Humphrey Clucas: 4
Evening Hymns
Haydn: Massin D Mmor
(Nelson Mass)
Mozart: Requiem
Claire Seaton - soprano
Teresa Shaw - alto
Christopher Lemmings - tenor
Michael Bundy - bass
_
Vivace
.
Chorus
PTLYVENPLYS:
4
7.30 Guildford Cathedral
Contemporary Choral Classics Cycle
Formerly Guildford Philharmonic Choir
with the Bran denburg Sinfonia
conducted by Jeremy Backhouse
PRE-CONCERT TALK
This will be given at 6.15pm in Wates House (behind the
Refectory). The speaker wili be Robert Porter,
Artistic Director of the Brandenburg Sinfonia.
Please note: Members of the audience who wish to come
to the talk can have their seats reserved in the cathedral
for the concert.
Programme production
Programme notes & soloists liaison: Brenda Moore
Advertising: Ann Sheppard
Printed by Alison Rawlinson at ARCS Desktop Publishers
&
The staging for this concert is owned by
the Association of Surrey Choirs. It was
purchased with financial assistance from
the Foundation for Sport and Arts, PO
Box 2Q, Liverpool.
Financially assisted by
@8 CUILDFORD
R
rroves
President Sir David Willcocks CBE MC
Contemporary Choral Classics Cycle: Year 2
Humphrey Clucas: Evening Hymns
Haydn: Missa in Angustiis — ‘Nelson Mass’
Mozart: Requiem K626
Claire Seaton
Soprano
Teresa Shaw
Mezzo-soprano
Christopher Lemmings
Tenor
Michael Bundy
Bass
Brandenburg Sinfonia
conductor
Jeremy Backhouse
Saturday, 20 May 2006 at 7.30pm
Guildford Cathedral
Vivace Chorus
. -
Humphrey Clucas (b. 1941)
Humphrey Clucas read English at King's College,
Cambridge, where he was a choral scholar. Having
taught English in schools for 27 vyears, while
maintaining a separate singing career, he finally gave
up teaching on his appointment as a Lay Vicar
(member of the choir) of Westminster Abbey, from
which he retired in 1999.
As a composer, he is self-taught, and though he is
well-known in Church of England circles for a set of
Responses, written as an undergraduate, nearly all his
serious work has been done in the last 25 years. He
has produced a great deal of choral music, much of it liturgical; but there are also
concert works for unaccompanied choir (including a Requiem) and for choir and
orchestra, a Houseman song-cycle for counter-tenor, a clarinet Sonatina, several
works for double bass, and a large body of organ music. Evening Hymns was
written for Jeremy Backhouse and the BBC Club Choir.
Two complete CDs of his choral music were issued, in 1994 and 1998; they have
been played on both BBC Radio 3 and Classic FM. A CD of organ music appeared
on the Lammas label in 2002, and a recent CD from the same company features
his Organ Symphony, which was premiered in Westminster Cathedral in 2004.
Joseph Haydn (1732 - 1809)
Haydn was born in Rohrau, a tiny Austrian village, and showed an early musical
talent. Aged eight, he went to Vienna to serve as a choirboy in the Cathedral of St.
Stephen, and subsequently became a freelance musician. He gave music lessons
to children, struggled to teach himself composition, and took odd jobs (including
playing violin in street bands). But gradually aristocratic patrons of music began to
notice his talent; and in 1761 he entered the service of the Esterhazys, the richest
and most powerful of the Hungarian noble families. For nearly 30 years most of
his music was composed for performances in the palaces of the family, especially
Esterhaza, which contained an opera house, a theatre and two concert halls.
Word spread about the Esterhazys' composer, and Haydn's music became
immensely popular all over Europe. In 1791-1792 and again in 1794-1795, Haydn
visited London. His visits were a huge success; audiences flocked to his concerts,
and he quickly achieved wealth and fame, being received by the royal family and
given an honorary doctorate at Oxford.
In 1795, he returned to Vienna, where he turned to the composition of large
religious works for chorus and orchestra. These include his two great oratorios
The Creation and The Seasons. His health began to deteriorate and he remained
4
Vivace Chorus
in Vienna until he died in 1809, aged 77, during an attack on Vienna by the French
army under Napoleon.
Haydn was a pathfinder for the classical style, a pioneer in the development of the
symphony and the string quartet, which some scholars believe that he invented.
Haydn's output also includes piano sonatas, piano trios, divertimentos, concertos,
operas, and masses. The variety
in his works is astounding. He was a great
innovator and experimenter who Iated arbitrary 'rules' of composition. "Art is free,"
he said. "The educated ear is the sole authority... and | think | have as much right
to lay down the law as anyone."
-
Wolfgang Amadeus Mozart (1756 — 1791)
Mozart was born in Salzburg, Austria, to composer and violinist Leopold and his
wife, Anna Maria Pertl. He mastered the keyboard when he was four, composed
his first keyboard pieces aged five, and also played the violin. Leopold began a
series of tours across Europe to show off his six-year-old son's extraordinary
talents, and those of his pianist daughter, Maria-Anna (Nannerl). The young
Mozart played before French and English Royal families, the Bavarian elector and
the Austrian empress.
