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Wi sinfonia
MIFTARHENLDS
St Martin-in-the-Fields
Trafalgar Square, London WC2N 4])
Concerts by Candlelight
Thursday 25 January at 7.30pm
Mozart
Requiem
by Candlelight
the
S Brandeni 2
X Sinfonta
Mozart
Salzburg Symphony No. 2
Mozart
Ave Verum Corpus
Mozart
Divertimento The Marriage of Figaro
Mozart
Requiem
Soloists:
Ida Falk Winland soprano
Sigridur Osk Kristjansdottir mezzo-soprano
Christopher Diffey tenor
Lukas Jakobczyk bass
with the Vivace Chorus
Conductor Jeremy Backhouse
Jeremy Backhouse is firmly established as one of Britain’s leading choral conductors.
His ability to inspire vivid, passionate performances from choirs and choruses both
in performance and recordings is widely recognised. Jeremy Backhouse has been the
sole Music Director of the acclaimed chamber choir the Vasari Singers, Conductor
of the Guildford Philharmonic Choir since 1995 and since 1998, Conductor of the
Wooburn Singers - only the third in the choit’s history, following Richard Hickox
and Stephen Jackson.
:
Jeremy has also been conductor of the BBC Club Choir and the Kent Youth Choir,
and has worked with many other choirs including the Brighton Festival Chorus, the
London Choral Society, The Trinity College of Music Chamber Choir and the
Philharmonia Chorus.
He has conducted the BBC Singers on Radio
3
in
programmes of music by Lennox Berkeley, Holst, Rubbra, Bax, Phyllis Tate,
Massenet and Delibes.
the
SBranenllire
A sinfonia
The Orchestra
Violin 1
Basset Horn
Tom Kemp
Andrew Webster
Juliet Bucknall
Miranda Playfair
Elizabeth Ball
Bassoon
Violin 11
Robert Porter
Rebecca Scott
Connie Tanner
Judith Templeman
Viola
Matthew Quenby
John Rodgers
Trumpet
David Smith
Gillian Hicks
Trombone
Richard Pywell
Cello
Nicholas Holland
Dominic O’Dell
Mark Templeton
Bass
Timpani
Beverley Jones
Tristan Fry
Andrew Lester
Artistic Director
Concert Manager
PA to Artistic Director
Robert Porter
Jane Kersley
Eve Christie
Ensemble Director
Events Manager
Finance Director
Julian Leaper
Wendy Warrilow
Patricia Unwin
Associate Music Director
Transport Manager
Sarah Tenant-Flowers
Alan Fryer
Divertimento K136
Wolfgang Amadeus Mozart 1756 - 1791
During the early 1770’s, Mozart and his father Leopold made several journeys to
Italy. Mozart wrote the three divertimenti before he left to perform whilst
travelling. These three divertimento, of which this is one, are collectively known as
the ‘Salzburg Symphonies’.
They differ from the usual divertimenti in that they have no movement in the style
of a minuet. This has led to the theory being put forward that they are ‘skeleton’
symphonies, with wind parts to have been added as available on his tours.
This divertimenti has only three movements. The first, an Allegro, appears
deceptively simple, but contains some lively counterpoint. The gentle Andante is in
the singing Italian style, whilst the presto has thematic links to the first movement,
but is typically much more high-spirited.
Ave Verum Corpus
Walfgang Amadeus Mozart 1756 - 1791
This short motet of less than fifty bars is one of the jewels in the choral repertoire.
Written on 17th June 1791 a few months before Mozart’s death on 5th December
at the tragically early age of 35, it is a pure example of Mozart’s ability to illuminate
a profound spiritual depth, within a simple, craftsman like creation.
It was written for Anton Stoll, the choirmaster at the local church at the spa Baden,
by the way of returning a favour to a friend. It’s a calm moving and serene piece.
Divertimento -
Walfgang Amadeus Mozart 1756 - 1791
The Marriage of Figaro
It was common throughout the Classical period to arrange excerpts from the most
popular current productions in the Opera House for small wind band, or
‘Harmonie’, for use as background music for grand dinners and other functions.
In fact Mozart himself includes an accompanying wind band (playing quotations
from Figaro) in the banquet scene of Don Giovanni.
This is a special arrangement of three arias from The Marriage of Figaro for two
Bassett Horns (not horns at all but more like tenor clarinets), Bassoon and Double
Bass.
