RA
)
~ Vivace
Chorus
President Sir David Willcocks CBE MC
“Pillars of the Baroque’
Handel: Zadok the Priest
Handel: The Water Music (excerpts)
Handel: Let God Arise (Chandos Anthem No. 11)
Bach: Nun ist das Heil und die Kraft, BWV 50
Bach: Air from Suite No. 3, BWV 1068
Bach: Menuet and Badinerie from Suite No. 2, BWV 1067
Bach: Magnificat in D, BWV 243
Amanda Forbes
Soprano 1
Kishani Jayasinghe
Soprano 2
Lucie Spickova
Mezzo-soprano
Richard Rowe
Tenor
Elias Benito Arranz
Bass-baritone
Brandenburg Sinfonia
Jeremy Backhouse
Guildford Cathedral
Saturday, 25 March 2006 at 7 30pm
Vivace Chorus
In 1708, the Duke of Weimar, one of the most distinguished and cultured nobles of
his time, offered Bach a post among his Court chamber musicians and as Organist
to the Court. During this time, interest was in the new lItalian style of music which
was then becoming the rage of Europe, one of the chief exponents being the
Venetian composer Vivaldi. In 1717, Bach moved to the small Court of Anhalt-
Céthen to hold the position of Capellmeister, the highest rank given to a musician
during the Baroque. His master was the young prince Leopold of Anhalt-Céthen,
who had well-developed musical tastes. In the happy atmosphere at Céthen,
Bach's days were devoted to music and he wrote much of his chamber music:
violin concertos, sonatas, keyboard music, etc. However, he wished to give his
sons a good education, and there was no university at Céthen, nor the cultured
atmosphere and facilities of a larger city, so Bach decided to look around for a new
position.
The death in June 1722 of Johann Kuhnau, Cantor of the Thomasschule at
Leipzig, led to an attractive opportunity. Bach already had many musical and
courtly connections in Leipzig, where there was also a famous university and a
distinctly cosmopolitan atmosphere. So Bach left for Leipzig, where he spent the
remaining 27 years of his life as Cantor, or Director of Choir and Music.
PARTT> G FHANDEL
Zadok the Priest
The anthem Zadok the Priest is one of four anthems that Handel composed for the
coronation of George Il in October 1727, using texts from the King James Bible,
and it has been sung at every British Coronation since.
Although they have been part of the traditional content of British Coronations, the
texts for all four anthems were picked
consternation
of the
participating
clergy.
by Handel
It
is
himself — much to the
believed that Handel
made a
personal selection from the most accessible account of an earlier coronation, that
of James Il of England in 1685. Though the text derives from the biblical account
of the anointing of Solomon, it is not a direct quote, but a paraphrase, possibly by
the composer himself:
Zadok the Priest and Nathan the Prophet anointed Solomon King.
And all the people rejoic'd, and said:
God save the King, long live the King,
May the King live for ever!
Amen, Alleluia!
Vivace Chorus
7
A Suite from The Water Music (c.1715-17, rev.1736)
wLNOo0b
Ouverture
Allegro
Air
Allegro
Hornpipe
The Celebrated Water Musick (to use the 18th-century title under which it was
eventually published by John Walsh in 1733) was first performed during a royal
barge trip down the Thames from Whitehall to Chelsea on the evening of
17 July 1717. Adjoining the royal barge was that of the musicians, about 50 in
number, including (as described in an account by Friedrich Bonet, a Prussian
diplomat, "trumpets, horns, hautboys, bassoons, German flutes, French flutes,
violins and basses.” The event attracted an uncountable number of "boats filled
with people desirous of hearing." The King, George |, was so pleased with the
music that he ordered it to be repeated twice. It was clearly a long evening, since
each rendition of the original work lasts about an hour.
In its published form, the Water Music consisted of some 20 pieces and was
probably a compilation of movements used on a number of occasions. It is
possible to construct three distinct suites from the Walsh publication: one in F
featuring two horns; one in D with horns and trumpets and probably an
extemporized part for kettledrums; and one in G with flutes and recorders. The
music performed tonight draws on movements from the first two Suites.
Let God arise (Chandos Anthem No. 11; HWV 256a)
While composer to the Duke of Chandos (1715-19), Handel wrote the 11 Chandos
Anthems for the modest band of singers and players retained at the Duke’s court
in Edgware, near London.