The family subsequently moved to Vienna and then back to Salzburg, where
Mozart became honorary Konzertmeister to the Archbishop. The years 1770-73
saw three visits to Italy, where Mozart acquainted himself with Italian styles,
especially opera. His output, in so many genres, was prodigious — by 1772 he had
written about 25 symphonies.
In 1781 he was summoned to Vienna for the coronation of Emperor Joseph Il and
it became his home for the rest of his life. He married Constanze Weber in 1782
and became a Freemason in 1784. By musicians' standards, he had a good
income, having a carriage and servants, but lavish spending and poor
management forced him into debt. Letters to fellow Masons in his last 3 years
reflect his anxieties about finance or health. He hoped the accession of Emperor
Leopold Il would lead to a position or commissions, but nothing was forthcoming.
In 1791 he was commissioned by an unknown stranger to compose a Requiem
Mass. He became obsessed with the idea that it was for his own death, and after a
fever lasting 3 weeks he died, leaving the Requiem, his first large-scale work for
the church since the C Minor Mass of 1783, unfinished. The Requiem was
completed by his pupil Franz Stissmayr.
—
:
There has always been speculation as to the cause of his death, but after this
short life of genius, marked by a service at St Stephen's in Vienna, he was then
buried in a Vienna suburb, with little ceremony and in an unmarked grave, in
accordance with prevailing custom.
Vivace Chorus
5
Evening Hymns
Humphrey Clucas
Evening Hymns begins with a single verse from Robert Bridges' hymn
The
duteous day now closeth, a call to prayer at the end of the day. It is set as a
double canon at the ninth, in deliberate imitation of a similar technique in Brahms'
Geistliches Lied. This brief introduction leads into the Evening Hymn of Charles |,
a lovely statement of quiet assurance that — given an untroubled conscience —
God will guard us while we sleep.
Samuel Daniel's sonnet Care-charmer sleep, which follows, is not a hymn at all. It
is deeply unhappy (“the shipwreck of my ill-adventured youth”) — a call for sleep
without dreams, since dreams mirror the torments of the day; it closes with a
request never to wake at all.
Out of this ultimate darkness comes Newman's Lead, kindly light, taking us
through to dawn and a renewal of grace:
And with the morn those angel faces smile,
Which | have loved long since, and lost awhile.
Considered as a hymn, it is slightly awkward, since no tune will quite match all
| have tried to put this
three verses. While retaining the hymn-like feeling,
irregularity to constructive use.
H.C.
The duteous day now closeth,
Each flower and tree reposeth,
Shade creeps o'er wild and wood.
Let us, as night is falling,
On God our maker calling,
Give thanks to him, the giver good.
Tr. Robert Bridges (1844-1930)
Close thine eyes, and sleep secure,
Thy soul is safe, thy body sure.
He that guards thee, he that keeps,
Never slumbers, never sleeps.
A quiet conscience in the breast
Hast only peace, hast only rest.
The music and the mirth of kings
Are out of tune unless she sings.
Then close thine eyes (etc...)
Evening Hymn of Charles |
6
Vivace Chorus
Care-charmer Sleep, son of the sable night,
Brother to death, in silent darkness born,
Relieve my languish, and restore the light;
With dark forgetting of my care return.
And let the day be time enough to mourn
The shipwreck of my ill-adventured youth;
Let waking eyes suffice to wail their scorn,
Without the torment of the night's untruth.
Cease, dreams, the images of day desires,
To model forth the passions of the morrow;
Never let rising sun approve you liars,
To add more grief to aggravate my sorrow:
Still let me sleep, embracing clouds in vain,
And never wake to feel the day's disdain.
Samuel Daniel (1562-1619)
Lead, kindly light, amid the encircling gloom,
Lead thou me on;
The night is dark, and | am far from home,
Lead thou me on.
Keep thou my feet; | do not ask to see
The distant scene; one step enough for me.
| was not ever thus, nor prayed that thou
Shouldst lead me on;
I loved to choose and see my path; but now
Lead thou me on.
| loved the garish day, and, spite of fears,
Pride ruled my will: remember not past years.
So long thy power hath blest me, sure it still
Will lead me on
O'er moor and fen, o'er crag and torrent, till
The night is gone.
And with the morn those angel faces smile
Which | have loved long since, and lost awhile.
‘e
John Henry Newman (1801-1890)
Vivace Chorus
7
Missa in Angustiis — ‘Nelson Mass’ Joseph Haydn 1. Kyrie (Chorus and Soprano)
2. Gloria (Quartet and Chorus); Qui tollis (Bass and Chorus);
Quoniam (Quartet and Chorus)
3. Credo (Chorus); Et incarnatus (Soprano and Chorus);
Et resurrexit (Chorus and Soprano)
4. Sanctus (Chorus)
5. Benedictus (Quartet and Chorus)
6. Agnus Dei (Quartet and Chorus)
The Mass in D was written in the summer of 1798, about 5 years before ill-health
forced an end to Haydn’s composing. 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 Europe as it cowered under 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 evoke
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.
