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Saturday
17th Nov 2007
7.30pm Guildford Cathedral
www.VivaceChorus.org
ANNA ARTHUR & ASSOCIATES
SOLICITORS
EVERY SUCCESS FOR THIS EVENING
FIERI FACIAS HOUSE, HIGH STREET
RIPLEY, SURREY GU23 6AF
TEL: 01483 222499 — FAX: 01483 222766
Vivace
Chorus_
‘The French Connection’
Dupré
Quatre Motets, Op.9
Dupreé
Final from Sept Pieces, Op.27
Poulenc
Gloria
Widor
Toccata from Symphonie No.5
Duruflé
Requiem
Madeleine Pierard
Soprano
Rosie Aldridge
Mezzo-soprano
David Butt Philip
Baritone
Jeremy Filsell
Organ
conductor
Jeremy Backhouse
Guildford Cathedral
Saturday, 17 November 2007 at 7.30pm.
Vivace Chorus
PRE-CONCERT TALK, ENTITLED 'ONLY CONNECT'
(courtesy of E M Forster)
(Change and renewal in French music in the early 20th century,
with reference to the work of Widor, Dupré, Duruflé and Poulenc)
)This will start at 6.30pm in the Chapter House of the Cathedral. The §
speaker will be Martin Hall.
'
Martin enjoys his now long-standing connection with the Vivace Chorus §
as deputy accompanist and conductor when required. He has also
participated in concerts as pianist and continuo player. He is§
| undertaking research into the early style of Ravel and Vaughan §
| Williams, with particular reference to the Gallic influence on the latter, 7
so this concert is of interest to him. As a Fellow of the Royal College of §
| Organists, Martin has inside knowledge of the organ repertoire as a§
| performer.
Please note: Members of the audience who wish to attend the talk and §
do not already have reserved seating, can reserve their concert seats
beforehand in the appropriate unreserved areas of the Cathedral. The §
talk should finish at 7.10pm, allowing time to order refreshments etc.
Marcel Dupré (1886 — 1971)
Born in Rouen in 1886, Dupré
grew up as the only child in an
extended household described
as ‘a veritable temple of music':
Marcel's father was an organist
(later to become titulaire of one
of the finest instruments in
France, at Saint-Ouen, Rouen),
and founder of the local choral
society, and his mother was a
:
cellist.
Dupré
thus
became
familiar with three centuries of choral music, from Bach to Fauré and
Debussy, as well as a wide range of chamber music and song.
When he was still only 11, Dupré was appointed organist of Saint-Vivien
in Rouen, and within 10 years he had won his premier prix at the Paris
Conservatoire, and was acting as Widor's Assistant at Saint-Sulpice in
4
Vivace Chorus
Paris. After the First World War, Dupré rapidly established his reputation
as
a
concert
organist,
performing
more
than
2,000
organ
recitals
throughout Europe, the United States and Australia, including a recital
series of 10 concerts of the complete works of Bach in 1920 (Paris
Conservatoire) and 1921 (Palais du Trocadéro), both performed entirely
from memory. In 1934, Dupré succeeded Widor as titular organist at
St-Sulpice, a post he held until his death in 1971.
His early compositions include songs, piano, chamber and choral music,
but after the piano Variations of 1924, every work contains the organ —
predominantly solo pieces, but also works for organ and orchestra, organ
and piano, organ and solo string instruments, chorus and organ.
The Quatre Motets, Op.9 (1916) display a wide-ranging diversity of
styles. The lyricism of the vocal lines in O Salutaris is very much in the
tradition of Gounod and Massenet, while Tantum ergo is a more sober
liturgical
setting,
the
choir
in
dialogue
with
an
enigmatic
organ
accompaniment. This is followed by a sombre, dark-hued Ave Maria for
soprano voices, and a final ebullient outburst of praise in Laudate, where
the organ plays an important solo role.
The Sept Piéces, Op.27 (1930) comprises a varied selection of short
concert works, dedicated to musicians whom Dupré had met on his
British and American tours and combining poetry, wit and virtuosity in an
engaging blend. The Final is the most powerful of his shorter works. It is
dedicated
to
his
closest
American
friend,
the
Bach
scholar Albert
Riemenschneider. Dupré conceals the BACH motif within the insistent
chromatic
semiquaver
figuration
that
goads
the
piece
along
with
unrelenting intensity. There are three themes, ie the scale figure that is
hammered out in full chords in the first line, the BACH semiquavers and
the march that breaks out, but they seem to be fused together by the
blazing energy of the music; a softer central interlude barely reduces the
tension, and the Final soon resumes its headlong rampage towards a
tempestuous conclusion.
Notes on the works courtesy of Guild Music.
Quatre Motets
1. O salutaris
O salutaris hostia
Victim slain for salvation
Quae coeli pandis ostium.
You who reveal the gate of heaven:
Bella premunt hostilia
Harsh warfare strikes
Da robur, fer auxilium.
Grant strength, bring help.