The Anthems themselves are founded on the choice of texts. Handel is known to
have been very familiar with the Bible, and to have resented implications that texts
should be provided for him. The texts are all based on Psalms (Psalm 68, v1-4,
Psalm 76, v6 and Psalm 68, v19), and while always preserving the spirit of the
text, Handel often combined two verses with a little judicious editing. Having
selected the texts, the music was then composed to match their mood, much
indeed as Bach did in his cantatas, resulting in a wide variety of musical moods
and textures.
The Anthems have an unusual scoring in common: three-part chorus supported by
a three-part orchestra. The anthems were originally written for three-part male
voices (boy soprano/tenor/bass), as the custom was to have only male singers in
church. However, the version we use is for full four-part (SATB) choir.
8
Vivace Chorus
Though records appear to show that the instrumentalists would have outnumbered
the
singers,
as
always with
Handel,
Noteworthy is the use of the oboe,
it is the
vocal
parts
which
dominate.
known to be one of Handel's favourite
instruments, as a uniting thread of timbre throughout.
Let God arise
; 5
Symphony
' 2
Let God arise (Chorus)
Let God arise, and let His enemies be scattered:;
Let them also that hate him flee before him.
x
Like as the smoke (Tenor solo)
Like as the smoke vanisheth so shalt thou drive them away;
Like as wax melteth at the fire, so let the ungodly
Perish at the presence of God.
4.
Let the righteous be glad (Soprano solo)
Let the righteous be glad; and rejoice before God;
Let them also be merry and joyful.
%
O Sing unto God (Chorus)
O Sing unto God, and sing praises unto his name.
6.
Praised be the Lord (Chorus)
Praised be the Lord.
7.
At thy rebuke, O God (Chorus)
At thy rebuke, O God, both the chariot and horse are fall'n.
8.
Blessed be God (Chorus)
Blessed be God, Alleluia.
~ INTFRVAL ~
Vivace Chorus
9
PART 7 J S BACH
Nun ist das Heil und die Kraft, BWV 50
This work is a single movement, probably the only surviving music from a larger
cantata for the Feast Day of St Michael and All Angels, now lost. The text is from
the Revelation of St John 12, v10 and is sung by a full double choir (eight voice
parts):
Nun ist das Heil und die Kraft und
das Reich und die Macht
unser Gottes seines Christus worden,
weil der verworfen ist,
der sie verklagete
Tag und Nacht vor Gott.
Now is come salvation, and strength,
and the kingdom of our God, and the
power of his Christ:
for the accuser of our brethren is cast
down, which accused them
before our God day and night.
(King James Version)
Air from Suite No. 3 in D, BWV 1068 (Air on the G string)
The slow movement of Bach's Orchestral Suite No. 3 in D is arguably one of the
loveliest and most calming pieces of music ever composed, and this facet of the
music has not gone unnoticed in the world of TV advertising!
The two arms of the melody complement each other perfectly, the first proceeding
from tonic to dominant, to be answered by the second reversing the process. In
1871, a German violinist, August Wilhelm, arranged it for violin and piano, with the
melody to be played on the violin's lowest (G) string.
It is still sometimes heard in this form and in other arrangements, but its perfection
is best served by hearing it with its proper pitch, scoring and tempo.
Menuet and Badinerie from Suite No. 2 in B minor for Flute and
Strings, BWV 1067
It has not been possible to date exactly any of Bach's four suites. We know that
they were performed before the Prince of Céthen and at the Telemann Musical
Society in Leipzig, which he conducted for several years from 1729. They were
more usually called overtures — a series (suite) of dances preceded by an
extended introduction which forms the first half of the whole composition. The
introduction is constructed on the plan of the French overture, whose major feature
was dotted rhythms for the opening stately section followed by a faster, often fugal
or imitative section. Usually the concluding section was a reprise of the solemn
opening.
10
Vivace Chorus
In this second suite, written for flute,
strings and continuo,
the Menuet and
Badinerie are the last two of eight movements (the earlier movements being
entitled Overture, Rondeau, Sarabande, Bourrée | and I, and Polonaise).
The
short
menuet,
one
of the
most
popular
dances
in
seventeenth-
and
eighteenth-century England, is followed by the most well-known and well-loved
showpieces for the flute. The Badinerie (roughly translated as ‘banter’) does not
represent
any
defined
dance
form
but
provides
the
flautist
with
supreme
opportunities for a virtuosic display.