1. Kyrie
=5
Kyrie eleison.
Lord, have mercy upon us.
Christe eleison.
Christ, have mercy upon us.
2. Gloria
Gloria in excelsis Deo, et in terra pax
Glory be to God on high, and on earth
hominibus bonae voluntatis.
peace to men of goodwill.
Laudamus te, benedicimus te,
We praise Thee, we bless Thee,
glorificamus te, gratias agimus tibi
we give thanks to Thee
propter magnam gloriam tuam,
for Thy great glory,
8
Vivace Chorus
Domine Deus, Rex coelestis,
O Lord God, heavenly King,
Deus Pater omnipotens.
God The Father Almighty. O Lord the
Domine Fili unigenite, Jesu Christe.
only begotten Son, Jesus Christ.
Dominus Deus, Agnus Dei, Filius Patns;
O Lord, Lamb of God, Son of the Father;
qui tollis peccata mundi,
that takest away the sins of the world,
miserere nobis.
have mercy upon us.
Qui tollis peccata mundi,
Thou that takest away the sins of the
deprecationem nostram.
world, receive our prayer.
Qui sedes ad dexteram Patris,
Thou that sittest at the right hand of the
miserere nobis.
Father, have mercy upon us.
Quoniam tu solus sanctus. Tu solus
For Thou only art holy. Thou only art the
Dominus. Tu solus altissimus,
Lord. Thou only, O Jesus Christ, with the
Jesu Christe, cum sancto Spiritu,
in gloria Dei Patris. Amen.
in the glory of God The Father. Amen.
Holy Spirit, art most high
3. Credo
Credo in unum Deum, Patrem
| believe in one God, the Father Almighty,
omnipotentem, factorem coeli et terrae,
Maker of heaven and earth, and of all
visibilium omnium et invisibilium
things visible and invisible...
omnium... et ex Patre natum ante
and born of the Father before all ages.
omnia saecula. Deum de Deo, Lumen
God of God; Light of Light;
de Lumine, Deum verum de Deo vero,
true God of true God;
genitum non factum,
begotten not made;
consubstantialem Patri,
consubstantial with the Father,
per quem omnia facta sunt.
by whom all things were made.
Qui propter nos homines et propter
Who for us men and for our salvation
nostram salutem descendit de coelis.
came down from heaven.
Et incamatus est de Spiritu Sancto
And was conceived by the Holy Spirit,
ex Maria Virgine:
born of the Virgin Mary;
et homo factus est.
and was made man.
Crucifixus etiam pro nobis
He was crucified also for us;
sub Pontio Pilato, passus
He suffered under Pontius Pilate,
et sepultus est.
and was buried.
s
Et resurrexit tertia die,
And the third day He rose again
secundum Scripturas,
et ascendit in coelum:
according to the scriptures and ascended
sedet ad dexteram Patnis.
of the Father.
into heaven, and sitteth at the right hand
Et iterum venturus est cum gloria,
And He shall come again with glory to
Jjudicare vivos et mortuos;
judge both the quick and the dead; of
cujus regni non erit finis.
whose Kingdom there shall be no end.
Et in Spiritum sanctum, Dominum, et
And | believe in the Holy Spirit,
vivificantem. Qui cum Patre et Filio
the Lord and Giver of life,
simul adoratur et conglorificatur:
who spoke by the prophets.
qui locutus est per Prophetas.
Vivace Chorus
Et unam Sanctam Catholicam et
And in one Holy Catholic and
Apostolicam Ecclesiam.
Apostolic Church.
Confiteor unum baptisma in
| confess one baptism for the remission of
remissionem peccatorum et expecto
sins and | look for the resurrection of the
resurrectionem mortuorum,
dead, and
et vitam venturi saeculi. Amen.
the life of the world to come. Amen.
4. Sanctus
Sanctus, sanctus, sanctus, Dominus
Holy, holy, holy, Lord God of Hosts.
Deus Sabaoth. Pleni sunt coeli et terra
Heaven and Earth are full of Thy glory.
gloria tua. Osanna in excelsis.
Hosanna in the highest.
5. Benedictus
Benedictus qui venit in nomine
Blessed is he who cometh in the name of
Domini. Osanna in excelsis.
the Lord. Hosanna in the highest.
6. Agnus Dei
Agnus Dei, qui tollis peccata mundi,
miserere nobis.
Lamb of God, who takest away the sins of
the world, have mercy upon us. Lamb of
Agnus Dei, qui tollis peccata mundi,
God, who takest away the sins of the
dona nobis pacem.
world, grant us peace.
~ INTERVAL ~
Mozart and Haydn
Around 1781, and despite the generation gap between them, Haydn began what
was to become a close friendship with Mozart, whose work he had already been
influencing for many years. The two composers enjoyed playing in string quartets
together. Haydn was hugely impressed with Mozart's work; it has been noted by
Mozart scholars that after this time Haydn largely ceased to compose operas and
concertos — two of the genres where Mozart was at his strongest. Mozart
obviously had great affection for Haydn, in whom he found not only a composer
whose achievements where 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 shared with his father, Leopold. Haydn would give advice
and criticism to Mozart, who attached more importance to Haydn's opinion than to
that of any other, including his father.