Vivace Chorus
5
2. Ave Maria
Ave Maria, gratia plena,
Hail Mary, full of grace,
Dominus tecum:
The Lord is with thee;
Benedicta tu in mulieribus,et
Blessed art thou among women and
Benedictus fructus ventris tui Jesus.
Blessed is the fruit of thy womb, Jesus.
Sancta Maria, Mater Dei,
Holy Mary, Mother of God,
Ora pro nobis peccatoribus
Pray for us sinners
Nunc et in hora mortis nostrae. Amen.
Now and at the hour of our death. Amen.
3. Tantum ergo
Tantum ergo Sacramentum
Therefore let us venerate such a
Veneremur cernui:
Sacrament with bowed heads:
Et antiquum documentum
And let the ancient example give way to
Novo cedat ritui:
A new rite:
Praestet fides supplementum,
Let faith make good the
Sensuum defectui.
Insufficiency of our senses.
Genitori, Genitoque
To the begetter and the begotten,
Laus et jubilatio,
Let there be praise and rejoicing,
Salus, honor, virtus quoque
Safety, honour, virtue
Sit et benedictio.
And blessing:
Procedenti ab utroque
To him who comes from either
Compar sit laudatio. Amen.
Let there be equal praise. Amen..
4. Laudate
Laudate Dominum omnes gentes,
Praise the Lord, all nations,
Laudate eum omnes populi.
Praise him, all peoples.
Quoniam confirmata est super nos
For his mercy is established over us
Misericordia eius et veritas
And the truth of the Lord
Domini manet in aeternum.
Endures forever.
Francis Poulenc (1899 — 1963)
Francis
Poulenc
was
one
of
a
somewhat
notorious group of young French composers
who became known as Les Six, an epithet
clearly derived from the earlier Russian Five.
The aims of the group were to break away from
the twin influences of Germanic formality and
French impressionism, and to employ a direct
and simple style in their own music. Of the six,
Poulenc was by far the most successful.
Although Poulenc saw himself as primarily a composer of religious
music, it was not in fact until 1936, following his return to Catholicism,
that he produced his first sacred work. A steady stream of religious
6
Vivace Chorus
pieces then flowed from his pen, including a Mass and a series of
motets. The Gloria appeared in 1959, only 4 years before his death, and
enjoyed
immediate
acclaim.
It
has
remained
a
firm
favourite
with
performers and audiences ever since.
Poulenc’s
very
distinctive
style
relies
principally on
strong
musical
contrasts. The harmony moves between Stravinsky-like dissonance and
sensuous chord progressions; vigorous counterpoint in clipped, angular
phrases alternates with lyrical melodic writing; dynamics frequently range
from a hushed piano to an emphatic forte within the space of a bar or
two. Poulenc skilfully uses this colourful musical palette to express a
wide range of emotions, from lyrical serenity to unashamed glee.
The Gloria was commissioned by the Koussevitsky Foundation of America.
The words from the Mass are set to music of an unmistakable freshness
and vivacity. Some critics at the time suggested that it bordered on the
sacrilegious;
Poulenc replied,
"While
writing it | had in
mind those
Crozzoli frescoes with angels sticking out their tongues, and also some
solemn-looking Benedictine monks that | saw playing football one day."
The work is divided into six short movements. After a brief introduction,
the chorus enters with a prominent dotted figure to the word Gloria,
which
forms
the
basis
of
this
movement.
The
animated
second
movement, Laudamus Te, reveals Poulenc in playful mood, with the
chorus for the most part divided into pairs of voices — sopranos and
tenors; altos and basses — exchanging a series of short, pithy phrases. In
the expressive third section, Domine Deus, the soprano soloist is heard
for the first time with a typically yearning melody, whilst the chorus is
allocated a supporting role. We are then abruptly whisked back to the
playground for the brief and chirpy Domine Fili Unigenite. The soprano
soloist returns for the exquisite Domine Deus, Agnus Dei, with soloist
and chorus sometimes combining and sometimes exchanging lyrical
phrases. In the sixth movement a short, majestic opening soon gives
way to an animated section at the words Qui sedes ad dexteram Patris.
Peace and serenity suffuses the radiant closing pages of the work but,
characteristically, Poulenc cannot resist a last, loud interjection at the
first Amen, where he briefly recalls the dotted Gloria figure of the very
opening, before calm is restored for the final Amen.
Poulenc’s sense of humour and love of life shine through all his music,
however solemn the text might be. One of his friends said of him, "There
is in him something of the monk and the street urchinTM The Gloria
brilliantly expresses these characteristics, with its captivating mixture of
solemnity and mischievous exuberance.
Vivace Chorus
"
John Bawden
7
Gloria
1. Gloria
Gloria in excelsis Deo,
Glory be to God on high,
Et in terra pax
And on earth peace
Hominibus bonae voluntatis.
To men of goodwill.
