes
Scarlett Close
Ann Fuller
Margaret Kay
24
Michelle Mumford
Sue Norton
Robin Onslow
Sian Prentice
Gillian Rix
Georgie von
Schweinitz
Miriam White
Second Soprano
Jacqueline Alderton
Gill Backhouse
Alex Nash
Alison Palmer
Kate Peters
Weronika Rabsztyn
Paula Redway
Mary Somerville
Sarah von
First Alto
Barbara Barklem
Jackie Bearman
Jane Brooks
Amanda Burn
Fiona Davidge
Valentina Faedi
Lilly Nicholson
Jackie Payne
Schweinitz
Sheila Hodson
Julia Stubbs
Olwyn Westwood
Eiri Williams
Jean Leston
Charlotte Mathieson
Penny McLaren
Rosalind Milton
Nicola Telcik
Hilary Trigg
Susan Vega
Anna Williams
Elinor Pinnegar
Linda Ross
Catherine
Shacklady
Marjory Stewart
Vivace Chorus
Fiona Wimblett
Lois McCabe
First Tenor
Second Tenor
Richard Dacey
Second Bass
Maggie Woolcock
Kay McManus
Bob Bromham
Drew Alcott
Brian John
Geoff Forster
Val Morcom
Andrea Dombrowe
Jeremy Johnson
Stuart Gooch
Second Alto
Pamela Murrell
Rosie Jeffery
Geoff Johns
Stephen Linton
Andrew Linden
Nick Gough
Geraldine Allen
Lucy Schoenberger
Nick Manning
Jon Long
Mike Johns
Evelyn Beastall
Jo Stokes
Martin Price
Charles Martin
Graham Vincent
Malcolm Munt
Neil Martin
Mary Clayton
Rosey Storey
John Trigg
Tim Wray
Chris Newbery
Chris Peters
Liz Curry-Hyde
Pamela Usher
Susie Walker
Robin Privett
Andrew Robertson
Pauline Higgins
Esther Van Rooyen
Jack Whiting
First Bass
Andrew Skinner
Martyn Turner
Sheena Ewen
Alison Vincent
Paul Barnes
Philip Stanford
Richard Wood
Audrey Kueh
June Windle
Phil Beastall
Rob Walker
Penny Macfarlane
Richard Broughton
ee
eo
=
,
A warm welcome to Barbara H6fling - Vivace Chorus's new Music Director from September
Barbara says | am delighted to be working with this excellent choir from
September. Vivace Chorus stood out the moment | first heard them with
excellent singing, flexibility and a warmth
in tone that is rarely found
elsewhere. | can't wait to create new and exciting projects with them!
About me - | grew up in Hanover, where | began my musical studies at the
Hochschule fiir Musik und Theater as a violinist and conductor, then later
as a singing pupil of Professor Gerhard Faulstich. | continued my studies
with Anna Reynolds in Bayreuth and later with Bernarda Fink.
Concerts in Lied, Oratorio and Opera have taken me all over Germany, as well as to New York (Carnegie Hall),
Amsterdam (Concertgebouw), Vienna (Musikverein), Paris, Madrid and Monaco.
As well as a singer, | am the Music Director of the Deutscher Chor London, and have worked as the Associate
Choral Director of the London Symphony Chorus which allowed me to work as Chorus Master for conductors
such as Simon Rattle, Francois Xavier Roth, Kevin John Edusi, Lionel Sow and others, and to work with orchestras
such as Chineke! (for the Proms 2022), The London Symphony Orchestra and Birmingham Symphony Orchestra.
With my singing background | have a keen interest in healthy singing for amateur choral singers, vocal technique
that is tailored to choirs that face the challenges of demanding repertoire and a choral sound and blend that
derives naturally from healthy voices.
\.
Vivace Chorus
25
Photo © Matt Venner
Guildford Choral (GCS) is a vibrant and ambitious
amateur choir with auditioned members drawn from
Singers.