In 1791 Haydn told Mozart he wanted to visit London. Mozart said: "l fear, Papa,
that this will be our last farewell". Perhaps Mozart had a premonition of his
impending death, which occurred on 5 December 1791. Haydn heard the news
while in London, but at first refused to believe it. It 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 | am brilliant, but he (Mozart) stood far above me."
10
Vivace Chorus
Requiem K626
l.
Wolfgang Amadeus Mozart
INTROITUS (Chorus and Soprano)
Requiem
Il.
KYRIE (Chorus)
M.
SEQUENZ
1. Dies irae (Chorus)
2. Tuba mirum (Quartet)
3. Rex tremendae (Chorus)
4. Recordare (Quartet)
5. Confutatis (Chorus)
6. Lacrimosa (Chorus)
V.
OFFERTORIUM
1. Domine Jesu (Chorus and Quartet)
2. Hostias (Chorus)
V.
SANCTUS (Chorus)
VI.
BENEDICTUS (Quartet)
VIl.
AGNUS DEI (Chorus)
VIl.
COMMUNIO (Soprano and Chorus)
Lux aeterna
I. INTROITUS and /l. KYRIE
Requiem aeternam dona eis, Domine,
Grant them eternal rest, Lord,
et lux pempetua luceat eis.
and may perpetual light shine on them.
Te decet hymnus, Deus, in Sion,
Thou, Lord, art praised in Sion,
et tibi reddetur votum in Jerusalem.
and a vow shall be paid to Thee in
Jerusalem.
Exaudi orationem meam, ad te
Hear my prayer, to Thee all flesh
omnis caro veniet.
shall come.
Kyrie eleison. Christe eleison.
Lord, have mercy upon us.
Christ, have mercy upon us.
lll. SEQUENZ
Dies irae
Dies Irae, dies illa solvet saeclum
Day of wrath, that day will dissolve
in favilla, teste David cum Sybilla.
the world in ashes, as David and the Sybil
testify.
Quantus tremor est futurus,
What dread there will be when the Judge
quando Judex est venturus
shall come
cuncta stricte discussurus.
to weigh all things strictly.
Vivace Chorus
11
Tuba mirum
Tuba mirum spargens sonum
A trumpet, spreading a wondrous sound
per sepulchra regionum
through the graves of every land will
coget omnes ante thronum.
drive all before the throne.
Mors stupebit et natura
Death and nature will be astounded
cum resurget creatura
when all creation rises again to answer
Judicanti responsura.
to the Judge.
Liber scriptus proferetur,
A book of writings shall be brought forth
unde mundus judicetur.
world will be judged.
Judex ergo cum sedebit,
Therefore when the Judge takes his
quidquid latet apparebit,
seat, whatever is hidden will appear,
nil inultum remanebit.
nothing will remain unavenged.
in quo totum continetur ~ * . .-=es=—-containing everything for which the
Quid sum, miser tunc dicturus,
What then shall | say, wretch that | am,
quem patronem rogaturus
What advocate entreat to speak for me,
cum vix justus sit securus?
When even the righteous are hardly
secure?
Rex tremendae
Rex tremendae majestatis,
King of dread majesty,
qui salvandos salvas gratis,
who freely savest the redeemed,
salve me, fons pietatis.
save me, fount of pity.
Recordare
Recordare, Jesu pie,
Remember, merciful Jesu, that | am the
quod sum causa tuae viae,
cause of thy pilgrimage, do not forsake
ne me perdas illa die.
me on that day.
Quaerens me sedisti lassus,
Seeking me Thou didst sit down weary,
redemisti crucem passus,
thou didst redeem me on the Cross,
tantus labor non sit cassus.
let not such toil be in vain.
Juste Judex ultionis, donum fac
Just Judge of vengeance, grant me
remissionis ante diem rationis.
remission before the day of reckoning.
Ingemisco tanquam reus, culpa rubet
| groan like a guilty man, | blush for my
vultus meus, supplicanti parce, Deus.
wrong-doing, spare a suppliant, O God.
Qui Mariam absolvisti et latronem
exaudisti, mihi quoque spem dedisti.
Thou who didst absolve Mary and
hearken to the thief, to me also hast
given hope.
Preces meae non sunt dignae,
My prayers are unworthy, but Thou in
sed tu bonus fac benigne,
ne perenni cremer igne.
Thy merciful goodness grant that | burn
Inter oves locum praesta,
not in everlasting fire.
Place me among Thy sheep and
et ab haedis me sequestra,
separate me from the goats, setting me
statuens in parte dextra.
upon Thy right hand.
12
Vivace Chorus
Confutatis
Confutatis maledictis,
When the wicked are confounded and
flammis acribus addictis,
consigned to bitter flames,
voca me cum benedictis.
call me with the blessed.
Oro supplex et acclinis,
| pray in supplication on my knees,
cor contritum quasi cinis,
my heart contrite as ashes.