2. Laudamus te
Laudamus te, benedicimus te,
We praise Thee, we bless Thee,
Adoramus te, glorificamus te,
We worship Thee,
Gratias agimus tibi
We give thanks to Thee
Propter magnam gloriam tuam.
For Thy great glory.
3. Domine Deus
Domine Deus, Rex coelestis,
O Lord God, heavenly King,
Deus Pater omnipotens.
God The Father Almighty.
4. Domine Fili unigenite
Domine Fili unigenite,
O Lord the only begotten Son,
Jesu Christe.
Jesus Christ.
5. Domine Deus, Agnus Dei
Domine Deus, Agnus Dei,
O Lord, Lamb of God,
Filius Patris,
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 world,
Suscipe deprecationem nostram.
Receive our prayer.
6. Qui sedes ad dexteram
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.
For Thou only art holy.
Tu solus Dominus.
Thou only art the Lord.
Tu solus altissimus, Jesu Christe.
Thou only, O Christ,
Cum sancto Spiritu in gloria
With the Holy Ghost, art most high
Dei Patris.
In the glory of God the Father.
Amen.
Amen.
~ INTERVAL ~
Vivace Chorus
Charles-Marie Widor 1844 — 1937
Widor
occupies
an
important
position in the tradition of French
organ
music,
having
served
as
organist at St-Sulpice in Paris, on
one
of
the
great
Cavaillé-Coll
organs for 64 years, from 1870.
His pupils included Tournemire,
Vierne,
Albert
Schweitzer
Marcel
Dupré;
also
pupils
such
Milhaud.
as
His
and
composition
Honegger
works
and
encompass
chamber music, choral and vocal works and orchestral works, including
ten Organ Symphonies, and it is Widor's magnificent organ music that
has remained his most prominent legacy. The famous Toccata that ends
Symphonie No. 5 in F minor has won a special position in virtuoso
organ repertoire.
Widor's disciple, Marcel Dupré, perhaps the greatest organist of the 20th
Century, succeeded him at St-Sulpice in 1934; thus between them, these
two musicians provided exactly a century of music in that organ loft.
Maurlce Durufle (1902 - 1986)
Duruflé moved to Paris aged 17, where he
studied the organ with Tournemire (whom
he assisted at St-Clotilde until
1927),
Guilmant and Vierne. In 1920 he entered the
Paris
Conservatoire
nominated
by
Vierne
and
in
1927,
as
his
assistant
was
at
Notre-Dame. In 1929, Duruflé became titular
organist of St-Etienne-du-Mont in Paris, a
position he held for the rest of his life. In
1939, he premiered Poulenc's Concerto for
Organ, Strings and Timpani; he had advised
Poulenc on the organ part. In 1943 he
became professor of harmony at the Paris
Conservatoire, where he worked until 1970.
As
a composer,
Duruflé was extremely self-critical
and
spent
considerable time re-working his compositions until they achieved what
he felt was the correct level of perfection. The result was that there are
only 14 published Opus numbers to his name, but his music, especially
his organ music, holds a very high position in the repertoire.
Vivace Chorus
9
The Requiem was commissioned in 1947 by the French music publisher
Durand and is written in memory of the composer's father. It is clear that
Duruflé used Fauré's Requiem as his model. The text he chose, for
instance, is the same (omitting the dramatic Dies irae), the two solo
voices are the same, and like Fauré, he took the two last lines of Dies
irae (Pie Jesus, Domine, dona eis requiem) and set them as a short,
touching mezzo-soprano solo. Like Fauré, Duruflé avoids the apocalyptic
side of the text and accentuates the aspect of forgiveness.
Duruflé belonged to the generation of French composers who came
under the influence of Gregorian chant. His Requiem is strongly rooted in
liturgical tradition, where almost every section of the work incorporates
the plainchant from the Mass for the Dead. The Requiem, set in nine
movements, exists in three orchestrations: one for organ alone (1948),
one for organ with string orchestra, and one for organ and full orchestra.
Duruflé intended his Requiem to be intimate, peaceful and loving.
Fauré's observation of 1921 might be thus equally applied to Duruflé:
"Everything | possessed in the way of religious illusion | put into my
Requiem, which moreover is dominated from beginning to end by a very
human feeling of faith in eternal rest.”
1.
Introit (choir)
2.
Kyrie (choir)
3.
Domine Jesu Christe (choir and baritone solo)
4.
Sanctus — Benedictus (choir)
5.
Pie Jesu (mezzo-soprano solo)
6.
Agnus Dei (choir)
7.
Lux aeterna (choir)
8.
Libera me (choir and baritone solo)
9.
In Paradisum (choir)
Requiem
1. Introit
Requiem aeternam dona eis, Domine,
Et lux perpetua luceat eis.
Grant them eternal rest, Lord,
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
Omnis caro veniet.
All flesh shall come.
2. Kyrie
Kyrie eleison.
Lord, have mercy upon us.
Christe eleison.
Christ, have mercy upon us.