The three arias are:
Al deso di chi t'adora (Act 4 Scene 10)
Vo che sapete (Act 2 Scene 3)
Non piu andrai (Act 1 Scene 8)
INTERVAL - 20 minutes
Requiem
Wolfgang Amadeus Mozart 1756 - 1791
Mozart was commissioned to write the Requiem Mass by a wealthy nobleman,
Count Walsegg, in memory of his wife who had died at the age of twenty. Work on
the Requiem proceeded slowly as Mozart was in the process of completing his two
final operas La Clemenza Di Tito and The Magic Flute. By the time he came to
concentrate on the Requiem, he was suffering from his final illness and his growing
weakness made it impossible for him to complete the work.
Indeed, by the time he died, only the first two movements were completely
finished. The third to the ninth movements Dzes Irae to Hostias were drafted out,
but there were no notes for the final four movements. Constanze, Mozart’s wife, was
afraid that she would have to return the payment already made by Count Walsegg
and so asked Mozart’s pupil Franz Stissmayer to complete the Requiem.
Stissmayer had spent the whole of Mozart’s final months with him, working on the
requiem so it is likely, even for the final four movements, that the whole piece
closely resembles Mozart’s intended music.
The generally dark and passionate character of the work is accounted for by the
predominance of minor keys and the rich texture of the orchestration: Mozart did
not use french horns or the upper woodwind, using basset horns, bassoons,
trumpets, trombones and timpani, with the strings playing mainly in the lower
registers. However another major factor is Mozart’s bold, harmonic language,
which leads the listener through the despair of death to the joy of eternal life.
Ida Falk Winland soprano
Sigridur Osk Kristjansdottir mezzo-soprano
Christopher Diffey tenor
Lukas Jakobczyk bass
The Brandenburg Sinfonia gratefully acknowledges the generosity of the Josephine Baker
Trust by supporting the soloists in this evening’s performance of the Mozart Requiem.
Soprano
Ida Falk Winland is currently studying at the Benjamin Britten
International Opera School (BBIOS) holding an Audrey Sacher
Scholarship supported by a Helen Marjory Tonks Award. Ida Falk
Winland studied singing with Miss Margaret Cable 2002-2003,
Miss Marie McLaughlin 2004, and is currently studying with Miss
Lillian Watson.
Born into a family of musicians in 1982 in Sweden, Ms. Winland
began studying cello and piano at the age of ten. Formal singing
lessons began at the age of 16, and in 2002 she was awarded a scholarship for studies at the
Royal College of Music.
Ms. Winland has sung master classes with Peter Schreier, Malcolm Martineau, Michael
Chance, Jane Manning, Roger Vignoles, Dame Malvina Major, Sarah Walker, David Owen
Norris, Neil Mackie, Robin Bowman, Kathleen Livingstone, Laura Sartri, Ank Reinders,
Susan Mc Cullouch, Anna Simms, Torsten Follinger, Matti Hirvonen and Peter Harvey.
Ms. Winland is already an active performer in England and Continental Europe, appearing
as soloist in performances such as Mozart’'s Mass in C Minor conducted by Sir Charles
Mackerras, Bach's B-Minor Mass conducted by Peter Schreier at St. John's Smith Square,
Bach's St Jobn's Passion with the London Mozart Players at St Paul's Cathedral, Bach's Mass in
A Major at the RCM Concert Hall as a part of the London Bach Festival, and the world
premiere of Christopher Mayo's Breakfast for Barbarians, conducted by Neil Thompson.
She made her Operatic debut in the summer of 2005 at the Vadstena Summer Opera
singing the role of Princess Creusa in Demofoonte by F. Mancini/D.Sarro and L. Leo, and the
role of Dido in Purcell's Dido and Aeneas for Music at Woodhouse. Ida recently also took the
roles of La Virtu and Damigella in Monteverdi’'s Opera L'incoronatione di Poppea’ for the
BBIOS.
Ida is the first prize winner of the Lies Askonas vocal competition 2005, the winner of Joe/
Berglund and the Swedish Royal Theatre Opera Soloists Scholarship 2006, Swedish Academy of
Music Scholarship for abroad studies 2006 and the second price winner of the Thelma King
singing competition 2006.