Gere curam mei finis.
Take care of my end.
Lacrimosa
Lacrimosa dies illa,
Sorrowful that day when
rising from the ashes,
sinful man goes to be judged.
qua resurget ex favilla
judicandus homo reus.
Huic ergo parce Deus.
Pie Jesu Domine, dona eis requiem.
Therefore spare him, God.
Amen.
Amen.
Merciful Lord Jesu, grant them rest.
IV. OFFERTORIUM
Domine Jesu Christe, Rex gloniae,
Lord Jesus Christ, King of glory, deliver
libera animas omnium fidelium
the souls of all the faithful departed from
defunctorum de poenis inferni
the pain of hell
et de profundo lacu.
and from the deep pit.
Libera eas de ore leonis,
Deliver them from the lion's mouth, that
ne absorbeat eas tartarus,
hell may not swallow them up, and may
ne cadant in obscurum;
-
sed signifer sanctus Michael
they not fall into darkness; but may the
holy standard-bearer, Michael, lead them
repraesentet eas in lucem sanctam.
into the holy light; which Thou didst
Quam olim Abrahae promisisti
promise of old to Abraham and his seed.
et semini ejus.
Hostias et preces tibi, Domine,
laudis offerimus; tu suscipe
Sacrifices and prayers we offer Thee,
pro animabus illis
we commemorate this day;
Lord; receive them for those souls whom
quarum hodie memoriam facimus;
Fac eas, Domine, de morte
Let them, Lord, pass from death
transire ad vitam.
into life.
Quam olim Abrahae promisisti
Which thou didst promise of old to
et semini ejus.
Abraham and his seed.
V. SANCTUS
Sanctus, sanctus, sanctus,
Holy, holy, holy,
Domine Deus Sabaoth,
Lord God of Hosts,
Pleni sunt coeli et terra gloria tua
Osanna in excelsis.
Vivace Chorus
Heaven and Earth are full of Thy glory.
~Hosanna in the highest.
13
VI. 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.
Vil. AGNUS DEI
Agnus Dei, qui tollis
peccata mundi,
dona eis requiem sempiternam.
Vill.
Lamb of God, who takest away
the sins of the world,
grant them eternal rest.
COMMUNIO
Lux aetema luceat eis,
Domine, cum sanctis tuis
in aeternam, quia pius es.
May eternal light shine upon them, Lord,
with Thy saints for ever,
for Thou art merciful.
Requiem aeternam dona eis, Domine,
et lux perpetua luceat eis.
Cum sanctis tuis in aeternam,
quia pius es.
Grant them eternal rest, Lord,
and may perpetual light shine on them.
With Thy saints for ever,
for Thou art merciful.
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 Faber Music Hire Library.
S I I
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14
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Vivace Chorus
Claire Seaton — Soprano
Born
in Wolverhampton,
Claire studied
Birmingham
at the
School
of
Music,
Royal
Academy
Music
with
Rae
of
at
the
Woodland
and
subsequently with Linda
Esther-Grey. She joined Kent Opera during her
final year at the Academy, was awarded the
Kenneth Bowen,
and
Wessex Glyndebourne Association Prize in 1998
and in 1999 made her Glyndebourne Festival
Opera debut singing the role of Vitellia (La
Clemenza di Tito). Further engagements at
Glyndebourne included covering the roles of Ellen
Orford (Peter Grimes) and the Countess (Le
Nozze di Figaro), followed by contracts
Opera de Lyon and Opera Europa.
with
One of the country’s most adaptable sopranos,
Claire also enjoys remarkable success in the early music field, where she has
worked with ensembles such as The Tallis Scholars and the Gabrieli Consort, with
whom she made her BBC Proms debut in Handel's Dixit Dominus. She has also
recorded the soprano solos in Allegri's Miserere for Regent Records. Claire’s
oratorio experience is extremely broad and she is particularly renowned for her
performances of Verdi's Requiem, Brahms’ Requiem and Mozart's Mass in C
Minor.
Recent engagements have included Strauss’ Four Last Songs and Vaughan
Sea Symphony at the Barbican, Mahler's Symphony No. 8 in
Edinburgh’s Usher Hall and the world premiere of Jonathan Dove’'s The Far
Theatricals of Day for Nicholas Cleobury. In addition to the Allegri, Claire’s
discography also includes the role of The Believer in Rutland Boughton’s
Williams’®
Bethlehem and she has recently recorded Pergolesi’s Stabat Mater with the
counter-tenor Andrew Watts. Future engagements include Handel's Dixit Dominus,
in Leeds Town Hall, Gershwin’s Porgy and Bess at the Barbican, Strauss’ Four
Last Songs in a memorial concert for the July 7th bomb victims at St Botolph’s,
Aldgate, Elgar's The Kingdom in Hereford Cathedral and Britten’s War Requiem in
St David’s Cathedral.
