Guildford Philharmonic Choir
Mozart: Vesperae solennes de confessore
Mendelssohn: Symphony No. 5 ‘Reformation’
Saturday 2 February 2002, at 7.30 pm
Guildford Cathedral
Dates for your Diary
Saturday 6 April 2002
Concert to celebrate
the Queen’s Golden Jubilee
Guildford Cathedral
Saturday 25 May 2002
Mendelssohn: Elijah
Guildford Cathedral
Tonight’s programme is promoted by the Guildford Philharmonic
Choir in aid of The Prostate Project - a Guildford-based charity.
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Guildford Philharmonic Choir
President Sir David Willcocks CBE MC
Mozart
Vesperae solennes de confessore K.339
Mendelssohn
Symphony No. 5 in D, Op. 107 ‘Reformation’
Interval
Haydn
Missa in Angustiis ‘Nelson Mass’
Helen Neeves
Soprano
Joya Logan
Contralto
Stephen Douse
Tenor
Chris Sheldrake
Baritone
Surrey Mozart Players
Jeremy Backhouse
Financially assisted by
CUILDFORD
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B
OROUCGCH
The staging for this concert is owned by the Association of
Surrey Choirs. To hire, please contact Stephen Jepson, tel:
01306 730383. It was purchased with financial assistance from
the Foundation for Sport and Arts, PO Box 20, Liverpool.
Wolfgang Amadeus Mozart (1756 - 1791)
Vesperae solennes de confessore K. 339
Dixit Dominus
Confitebor
Beatus vir
Laudate pueri
Laudate Dominum
Magnificat
Following in his father Leopold’s footsteps, Mozart’s first position was
with the musical establishment of the Archbishop of Salzburg beginning with an unpaid appointment as Konzertmeister in 1769. In
1772 the new Archbishop, Hieronymus Colloredo, confirmed Mozart’s
position and added a salary of 150 Gulden. Mozart soon felt restricted
under the musical limitations of provincial Salzburg and the proprietary
Colloredo, who was not only a power in the church but also temporal
ruler of Salzburg, an independent enclave within the Austrian empire. By
1780, when the 23-year-old Mozart composed the Vesperae solennes de
confessore, Colloredo had already dismissed Mozart from his service
once, and would do so again in 1781, alleging a lack of diligence.
Colloredo was probably unhappy about Mozart’s prolific musical activity
on behalf of other patrons, although Mozart was also writing church
music of the highest calibre for Salzburg.
Vespers is the evening service of the Catholic Holy Office, traditionally
performed at twilight when the lights are lit indoors and prescribing
specific psalm texts that vary according to the church calendar. While
Mozart’s Vesperae de Dominica, K. 321, composed the previous year,
was intended for ordinary Sunday use, Vesperae solennes de Confessore,
as the title indicates, was composed for use on the feast day of a
particular confessor (a saint who suffered persecution for the faith). As
there is no information about the specific circumstances surrounding the
work’s composition or first performance, the particular saint that Mozart
celebrated is unknown.
Taking advantage of a traditional looseness in the musical structure of
the vespers service, Mozart used five different keys and a wide range of
styles and techniques in the six movements of the Vespers. Each
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Guildford Philharmonic Choir
movement is a model of the conciseness which Archbishop Colloredo
required, yet the five psalms and the Magnificat are not set verse by
verse with separate arias, ensembles and choruses, but are rather
composed in a continuous movement, bound together by a common
quality of brilliance and sense of exhilaration.
The first three movements have a lively dialogue between chorus and
soloists. In the opening Dixit Dominus, marked Allegro vivace, a highly
ornamented orchestral accompaniment conveys an appropriate sense of
majesty, yielding to drama as the chorus winds its way through
unexpected modulations but returns to C major for a triumphant finish.
The second movement, Confitebor, unfolds at a more relaxed allegro and
brings the quartet of soloists more into the foreground; in the third
(Beatus vir) the tempo marking is again vivace and the soprano soloist is
prominent.
Mozart set the fourth movement (Laudate pueri) as a long and
complicated fugue, in which the fugue theme is heard not only right side
up but also upside-down, and even both ways simultaneously. The
movement uses a diminished seventh in its theme, reminiscent of ‘And
with His stripes’ from Handel's ‘Messiah’. By contrast to this
contrapuntal tour de force, Laudate Dominum is one of the most lyrical
of Mozart’s melodies and arguably the most familiar movement, brief but
magical, an ethereal soprano aria with lilting accompaniment.
Finally, the Magnificat closes out the work by returning to the key of C
major, and expresses the spirit of its text through bold melodic phrases
and closely knit polyphony.
1. Dixit Dominus Domino meo (Psalm 110)
Dixit Dominus Domino meo: sede dextris meis, donec ponam inimicos
tuos scabellum pedum tuorum. Virgam virtutis tuae emitet Dominus ex
Sion, dominare in medio inimicorum tuorum. Tecum principium in die
virtutis tuae in splendoribus sanctorum, ex utero ante luciferum genui te.