10
Vivace Chorus
3. Domine Jesu Christe
Domine Jesu Christe, Rex gloriae,
Lord Jesus Christ, King of glory,
Libera animas omnium fidelium
Deliver the souls of all the faithful
Defunctorum de poenis inferni
Departed from 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,
Ne absorbeat eas tartarus,
That hell may not swallow them up,
Ne cadant in obscurum;
And may they not fall into darkness;
Sed signifer sanctus Michael
But may the holy standard-bearer,
Repraesentet eas in lucem sanctam.
Michael, lead them into the holy light;
Quam olim Abrahae promisisti
Which Thou didst promise of old to
Et semini ejus.
Abraham and his seed.
Hostias et preces tibi, Domine,
Sacrifices and prayers we offer Thee,
Laudis offerimus; tu suscipe
Lord; receive them
Pro animabus illis
For those souls
Quarum hodie memoriam facimus;
Whom we commemorate this day;
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.
4. Sanctus
Sanctus, sanctus, sanctus,
Holy, holy, holy,
Domine Deus Sabaoth,
Lord God of Hosts,
Pleni sunt coeli et terra gloria tua
Heaven and Earth are full of Thy glory.
Hosanna in excelsis.
Hosanna in the highest.
Benedictus qui venit
Blessed is he who cometh
In nomine Domini.
In the name of the Lord.
Hosanna in excelsis.
Hosanna in the highest.
5. Pie Jesu
Pie Jesu Domine, dona eis requiem.
O sweet Lord Jesus, grant them rest;
Dona eis requiem sempiternam.
grant them everlasting rest.
6. Agnus Dei
Agnus Dei, qui tollis
Lamb of God, who takest away
Peccata mundi,
The sins of the world,
Dona eis requiem sempiternam.
Grant them eternal rest.
7. Lux aeterna
Lux aeterna luceat eis,
May eternal light shine upon them,
Domine, cum sanctis tuis in aeternam,
Lord, with Thy saints for ever,
Quia pius es.
For Thou art merciful.
Requiem eternam dona eis, Domine,
Grant them eternal rest, Lord,
Et lux perpetua luceat eis.
And may perpetual light shine on them.
Vivace Chorus
11
8. Libera Me
Libera me, Domine, de morte aeterna,
Deliver me, O Lord, from eternal death
In die illa tremenda, quando coeli
On that fearful day, when the heavens
Movendi sunt et terra,
And the earth are moved,
Dum veneris iudicare seeculum
When you will come to judge
Per ignem.
The world with fire.
Tremens factus sum ego et timeo,
| am made to tremble and | fear,
Dum discussio venerit
Because of the judgment that will come,
Atque ventura ira.
And also the coming wrath.
Dies illa, dies iree, calamitatis,
That day, day of wrath, calamity,
Et miserise, dies magna
And misery, day of great
Et amara valde.
And exceeding bitterness.
Requiem aeternam dona eis, Domine,
Grant them eternal rest, O Lord, and
Let perpetual light shine upon them.
Et lux perpetua luceat eis.
9. In Paradisum
In paradisum deducant te Angeli;
May angels lead you into Paradise;
In tuo adventu suscipiant te martyres,
May the martyrs receive you
Et perducant te in civitatem sanctam
At your coming and lead you
Jerusalem.
To the holy city of Jerusalem.
Chorus angelorum te suscipiat,
May a choir of angels receive you, and
Et cum Lazaro quondam paupere
With Lazarus, who once was poor,
Aeternam habeas requiem.
May you have eternal rest.
Some of the printed music for this evening's concert has been hired from Chameleon-Arts
Music Hire, Surrey County Council Performing Arts Library and Yorkshire Libraries &
Information Music & Drama Library.
Vivace Chorus gratefully acknowledge the sponsorship of soloists
Madeleine Pierard, Rosie Aldridge and David Butt Philip in this concert
by the Josephine Baker Trust.
The staging for this concert is owned by the
Association
of
Surrey
Choirs.
To
hire,
please contact Penny Peters, Guildford
Cathedral Office (tel: 01403 547860). It was
purchased with financial assistance from
the
Foundation
for
Sport
and
Financially assisted by
(% GUILDFORD
BOROUGH
Arts,
PO Box 20, Liverpool.
Vivace Chorus
Registered Charity No 1026337
in the name of Guildford Philharmonic Choir
12
Vivace Chorus
Madeleine Pierard: Soprano
2005
Lexus
Song
Quest
winner
Madeleine Pierard is originally from
Napier, New Zealand, and one of a large
family of musicians. Madeleine began
her vocal training as a chorister in the
Tower New Zealand Youth Choir, Tower
Voices New Zealand and The Tudor
Consort. She then completed a BMus
(Hons,
1st Class) in
performance,
musicology and composition at Victoria
University in Wellington and now studies
with Lillian Watson at the Benjamin
Britten International Opera School in
Lt
el
London, where she is the 2006/07 Irene
Hanson Scholar and recipient of both
the Josephine Baker Trust Scheme and the Cuthbert Smith Prizes.