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15
Teresa Shaw — Mezzo-soprano
Teresa studied at Manchester University and
the
Royal
international
Academy
of
career
as
a
Music.
soloist
Her
has
embraced many of the Mozart roles including
Dorabella (Cosi fan Tutte) and Cherubino (Le
Nozze di Figaro) and her portrayal of the
Composer
in
Aradne
auf Naxos
for
Broomhill Opera won her critical acclaim.
Teresa has performed with English National
Opera, (Orfeo, King Priam) Opera North (Die
Zauberflote) and Opera Factory (Le Nozze di
Figaro) and has appeared at many national
and international festivals, including the BBC
Proms with roles in Carmen, The Barber of
Seville and Dido and Aeneas.
She is renowned in the field of Contemporary
Music and has performed in premieres at the
Almeida Festival and the Aldeburgh Festival. Her recordings include Hagoromo by
Jo Kondo, Nixon in China by John Adams and The Wildman by Nicola Lefanu.
An experienced recitalist, Teresa has broadcast regularly for Radio 3, performing
with the BBC Symphony Orchestra, London Sinfonietta and The Monteverdi Choir
with John Eliot Gardiner. Her oratorio work has taken her all over the world and
her repertoire includes Elgars The Dream of Gerontius, Verdi's Requiem,
Monteverdi’'s Vespers, Tippett's A Child of Our Time and Rossini's Petite Messe
Solenelle.
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16
Vivace Chorus
Christopher Lemmings — Tenor
With recent triumphs as Caliban in Thomas
Adés’ The Tempest at both the Royal Opera
(broadcast on television) and Opéra National du
Rhin in Strasbourg, and a much acclaimed CD
of Ned Rorem songs, Christopher Lemmings
has secured his position as one of today’s most
sought-after tenors. A busy future schedule
includes Kaija Saariaho’s Adriana Mater at the
Opéra National de Paris, Bastille; Finzi's Dies
Natalis with the London Philharmonic Orchestra;
Stoikus in John Casken’s Golem with the opera
companies of Nantes, Angers and Rennes; and
Beauty in Gerald Barry’s Triumph of Beauty and
on
tour
with
the
Birmingham
Deceit
Contemporary Music Group, and also with the
Los
Angeles
Philharmonic
and
in
the
Amsterdam Concertgebouw with the Dutch Ives
Ensemble.
Christopher graduated from the Guildhall School of Music and Drama, winning among
others the
BP
Cripplegate
award and
Countess of Munster Scholarship.
His
appearances in Britain have included Lechmere (Owen Wingrave), Albert (Albert
Heming), Paris (La Belle Héléne), Don Ottavio (Don Giovanni), Conte Almaviva (//
Barbiere di Siviglia), Lensky (Eugene Onegin) and Belmonte (Die Entfilhrung aus
dem Serail). He made his Covent Garden mainstage debut as Stingo in Sophie’s
Choice, and returned as Scaramuccio in Aniadne auf Naxos. Other highlights have
included the title role in La Clemenza di Tito for Glyndebourne Touring Opera, The
Nihilist (Lady Macbeth of Mtsensk) for ENO, Ferrando (Cosi Fan Tutte) for Opera
Holland Park, Pericles in Steffani's La Liberta Contenta for the Barber Institute, Dov
“(The Knot Garden) and Edmund in Tosjiko Hosokawa’'s The Vision of Lear at the
Royal Opera House, Linbury Theatre.
International appearances have included Don Ottavio (Don Giovanni) in Cologne and
Verona; Molqgi (The Death of Klinghoffer) for the Finnish National Opera; and the
same role at the Amsterdam Concertgebouw, as well the Hotel Porter (Death in
Venice) and Lechmere (Owen Wingrave) in the same venue. He created the role of
Bartholomew in Harrison Birtwistle’s opera The Last Supper for the Staatsoper Berlin
(reviving the role for the 2001 Glyndebourne Festival) and sang the title role in Pascal
Dusapin’s Perela, L'uomo di Fumo in the co-production between the Bastille and
L’'Opéra de Montpellier.
A consummate concert and recital artist, Christopher's repertoire includes Finzi's
Intimations
of Immortality with
the
Royal
Liverpool
Philharmonic
Orchestra,
Rossini's Stabat Mater with the RTE Concert Orchestra in Dublin, Haydn's Stabat
Mater with the Norwegian Radio Symphony Orchestra, Handel's Messiah with the
English Chamber Orchestra (both in London and on tour in Spain), and Janacek's
Glagolitic Mass at the Brighton Festival.
Vivace Chorus
17
Michael Bundy - Bass
Michael Bundy, a graduate of Trinity College,
Cambridge and the Guildhall School of Music
and Drama, studied with Hugues Cuenod and
Erich Vietheer. He has performed widely in
diverse genres with groups as varied as The
Sixteen, The Orchestra of the Age of
Enlightenment and the Futurum Ensemble of
Sweden, and was a member of the BBC
Singers. His operatic repertoire exceeds 40
roles and he has travelled extensively,
appearing twice at the opera house in
Mauritius. He has sung with English National
Opera, Kent Opera, Scottish Opera and the
Royal Opera House, Covent Garden, and
recently appeared with Theater Basel.