Juravit Dominus et non poenitebit eum: tu es sacerdos in aeternum
secundum ordinam Melchisedech. Dominus a dextris tuis confregit in die
irae suae reges. Judicabit in nationibus, implebit ruinas, conquassabit
capita in terra multorum. De torrente in via bibet, proptera exaltabit
caput. Gloria Patri et Filio et Spiritui Sancto, sicut erat in principio et
nunc et semper in saecula saeculorum. Amen.
Guildford Philharmonic Choir
5
The Lord said unto my Lord, sit thou at my right hand, until I make thine
enemies thy footstool. The Lord shall send the rod of thy strength out of
Zion: rule thou in the midst of thine enemies. Thy people shall be willing
in the day of thy power, in the beauties of holiness from the womb of the
morning: thou hast the dew of thy youth. The Lord hath sworn, and will
not repent, thou art a priest for ever after the order of Melchisedek. The
Lord at thy right hand shall strike through kings in the day of his wrath.
He shall judge among the heathen, he shall fill the places with the dead
bodies; he shall wound the heads over many countries. He shall drink of
the brook in the way: therefore shall he lift up the head. Glory be to the
Father and to the Son and to the Holy Ghost, as it was in the beginning,
is now, and ever shall be, world without end. Amen.
2. Confitebor tibi Domine in toto corde meo (Psalm 111)
Confitebor tibi Domine in toto corde meo in consilio justorum et
congregatione. Magna opera Domini, exquisita in omnes voluntates ejus.
Confessio
et
magnificentia
opus
ejus
manet
in
saecula
saeculi.
Memoriam fecit mirabilium suorum misericors et justus, escam dedit
timentibus se.
Memor in saeculum testamenti sui.
Virtutem operum
suorum annuntiabit populo suo. Ut det illis hereditatem gentium. Opera
manuum
ejus
veritas
et judicium.
Fidelia
omnia
mandata
ejus.
Confirmata in saeculum saeculi. Redemptionem misit Dominus populo
suo, mandavit in aeternum testamentum suum. Sanctum et terribile
nomen ejus. Initium sapientiae timor Domini, intellectus bonus omnibus
facientibus eum, laudatio ejus manet in saeculum saeculi. Gloria Patri et
Filio et Spiritui Sancto, sicut erat in principio et nunc et semper in
saecula saeculorum. Amen.
Praise ye the Lord. I will praise the Lord with my whole heart, in the
assembly of the upright, and in the congregation. The works of the Lord
are great, sought out of all them that have pleasure therein. His work is
honourable and glorious: and his righteousness endureth forever. He hath
made his wonderful works to be remembered: the Lord is gracious and
full of compassion. He hath given meat unto them that fear him: he will
ever be mindful of his covenant. He hath shewed his people the power of
his works, that he may give them the heritage of the heathen. The works
of his hands are verity and judgement; all his commandments are sure.
They stand fast for ever and ever, and are done in truth and uprightness.
He sent redemption unto his people: he hath commanded his covenant for
ever: holy and reverend is his name. The fear of the Lord is the beginning
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Guildford Philharmonic Choir
of
wisdom:
a
good
understanding
have
all
they
that
do
his
commandments: his praise endureth for ever. Glory be to the Father and
to the Son and to the Holy Ghost, as it was in the beginning, is now, and
ever shall be, world without end. Amen.
3. Beatus vir qui timet Dominum (Psalm 112)
Beatus vir qui timet Dominum in mandatis ejus volet nimis. Potens in
terra erit semen ejus, generatio rectorum benedicetur. Gloria et divitiae
in domo ejus et justitia ejus saeculum saeculi. Exortum est in tenebris
lumen rectis, misericors et miserator et justus. Jucundus homo, qui
miseretur et commodat disponet sermones suos in judicio.
aeternum
non
commovebitur.
In
memoria
aeterna
Quia in
erit justus,
ab
auditione mala non timebit. Paratum cor ejus sperare in Domino. Non
commovebitur donec despiciat inimicos suos. Dispersit dedit pauperibus,
Jjustitia ejus manet, in saeculum saeculi. Cornubitur in gloria. Peccator
videbit et irascetur, dentibus suis fremet et tabescet, desiderium
peccatorum peribit. Gloria Patri et Filio et Spiritui Sancto, sicut erat in
principio et nunc et semper in saecula saeculorum. Amen.
Blessed is the man that feareth the Lord, that delighteth greatly in his
commandments. His seed shall be mighty upon earth: the generation of
the upright shall be blessed. Wealth and riches shall be in his house: and
his righteousness endureth for ever. Unto the upright there ariseth light in
the darkness: he is gracious and full of compassion, and righteous. A
good man sheweth favour, and lendeth: he will guide his affairs with
discretion. Surely he shall not be moved for ever: the righteous shall be
in everlasting remembrance. He shall not be afraid of evil tidings: his
heart is fixed, trusting in the Lord. His heart is established, he shall not
be afraid, until he see his desire upon his enemies. He hath dispersed, he
hath given to the poor; his righteousness endureth for ever: his horn shall
be exalted with honour. The wicked shall see it, and be grieved; he shall
gnash with his teeth, and melt away: the desire of the wicked shall perish.