Last season our summer concert in Guildford
around the South East region and representing a broad
spectrum of ages and occupations. The choir has a
and
Williams’ Dona Nobis Pacem and Faure’s Requiem;
long history and is one of the oldest choral societies in
Handel’s Messiah in December 2023, preceded the
the UK. We celebrated our 175th anniversary in 2015
previous month by a concert in Holy Trinity Church,
with a performance of Berlioz Te Deum at the Royal
Guildford, which featured John Rutter’s Feel the Spirit.
Albert Hall.
In
Baptist Church was Rossini’s Petite Messe Solennelle
previous
our
included
performances
2022-2023
Ola
season,
Gjeilo’s
included
our
Sunrise
Vaughan
summer
Mass,
concert
preceded
in
Our wide-ranging repertoire features the music of
contemporary composers as well as the major baroque
March 2023 with a performance of Will Todd’s Mass
and classical choral works.
showcasing
in Blue, performing alongside Will Todd himself and
our
rehearsal
venue
Guildford
Baptist
Church as a concert venue.
Our
2024-2025
season
has
already
featured
our
Christmas Concert in Holy Trinity Church in Guildford,
and a performance of Mendelssohn’s Elijah in G Live
Other concerts have included
Brahms’ Requiem in
collaboration
Symphony
alongside Southern Pro Musica, followed by our March
concert featuring Elgar’s Music Makers and Howells’
Britten’s War Requiem, Duruflé’s Requiem, Bach's St
Hymnus
26
Paradisi
in
collaboration
with
Chichester
with
Guildford
Orchestra,
John Passion, the second performance in the UK of
Howard
Goodall’s
Unconditional Love at our June
Vivace Chorus
2022
concert
and
the
premiére
of
Owain
Park’s
Requiem
with
The
Bach
Choir,
Elgar's
Dream
of
Officium Lusorum alongside Orff’s Carmina Burana in
Gerontius with Brussels Choral Society and the City of
October 2022.
London
Choir,
the
Berlioz
Te
Deum
with
The
Chichester Singers and Portsmouth Choral Union, and
We
promote
at
least
four
concerts
each
year
in
Verdi’s Requiem with Salisbury Musical Society.
In
Guildford, bringing to the town major orchestras and
2017 we gave two highly successful performances of
nationally and internationally renowned soloists.
Beethoven’s
In
Missa
Solemnis
with
Brussels
Choral
recent years we have also had a number of invitations
Society, firstly in Guildford’s G Live and then in the
to
Palais des Beaux Arts in Brussels.
sing
in
some
of
the
most
prestigious
London
concert halls.
Guildford Choral regularly arranges singing days, open
Recent
Musical
Directors
of
GCS
include
Hilary
to
non-members, that promote the development of
Davan Wetton, who retired in 2008 after 40 years with
singing technique and musical knowledge alongside
GCS, and who is now our Conductor Emeritus. James
the enjoyment of choral music.
Morgan
these was
followed
and
our
current
MD,
Willcocks, joined the choir as Musical
Jonathan
Director in
held
in
The most recent of
February 2025
at our rehearsal
venue Guildford Baptist Church, on Mozart’s Requiem
and Jonathan Willcocks’ Sing Africa, with Bernstein’s
212.
Chichester Psalms and Rutter’s Requiem (held in April
The choir is fortunate to be supported by the Friends
2023), Vaughan Williams’ A Sea Symphony (held in
of
registered
Feb 2022), and before that Brahms’ Requiem (2020),
charitable trust that aims to promote choral music. The
Bach’s Mass in B minor (2018) and Verdi’s Requiem
Friends funded the commission, Officium Lusorum by
(2016).
Guildford
Owain
Choral
Society
(FGCS),
Park, that we premiéred
October
2022
and
supported
a
at our concert in
our
professional
recording of this piece in September 2023.
Guildford Choral has a long-standing partnership with
Other
the Music of Life Foundation, a charity working with
recent grants have enabled the choir to work with
musically talented young people with disabilities or
leading orchestras such as the Hanover Band and the
special
Royal Philharmonic Orchestra.
perform in concerts.
grants
to
help
cover
FGCS also provides
membership
fees
for
needs, whose students join
rehearsals and
some
individual singers.