Recent engagements include a four week tour in Asia with Okko Kamu and the Asian
youth orchestra performing Concert Arias by Mozart and Mabhler fourth Symphony in venues
including Tokyo Opera City, Shanghai Oriental Art Centre Concert Hall, Taipe: National Concert
Hall and Hong Kong Cultural Centre Concert Hall, Two concerts and a radio broadcast with
the Gothenburg Symphony Orchestra, the cover singer for Faure's La fete Etrange at the Royal
Opera House Covent Garden, a concert performance of Michael Stimpson's Clouds of War and
Haydn's Lines from the battle of Niles with the English Chamber Orchestra, arias from Zaide and
Mozart concert aria ‘Ab lo previdi’ with the Finish Chamber Orchestra and Mozart’s Mass in C
Minor for Sir Charles Mackerras.
Future engagements include two concerts with the Helsinki Philarmonic Orchestra and
conductor Okko Kamu performing songs by R. Strauss, the role of Cherubino in Mozart’s Le
Nozze di Figaro for the Benjamin Britten International Opera School (BBIOS) as well as a
live radio broadcast for Swedish classical radio of Schoenberg’s Pierrot Lunatre.
el
Me€zz0-Soprano
Y| Sigridur Osk Kristjansdottir was born in Iceland in 1978 and is
currently studying for a Masters at the Royal College of Music
(RCM) where she studies with Russell Smythe and is the Charles
Branchini Scholar. There she’s taken part in Le nozze di Figaro
(Susanna),
The Merry
Wives of Windsor (Anna),
Don Giovanni
(Zerlina), Orfeo and Euridice (Euridice).
Michelle’s
oratorio
experience
includes
performances
of
Monteverdi's L'incoronazione di Poppea and L’Enfant et les sortileges
both for the Benjamin Britten International Opera School
(BBIOS). And Eugene Onegin for British Youth Opera (BYO) and
Dido & Aeneas for Woodhouse Copse, Sussex.
Tenor
Christopher Diffey, completed his bachelor of Music with Honors
from Monash University in 2002, majoring in Vocal performance
under the tutelage of Peter Mander. He has performed many
operatic roles, including Dardanus for Royal Academy Opera, Lensky,
Ernesto, Count Almaviva (Rossini), Captain Macheath, El Remondady,
Don Basilio (Mozart), Nanki-Poo and Ralph Rackstraw. On the concert
stage, Christopher also has extensive experience, performing with
groups including Orchestra Victoria, London Pro Arte Orchestra,
Burgess
Hill
Choral
Society
and
Penzance
Choral
Society.
Christopher is currently studying on the Royal Academy of Music Opera Course in London
under Philip Doghan. He has been accepted onto the Josephine Baker Trust, and would like
to thank them for their support, as well as receiving the Rhoda Jones Roberts Scholarship
for 2006.
Future engagements include the double-bill of Gianni Schicchi and Iolanta at the Royal
Academy of Music in March of 2007, and Tancredi with René Jacobs & Orchestre des
Champs-Elysées later next year
Bass
Lukas Jakobczyk was born in Poland. Started music education as a
bassoonist but later began his opera singing at the renowned I.]J
Paderewski Academy of Music, in Poznan (Poland) where he extended his
vocal studies to opera under Helena Lazarska, Yevgeni Nesterenko and
Jadwiga Rappe. While at Poznan, Lukas was selected to sing under
Wilhelm Keitel, at the Beyreuth Opera House (Mose, Tancredi) and Un
A
performing
ballo di Maschera at the Staats Theater Shwerin, Germany, as well as
Mozart
(Leporello
Don
Giovanni)
in
Poznan
and
singing
Wagner
(Gotterdimmerung) in Erl Tiroler Festspiele in Austria. His concert performances have
included Mozart’s Coronation Mass, Requiem, Beethoven’s IX Symphony, Faure Requiem,
Verdi's Requiem or Handels Messiah, La Resurrezione.
In 2004 Lukas was offered a place in Royal College of Music and now he is having singing
lessons in Royal Opera House, Covent Garden with Graeme Broadbent. At the RCM, Lukas
has enjoyed masterclasses and specialist courses led by Michael Chance (Messiah), Richard
Van Allan (gperatic arias) and the RCM repertoire coach Stephen Varcoe (songs and oratoria).
While studying in London, Lukas has developed a very broad repertoire, encompassing
recital and concert works, as well as staged opera. Confident in the European languages
required of a professional, he has performed a number of solo roles, including Frere Laurent;
Roméo et Juliette, with the British Youth Opera (role prepared with Richard Van Allan), Don
Basilio; I/ Barbiere di Siviglia for the Grange Park Opera Festival/Pimlico Opera Autumn
Tour and Sarastro; Die Zauberflite for the Dartington Opera Festival.