Glory be to the Father and to the Son and to the Holy Ghost, as it was in
the beginning, is now, and ever shall be, world without end. Amen.
4. Laudate pueri Dominum (Psalm 113)
Laudate pueri Dominum benedictum ex hoc nunc et usque in saeculum. A
solis ortu usque ad occasum laudabile nomen Domini. Excelsus super
omnes gentes Dominus et super coelos gloria ejus. Qui sicut Dominus
Guildford Philharmonic Choir
7
Deus noster, qui in altis habitat. Et humilia respicit in coelo et in terra?
Suscitans a terra inopem et de stercore erigens pauperem. Ut collocet
eum, cum principibus populi sui. Qui habitare facit sterilem in domo,
matrem filiorum laetantem. Gloria Patri et Filio et Spiritui Sancto, sicut
erat in principio et nunc et semper in saecula saeculorum. Amen.
Praise, O ye servants of the Lord, praise the name of the Lord. Blessed be
the name of the Lord from this time forth and for evermore. From the
rising of the sun unto the going down of the same the Lord’s name is to
be praised. The Lord is high above all nations, and his glory above the
heavens. Who is like unto the Lord our God, who dwelleth on high, Who
humbleth himself to behold the things that are in heaven, and in the
earth! He raiseth up the poor out of the dust, and lifteth the needy out of
the dunghill. That he may set him with princes, even with the princes of
his people. He maketh the barren woman to keep house, and to be a
joyful mother of children. Glory be to the Father and to the Son and to
the Holy Ghost, as it was in the beginning, is now, and ever shall be,
world without end. Amen.
5. Laudate Dominum omnes gentes (Psalm 117)
Laudate Dominum omnes gentes, laudate eum omnes populi. Quoniam
confirmata est super nos misericordia ejus, et veritas Domini manet in
aeternum. Gloria Patri et Filio et Spiritui Sancto, sicut erat in principio
et nunc et semper in saecula saeculorum. Amen.
O praise the Lord, all ye nations: praise him, all ye people. For his
merciful kindness is great toward us: and the truth of the Lord endureth
for ever. Glory be to the Father and to the Son and to the Holy Ghost, as
it was in the beginning, is now, and ever shall be, world without end.
Amen.
6. Magnificat anima mea Dominum (Luke 1:46-55)
Magnificat anima mea Dominum, et exultavit spiritus meus in Deo
salutari meo. Quia respexit humilitatem ancillae suae, ecce enim ex hoc
beatum me dicent omnes generationes. Quia fecit mihi magna qui potens
est et sanctorum nomen
ejus.
Et misericordia ejus a progenie in
progenies timentibus eum. Fecit potentiam in brachio suo, dispersit
superbos mente cordis. Deposuit potentes de sede et exaltavit humiles.
Esurietes implevit bonis et divites dimisit inanes. Suscepit Israel puerum
8
Guildford Philharmonic Choir
known as the
‘Dresden Amen’,
which Wagner was later to use in
Parsifal. The first movement proper then begins, a stormy, passionate
movement in D minor which again quotes the ‘Dresden Amen’ before
the recapitulation. A friend of Mendelssohn stated that the composer
tried the experiment of orchestrating this first movement from top to
bottom, bar by bar, like a vast mosaic. Apparently the effort exhausted
him
and
he
thereafter
gave
it
up,
but
it
may
account
for
the
uncharacteristic thick scoring of much of the movement.
A dance-like scherzo follows (although it is not so called), with some
delicate woodwind writing, and a chance for the violas and cellos to
shine in the central section. The slow movement is little more than a
short interlude, grave and solemn in tone, and the finale follows without
a break. A solo flute announces Luther’s confessional chorale ‘Ein feste
burg ist unser Gott’ (A safe stronghold is our God) and gradually the rest
of the wind join in to enrich the tune and gradually to proclaim it
joyfully. The main body of the Finale is an exuberant, contrapuntal
structure whose quieter passages are overlaid by the Chorale theme, and
it is this theme that returns in full orchestral dress to close the work with
a triumphant statement of this Lutheran affirmation of faith.
Haydn and Mozart
Despite the generation gap between them, Haydn and Mozart were very
close friends. They probably met in Vienna in
1781
at a gathering
organised by Baron von Swieten to hear the music of J.S. Bach. In
Vienna, Mozart and Haydn were the founders of the Viennese classical
‘school’. Obviously Mozart had great affection for Haydn, in whom he
found not only a composer whose achievements were on a level with his
own, but a warm and sympathetic friend in whom he could confide. This
contrasted strongly with the strained relationship that Mozart enjoyed
with his father, Leopold. Haydn would give advice and criticism to
Mozart, who was half his age but who attached more importance to
Haydn’s opinion than to that of any other, including his father. The two
men
differed
considerably
in
character:
Mozart
was
a
virtuoso
concerning composing and playing the pianoforte, but he could not deal
with money and was casual with everything except music; compared
with his young friend, Haydn was a relatively slow worker but an astute
business man.