New members are warmly invited to join the choir
and open rehearsals are held at the beginning of each
Guildford Choral enjoys working with other choirs.
new term.Further details from: guildfordchoral.org
Recent collaborations have included our recent March
concert of Elgar’s Music Makers and Howell’s Hymnus
Paradisi with The Chichester Singers,
Vivace Chorus
Britten’s War
a7.
Jonathan Willcocks
Jonathan was born in Worcester and after early musical training as a chorister at
King's College Cambridge and an Open Music Scholar at Clifton College, he
took an Honours degree in Music from Cambridge University where he held a
choral scholarship at Trinity College.
He is currently Musical Director of Guildford Choral, The Chichester Singers and
_
the professional chamber orchestra Southern Pro Musica and until recently was |
Festival Conductor for the Leith Hill Music Festival.
Freelance conducting and workshop engagements have taken him to many parts of the world including the USA,
Canada, New Zealand, Australia, South Africa, Singapore, China and most of the European countries as well as
the United Kingdom.
These engagements have seen him conducting concerts in many of the world's finest
concert halls, including Carnegie Hall in New York, the Gewandhaus in Leipzig and Perth Concert Hall,
Australia, as well as closer to home in the Royal Albert Hall and Royal Festival Hall in London and Symphony |
Hall in Birmingham.
Guildford Choral singers
First Soprano
Second Soprano
First Alto
Sally Fentiman
Wayne Hawkins
Second Bass
Shirley Acford
Sheila Bennett
Katie Arbon
Miranda Granger
Cecil Hull
Geoffrey Barham
Sandra Adamson
Ann Baden
Avril Blagbrough
Charlotte Beck
Anja Heckmann
Rafael de Menezes
Helen Cannon
Siobhan Carroll
Nicky Jenkins
Sara Davies
Audrey Kueh
Second Tenor
Gillian Elsom
Trish Lambert
Nigel Bain
Nigel Garbutt
Sara Gee
Anne Marriott
Keith Bulley
James Milne
Louise Jourdan
Izzy Newsham
Alan Haigh
Roddy Porter
Fiona Lockley
Sabine Rashbrook
Bill Hartree
Keith Torbet
Lesley Pratt
Lynn Sperry
Paul Miller
Philip Tudor
Katherine Thompson
Rhona Thomson
Mike Younger
Geoffrey Walsh
Natalie Thurley
Catherine Wands
Rebecca Cunningham Di Clough
Rosemary Cordingley
Julia Coto
Charlotte Hancock
Jenny Curtis
Tania Hartley
Liz Heanley
Katie Durham
Sarah Emery
Thea Jourdan
Helen Foster
Diana Medlicott
Fiona Laskaris
Sarah Moulton
Claire Morris
Aida Pandur
Hilary Rafter
Claire Pocock
Louise Tunbridge
Janet Shean
Hannah Thomson
Isobel Venner
Jane Tingley
Marilyn Vincent
Helen Watt
Catherine Watmore
Fran Worpe
Victoria Watts
Claire Day
Claire Wright
28
Anita Wu
Nick Williams
Lauren Whiteman
First Tenor
Derek Lake
Sarah Winterbotham
Mike Richmond
Fiona Yeomans
Clive Acres
Richard BuckmanDrage
Second Alto
Liz van Eykenhof
John Winterton
Christine Canniff
Andy Gill
John Yeomans
|
Ken Elsom
First Bass
Marissa Truglio
Julie Eves
Roger Buck
John Davis
Paul Thompson
Mike Winterbotham
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‘Tl
ros.