Magnificat in D, BWV 243
The Magnificat is unique in Bach's entire musical output. It was written originally in
Eb Major and included four hymn tune arrangements interpolated within the
Magnificat text. One year later Bach lowered the pitch to D major and left out the
hymn arrangements. This is the form in which the work is usually performed today.
Bach sets the Magnificat in twelve movements.
It was originally performed on Christmas Eve 1723, Bach's first Christmas at
Leipzig.
For all of its grandeur and, sometimes,
expansiveness, the work is
remarkably brief.
1. Chorus
Magnificat anima mea Dominum.
My soul doth magnify the Lord.
The work opens with an extended orchestral introduction followed by an exuberant
chorus. The large scale of the work is established by the size of the orchestral
refrain which, with its three trumpets, sets the mood of festive joy.
2. Aria, Soprano |l
Et exultavit spiritus meus in Deo
And my spirit hath rejoiced in God
salutari meo.
my Saviour.
Bach's portrayal of the young Mary, energetic with boundless enthusiasm, as she
has the rest of her life before her. The strings surround the voice with a refrain,
complete at beginning and end, partial at the breathing-spaces.
Vivace Chorus
11
3. Aria, Soprano |
Quia respexit humilitatem
For He hath regarded the lowliness of
ancillae suae.
His handmaiden.
Ecce enim ex hoc beatam
Behold, from henceforth, all
me dicent.
generations shall call me blessed.
Written for a different soprano, Mary is now more restrained and pensive. This is a
graceful aria in which the voice and obbligato instrument (oboe d'amore) make a
perfect pairing.
4. Chorus
Omnes generationes.
For behold, all generations.
The second aria is left unfinished by the fiery interruption of the chorus.
5. Aria, Bass
Quia fecit mihi magna,
For he that is mighty
qui potens est,
hath magnified me,
et sanctum nomen ejus.
and holy is His name.
The falling scales in the accompaniment of this angular bass aria, with cello
obbligato, are perhaps a reminder of the descending power exerted on Mary.
6. Aria (Duet): Alto, Tenor
Et misericordia a progenie
And His mercy is on them
in progenies,
that fear Him
timentibus eum.
throughout all generations.
Just before the end of this ravishing duet, accompanied by flutes and muted
strings, the tenor gives a realistic ‘written-in’ vibrato to the notion of fear. This
movement is characteristic of Bach's use of the maximum contrast within a
relatively confined space.
7. Chorus
Fecit potentiam in bracchio suo,
He hath shown strength with His arm,
dispersit superbos
and scattered the proud
mente cordis sui.
in the imagination of their hearts.
This is a magnificent fugal movement, one of Bach's most energetic and difficult
choruses, but over in about 2 minutes.
12
Vivace Chorus
8. Aria, Tenor
Deposuit potentes de sede et
He hath put down the mighty
exaltavit humiles.
from their thrones and hath
exalted the lowly.
This is another tour-de-force, with unison violins. In it the falling scales surely
portray the "putting down" of the mighty, while the rising ones describe the
exaltation of the humble.
9. Aria, Alto
Esurientes implevit bonis,
He hath filled the hungry with good things,
et divites dimisit inanes.
and the rich
He hath sent empty away.
The closing text of this aria for Alto with two flutes is illustrated by the last empty
rest for the flutes, instead of their expected cadence.
10. Trio: Sopranos |, and I, Alto
Suscepit Israel puerum suum
He hath helped His servant Israel
recordatus misericordiae suae.
in remembrance of His mercy.
The womens' voices sing the ethereal Suscepit Israel with the trumpet softly
intoning the Magnificat chant. Prominent in the accompaniment are the oboes,
delivering the ancient plainsong associated with the Magnificat.
11. Chorus
Sicut locutus est ad patres nostros,
Even as He promised to our forefathers,
Abraham et semini ejus in saecula.
to Abraham and to his seed forever.
The ancient promise evokes a rather formal but powerful fugue in response.
12. Chorus
Glonia Patri et Filio et
Glory to the Father and to the Son and to
Spintui Sancto,
the Holy Spirit,
sicut erat in principio
as it was in the beginning,
et nunc et in saecula saeculorum,
is now, and ever shall be,
Amen.