10
Guildford Philharmonic Choir
Haydn’s Opus 20 string quartets of 1772 may have provided models for
the quartets Mozart wrote over the next two years. In 1781 Haydn
published a set of six highly original quartets, Opus 33, in Vienna. It
probably inspired Mozart to begin his own set of six string quartets. The
last of the set, Kv 465 in C, was finished in 1785. Mozart dedicated these
string quartets to Haydn with the words “A father who has decided to
send his sons out into the wide world thought it his duty to entrust them
1o the protection and guidance of a man who was very celebrated at the
time and who, moreover, happened to be his best friend”. Mozart wrote
to Haydn: “In like manner I send my six sons to you, most celebrated and
very dear friend. They are, indeed, the fruit of a long and laborious
study; but the hope which many friends have given me that this toil will
be in some degree rewarded, encourages me and flatters me with the
thought that these children may one day prove a source of consolation to
me.” The string quartets were published by Artaria in Vienna in 1785,
Opus 10 (Kv 387,421, 428, 458, 464 and 465).
Haydn had thought his opera Armida to be one of his best compositions,
but after he had heard several operas of Mozart, he recognised their
superiority and lost the desire to write operas himself. After a
performance of Don Giovanni (May 1788) Haydn declared that Mozart
was the greatest composer the world possessed. Mozart invited Haydn
for the last rehearsals of Cosi fan tutte in Vienna (January 1790), and
every morning the two composers walked arm-in-arm to the theatre.
In 1791 Haydn told Mozart he wanted to visit London. Mozart said: “I
fear, Papa, that this will be our last farewell.” Perhaps Mozart had a
premonition of his coming death, which occurred on 5 December 1791.
Haydn heard the news when he was in London, but at first refused to
believe it. In January 1792, Mozart's death was confirmed to him. This
affected Haydn greatly and, years later, if Mozart's death was mentioned,
tears came to his eyes. Haydn declared to Dr. Charles Burney in the
London music shop of Broderip: “Friends tell me often I am brilliant, but
he (Mozart) stood far above me.”
Guildford Philharmonic Choir
11
Joseph Haydn (1732 - 1809)
Missa in Angustiis - ‘Nelson Mass’
1. Kyrie
2. Gloria
Qui tollis
3. Credo
Etincarnatus
Quoniam
Et resurrexit
4. Sanctus
5. Benedictus
6. Agnus Dei
The Mass in D was written in the summer of 1798, about five years
before ill-health forced an end to Haydns composition. He had just
completed his oratorio The Creation, inspired by Handel works he heard
on his London visits. The name chosen by Haydn for this mass was
Missa in Angustiis, perhaps meaning ‘Mass in Fear’ or ‘Mass for Stress’;
this may have reflected personal stresses or Esterhazy family events, or it
may have arisen from Austria-Hungary's stressful political situation. Two
years previously, Haydn had written a Mass in Time of War, recognising
the concern gripping all of Europe, which was cowering before the
shadow of the ambitious young Napoleon; the Mass in D may similarly
have reflected political concerns, although it may be significant that this
title does not read ‘Mass in Time of Fear’, to parallel the title of the
earlier work. The title Nelson Mass was applied to this music by others
after 1800, probably because the work was among those performed for
Lord Nelson and Lady Hamilton when they visited Prince Esterhazy at
Eisenstadt Castle in September 1800. Ironically, the Battle of Aboukir, in
which Nelson's fleet took the French by surprise and decimated them,
occurred while Haydn was at work on the Mass; Haydn, however, could
not have known of Nelson’s victory until weeks after the Mass was
finished, and apparently
never sanctioned naming the
mass for the
English hero.
Considering Haydn’s own title for the Mass, it is surprising that it does
not demonstrate obvious sorrow, stress or fear. Much of the work appears
to evokes joy and feelings of hope, which seem unrelated to its sombre
title. However, all six of Haydn’s last masses, which includes this one,
were written for the name day of Princess Esterhazy, and the celebratory
nature of such an event probably accounts for the positive nature of this
work.
12
Guildford Philharmonic Choir
1. Kyrie
Kyrie eleison. Christe eleison.
Lord, have mercy upon us. Christ, have mercy upon us.
2. Gloria
Gloria in excelsis Deo, et in terra pax hominibus bonae voluntatis.
Laudamus te, benedicimus te, glorificamus te, gratias agimus tibi propter
magnam
gloriam
tuam,
Dominus Deus,
Rex coelestis,
Deus
Pater
omnipotens. Domine Fili unigenite, Jesu Christe.
Dominus Deus, Agnus Dei,
Filius Patris,
qui tollis peccata mundi,
miserere nobis. Qui tollis peccata mundi, deprecationem nostram. Qui
sedes ad dexteram Patris, miserere nobis.
Quoniam tu solus sanctus. Tu solus Dominus. Tu solus altissimus, Jesu
Christe, cum sancto Spiritu, in gloria Dei Patris. Amen.