THE
LONDON
CHORUS
As the London Choral Society, The London Chorus
was founded in 1903 to perform the first London
concert
performance
of
Elgar’s
The
Dream
of
under the baton of Arthur Fagge, who
continued as conductor of the choir for the next 30 or
Gerontius,
is proud to be associated with many charities, such as
Parkinson’s UK, Orchestras for All, Footballs for Fun,
Help for Heroes and in recent years has held carol
concerts
in
support
of
The
Separated
Child
Foundation.
Since then, the choir has been led by John
Tobin, Leon Lovett, Simon Rattle, Jane Glover, and
most recently by Ronald Corp who sadly died in May
works by all the major and lesser-known composers in
this year.
many of London’s top venues including the Royal
so years.
Its
repertoire is extensive and diverse,
performing
Albert Hall, the Royal Festival Hall and the Barbican.
Ron was not only a highly talented musician, as a
composer, conductor and chorus master. He was a
Tours abroad have included
Estonia, South Africa,
genuine friend to us all: motivated at all times by the
2026.
sincerity of his love of music and of the people with
whom he made it. He had been associated with The
For all enquiries, contact
London Chorus for 40 years, 30 of those as Musical
Director, and believed in it profoundly.
New members are always welcome and should
Poland and Italy and a tour to Berlin is planned in
contact joinus@londonchorus.org.uk to arrange to
The London Chorus will now carry forward Ron’s
legacy with performances of new and varied works. It
30
attend a rehearsal.
londonchorus.org.uk
Vivace Chorus
Ronald Corp OBE 1951-2025
Ronald Corp OBE was founder and Musical
Orchestra,
the
New
London’s
Children’s
Director of the New London
Choir,
London Chorus and the Highgate Choral Society.
Musical
Director of The
He was a prolific composer,
including four symphonies, two piano concertos and concertos for flute, cello
and recorder, as well as many choral works.
As he said, “| began writing
music even
before | was taught to play the piano”.
expertise
choral
Singer’s
in
directing are
Companion.
He was
crystallised
awarded
an
His experience and
in
the
textbook
The
OBE
in
2012
was
and
Choral
made
Honorary Doctor of Music at the Universities of Anglia, Ruskin and Hull.
Ron was not simply a highly talented musician, as a composer, conductor and
chorus master. He was a genuine friend to us all: motivated at all times by the sincerity of his love of music and
of the people with whom he made it. He had been associated with The London Chorus for 40 years, 30 of those
as Musical Director, and believed in it profoundly. What the Choir owe to him can scarcely be put into words.
The London Chorus singers
First Soprano
Second Soprano
Anne Howick
Margaret Barrett
First Tenor
Sara Ajina
Mary Beaney
Heena Khiroya
Charles Robertson
Michael Broadbent
Juliet King-Smith
John Somerville
Sam Infield
Chris Stuart
Anthony Wills
Angela Botha
Susan Campbell
Caroline Clark
Margaret Beels
Jennifer Curtis
Jill Davis
Penny Bristow
James Tilley
Jane Gregory
Joan Poole
Carolin Harvey
Guy Vogel
Heather Rayner
Second Bass
Eugene Chang
Second Tenor
Matthew Green
Andrew Frankl
Pete Hazzard
Alex Nalivaiko
Martin Huggett
Anthony Murley
Mary Dickinson
Claire Hughes
Naomi Weber
Barbara Duffy
Jennifer Moore
Hannah Williams
Veronica Franklin Gould
Deborah Perkin
Lucy Gray
Jane Self
Patricia Harris
Marie-Anne Tilley
Second Alto
Anne Ambrose
Sue Haycock
Jill Tyler
Jill Holland
Katherine Ma
Maisie Williams
Susan Murray
Marie Myerscough
First Alto
Louise Richards
Felicity Cobbing
Sue Vincent
Rebecca Warren
Nicky Dean
Emma Gallon
Jann.Grant
Sue Hodson
Vivace Chorus
Philip Whalley
Susan Millin
Deborah Phelan
Donald Skinner
Julia Irvine
First Bass
Alison Leggatt
James Bailey
Christopher Beels
Sue Nott
Margie Staker
Ursula Taylor
Angela Walker
Peggy Watson
John Hammond
Julian Brown
Hugh Closs
Jeremy Colwill
Nick Janmohamed
David Morris
31
Twickenham Choral
With a long and illustrious history — celebrating its
Centenary in 2022 — Twickenham Choral is one of the
the
foremost choirs in West London.
led
most recent focusing on
the complexities of
Monteverdi’s Vespers of 1610 — a fantastic event co-
by Howard
lonascu
and
professional
Soprano
Kirsty Hopkins.