Amen.
Luke 1:46-55
A stirring finale, with its build-up to the clever introduction of the opening material
on the words “as it was in the beginning”.
Vivace Chorus
13
Amanda Forbes — Soprano
Amanda Forbes is currently in her second year of
the Opera course at the Royal Academy of Music,
studying with Elizabeth Ritchie, Ingrid Surgenor and
Clara Taylor. She holds a BMus with first class
honours
in
performance
from
the
University
of
Melbourne, Australia.
Operatic
roles
include
Queen
of the
Night
in
Mozart's The Magic Flute, La Fée in Massenet's
Cendrillon,
Sandrina
Giardiniera
for
understudying
Royal
the
role
in
Mozart's
Academy
of
La
Finta
Opera,
and
Zdenka
in
Strauss’
performances
include
Arabella for Garsington Opera.
Her
concert
and
oratorio
soprano soloist in Mozart's C Minor mass at Bristol Cathedral, Handel's Silete
Venti and Mozart's Exsultate Jubilate with the Amersham Festival Orchestra,
Vivaldi’'s Gloria with the Cambridge Philharmonic, Poulenc’s Gloria at Cadogan
Hall, Mahler's Symphony No. 4 with the Royal Academy of Music Chamber
Ensemble, and Haydn’s ‘Nelson’ Mass with the Portsmouth Choral Union.
Amanda was winner of the 2003 Australian National Aria and the Governor
General's Shield, as well as recipient of the 2003 Joan Sutherland Society of
Sydney Vocal Scholarship, adjudicated and awarded by Dame Joan Sutherland.
This year she was awarded the prestigious Richard Lewis/Jean Shanks award at
the Royal Academy of Music.
She has worked in public master classes with Elly Ameling, Jonathan Summers,
Dame Anne Evans, and recently attended the 2005 George Solti Accademia di Bel
Canto in Italy, working with Dame Kiri Te Kanawa.
Amanda is supported by a Rae & Edith Bennet travelling scholarship awarded by
the University of Melbourne, and by the Josephine Baker Trust.
Amanda has been accepted into the National Opera Studio in London, and will be
commencing studies there in September 2006.
The notes in this programme include material supplied through the
Programme Note Bank of Making Music, the National Federation of Music
Societies, who are acknowledged with thanks.
Some of the printed music for this evening's concert has been hired from
SCC Performing Arts Library, and Yorkshire Libraries and Information Music
and Drama Library
14
Vivace Chorus
Kishani Jayasinghe — Soprano
Kishani was born in Colombo, Sri Lanka and came
to the UK in 1998 to read for a Bachelor’'s Degree in
Law at the University of Nottingham. She completed
her Master's
Degree in
International Commercial
Law in 2002.
Kishani is currently in her second year with Royal
Academy Opera studying with Noelle Barker and
Audrey Hyland. She is generously supported by
Mathew and Sally Ferrey, The Wingate Foundation,
MBF, Josephine Baker Trust and Foyle Foundation.
She has participated in masterclasses with Jose
Cura, Susan Bullock, Barbara Bonney, Dame Anne
Evans,
Robert Tear,
Tom
Krause and
Udo
Reinmann. Prizes include Young Musician of the
Year (Sri Lanka), Isabel Jay Operatic Prize, Elena
Gerhardt Lieder Prize, John Warner Award for Young Singers and The Worshipful
Company of Musicians’ Silver Medal for Musical Excellence.
Operatic roles include Sandrina (La finta giardiniera) Fiordaligi (Cosi Fan Tutte),
Pamina (Magic Flute), Mimi (La Bohéme), Dido (Dido and Aeneas) and scenes
from La Rondine (Magda), The Rake’s Progress (Anne Trulove), Arabella
(Arabella), Rusalka (Rusalka), Der Freischutz (Agatha), L’amico Fritz (Suzel),
Eugene Onégin (Tatiana), and The Tum of the Screw (The Governess) for the
Royal Academy Opera tableaux and scenes. Recent concert performances
include The CHOGM Gala Concert in Malta, Mozart's Exsultate jubilate, Mass in C
Minor, Requiem and Vespers, Mendelssohn’s Eljjah, Handel's Messiah, Vivaldi's
Gloria and Vaughan Williams’ Dona nobis pacem at the Barbican Hall.