Glory be to God on high, and on earth peace to men of goodwill. We
praise Thee, we bless Thee, we give thanks to Thee for Thy great glory,
O Lord God, heavenly King, God The Father Almighty. O Lord the only
begotten Son, Jesus Christ.
O Lord, Lamb of God, Son of the Father, that takest away the sins of the
world, have mercy upon us. Thou that takest away the sins of the world,
receive our prayer. Thou that sittest at the right hand of the Father, have
mercy upon us.
For Thou only art holy. Thou only art the Lord. Thou only, O Jesus
Christ, with the Holy Spirit, art most high in the glory of God The Father.
Amen.
3. Credo
Credo in unum Deum, Patrem omnipotentem, factorem coeli et terrae,
visibilium omnium et invisibilium omnium ante omnia saecula. Deum de
Deo, Lumen de lumine, Deum verum de Deo vero, genitum non factum,
consubstantialem Patri, per quem omnia facta sunt. Qui propter nos homines
et propter nostram salutem descendit de coelis.
Et incarnatus est de Spiritu Sancto ex Maria Virgine: et homo factus est.
Crucifixus etiam pro nobis sub Pontio Pilato, passus et sepultus est.
Guildford Philharmonic Choir
13
Et resurrexit tertia die, secundum Scripturas, et ascendit in coelum: sedet ad
dexteram Patris; et iterum venturus est cum gloria, judicare vivos et
mortuos, cujus regni non erit finis. Et in Spiritum sanctum, Dominum, et
vivificantem. Qui cum Patre et Filio simul adoratur et conglorificatur: qui
locutus est per Prophetas. Et unam sanctam catholicam et apostolicam
Ecclesiam. Confiteor unum baptisma in remissionem peccatorum et expecto
resurrectionem mortuorum, et vitam venturi saeculi. Amen.
I believe in one God, the Father Almighty, Maker of heaven and earth, and
of all things visible and invisible. I believe in one Lord Jesus Christ, the only
begotten Son of God, and born of the Father before all ages. God of God;
Light of Light; true God of true God; begotten not made; consubstantial with
the Father, by whom all things were made. Who for us men and for our
salvation came down from heaven.
And was conceived by the Holy Spirit, born of the Virgin Mary; and was
made man. He was crucified also for us; He suffered under Pontius Pilate,
and was buried.
And the third day He rose again according to the scriptures and ascended into
heaven, and sitteth at the right hand of the Father: and He shall come again
with glory to judge both the quick and the dead; of whose Kingdom there
shall be no end. And I believe in the Holy Spirit, the Lord and Giver of life,
who spoke by the prophets. And in one Holy Catholic and Apostolic Church.
I confess one baptism for the remission of sins and I look for the resurrection
of the dead, and the life of the world to come. Amen.
4. Sanctus
Sanctus, sanctus, sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et
terra gloria tua. Osanna in excelsis.
Holy, holy, holy, Lord God of Hosts. Heaven and Earth are full of Thy
glory. Hosanna in the highest.
5. Benedictus
Benedictus qui venit in nomine Domini. Osanna in excelsis.
Blessed is he who cometh in the name of the Lord. Hosanna in the
highest.
14
Guildford Philharmonic Choir
6. Agnus Dei
Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis
peccata mundi, dona nobis pacem.
Lamb of God, who takest away the sins of the world, have mercy upon
us. Lamb of God, who takest away the sins of the world, grant us peace.
The notes in this programme were based on material supplied through the Programme
Note Bank of Making Music, the National Federation of Music Societies.
Helen Neeves
Helen Neeves gained a BA (Hons.) in Music at
the University of York. Whilst studying there
she became a member of the Yorkshire Bach
Choir and performed regularly with Yorkshire
Baroque Soloists. Having completed a two-year
postgraduate course at the Royal College of
Music, she is now based in London, where she
is currently studying with Julie Kennard.
Helen’s performance experience includes work
in and around both York and London. Helen
made her Purcell Room debut performing songs
by Dowland and Whythorne with the English Cornett and Sackbut
Ensmble, whom she recently joined for a Christmas concert at the
Blackheath Concert Halls. Having performed in Dupré’s De profundis
with the Vasari Singers, she went on to record a CD of the same, and will
be joining them again later this month to perform and record Dupré’s La
France au Calvaire. Recent choir and consort work include a tour of
Handel’s Solomon with the Gabrieli Consort, and, in last year's York
Early Music Festival, a programme of early Northern Italian motets and
cantatas with the consort Harmonie Universelle.
Helen's other recording work includes solo and ensemble broadcasts for
BBC Radio 3 and West Deutsche Rundfunk. She recently performed in a
concert of Byrd motets with Corona Coloniensis at the Herne Festival,
and this March will be joining the group again in Holland and Germany
for a programme of early English verse anthems. Last November, Helen
Guildford Philharmonic Choir
15
appeared as Rowan the maid in Britten’s The Little Sweep with the
Jubilee Opera in Aldeburgh.