With more than 100 members of all ages, drawn from
West London, Surrey and beyond, the choir works
In September 2024, Twickenham Choral welcomed
soloists and orchestras,
Howard lonascu as their new Conductor, picking up
with excellent professional
producing outstanding performances.
the baton from Christopher Herrick who had held the
position for an impressive fifty years.
Concerts are staged at least three times a year, in local
venues and Central London concert halls. Over the
years, the choir has sung all the great works from the
choral repertoire and also explored less familiar music,
ranging from Renaissance to the present day, including
Together with Assistant Conductor Daniel King Smith,
Howard leads a dynamic and challenging rehearsal
schedule, bringing enormous enthusiasm and a focus
on excellence to this ever-ambitious choir.
several commissioned works.
New members are welcome throughout the year — see
Biennial tours to destinations in Europe are a popular
staple. Choral workshops also feature regularly, with
32
the website twickenhamchoral.org.uk where you will
also find details of upcoming performances.
Vivace Chorus
Howard lonascu
After a degree in music at Manchester University, Howard’s diverse career began as a
professional
singer
in
Wells
Cathedral
Choir,
performing
on
many_ recordings,
broadcasts and international tours.
Choral conducting began
in
1997 when
he founded The Laudate Choir, which
continues to perform regularly in venues across the south east of England. Howard is
also Musical Director of the Exeter Philharmonic Choir.
Past
conducting
roles
have
included
Bournemouth
Sinfonietta
Choir,
Finchley
Children’s Music Group Trebles Choir and the Esterhazy Singers of London. Howard
is also in regular demand as a guest rehearsal conductor, and in recent years has
worked with Choir of the Old Royal Naval College, Greenwich, Orlando Chamber
Choir, City of London Choir, Rodolfus Choir, Guildford Choral Society, Winchester Philharmonic Choir and on
~
Eton Choral Courses. Howard has conducted a number of the leading UK orchestras and ensembles, including E
Bournemouth Symphony Orchestra, London Mozart Players, English Chamber Orchestra, City of London Sinfonia,
New London Orchestra and Onyx Brass.
Howard has a long association with music education, having led
departments at some of the UK’s finest educational establishments and directed the choirs at Winchester College,
King’s
Canterbury
and
Junior
Royal
Academy
of Music.
_ September 2024.
He joined
Twickenham
Choral
as
Conductor
in
Twickenham Choral singers:
First Soprano
Sarah Coe
Leke Hilmy
Katrina Lidbetter
Jo Mawby
Elizabeth Morland
Vanessa Preece
Kathleen SuttonCoulson
Adrienne Tallents
Gillian Zettle
Second Soprano
Sarah Cheshire
Clare Stocks
Vivace Chorus
Kathryn Doley
Annette Duffy
Joanna Huxley
Margaret Lord
Miki McClarty
Carol Mitchell
Gail Moss
Fiona Rowett
Helen Sugiyama
Lindsey Waine
Bessie White
Nicola Whiteside
Wendy Young
First Alto
Second Alto
Maggie Crisell
Lisa Colclough
Fiona de Quidt
Helen Coulson
Mary Egan
Olga Duke
Jo Humphreys
Rosemary Fulljames Wendy Malseed
Julie Hall
Cas Manning
Margaret Hamilton
Anne Stephens
Emma Jay
Mika Takami
Adriana Martyr
Deborah Meyer
First Tenor
Jane Newman
Joe Barr
Barbara Orr
Clive Hall
Penelope Skinner
Jackie Jillings
Sally Spencer
Rachel Skingsley
Merle Broadhurst
Second Tenor
Hadley Baldock
John Dewhurst
Simon Lambourn
Paul McDonald
Richard Phillips
David Underdown
John Saunders
David Wallis
Second Bass
Keith Long
Gary Stocks
Bob Vickers
lan Williamson
First Bass
Chris Bennett
Tom Fulford
Jonty Fulford
Robert Jongbloed
Tim Lidbetter
Adrian Mumford
Ja
FARNHAM
YOUTH
CHOIR
nae
Farnham Youth Choir, under the direction of Patrick
Barrett, is one of the UK’s leading youth choirs. Based
in the town of Farnham in Surrey, members can join
our Training Choir from the age of seven before
moving up to the Junior Choir and then on to Farnham
Youth Choir and Senior Choir.