His Oratorio repertoire is catholig, performed
in most of the cathedrals and major concert
halls of the UK, and he has broadcast for BBC
Radio 3 the oratorio Poémes Fransiscains by the organist-composer Bonnal. Work
with Trevor Pinnock and The English Concert has included Bach’s Saint Matthew
Passion in Europe, Istanbul and Japan. He regularly appears as soloist with Sir
John Eliot Gardiner and the Monteverdi Choir and The English Baroque Soloists in
works such as Berlioz’ L'Enfance du Christ, Handel's Israel in Egypt, Bach’s
B Minor Mass and Haydn’s ‘Nelson’ Mass and the Odes and Masques of Purcell.
He recently broadcast on BBC Radio 3 the role of Gobryas in Handel's oratorio
Belshazzar, with Robert King and the King’s Consort.
Michael specialises in French mélodie; the first two discs of a series of CDs
featuring songs of Parisian organists — Widor, Vierne, Tournemire etc — are due for
release shortly, and a book discussing the same subject is due for publication in
2007. Other recordings include Purcell's The Fairy Queen, with the Accademia
Bizantia conducted by Ottavio Dantone.
He maintains a strong interest in contemporary music, having performed Jonathan
Harvey’'s Passion and Resurrection, and the premiéres of Flowers (John Hardy),
Helen of Braemore (Eddie McGuire) and Cecilia Macdowall's Stabat Mater.
On a lighter note, he frequently broadcasts for BBC Radio 2, once singing a duet
with Sarah Brightman, and has performed the roles of Olin Britt (Music Man) and
Mr. Lindquist (A Little Night Music) in their series of Great American Musicals. He
makes regular appearances on the long-running variety show Friday Night is
Music Night as a ‘Star Singer’'.
18
Vivace Chorus
Jeremy Backhouse
Jeremy
Backhouse
career in
began
his
musical
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 of a 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.
5
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
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 Halls 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.
Violin 1
Cello
Bassoon
Abigail Young
Claire Hoffman
Martin Gwilym-Jones
Sarah Butcher
Dominic O'Dell
Tom Roff
Robert Porter
Connie Tanner
Lawrence Whitfield
Galina Tanney
Bass
Felicity Broome-Skelton
Stacey Watton
Antonia Bakewell
Horn
Yvgeny Chebykin
Robert Manasse
Trumpet
David Hilton
Heidi Sutcliffe
Joanne Harris
Lucy Holt
Oboe
Trombone
Viola
James Beatty
Stacey Dixon
Richard Pywell
Katie Pryce
Violin 2
Rebecca Scott
Rachel Samuel
Flute
Thomas Bott
Matthew Quenby
Darren Smith
Elizabeth Davis
Clarinet/Bassett Horn
Julian Saxl
Sue Appel
Angela Malsbury
Elaine Cocks
Timpani
Scot Bywater
Organ
Paul Plummer
Vivace Chorus
20
Vivace Chorus (formerly the Guildford Philharmonic Choir)
The Guildford Philharmonic Choir was founded by the Borough of Guildford in
1947 to perform major choral works 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 season also included a concert of
American music, featuring works by Barber, Bernstein, Copland, and Stravinsky.
The season concluded with Borodin’s Polovisian 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 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 the
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 were delighted to be
invited back for this year's concert!
The 2005/6 season began with another piece rarely heard in its entirely in the UK
— Mendelssohn’s epic choral Symphony No. 2 (Lobgesang), together with smaller
choral items by Parry, Elgar, Mendelssohn and Holst. As a complete contrast, our
next concert was devoted entirely to works of Bach and Handel.
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
website at www.vivacechorus.org.
Vivace Chorus
21
Vivace Chorus
FIRST SOPRANOS
Gemma Allred
Joanna Andrews
Helen Beevers
FIRST ALTOS
FIRST TENORS
Marion Adderley
Adam Boniface
Mary Broughton
Calli Hayes
Mo Kfouri
Jane Brooks
Jane Crane
Celia Embleton
Ingrid Hardiman
Susan Hinton
Christine Medlow
Rosalind Milton
Hilary Minor
Mary Moon
Deborah Cairns
Elaine Chapman
Sara Dann
Rachel Edmondson
Penny Baxter
Bob Cowell
Monika Boothby
Tim Hardyment
Nick Manning
Chris Robinson
John Trigg
SECOND TENORS
John Bawden
Bob Bromham
Tony Chantler
Susan Norton
Penny Muray
Norman Clothier
Margaret Parry
Margaret Perkins
Jacqueline Norman
Stephen Linton
Emma Purvis
Gillian Rix
Marjory Rollo
FIRST BASSES
Lesley Scordellis
Jane Sweaney
Hilary Trigg
Jocelyn Wilson
John Britten
Michael Dudley
Geoffrey Forster
Judy Smith
Paula Sutton
Carol Terry
SECOND SOPRANOS
Jacqueline Alderton
Anna Arthur
Josephine Field
Lucy Foster
Mandy Freeman
Jane Kenney
Judith Lewy
Krystyna Marsden
Alison Newbery
Alison Palmer
Kate Peters
Susannah Priede
Alison Rawlinson
Eleanor Raynsford
Kathy Stickland
Christine Wilks
Penny Overton
SECOND ALTOS
Valerie Adam
Vaidotas Gerikas
Michael Golden
Keith Hester
Chris Newbery
Sally Bailey
Evelyn Beastall
Chris Peters
Mary Clayton
Andrea Dombrowe
Valerie Edwards
Valerie Garrow
Barbara Hilder
Carol Hobbs
Sheila Hodson
Yvonne Hungerford
Brenda Moore
Jean Munro
Kate New
Beryl Northam
Prue Smith
Rosey Storey
Elisabeth Yates
David Ross
Robin Privett
Philip Stanford
Kieron Walsh
SECOND BASSES
Dan Adderley
Peter Andrews
Roger Barrett
Alan Batterbury
Norman Carpenter
James Garrow
Nick Gough
Michael Jeffery
Neil Martin
Maxwell New
John Parry
Roger Penny
Nigel Pollock
Michael Taylor
22
Vivace Chorus
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@vivacechorus.org
Vivace Chorus
23
Patrons and Friends of
Vivace Chorus
Vivace Chorus is extremely grateful to all Patrons and Friends
for their Financial support.