Future engagements include Soprano actress in Judith Weir's Night at the
Chinese Opera (RAO), Leila in Bizet's The Pearl Fishers (Kentish Opera) and
Berg's Seiben Friihe Lieder with the New Bristol Sinfonia. Kishani will join the Jette
Parker Young Artists Programme at the Royal Opera House, Covent Garden, in
September 2006.
i%%*%%%%%%%%%%%%%%%%*%%%
HYMNS AND PSALMS, 22 Oct 2005
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15
Lucie Spickova — Mezzo-soprano
Lucie Spickova studied the clarinet and piano
at the Purcell School of Music before going
on
to read Modern Languages (German and
Italian) at Oriel College, Oxford, from where
she graduated with a First Class Honors
degree. She is now on the postgraduate vocal
course at the Royal Academy of Music,
where
she studies under Elizabeth Ritchie and Clara
Taylor,
and will be joining Royal Academy
Opera next September.
On
the
operatic
platform,
Lucie
the
recently
role
Die
Verlorene
performed
title
in
Liebesmueh-die Oper for Opera Camera
Linz.
Other operatic performances have included
a
tour with the Royal Academy of Music to
Northern Italy where she performed the roles
of Sesto (La Clemenza di Tito) and Suzuki (Madam
a Butterfly) in operatic tableaux
directed by lan Ledingham. She has also studied
the roles of Marcellina (Marriage
of Figaro), Fidalma (Matrimonio Segreto), Mére
Marie (Dialogue des Carmélites),
Meg (Falstaff) and Adalgisi (Norma), as part
of Opera Tableaux staged at the
Royal Academy of Music.
Lucie has also gained considerable experie
recent performances include Bach’s St
nce in oratorio performance. Her most
Matthew Passion, Bach’s B minor Mass
as
part of the Prague Spring Festival, Vivaldi'
s Gloria in St. Martin-in-the-Fields and
Mozart's Mass in C Minor in St. James’s Piccadil
ly, Handel's Messiah, Mozart’s
Rossini's Stabat Mater,
Charpentier's Messe de Minuit, Dvorak’s Mass
in D and Britten’s Rejoice in the
Lamb. Upcoming performances include Rossini
’s Petite Messe Solennelle and
Handel's /srael in Egypt.
Requiem,
Solemn
Vespers
and
Coronation
On the recital platform, Lucie performs both
preparing for a Lieder recital at Syon House.
Mass,
in the UK and abroad and is currently
While at the Royal Academy of Music, Lucie
won the prestigious Elena Gerhardt
lasses with Barbara Bonney, Robert
Tear, Phillip Langridge, Dennis O’Neil, Rudolf
Jenssen and lan Partridge.
Lieder Prize and has participated in masterc
Lucie gratefully acknowledges the support
of the Arts and Humanities Research
Board and the Josephine Baker Trust.
16
Vivace Chorus
Richard Rowe - Tenor
After studying Geology at Imperial College in
London
and a career in
business,
Richard
Rowe returned to his initial love, singing, and
has been following a demanding schedule for
the last 5 years, appearing both in operas and
on concert platforms.
He has undertaken principle roles including
Tamino in
Bohéme;
The Magic Flute;
the
title
role
in
Rodolfo in La
Albert
Herring;
Gustavo in Un Ballo In Maschera; Ottavio in
Don
Giovanni
Fledermaus;
at
and
Eisenstein
in
Die
venues,
from
the
diverse
Richmond Theatre and the Cochrane theatre
in London, to the Minack Theatre in Cornwall.
He has also performed with British Youth
Opera playing Tybalt in Gounod's Romeo et Juliette and covered the role of
Ferrando in Mozart's Cosi Fan Tutte.
Concert performances as soloist of both sacred and secular music have included
appearances
at St Albans Abbey,
Rochester Cathedral,
Purcell
Room,
The
National Gallery, The V&A, Dulwich Picture Gallery and Gordonstoun School.
Recent liturgical works have included Mozart's Requiem and Great Mass in
C minor, Haydn's The Seasons, Beethoven's Mass in C and Bach's Mass in
B minor.
Richard has worked with many different types of musical ensemble, from early
music
presentations
experience.