Joya Logan
Joya studied piano, flute and singing at Trinity
¢ College of Music and now concentrates on
¢ singing, studying with Miles Johnson. She is an
accomplished consort singer and has performed
throughout Europe and the UK with the English
Consort, Serenata Voices and Schutz Choir, and
is a member of the Guards Chapel Choir. She
has appeared regularly on BBC Radio 2’s
| Friday Night is Music Night and recorded for
Radio 3 and 4. She has appeared as soloist on
many recordings for Hyperion with the
Corydon Singers.
Her solo repertoire includes Bach’s Magnificat, St Matthew Passion, St
John Passion, Christmas Oratorio, Britten’s Rejoice in the Lamb,
Ceremony of Carols, Copeland’s In The Beginning, Handel’s Messiah,
Dixit Dominus, Haydn's Nelson Mass, Respighi's Laud to the Nativity,
Vaughan Williams’ Mass in G and Vivaldi’s Gloria. She has performed
Duruflé’s Requiem at York Minster and Queen Elizabeth Hall and has
recorded Rachmaninov’s Vespers for Hyperion and the Corydon Singers
with Matthew Best. Future engagements include a recital of French,
Russian and English songs in 2002.
Joya also runs ‘Mini Crotchets’, a pre-school music group for toddlers in
South West London.
Stephen Douse
Stephen Douse was born in Nottingham and
studied Voice and Piano at the Royal Academy
of Music. He is pursuing a diverse and varied
career. He has appeared regularly with the
London Savoyards, Kent Opera, D’Oyly Carte
Opera Company and Welsh National Opera. He
has also appeared on BBC 2’s Friday Night is
Music Night as well as on Classic FM, with The
Marchioness Requiem. Stephen was the first
16
Guildford Philharmonic Choir
soloist to be heard in
‘Messiah for the Hospice’
broadcast for the
Llangollen International Arena.
Stephen is currently a member of the World Music Jazz Ensemble, the
Grand Union Orchestra and recently performed with them at the Queen
Elizabeth Hall in a newly composed piece ‘Now Comes the Dragon’s
Hour’.
Specialising in the music of J.S. Bach, he has sung the tenor solos in over
120 Bach Cantatas in a series of the complete cycle in the City of
London. He has performed the role of the Evangelist in the St. John, St
Matthew and St Luke Passions.
Christopher Sheldrake
Christopher was a Junior Exhibitioner at the
Royal Academy of Music, studying piano under
Harold Craxton and cello with the late Lily
Phillips. Whilst at the Royal College of Music,
studying voice under Edward Brooks and piano
with
Robert
Sutherland
and
Richard
Nunn,
Christopher won several college prizes, notably
the
Chilver
singing
Wilson
prizes,
also
and
Thomas
coming
Moherrer
second
in
the
Godfrey Van Somersen singing competition. Christopher has performed
in masterclasses both as a pianist, cellist and singer with Geoffrey
Parsons, William Pleeth, Thomas Allen, Igor Oistrakh, Willard White,
Michael George, Sarah Walker, Emma Kirkby and The King’s Singers.
After graduating, Christopher became a Lay Clerk in The Queen’s Free
Chapel, Windsor Castle and undertook a Postgraduate course at the
Royal College of Music.
Notable
solo
performances
have
included
Mozart’s
Requiem
with
London Mozart Players in Madrid and Segovia, the St Matthew Passion
conducted by Sir David Willcocks for Sir Keith Falkner’s memorial
concert, the world premiere of And The Music Plays On, by Hungki-Joo
Guildford Philharmonic Choir
17
at the Huddersfield Contemporary Music Festival, the British Premiere
of John Joubert’s Three Faces Of Love at the Spitalfields Festival and the
Premiere of Stanley Glasser’s Ezra in St. George's Chapel, Windsor.
Christopher made his Wigmore Hall debut in 1999 with the Musicke
Company.
Christopher moved to Wells in 2001 to become a Vicar Choral in the
Cathedral church of Saint Andrew, and has recently been appointed as
senior piano tutor at Downside Abbey School.
Jeremy Backhouse began his musical career in
Canterbury Cathedral where he was Head
Chorister, and later studied music at Liverpool
University. He spent five years as Music Editor at
the Royal National Institute for the Blind, where
he was responsible for the transcription of print
music into Braille. In 1986 he joined EMI Records
as a Literary Editor and since April 1990 he has
combined his work as a Consultant Editor for EMI
Classics with his career as a freelance conductor
and record producer.
Jeremy is also the conductor of the Vasari Singers, widely acknowledged
as one of the finest chamber choirs in the country. Since winning the
prestigious Sainsbury’s Choir of the Year competition in 1988, they have
performed regularly on the South Bank and at St John's, Smith Square in
London, as well as in the cathedrals of Canterbury, Chichester,
Winchester, Hereford, Ely and Peterborough. In 1998, he took the Vasari
Singers on a fascinating and highly successful tour of Tuscany, singing
in churches and cathedrals connected with Giorgio Vasari, performing in
the church in Arezzo in which Vasari is buried and in the Duomo in
Florence.