Patrons
Dr. J.B.R. Arbuckle
Mr. & Mrs. G. Dombrowe
Dr. Roger Barrett
Golden and Associates
Mrs. E.A. Batterbury
Mrs. Carol Hobbs
Elizabeth-Claire Bazin
Mr. Laurie James
Mr. Bill Bellerby MBE
Mr. Ron Medlow
Mrs. Doreen Bellerby MBE
Mrs. Christine Medlow
Mr. & Mrs. Peter Bennett
Dr. Roger Muray
Mr. G.S. Blacker
Mr. & Mrs. Maxwell S New
Mrs. J. G. Blacker
Mr. & Mrs. John Parry
Mrs. Ingrid Brockdorff
Mr. Robert Plowright
Mr. & Mrs. R.H.R. Broughton
Mrs. Jean Radley
Mr. H.J.C. Browne
Mr. & Mrs. B. Reed
Mrs. Maryel Cowell
Mr. Michael Shortland
Mr. & Mrs. Philip Davies
Dr. & Mrs. M.G.M. Smith
Mr. Michael Dawe
Miss Enid Weston
Mrs. Margaret Dentskevich
Friends
Dega Broadcast Systems
Mrs. Jean Shail
Mrs. K.C. Stickland
As a Patron and in return for donating £25 or more per annum, you will be kept
informed of future concerts and given priority booking at our own concerts. You
may book an unlimited number of reserved seats at the Cathedral where the
concert is sponsored by Vivace Chorus.
New Patrons and Friends are always welcome. If you are interested in
participating, please contact Helen Beevers,
Tel. 01252 313963, or email: patrons@vivacechorus.org
Vivace Chorus would also like to thank Joan Hester for her financial support
following our last concert, which she enjoyed so much.
24
Vivace Chorus
Forthcoming Programmes
Friday 14th July 2006 at 7.30pm
An evening of Mozart with Vivace Chorus and the
Brandenburg Sinfonia at St. Martin-in-the-Fields
Symphony No. 1 (Salzburg)
Divertimento from The Marriage of Figaro
Ave Verum
Requiem
Saturday 30th September 2006 at 7.30pm
‘Last Night of the Proms’ Celebration Concert
Opera Highlights at Fairfield Halls, Croydon, in aid of
Chase Hospice Care for Children
Conductor Darrell Davison
Saturday 18th November 2006 at 7.30pm
Guildford Cathedral
Hugo Wolf:
Works for Chorus and Orchestra
Brahms:
Violin Concerto in D, Op.77
Brahms:
Schicksalslied (Song of Destiny), Op.54
Bruckner:
Te Deum
Vivace Chorus
Registered Charity No 1026337
Josephine Baker Trust - Soloists in our ‘Pillars of the Baroque’ Concert.
Vivace Chorus gratefully acknowledge the sponsorship of soloists Amanda Forbes, Kishani
Jayasinghe and Lucie Spickova in our March concert
by the Josephine Baker Trust.
Vivace Chorus
25
Decorator
Why not let me ‘orchestrate’
your decorating?
Interior and exterior work
Tel: 01932 343625
For Complete
Family Eyecare
Extensive range of frames | 1 Wolsey Walk, Woking GU21 1XU
with many designer names | Tel: 01483 766800
Richard Broughton FCOptom DipCLP
Resident Partner
Branches also at:
Camberley, Fleet and Guildford
John Harwood
Optometrists & Contact Lens Practitioners
LGNS ESTABLISHED
Vivace Chorus
o
INDEPENDENT PRACT!CEv
26
ANNA ARTHUR & ASSOCIATES
SOLICITORS
EVERY SUCCESS FOR THIS EVENING
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TEL: 01483 222499 - FAX: 01483 222766
B =
RAHMS
?Iio\in Concertp
BRUCKNER
Te Deum
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