Lukas already co-operated with conductors and directors such as Peter Robinson, Richard
Balcombe, Olivia Fuchs, Alexander Oliver or Diego Masson.
Among the outstanding achievements of his young career, Lukas was delighted to win 1Ist
prize in the Junior Kathleen Ferrier Competition, in October 2005, and received the
Concordia Serena Nevill Award for 2005.
The future engagements include Caronte; Orfeo by Monteverdi for the English Bach Festival
and chorus for the Glyndebourne Festival 2007.
Vivace Chorus
Formerly Guildford Philharmonic Choir
The Vivace Chorus (formerly Guildford Philharmonic Choir) is conducted by
Jeremy Backhouse and accompanied by Jeremy Filsell.
The Guildford Philharmonic Choir was formed in
1947 by the Borough of
Guildford in Surrey, England, in order to perform the major choral repertoire with
the Guildford Philharmonic Orchestra. Since this time, the Choir has grown both
in stature and in reputation, and can now rightly claim its place as one of the
foremost Choruses in the country.
Our formal link with and funding from the Guildford Philharmonic Orchestra
ceased in the
1998/9
season.
Since that time we have received a funding
contribution, each year, from the Guildford Borough Council and continue to do so.
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 as our current President.
As well as performing well-known choral works, we specialise in 20th-century
British music. This has led to recordings of Gerald Finzi's Intimations of Immortality
with the Guildford Philharmonic, and Patrick Hadley's The Tiees So High with the
Philharmonia Orchestra, both recordings being conducted by Vernon Handley.
The Choir is conducted by some of the most eminent musicians, and as well as
giving frequent concerts in Guildford, we occasionally visit other British cities and
abroad. In 1988 we visited Paris, and in 1990 joined forces with the Freiburger
BachChor from Guildford's twin city in the Black Forest, Freiburg, to sing two
concerts, beginning a tradition of combining every couple of seasons or so.
The Vivace Chorus website can be found at www.VivaceChorus.org.
] sinfonia
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. In recent years the orchestra has performed in the majority of the major
venues across the country, and in London at the Barbican, Queen Elizabeth Hall, Fairfield
Hall and St John’s Smith Square.
The Brandenburg Sinfonia is also in great demand abroad and has recently visited France
twice, USA, Bermuda, the Channel Islands, Barbados and St Petersburg.
Future tours include France, Germany, USA, Japan and Hong Kong.
A large number of artists of international standing have worked with the orchestra
including Emmanuel Hurwitz, Lesley Garrett, John Georgiadis, John Wallace, Ian Watson,
Michael Thompson and Gordon Hunt.
Its repertoire ranges from Bach to Lloyd Webber and its members give around three
hundred performances of orchestral, chamber, choral and operatic music during the year.
Along with selected freelance players, members of the orchestra are also members of the
Philharmonia, Royal Philharmonic, Royal Opera House and English Chamber orchestras
who choose to play with the Brandenburg Sinfonia in order to make music with the finest
of their peers in a more intimate and sympathetic setting.
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 and London Opera Players.
“What made it actually rather enjoyable was the playing of the chamber
orchestra which was consistently well shaded and nuanced”
THE DAILY TELEGRAPH
“Some of the most stylish Mozart playing for some time”
THE TIMES
“An ensemble of distinguished players”
THE INDEPENDENT ON SUNDAY
Future performances by the
Brandenburg Sinfonia at St. Martins in 2007:
9th February
Mozart Requiem
English Baroque Choir
2nd March
Handel Messiah
Twickenham Choral Society
For further information about the Brandenburg Sinfonia or any of the
events listed please contact us:
Tel/Fax: 01372 209817
E-mail: bob@brandenburg.org.uk
9 Queen Anne’s Terrace, Leatherhead SURREY KT22 7HR
Our latest CD The Elegance of the Barogque will be on sale at the back of
the church during the interval and after the concert price £10.
Smoking and consumption offood & drink
are not allowed in the church.
Patrons are kindly requested to switch off
mobile phones and alarms on digital watches.
Flash photography, audio or video recording is not permitted.
Please try to restrain coughing;
A handkerchiefplaced over the mouth when coughing
assists greatly in limiting the noise. Thank you.
Interval is 20 minutes.
A bell will be rung 5 & 2 minutes before the end of the interval.
Once the concert starts again admittance will only be between pieces.
The Crypt Gallery and Café-in-the-Crypt
can be hired for private functions. Phone: 020 7839 4342
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