In January 1995, Jeremy was appointed Chorus Master of the Guildford
Philharmonic Choir, working closely with conductors such as Jonathan
Willcocks, En Shao and Vernon Handley, as well as regularly conducting
concerts with the choir and orchestra alike. In 1998, he conducted a
memorable performance of Elgar’s The Dream of Gerontius in
Guildford's Civic Hall, the first public performance to be promoted by
the choir itself, and in March 1999 gave a “masterly” performance of
18
Guildford Philharmonic Choir
Bruckner’s Mass in E minor and Mabhler’s Symphony No. 2 in Guildford
Cathedral.
He has worked with a number of the leading choirs in the country,
including the Philharmonia Chorus (preparing for Sir Colin Davis), the
London Choral Society (for Ronald Corp) and the Brighton Festival
Chorus (for Carl Davies). In September 1998, Jeremy became the Music
Director of the
Wooburn
Singers,
only
the
third
conductor
in
the
distinguished 30-year history of the choir, following Richard Hickox and
most recently, Stephen Jackson.
The
Guildford
Philharmonic
Choir was founded in
1947 by the
Borough of Guildford to perform major works from the choral repertoire
with the Guildford Philharmonic Orchestra. Since this time, the Choir
has grown both in stature and reputation and can now rightly claim its
place as one of the foremost Choruses in the country. The Choir grew to
prominence under the batons of such eminent British musicians as Sir
Charles Groves, Vernon Handley and Sir David Willcocks. Sir David
remains in close contact with the Choir as its current President, and the
Choir is now independent from the Borough of Guildford.
Notable achievements in recent years include Handel’s Israel in Egypt
with
the
Freiburger
Bachchor
in
Freiburg
in
May
1998,
and
an
outstanding performance of Elgar's The Dream of Gerontius at the
Guildford Civic Hall in March 1998. In March 1999 the Choir gave a
widely acclaimed performance of two works which must surely rank
among the greatest choral works of all time, Mahler’s Symphony No.2 Resurrection and Bruckner’s Mass in E minor.
The Choir enjoyed a challenging and exciting concert programme for the
2000/1 season, with Mozart’s Mass in C minor, Brahms’ Ein deutsches
Requiem and Vaughan Williams’ Sea Symphony.
The Choir is always searching for new members to maintain its high
standard and auditions are held throughout the year. For further details
about joining the Choir or for any information about any of our future
concerts, please contact Noreen Ayton, tel: 01932 221918. Rehearsals
are held on Monday evenings throughout the season in central Guildford,
and prospective members are most welcome to attend rehearsals on an
informal basis before committing to an audition.
Guildford Philharmonic Choir
19
GUILDFORD PHILHARMONIC CHOIR
SOPRANOS
ALTOS
June Windle
Marian Adderley
Marion Arbuckle
Maralyn Wong
Jacqueline Alderton
Sally Bailey
Beatrice Wood
Joanna Andrews
Iris Ball
Noreen Ayton
Penny Baxter
Mary Broughton
Evelyn Beastall
Miranda Champion
Iris Bennett
Elaine Chapman
Jane Brooks
Sara Dann
Mary Clayton
Rachel Edmondson
Hilary Davenport
TENORS
David Baxter
Paul Bielatowicz
Bob Bromham
Douglas Cook
Tony Cousins
Josephine Field
Margaret Dentskevich
Angela Hand
Andrea Dombrowe
Nora Kennea
Valerie Edwards
Jane Kenney
Celia Embleton
Mo Kfouri
Mandy Freeman
Judith Lewy
Valerie Garrow
Julia Maitland
Ingrid Hardiman
Krystyna Marsden
Joanna Harman
Gayle Mayson
Lucy Hatcher
Lois McCabe
Carol Hobbs
Hilary Minor
Sheila Hodson
Susan Norton
Kay McManus
Robin Onslow
Christine Medlow
Alison Palmer
Rosalind Milton
Margaret Parry
Mary Moon
Kate Peters
Brenda Moore
Rosalind Plowright
Jean Munro
Alison Rawlinson
Jacqueline Norman
Kate Rayner
Sue OConnell
Gillian Rix
Penny Overton
Jill Scott
Anne Philps
Ann Sheppard
Lesley Scordellis
Dawn Smith
Catherine Shacklady
Judy Smith
Gillian Sharpe
Maggie Smith
Rima Skold
Kathy Stickland
Prue Smith
Carol Terry
Alex Stevens
Sally Thomas
Hilary Steynor
Christine Tollman
Rosey Storey
Enid Weston
Jane Sweaney
Christine Wilks
Hilary Trigg
20
Bob Cowell
Geof Edge
Leslie Harfield
Chris Robinson
John Trigg
BASSES
Dan Adderley
Peter Andrews
Roger Barrett
Alan Batterbury
Norman Carpenter
Philip Davies
Michael Dudley
James Garrow
Michael Golden
Nick Gough
Peter Herbert
Laurie James
Michael Jeffery
Stephen Jepson
Tony Macklow-Smith
Neil Martin
Maxwell New
Chris Newbery
Chris Peters
Nigel Pollock
David Ross
Philip Stanford
Guildford Philharmonic Choir
The Surrey Mozart Players
Principal Conductor: Paul Hoskins
The orchestra was founded (originally as the Woking Mozart Players) in
the early 1970s by Richard Temple Savage (1909 — 1996) who had been
a distinguished bass clarinettist and librarian with both the London
Philharmonic and Royal Opera House Orchestras. It gave its first concert
on 16 January 1971 and Richard continued to direct it until his retirement
in 1990. After working with a number of guest conductors, Paul Hoskins
was appointed Music Director in 1992.