Madeleine is also the 2006/07 Patricia Pratt Scholar and recipient of the
Jack McGill Scholarship through Creative New Zealand.
Madeleine has made numerous oratorio and concert appearances
throughout New Zealand and England, most recently in concert
alongside Dame Kiri Te Kanawa and Icelandic tenor, Gardar Cortes in
Jersey. Along with opera, she has a reputation as an interpreter of
contemporary works and in June 2006, premiered Symphony No. 2 by
New Zealand composer, Ross Harris with the Auckland Philharmonia
Orchestra. In August this year, Madeleine completed two Naxos CD
recordings with the New Zealand Symphony Orchestra, featuring works
by New Zealand composers and Beethoven Lieder.
Madeleine’s recent opera roles are Prince Orlovsky (Die Fledermaus),
First Blumenmadchen (Parsifal) and Marzelline (Fidelio) with NBR New
Zealand Opera, and at the Royal College of Music, Erissena (Poro
ré dell'Indie) for the London Handel Festival, Cherubino (Le Nozze di
Figaro) and Prince Charmant (Cendrillon) and Gerechtigkeit (Die
Schuldigkeit des ersten Gebots) with The Classical Opera Company in
London. More of Madeleine’s recent concert engagements include
appearing in duet with Jonathan Lemalu in the Skycity Starlight
Symphony and as the soloist on recital tours with both the New Zealand
String Quartet and the New Zealand Symphony Orchestra throughout
China. Please see www.madeleinepierard.com for further details.
Vivace Chorus
13
Rosie Aldridge: Contralto/Mezzo-soprano
Born in Hertfordshire, Rosie is currently a
scholar at London’s Royal College of Music,
where she studies with Kathleen Livingstone.
As a sixth-form vocal scholar at Haileybury
Imperial
College,
different
roles,
Dido
and
Rosie
including
Aeneas,
the
performed
Dido
in
Baker's
many
Purcell’'s
Wife
in
Sondheim’s Into The Woods and Carmen, in
excerpts
from
Bizet's
opera
performed
in
concert with the College Orchestra. She also
performed
the
role
of
Speranza
in
Monteverdi’'s Orfeo, with The Opera Group.
Rosie has enjoyed extensive oratorio and
concert experience, performing the mezzosoprano and contralto solos for many works including: Verdi's Requiem;
Mozart's Requiem and Vespers; Bach's Mass in B Minor with the Welsh
Baroque Orchestra; Copland’s In The Beginning; Haydn’s Maria Theresa
Mass and Duruflé’s Requiem in Chichester Cathedral with Jonathan
Willcocks; Elgar's Sea Pictures with the Corinthian Chamber Orchestra
at St James’, Piccadilly; Elgar's The Music Makers; Lambert's The Rio
Grande; Holst's The Cloud Messenger; Haydn's Nelson Mass and St.
Nicholas Mass; Dvorak’s Stabat Mater at the Cadogan Hall with the
Brandenburg Sinfonia; and Vaughan Williams’ Serenade to Music at the
Queen Elizabeth Hall with the Concordia Young Artists Foundation.
Rosie has taken part in many prestigious master classes with artists
such as Sarah Walker, Michael Chance, Stephen Varcoe and Patricia
MacMahon. She recently won the Royal College of Music English Song
Prize and is also a scholar on the Josephine Baker Trust. Rosie’s recent
solo
performances have included: several performances of Verdi's
Requiem in Godalming, Eton and Oxford; two performances of Elgar's
Sea Pictures, conducted by Leon Lovett at the West Road Concert Hall,
Cambridge, and Terry Edwards with the Watford Philharmonic Orchestra
respectively; and the ‘Last Night of the Proms’ concert at the Norwich
Festival, where she performed several arias from Bizet's Carmen, along
with Rule Britannia, with the Norwich Pops Orchestra, conducted by
Geoff Davidson. Future projects include Mozart's Requiem in Mayfield,
Bach’'s Mass in B Minor at St John’s, Smith Square and Handel's
Messiah in Chichester Cathedral, conducted by Jonathan Willcocks.
14
Vivace Chorus
David Butt Philip: Baritone
David was born and brought up in Wells
in
Somerset and began his musical
training as a chorister at Peterborough
Cathedral. He has been a member of
Liverpool Metropolitan and Manchester
Cathedral
Choirs
and
broadcasts
regularly on the radio with the BBC Daily
Service Singers. He is also a founder
member and Associate Music Director of
the
Liverpool
whom
he
Schola
has
toured
with
England
and
He studied for 4 years at the
Royal
Northern
College
of
Music.
Awards
include
the
2004
Bessie
Cronshaw Song Cycle Prize, the 2006
Latvia.
"
Cantorum,
'
John Cameron Prize for Lieder (both
RNCM), the 2006 Elena Gerhardt Lieder Prize and
Richard Lewis/Jean Shanks Award (both Royal
in 2007, the prestigious
Academy of Music).