FYC offers exceptional performance opportunities of
sacred and secular music covering many different
styles. The choir undertakes annual tours both in the
UK
and
abroad
and
has
performed
in
many
prestigious venues, such as the Barbican, Cadogan
The choir was founded in 1984 by David and Gillian
Victor-Smith, under whose direction the choir won
numerous national and international competitions.
The tradition of competing (and winning) on the
international stage has continued ever since. Last
summer, FYC returned from Aukland, New Zealand
with two gold medals from the Interkultur, World
Choir Games.
They won two gold medals at the 2019 Interkultur
European Choir Games in Gothenburg and in 2023
Hall and The Menuhin Hall.
they won their category at the Interkultur International
Choir Competition in Hull and the Children’s Choir
FYC is delighted to return to the Royal Albert Hall,
having last performed here in 2007 for John Rutter’s
FYC regularly
In addition,
Christmas concert.
commissions and records new music. Last month FYC
category
performed the world premiere of a commission by
Errollyn Wallen CBE and Master of the King’s Music.
34
at
the
Provence
International
Choir
Competition.
FYC is holding FREE open rehearsals for all three
choirs on 3rd and 10th September. All young people
from school years 2 and above are welcome to attend
Vivace Chorus
and bursary places are available for those who require financial assistance to pay subscriptions. Further information
can be found on the FYC website: www.fyc.org.uk/joinus.
Patrick Barrett
Patrick is a conductor specialising in choral music and opera. Alongside his role
at Farnham Youth Choir, he is currently Chorus Director of the Royal Scottish
|
National
Opera
|
Company, the Irish Youth Choir (14-17 years), and the National Youth Choirs (9-
|
Orchestra’s Youth
Choruses, the Royal
Opera House Youth
15 years)
Patrick’s commitment to youth choral music extends to preparing choruses for the
Edinburgh International Festival, and for the Dunedin Consort, where his work
often
features
educator,
in
major
international
performances.
As
a
dedicated
Patrick has worked with organisations including The Sixteen,
music
BBC
Singers, Wigmore Hall, and Aldeburgh Young Musicians, and has spoken at the
|
Post Primary Music Teachers Association in Ireland.
In opera, Patrick collaborates with leading UK companies such as the Royal Opera House, English National
_
Opera,
and
Garsington
Opera,
where
he
prepares
youth
choruses
for
main
stage
productions
and
world
- premiéres, including Carmen under Antonello Manacorda and Otello under Sir Antonio Pappano. Previously, he
was the conductor of the University of Birmingham’s Upper Voices Choir, University of Reading Chamber Choir 1
and Brockham Choral Society.