His
to
coaches
full
modern
have
orchestras,
included
Raimund
enjoying
the
Herincx,
Peter
diversity
of
Medhurst,
Kenneth Bowen and Nina Walker, and he is now continuing his studies at the
Royal Academy of Music with Philip Doghan. Future plans include The Marriage of
Figaro at the Purcell Room and his debut at St John's, Smith Square with Mozart's
Davide Penitente.
"A splendidly versatile performer...| would say he has an excellent future ahead of
him" — Dame Anne Evans
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HYMNS AND PSALMS, 22 Oct 2005
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17
Elias Benito Arranz — Bass-baritone
Elias was born in Barcelona. He started to sing at the
age of 9, joining the Choir of Barcelona’s Cathedral.
He obtained his piano teacher degree at Barcelona’'s
Conservatoire, as well as becoming a Licenciate in
Humanities in 2001. Thanks to contact with choir life,
Elias
started
to
take
singing
lessons
with
Ricard
Bordas and Salvador Parron in Barcelona. In 2002, he
joined the Royal Academy of Music in
Undergraduate
Course,
in
which
he
its 4-year
is
currently
studying with Mark Wildman and Audrey Hyland.
Elias made his debut as an oratorio soloist in 2002
singing Britten’s Rejoice in the lamb, and Purcell's
Funeral music in
Santa Maria de Mao (Majorca).
Since then, he has performed in Spain and UK singing
works such as J.S. Bach’'s Christmas Oratorio, Magnificat and Cantata no. 4,
Haydn’s ‘Nelson’ Mass, Mozart’'s Requiem and Solemn Vespers and Monteverdi's
Vespers. In December 2004, he made his debut in Palacio Euskalduna (Bilbao,
Spain) singing Bach’'s B Minor Mass, included in the Bilbao Orkesta Sinfonikoa
concert season.
Elias has also made his firsts steps into the operatic repertoire, of which he has
played the roles of: Baculus (Lortzing, Der Wildschiitz), Pistola (Verdi, Falstaff),
Truffaldino (Strauss, Anadne auf Naxos), Curio (Handel, Giulio Cesare) and
Claggart (Britten, Billy Budd) in the Royal Academy of Music Opera Scenes. He
has also participated in the XXIV Festival Internazionale di Musica ‘Cinque Terre’
2005, where he played the role of Benoit (Puccini, La Bohéme).
Forthcoming engagements include a performance of Beethoven's Mass in C in
England.
ST T T I I I
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HYMNS AND PSALMS, 22 Oct 2005
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Mendelssohn’s 2nd Symphony again was a wonderful
and unusual treat.
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Jeremy Backhouse. He made me and I am sure many
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Please give my warm and heartfelt thanks to
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18
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Vivace Chorus
Jeremy Backhouse
Jeremy Backhouse began his musical career in
Canterbury Cathedral where he was Head Chorister,
and later studied music at Liverpool University. He
spent 5 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 from April
1990 he combined his work as a Consultant Editor for
EMI Classics with his career as a freelance
conductor. In November 2004, he took the post of
music editor at Boosey & Hawkes Music Publishers.
In January 1995, Jeremy was appointed Chorus
Master of the Guildford Philharmonic Choir (now
Vivace Chorus), and now conducts the majority of the choir's concerts. In March
1999, Jeremy gave a “masterly” performance of Bruckner's Mass in E minor and
Mahler's Symphony No.2 in Guildford Cathedral; in May 2003, he significantly
extended his Mahler repertoire with a performance of Symphony No. 8, the
monumental 'Symphony ofa Thousand'.
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 February 2002 the Vasari Singers performed the UK Premiere of
Dupré’s oratorio La France au Calvaire, followed by a World Premiere CD
recording, on the Guild label. As a new departure, the Vasari Singers’ recent Guild
label CD, Our love is here to stay, is a collection of close harmony, blues and jazz
numbers, including several arrangements by Ward Swingle, their Patron. Their CD
of Howells' Requiem and Frank Martin's Mass For Double Choir was released by
Signum Records in January 2004, and a CD of Brahms' Ein deutsches Requiem,
in a piano duet version with Jeremy Filsell, will be released later this year on the
Guild label.
Jeremy has also 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). From September 1998 to the end of 2004, Jeremy was the Music Director
of the Wooburn Singers, only the third conductor in the distinguished history of the
choir, following Sir Richard Hickox (who founded the choir in 1967) and most
recently, Stephen Jackson.