He has appeared in oratorio and recital all'aro
und the country. Recent
include
Orffs
Carmina
Burana
in
the
Liverpool
Philharmonic Hall, Mahler's Lieder eines fahrend
en Gesellen with
Blackburn Symphony Orchestra and a concert of
Duke Ellington’s sacred
performances
music with the RAM Big Band. In 2005 he perform
ed the role of Calchas
in Avalon Opera’s revival of Rutland Bought
on’s Bethlehem and played
the title role in the world premiere of Gerard McBurn
ey’s new opera The
Airman’s Tale at the Imperial War Museum in
London.
David is currently in the final year of the postgra
the
Royal
Academy
of
Music,
where
he
duate opera course at
studies
with Glenville
Hargreaves and lain Ledingham. For Royal
Academy Opera he has
performed the roles of Phrygian (Dardanus), Ebn
Hakia (lolanta), Betto
(Gianni Schicchi) and Junius (The Rape of
Lucretia). He recently
appeared as Mr Gedge (Albert Herring) for
British Youth Opera.
His
by the Baroness
De
studies at the RAM are generously support
ed
Turckheim vocal scholarship, a Sybil Tutton Award
and the Josephine
Baker Trust.
In his limited free time, David is a fanatical football
fan and was also a
member of the RNCM University Challenge
team, which reached the
quarter-finals of the 2003-04 series.
:
Vivace Chorus
15
Jeremy Filsell
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b
F'hotograph*’f?f
RSB
Jeremy
Filsell
has
cstablished a concert career
as
one of only a
few
virtuoso performers on both
the Piano and the Organ.
He has performed as a solo
pianist in Russia, the USA,
and across the UK, and has
appeared
regularly
at
St John's Smith Square, the
Wigmore and Conway Halls
in
London.
repertoire
His
Concerto
encompasses
Mozart and Beethoven through to Rachmaninov (2nd & 3rd Concertos),
Shostakovich and John Ireland.
As an organist, Jeremy's extensive discography comprises solo discs for
Guild, Signum, Herald and ASV. He has recorded for BBC Radio 3 in
solo and concerto roles and an extensive solo career has included recent
recitals in the UK, USA (where he toured for the 12th time in April 2007),
Germany
(Landsberg),
France
(St-Sulpice
Paris
and
Chartres
Cathedral), Finland (Lahti Festival), and Norway (Oslo Dom). In 1998 he
completed recording the complete organ works of Marcel Dupré
(12 CDs) for Guild and in 2004, recorded the six Organ Symphonies of
Louis Vierne on the 1890 Cavaillé-Coll organ in St Ouen Rouen for
Signum (BBC Radio 3's Disc of the Week, September 2005).
Currently Jeremy holds teaching posts at the Royal Academy of Music
(Lecturer in Academic Studies), the Royal Northern College of Music
(Visiting Tutor in Organ Studies), Eton College and is Lay Clerk in the
choir of St George's Chapel, Windsor Castle. He is also an examiner for
the Royal College of Organists. Jeremy has recently completed a PhD at
Birmingham Conservatoire for his thesis exploring
interpretative issues in the music of Marcel Dupré.
aesthetic
and
Future projects include completing the recording of three discs of French
Mélodies (by Vierne, Widor, Dupré and Tournemire) with Michael Bundy
(baritone), recording organ music by Gaston Litaize (for Signum) and
piano music by Rachmaninov for Guild. He will tour the USA twice in
2008, and will be a featured artist at the AGO National Congress in
St. Paul/Minneapolis in June.
16
'
Vivace Chorus
Jeremy Backhouse
TS
s
Photography by Sim Canetty-Clarke
Jeremy Backhouse began his musical career in Canterbu
ry Cathederal,
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 work as a Consulta
nt Editor for
EMI Classics with a career as a freelance conductor. In Novembe
r 2004,
Jeremy joined Boosey & Hawkes Music Publishers and now
works for
them in a freelance capacity.
In
January
1995,
Jeremy was
appointed
Chorus
Master and
subsequently Music Director of the Guildford Philharm
onic Choir (now
Vivace Chorus). Major works performed in Guildford Cathedra
l include
Mahler's Symphony No. 2 and Symphony No. 8, Prokofiev's
Alexander
Nevsky, Elgar's The Dream of Gerontius, Karl Jenkins' The
Armed Man
and Mendelssohn’s Symphony No. 2 (Lobgesang).
Jeremy is also the conductor of the Vasari Singers, widely
acknowledged
as one of the finest chamber choirs in the country,
performing choral
music from the Renaissance right up to contemporary
commissions. In
2005, the choir and Jeremy celebrated their 25th annivers
ary together.