The orchestra’s musicians, numbering about fifty, are drawn from the
adjacent parts of Berkshire, Hampshire and Surrey and normally give
five or six concerts per season. Its repertoire extends from the baroque to
late 20th century works, and it recently premiered Jonathan Willcocks’
Guildford Variations, specially commissioned by the orchestra for the
Millennium.
As well as engaging established international artists, it has always been
policy to encourage and foster emerging young musicians. Over the years
Tamsin Little (violin), Emma Johnson (clarinet), Andrew Haveron (now
leader of the
Brodsky
String Quartet),
Natasha Elvin
(violin)
and
Katherine Hunka (violin) — as well as the distinguished pianist, Ronan
O’Hora, Michael Cox (principal flute, BBC Symphony Orchestra), Philip
Dukes (viola), Roderick Williams (baritone) and Crispian Steele-Perkins
(trumpet) have all performed with the orchestra.
The orchestra has continued to enjoy a fruitful collaboration with various
guest conductors such as Sarah lIoannides, Ben Pope (now Assistant
Conductor, BBC Concert Orchestra), Peter Stark, well-known for his
work with the National Youth Orchestra, and Jacques Cohen. Concerts
have been given at venues throughout the county, including Chertsey,
Epsom, Farnham, Witley and Woking. However since providing the
inaugural concert at the Electric Theatre, Guildford in February 1997,
this has become the orchestra’s home base.
Guildford Philharmonic Choir
21
The Surrey Mozart Players
Violin 1
Cello
Bassoons
Sally Dewey
Andrew Hoy
Lisa Margetts
Gill Herbert
Muriel Rattray
Jeffrey Cox
Sue Thomas
Hilary Taylor
Judy Dudley
Max Page
Karen Burgess
Joanna Levi
Mary Sandbrook
Katharine Gilbertson
Hazel Crossley
Double Bass
Debbie Rogers
Roger Smeeton
Violin 2
Chris Kerse
Jana Sims
John Daniel
Gill Martin
Marcus Suranyi
Leon Crampin
Tessa Wilkinson
Ken Fudge
Flutes
Rachel Wood
Cassie Heritage
Stephen Jones
Helen Mathew
Alan Winn
Michael Winkler
Katie Lang
Trumpets
Stephen Dawes
David Wright
Trombones
Richard Pyewell
Michael Crieff
Richard Wood
Horns
Joe Harper
Tony Adie
Oboes
Viola
Contra Bassoon
Lindsay Dubery
Sue Rooke
Dylan Brewer
Stephen Browning
Timpani
Clarinets
Alan Dewey
Sally Basker
David MacKenzie
‘We are verygrateful to Secretts of Milfordfor the Sloral
decorations at toru;qfit’s concert.
Py
A
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FOR COMPLETE FAMILY EYECARE
:
PATRONS AND FRIENDS
OF GUILDFORD PHILHARMONIC CHOIR
Guildford Philharmonic Choir is extremely grateful to all Patrons and
Friends for their financial support.
Honorary Patrons
Mr. Bill Bellerby MBE
Mrs. Doreen Bellerby MBE
Patrons
Dr. J.B.R. Arbuckle
Mrs. Carol Hobbs
Dr. R.C. Barrett
Mr. Laurie James
Mrs. E.A. Batterbury
Mr. & Mrs. Michael Kilkenny
Mrs. J.S.M. Brooks
Mr. & Mrs. Michael Longford
Mr. & Mrs. R.H.R. Broughton
Mrs. Helen Lavin
Mrs. Maryel Cowell
Mr. & Mrs. Ron Medlow
Mrs. P.A. Cousins
Mr. & Mrs. Maxwell S. New
Dr. Rodney Cuff
Mr. & Mrs. John Parry
Mr. Michael Dawe
Opticians Penny & Hayter
Mrs. Margaret Dentskevich
Mrs. Jean Radley
Executive Presentation
Dr. & Mrs. M.G.M. Smith
Mr. Henry Friend
Mrs. Y.M.L. Tiplady
Friends
Mr. & Mrs. Peter Bennett
Britten’s Music Ltd.
Mr. Tan Rayner
Mrs. Jean Shail
Mrs. Joyce Feather
Mrs. K.C. Stickland
Dega Broadcast Systems
Mr. Michael Shortland
Mrs. Suzanne Pickerill
New Patrons and Friends are always welcome. If you are interested in
supporting the choir financially, please contact GPC Patrons’ Secretary
Marion Arbuckle, tel: 01483 572621 for details of the Patrons and
Friends scheme.