Vivace Chorus
19
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Artistic Director — Robert Porter
Associate Music Director — Sarah Tenant-Flowers
The Brandenburg Sinfonia is one of the most dynamically versatile musical
organisations in the country. It is renowned for its special quality of sound and
poised vivacity in performance. The orchestra performs regularly in the majority of
the major venues across the country, and in London at the Barbican, Royal Albert
Hall, Queen Elizabeth Hall, Fairfield Hall and St John's, Smith Square.
The Brandenburg Sinfonia is also in great demand abroad and has visited France,
USA, Bermuda, the Channel Islands, Barbados and St Petersburg. Other tours
include Germany, Japan and Hong Kong. In 1999 the orchestra established major
concert series at both St Martin-in-the-Fields and Crystal Palace Bowl. In Autumn
2001 the orchestra undertook a major classical music cruise on the QE2.
A large number of artists of international standing have worked with the orchestra
including Emmanuel Hurwitz, Lesley Garrett, John Georgiadis, John Wallace,
Michael Thompson and Gordon Hunt.
Its repertoire ranges from Bach to Lloyd Webber and its members give around
100 performances of orchestral, chamber, choral and operatic music during the
year. The orchestras for a number of touring companies are formed from members
of the Brandenburg Sinfonia including First Act Opera, London City Opera, Opera
Holland Park, London Opera Players and Central Festival Opera.
Organ Continuo
Viola
Harold Lester
Jake Walker
Geoffrey Coates
Elizabeth Davis
Sophie McMillan
Violin 1
Alexander Urquhart
Tom Kemp
Elizabeth Sharp
Morven Bryce
Oboe
Bassoon
Connie Tanner
Alison Strange
Cello
Dorette Du Toit
Adrian Bradbury
Kate Declerk
Dominic O'Dell
David Lee
Alice Butcher
Erica Simpson
Richard Dilley
Violin 2
Bass
Trumpet
Jonathan Stone
Antonia Bakewell
Christopher Deacon
Jenny Christie
John Bakewell
Gillian Hicks
Catrina Hepburn
Joanna McWheeney
20
Horn
Howard Rowntree
Flute
Philippa Davies
Timpani
Judith Havard
Tommy Foster
Vivace Chorus
Vivace Chorus
(formerly the Guildford Philharmonic Choir)
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. During this time, the Choir grew both in stature and
reputation to become 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, the current President. For some
time, the Choir had been independent from the Borough of Guildford, and to reflect
its independent status and ever-increasing and varied undertakings, decided to
'rebrand’ itself — the change of name, to Vivace Chorus, was announced in May
2005, during our last concert of the 2004/05 season.
Vivace Chorus enjoys a challenging and varied concert repertoire, performing
works spanning the last five centuries — some well-known, but also many rarities
deserving to be heard by a wider audience. By way of demonstration: the 2002/03
season included Dvorak’s rarely heard Requiem, followed by Verdi's Requiem, but
the climax of the season was undoubtedly Mahler's Symphony No. 8, where the
choir combined forces with Lewisham Choral Society, the South West Essex Choir
and the Grey Coat Hospital Girls Choir. The 2003/04 season included an evening
of Baroque music, Beethoven's Symphony No. 9 and a concert of American
music, including works by Barber, Bernstein, Copland, and Stravinsky. The season
concluded with Borodin's Polovtsian Dances and Prokofiev's Alexander Nevsky
(both sung in Russian), and Rachmaninov's Piano Concerto no 3, performed by
the choir's outstanding accompanist, Jeremy Filsell.
The 2004/05 season began with a glowing performance of Elgar's The Dream of
Gerontius, followed by the unusual and much-appreciated /talian Inspirations —
non-operatic works by famous composers of Italian opera. This was followed by
the first in our Contemporary Choral Classics Cycle, a projected 4-year cycle and
innovative series of choral works from the late 20th and 21st century — classics of
the future paired with established masterpieces. The chosen pairing was Vaughan
Williams’ Dona nobis pacem (1936) and Karl Jenkins’ The Armed Man (2000).
During last year's summer break, we were invited to sing (under our new name for
the first time) a 'Last Night of the Proms' charity concert for Chase at a packed
Fairfield Halls, Croydon. This was a big success as well as great fun, and we have
already been invited back for this year's concert!