Jeremy has also worked with a number of the country's
leading choirs,
including the Philharmonia Chorus, the London Choral Society
and the
Brighton Festival Chorus. For 6 years, 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
17
Vivace Chorus
Vivace Chorus came into being as such in May 2005, when it decided to
‘rebrand’
repertoire.
itself,
to
reflect
Formerly the
its
independent
Guildford
status
Philharmonic
and
Choir,
broadening
it
had
been
founded by the Borough of Guildford in 1947. Since this time, under the
batons of such eminent British musicians as Sir Charles Groves, Vernon
Handley and its current President, Sir David Willcocks, the Choir has
grown both in stature and reputation.
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 recent demonstration: the 2004/05 season finished with Karl
Jenkins’ The Armed Man (2000) as the first in our Contemporary Choral
Classics Cycle (CCCC), a projected 4-year innovative series of works
from the late 20th and 21st century. The 2005/6 season began with
Mendelssohn'’s epic choral Symphony No. 2 (Lobgesang) — a work rarely
heard in the UK. By contrast, our next concert was devoted to the 'Pillars
of the Baroque' — Bach and Handel. The second CCCC concert included
the haunting Evening Hymns of Humphrey Clucas; it was only slightly
disconcerting to know he was sitting in the audience!
In addition to Brahms' Schicksalslied and Bruckner's Te Deum, our first
concert of the 2006/7 season included three delightful choral works by
Hugo Wolf, virtually unknown repertoire in the UK. The Music Makers,
which followed, was quintessentially English — the music of Elgar, Parry
and Vaughan Williams. But the highlight of the year was undoubtedly our
CCCC concert and first-ever foray into the world of jazz. Here we sang
and swung to the music of Bob Chilcott, John Rutter and especially to
Will Todd's Mass in Blue, accompanied by the composer, complete with
his jazz trio, jazz band and his outstanding soloist wife, the soprano
Bethany Halliday. The audience loved it too — we had a standing ovation!
At the end of September, we sang our third consecutive 'Last Night of the
Proms' charity concert at a packed Fairfield Halls, Croydon. This was a
big success as well as great fun for audience and performers alike.
Vivace Chorus is always searching for new members to maintain its high
standard. For further details about joining, please contact Jane Brooks,
membership@yvivacechorus.org.
Rehearsals
evenings throughout term time
in
central
are
held
on
Guildford and
Monday
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.
18
Vivace Chorus
Vivace Chorus
FIRST SOPRANOS
FIRST ALTOS
Joanna Andrews
FIRST TENORS
Penny Baxter
Bob Cowell
Tim Hardyment
Mary Broughton
Monika Boothby
Miranda Champion
Jane Brooks
Nick Manning
Elaine Chapman
Jane Crane
Rachel Edmondson
Chris Robinson
Liz Durning
Mo Kfouri
John Trigg
Celia Embleton
Hilary Minor
Ingrid Hardiman
Amy Nash
SECOND TENORS
Kay McManus
Susan Norton
John Bawden
Christine Medlow
Robin Onslow
Bob Bromham
Rosalind Milton
Rachel Owen
lan Landsborough
Mary Moon
Sarah Palmer
Stephen Linton
Penny Muray
Margaret Parry
Jacqueline Norman
Margaret Perkins
FIRST BASSES
Marjory Rollo
John Britten
Gillian Rix
Lesley Scordellis
Judy Smith
Michael Golden
Catherine Shacklady
Carol Terry
Keith Hester
Jane Sweaney
Frances Worpe
Chris Newbery
Claire Townsend
Chris Peters
Hilary Trigg
Robin Privett
SECOND SOPRANOS
Pamela Woodroffe
Jacqueline Alderton
Philip Stanford
Barry Sterndale-Bennett
Anna Arthur
SECOND ALTOS
Barbara Barklem
Valerie Adam
Kieron Walsh
Mandy Freeman
Marion Arbuckle
Jane Kenney
Evelyn Beastall
Judith Lewy
Peter Andrews
Mary Clayton
Krystyna Marsden
Roger Barrett
Carolyn Edis
Lois McCabe
Alan Batterbury
Valerie Edwards
Alison Newbery
Norman Carpenter
Barbara Hilder
Alison Palmer
Geoffrey Forster
Susan Hinton
Kate Peters
James Garrow
Carol Hobbs
Rosalind Plowright
Nick Gough
Sheila Hodson
Michael Jeffery
SECOND BASSES
Susannah Priede
Yvonne Hungerford
Neil Martin
Vivien Rieden
Brenda Moore
Isobel Rooth
Maxwell New
Beryl Northam
Ann Sheppard
Michael Taylor
Prue Smith
Yvette Smith
Rosey Storey
Kathy Stickland
June Windle
Paula Sutton
Elisabeth Yates
Christine Wilks
Vivace Chorus
19
Choir Functionaries
Jeremy Backhouse
Music Director
Jeremy Filsell
Accompanist
The Committee
John Trigg MBE
Chairman
email: chairman@vivacechorus.org
Bob Cowell
Hon. Treasurer
email: treasurer@vivacechorus.org
Isobel Rooth
Hon. Secretary
email: secretary@vivacechorus.org
Jane Brooks
Membership Secretary
email: membership@yvivacechorus.org
Jackie Alderton
Ladies’ uniforms
Mailings Coordinator
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@yvivacechorus.org
Noreen Ayton
Methodist Church liaison
James Garrow
Fund-raising/Social events
Miranda Champion
Other responsibilities
Christine Medlow
Helen Beevers
Music Librarian
Patrons Liaison
email: patrons@vivacechorus.org
Chris Peters
Website coordinator
Chris Alderton
Front of House
Brenda Moore
Programme notes, soloists’ liaison & advertising
20
Vivace Chorus
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
Mr. Bill Bellerby MBE
Mr. Laurie James
Mrs. Doreen Bellerby MBE
Mrs. M. van Koetsveld
Mr. & Mrs. Peter Bennett
Mrs. Christine Medlow
Mr. G.S. Blacker
Mr. Ron Medlow
Mrs. J. G. Blacker
Dr. Roger Muray
Mrs. Ingrid Brockdorff
Mr. & Mrs. Maxwell S. New
Mr. & Mrs. R.H.R. Broughton
Mr. & Mrs. John Parry
Mr. H.J.C. Browne
Mrs. Jean Radley
Mrs. Maryel Cowell
Mr. & Mrs. B. Reed
Mrs. Jane Crane
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,
email: patrons@yvivacechorus.org
Vivace Chorus
21
or
For Complete
Family Eyecare
Extensive range offrames
|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
\
Music Lovers...