|
Farnham Youth Choir singers:
Yaroslava Andreiuk
Connie Frith
Bea Atkinson
Beatrice Moller-Butcher
Sakura Fukushima-Choularton
Frankie Morland
Isobel Austwick
Kitty Smith
Ben Haines-West
Ned Austwick
Liam Noel-Read
Sophia Hagelin
Joshua Soden
Lucy Callaghan
Annabelle Paintin
Imogen Henderson
Imogen Sowden
Lola Coxon
Charlie Paintin
Aglaia Hryhorieva
Amy Todd
Herbie Critchlow
Madeleine Perryman
Grace Kay
Chloe Todd
Emilia Draycott
Claire Poon
Elissa Key
Iris Ward
Nayan Ranade-Hide
Max Wilson
Natalie Wingfield
Charlotte Ebsworth
Eloise Macoraghty-Mines
Yunying Fang
Elizabeth Roberts
Ruby Marshall
Jasper Fimowicz
Anise Robinson
Bogdans Melnikova
Vivace Chorus
:
Astrid Scholar
Hannah Ruthven
35
Tiffin Choirs
Since their foundation in 1957, the Tiffin Choirs have
Orchestra under Gustavo Dudamel; John Adams’ On
worked
greatest
the Transmigration of Souls with the LPO and Vladimir
conductors, performed for the world’s finest musical
Jurowski; Tchaikovsky’s The Queen of Spades at the
institutions and
Royal Opera; La bohéme with English National Opera
extensively
musical
with
the
recorded with
ensembles.
Tonight,
world’s
the world’s leading
the
choir
comprises
students from Tiffin School and children from local
and Music with Changing Parts with the Philip Glass
Ensemble.
schools forming the Tiffin Children’s Chorus.
The
choir
has
recorded
most
of
the
orchestral
The Tiffin Choirs are renowned for the breadth of their
repertoire that includes children’s choirs, with notable
work, which spans symphonic, opera, choral and film
releases including Mahler’s Eighth Symphony under
music. This has recently included singing at the BBC
Klaus Tennstedt (EMI), which was nominated for a
Proms, with the Royal Opera, Covent Garden, English
Grammy Award; an album with the Gabrieli Consort
National Opera, Opera Holland Park and the London
and
Paul
McCreesh;
Handel’s
Samson
with
the
Symphony Orchestra, Philharmonia and London and
Dunedin Consort and John Butt; and an appearance
Royal
on Madonna’s 2019 album, Madame X.
Philharmonic orchestras. The choir regularly
records at Abbey Road Studios and performs at the
Royal Albert Hall, Royal Festival Hall and Barbican.
Recent symphonic and
opera highlights
include a
The
choir’s
60th-anniversary
concert
in
2017
was
broadcast on Classic FM, and in 2023 Tiffin became
televised performance of Britten’s War Requiem from
the
the
Evensong on BBC Radio 3. The choir recorded for the
BBC
Proms with
the
LSO
under Sir Antonio
first
state
school
choir
to
broadcast
Choral
Mahler’s
soundtrack for The Hobbit and music for the BBC
Symphonies Nos 3 and 8 with the RPO and Vasily
comedy drama Fleabag, appeared on set in the films
Petrenko,
Philomena and Batman and performed in Titanic Live!
Pappano;
several
performances
of
LSO under Michael Tilson Thomas,
LPO
under Edward Gardiner and Simon Bolivar Symphony
36
with James Horner.
Vivace Chorus
James Day
James Day has established a reputation as a highly regarded conductor and artistic
director, widely recognized for creating exciting and
highly successful
artistic and
educational projects. Driven by a passion for bringing classical music to all, James
ensures that future generations from
all
backgrounds have access to
|
life-changing
musical opportunities and experiences.
In addition to his work as Director of Choral Music at Tiffin School, he is also Artistic
Director of the Barnes Music Festival and he serves as the Chief Executive of the
Pimlico Musical Foundation, a local charity providing quality musical education to its
underserved community. In 2023, he was awarded an LRAM from the Royal Academy
of Music.
Recent work includes preparing choirs for performances at the Royal Opera House, the
English National Opera, the Philip Glass Ensemble, and the London Symphony Orchestra, Philharmonia, Royal
Philharmonic
and
the
London
Philharmonic
Orchestra. James
has
prepared
and
conducted
performances
broadcast on the BBC, ITV, Channel 4, and Classic FM and numerous film scores, including the most recent
Batman film. He has worked with artists such as Madonna and recorded a CD album of the musicof Joe Hisaishi.