Vivace Chorus is always searching for new members to maintain its high standard.
For further details about joining, please contact Noreen Ayton, tel: 01932 221918.
Rehearsals are held on Monday evenings throughout term time in central
Guildford and prospective members are most welcome to attend rehearsals on an
informal basis before committing to an audition. For more information, see our new
website at www.vivacechorus.org
Vivace Chorus
21
Vivace Chorus
Jane Brooks
Jane Crane
Celia Embleton
Ingrid Hardiman
Susan Hinton
Kay McManus
Christine Medlow
Rosalind Milton
Mary Moon
Penny Muray
Jacqueline Norman
Penny Overton
Marjory Rollo
Lesley Scordellis
Catherine Shacklady
Maureen Shortland
Jane Sweaney
Hillary Trigg
Jocelyn Wilson
Pamela Woodroffe
SECOND ALTOS
Valerie Adam
Marion Arbuckle
Sally Bailey
Evelyn Beastall
Mary Clayton
Andrea Dombrowe
Carolyn Edis
Valerie Edwards
~ Valerie Garrow
Barbara Hilder
Carol Hobbs
Sheila Hodson
Yvonne Hungerford
Liz Ludlow
Brenda Moore
Jean Munro
Kate New
Beryl Northam
- Prue Smith
Alex Stevens
Rosey Storey
Elisabeth Yates
Choir Functionaries
Jeremy Backhouse
Chorus Director
Jeremy Filsell
Accompanist
The Committee
John Trigg
Chairman
email: chairman@vivacechorus.org
Bob Cowell
Hon. Treasurer
email: treasurer@vivacechorus.org
Miranda Champion
Hon. Secretary
email: secretary@vivacechorus.org
Noreen Ayton
Membership Secretary Tel. 01932 221918
email: membership@vivacechorus.org
Jackie Alderton
Social events
Ladies’ uniforms
Mailing List
Tel. 01932 343625
email: mailing@vivacechorus.org
Rosey Storey
Hilary Trigg
Minutes Secretary
Publicity
email: publicity@vivacechorus.org
Michael Taylor
Ticket Sales
Tel: 07958 519741
email: tickets@vivacechorus.org
Alison Rawlinson
James Garrow
Fund-raising
Other responsibilities
Christine Medlow
Helen Beevers
Music Librarian
Patrons Liaison
email: patrons@vivacechorus.org
Chris Peters
Website coordinator
Chris Alderton
Front of House
Ann Sheppard
Sponsorship secretary
email: sponsorship@vivacechorus.org
email: advertising sales@yvivacechorus.org
Vivace Chorus
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Forthcoming Programme
Saturday, 20 May 2006: Guildford Cathedral 7.30pm
Contemporary Choral Classics Cycle: Year 2
The original programme will not now be performed due to circumstances beyond
our control; our revised programme is as follows:
Vivace Chorus with the Brandenburg Sinfonia
Clucas:
Evening Hymns
Haydn:
Mass in D Minor (‘Nelson’ Mass)
Mozart:
Requiem K626
conducted by Jeremy Backhouse
Soloists: Claire Seaton (S), Teresa Shaw (A),
Christopher Lemmings (T), Michael Bundy (B)
Friday 14th July 2006 at 7.30pm
Vivace Chorus and the Brandenburg Sinfonia at St Martin-in-the-Fields
A programme which includes Mozart’'s Requiem.
Saturday 30th September 2006 at 7.30pm
Vivace Chorus at the ‘Last Night of the Proms’ celebration
at Fairfield Halls, Croydon, in aid of Chase Hospice Care for Children.
Conductor Darrell Davison.
Saturday 18th November 2006 at 7.30pm
Vivace Chorus at Guildford Cathedral
Brahms:
Violin Concerto in D
Brahms:
Song of Destiny
Wagner:
Wesendonck Lieder
Bruckner:
Te Deum
Vivace Chorus
Registered Charity No 1026337
26
Vivace Chorus
ANNA ARTHUR & ASSOCIATES
SOLICITORS
EVERY SUCCESS FOR THIS EVENING
FIERE FACIAS HOUSE, HIGH STREET,
RIPLEY, SURREY GU23 6AF
TEL: 01483 222499 - FAX: 01483 222766
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