You'll find what you want at the
Record Corner
VAST SELECTION OF CDs & DVDs
OPEN 9.00am - 5.30pm I
Chris Alderton
-
MONDAY - SATURDAY
Decorator
4
Classical Music Specialists
sRock - Jazz - Pop - Folk
*Spoken Word Tapes
‘
)
*Separate Pop - Classical Departments
Why not let me ‘orchestrate’ your
«Listening Facilities
decorating?
+Music Accessories - Sheet Music
Interior and exterior work
;
FOR ENQUIRIES OR OUR MAIL ORDER SERVICE
®01483 422006
Tel: 01932 343625
CREDIT CARDS ACCEPTED
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22
POUND LANE, GODALMING, SURREY GU7 18X)
Vivace Chorus
A date for your diary
Come and Sing with Vivace Chorus
Saturday, 12th January 2008 : 10am — 4.30pm
at Normandy Village Hall
(refreshments provided)
Get your New Year off to a harmomous start
Join us and our Music Director, Jeremy Backhouse,
to sing two delightful works —
John Rutter’s jazzy ‘Birthday Madrigals’
which were written to celebrate George Shearing’s
'
80th birthday
and
Bob Chilcott’s ‘The Making of the Drum’
which is a choral cantata celebrating how the living
spirit of the drum is brought alive.
It's hugely exciting and rhythmic, with lots of
percussion and fun!
Pick up an application form tonight or, for more details and to download the
form, visit our website: www.VivaceChorus.org or phone 01483 566341.
CONCERT BOUQUETS from ‘And all that JAZZ', 14 May 2007:
‘It was exhilarating, incredible and THE BEST concert I have EVER been to; the choir were
brilliant and I couldn’t keep myself still throughout. The atmosphere in the Cathedral after
PS
the concert was buzzing, and to receive a standing ovation says it all. I LOVED it!’
‘Fantastic!” “Wonderful’ “Sent shivers down my spine’ ‘Best concert you've ever done...’
‘T looked at the choir and you were all moving in thythm.” ‘Everyone looked like they were
loving it.’
T've just got to congratulate you all; the choir were incredible in what appears to be a very difficult programme to
sing. It’s the first time I've heard any of Will Todd’s works and I’'m smitten with it all, the Mass, the choir, the
soloist well, words fail me; she was fantastic, as was Will Todd on piano.’
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The French Connection
sl iy
Duruflé: Requiem
Dupré: Quatre Motets, “Final” from Sept Piéces Op.27
Poulenc: Gloria
Widor: Toccata
There will be a pre-concert talk at 6:30pm
Vivace Chorus with Jeremy Filsell (Organ)
Conductor Jeremy Backhouse
Guildford Cathedral
Saturday 17th Nov 2007 at 7:30 pm
£20.00 - Reserved (Front Nave)
Ticket No. FNR
Car Parking
Space at the Cathedral is very limited.
You are advised to come early and use the Sur-
rey University Car Parks 1 & 2.
Take the Surrey University exit from the roundabout.
left.
Car park 1 is about 100m on the
Follow the road further around to reach Car Park 2 marked on your left.
After parking, follow the (pedestrian) Campus road opposite from CP1, or the path from
CP2 past Austin Pearce Building and then follow signs to the Cathedral (400m).
Dates for your Diary
[#
Sunday &‘th December 2007, Holy Trinity Church, Guildford.- Carols
Saturday 1st March 2008, Guildford Cathedral, 7.30 p.m. - Viennese Masters
Saturday 17th May 2008, Guildford Cathedral, 7.30 pm - Karl Jenkins Requiem