Tiffin Choirs singers:
Aiden Coyde
Gabriel Bahari
Lucas Chan
Oscar Law
Alice Wheeler Ruzicka
Gabriel Sing Hei Ma
Lucas Fleckenstein
Owen Levine
Benjamin Partridge
George Chilton
Lucy Barton
Rafael Schmidek
Carlos Antonio Monteiro
Haozhe Liu
Lucy Jarvis
Rafi Prasadam-Halls
Charlotte Warner
Henry Livingstone
Ludivine Hobson
Rhys Urquhart
Chip Spence
Hugo Walkom
Man Kiu Ng
Serena Howard
Shreyank Tonpe
Dhruv Gulati
James Espiner
Marianne Ashwell
Elinor Thomas
Jonathan Windt
Max Wilkinson
Emilia Saville
Sofia Pilkington
Joseph Erdelyi
Mikhail Boev
Tobenna Okorocha
Tom Prasadam-Halls
Emily Barton
Joshua Rozario
Natasha Huggett
Emily Cadogan
Kate Wilson
Nihal
Erin Espiner
Toshiro Bertoli
Keano Jeetla
Olivia Kristensen
Erin Syrus
William Killey
Lena Domzal
Oscar Fisher
Zori Varoujian
Vivace Chorus
:
Vivace Chorus Patrons
Life Patrons
Honorary Life Patrons
John Britten
Platinum Patrons
Richard & Mary Broughton
Amanda Burn
Mt |
|
John Trigg MBE
James Garrow
Norman Carpenter
Andrea & Gunter Dombrowe
Geoffrey Forster
John and Jean Leston
John McLean OBE & Janet McLean
Peter Norman
David & Linda Ross
Geoffrey Johns & Sheila Rowell
Catherine & Brian Shacklady
Prue & Derek Smith
Idris & Joan Thomas
Pam Usher
Rob and Susie Walker
J T Williams
Anthony
If you have enjoyed this concert, why not become one of our patrons? We have a loyal band of
followers whose regular presence at our concerts is greatly appreciated. With the valued help of our |
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patrons, we are able to perform a wide range of exciting music, with world-class, professional
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musicians in venues such as G Live, Dorking Halls, the Royal Albert Hall and the Royal Festival
If you are interested, please contact Anna Arthur by emailing: patrons@vivacechorus.org.
Music
Director
Our
new
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Barbara HOfling has lots of
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Contact: www.spanishforlondon.com
Thank you!
We're grateful to all those who helped make tonight's performance possible
This concert has been generously supported by donations from The Bellasis Trust, and Rob Walker.
We're indebted to the concert's sponsors, ROK Coffee, and to all those in
ROK
Vivace Chorus who contributed to fundraising and organisational tasks.
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Thank you too to all our friends in Guildford Choral, The London Chorus, Twickenham Choral, Tiffin Choirs,
and Farnham Youth Choir —it's been great making music with you, and we hope to do so again in the future!
Vivace Chorus
39
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GUILDFORD’S
- something for
everyone!
; Barbara Hofling
It’s just 35 minutes by rail from
Waterloo to historic Guildford.
Come to one of our concerts and
make a day of it! Walk along the
are) ona
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the beautiful High Street with its
granite setts, eat at one of the many
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Orchestra
Barbara Hofling
Sunday
:
14 Dec 2025
at 7pm
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a Vivace concert.
Holy Trinity Church, Guildford.
Holy Trinity,
Guildford High Street.
Perea a Peal
Schumann:
4 Double Choir Songs
with Barbara H6fling,
Vivace’s new and highly
respected conductor and
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Viva ce
Glarelgess
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Saturday
24 Jan 2026
Guildford Baptist Church
fend chany 2070
SS
ye
Saturday
2026
Bi crac —O 21 March
Rete ot
Vivace
Chorus
Holy Trinity,
Guildford High Street.
Sa
Saturday
6 June 2026
Holy Trinity,
Guildford High Street.