the
A sinfonta
musicat
ST MARTIN’'S
TRAFALGAR SQUARE LONDON
Saturday 19 January at 7.30pm
MOZART
REQUIEM
by candlelight
g
sinfonia
¥
Salzburg Symphony No. 3
Ave Verum Corpus
Divertimento from The Marriage of Figaro
Requiem
with Vivace Chorus
and Brandenburg Sinfonia
Conductor Jeremy Backhouse
Soloists:
Ann Gabriella Schwehelm soprano
Charlotte Stephenson mezzo soprano
Chrisopher Diffey tenor ~ Kongseok Choi bass
JEREMY BACKHOUSE
Conductor
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 choir’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
Braneeny 0no
X sinfonia
The Orchestra
Violin 1
Bassett Horn
John Mills
Andrew Webster
Hannah Smith
Juliet Bucknall
Lizzie Ball
Bassoon
Violin 2
Robert Porter
Charlotte Scott
Connie Tanner
Helena Ruinard
Trumpet
Viola
Chris Deacon
Jonathan Barritt
Tom Rainer
Rachel Robson
Trombone
Cello
Richard Pywell
Adrian Bradbury
Becky Smith
Katherine Jenkinson
Dougal Prophet
Bass
Timpani
Beverley Jones
Tristan Fry
Artistic Director
Concert Manager
Robert Porter
Jane Kersley
Ensemble Diretor
Events Manager
Mihkel Kerem
Wendy Warrilow
PA to Artistic Director
Eve Christie
Finance Director
Patricia Unwin
Associate Music Director
Transport Manager
Sarah Tenant-Flowers
Alan Fryer
Salzburg Symphony no 3
Wolfgang Amadeus Mozart (1756 - 1791)
In 1772, in Salzburg, the young Mozart wrote a set of three divertimenti for strings.
He almost certainly intended them for performance at the house of Count Firmian,
the Austrian Governor of Milan. Sometimes known as the Salzburg Symphonies,
they in fact take their form from the Italian Sinfonia, the fast-slow-fast format.
The first movement of the F major Divertimento is a lively allegro movement. It is
written in the traditional classical Sonata Form, but is quite short and easily digestible.
The second combines a typically elegant melody with a stylish, ornamented
decoration. The finale finds the composer in particularly playful mood combining a
bustling energetic momentum with numerous witty changes of character, reminiscent
of the great opera finales.
Ave Verum Corpus
Wolfgang Amadeus Mozart (1756 - 1791)
This short motet of less than fifty bars is one of the jewels in the choral repertoire.
Written on 17 June 1791 a few months before Mozart’s death on 5 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 way of returning
a favour to a friend. It is calm moving and serene.
Divertimento
Wolfgang 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
opera 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 i1t 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 Dies 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 S ssmayer to complete the Requiem.
S,ssmayer had spent the whole of Mozart’s final months with him, working on the
Requiem so it is likely that the whole piece closely resembles Mozart’s intentions.
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 bassett horns, bassoons, trumpets,
trombones and timpani, with the strings playing frequently 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.
Ann Gabriella Schwehelm soprano
Chrisopher Diffey renor
Charlotte Stephenson mezzo soprano
Kongseok Choi bass
The Brandenburg Sinfonia gratefully acknowledges the generosity of the
Josephine Baker Trust by supporting the soloists in this evening’s performance.
Soprano
Ana Gabriella Schwedhelm started her musical education at
the Conservatorio Nacional de Musica (Mexico City). In the
autumn of 2003, she joined the vocal faculty of the Royal
Academy of Music in London, where she was awarded the
Arthur Burcher Prize, the Henry Cummings Prize and the Eldee
Scholarship, and was also invited to join RAM’s prestigious
Song Circle. Ana sings regularly as a soloist in London’s major
venues including Christchurch Spitalfields (under the direction of Laurence Cummings
and Trevor Pinnock), St. John’s Smith Square (with Concerto delle Donne) and St.
Martin in the Fields (with the Brandenburg Symphonia). She was a featured soloist
in the London Handel Festival, singing Couperin’s Lecons de Tenébres at St. George’s
Hanover Square. Recent recital and concert engagements in the UK have included
the Amersham Festival with Iain Ledingham (2007), Bach’s St Matthew Passion in
Bristol Cathedral (February 2007) and B Minor Mass under Trevor Pinnock for the
Spitalfields Festival (June 2007).
Mezzo-Soprano
Charlotte Stephenson is a 24 year old Mezzo Soprano from
Manchester, she is currently studying at the Royal Academy
of Music on the prestigious Opera Course where she is
taught by Glenville Hargreaves.Previously charlotte gained
a First Class Honours Degree in vocal and opera studies at
the Royal Northern College of Music where she studied
with Mary Brennan and Sandra Dugdale.
Forthcoming engagements include covering the role of ‘Cherubino’ for the Royal
Academy’s production of ‘The Marriage of Figaro’ conducted by Sir Colin Davis in
November and singing the role of a Flower Maiden in Wagner’s ‘Parsifal’ for the
London Wagner Society in October. Charlotte will be performing as part of the
Academy’s Song Circle for their 2007/2008 concert season.
She is grateful to The Musicians Benevolent Fund, The Dame Josephine Baker Trust
and John Lewis for their support with her studies.
Tenor
Christopher Diffey, the Australian tenor, 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
Remondado, 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 Rene Jacobs & Orchestre des Champs-Elysées later next year.
Bass
Korean bass Kongseok Choi began his musical training at
Yon Sei University in Seoul where he graduated with a first-
class degree. In December 2006 he has won a prestigious
scholarship to Royal Academy Opera where now he studies
with Mark Wildman and Ingrid Surgenor.
During his time in the Academy, he took part in many Master-
classes with Diana Forlano, Robert Tear and Leo Nucci in
Georg Solti Academia in Italy in 2007 summer. He has
appeared as a soloist in Handel’s Messiah, Schubert’s Mass No. 2 in G major and
Beethoven’s Symphony No. 9 in D minor Op. 125 in Korea. Kongseok’s operatic
experiences include Papageno and Sprecher (Die Zauberfl te), King Rene (Iolanta)
and Bartolo cover cast (Le nozze di Figaro with Sir Colin Davis), And he had opera
gala concert in Cambridge at last year.
He is the recipient of many awards and prizes including the Richard Lewis-Jean
Shanks Award, Blyth-Buesst Operatic Singing Prize.
VIVACE CHORUS
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 Trees So High with the
Philharmonia Orchestra, both recordings being conducted by Vernon Handley.
The Choir i1s 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 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 Halls, Royal Albert Hall, Queen Elizabeth
Hall, Fairfield Hall and St John’s Smith Square.
The Brandenburg Sinfonia is also in great demand abroad and has, in recent years
visited France, USA, Bermuda, the Channel Islands, Barbados, Cyprus, Malta and
St Petersburg.
The varied range of activities undertaken by the orchestra include a major concert
series at St Martin-in-the- Fields and a major Classical Music cruise on the QE2.
One of the recent highlights was an International Opera Gala conducted by
Richard Bonynge in the presence of HRH Prince Charles.
A large number of artists of international standing have worked with the
orchestra including Richard Bonynge, Yvonne Kenny, Emmanuel Hurwitz,
Lesley Garrett, John Georgiadis, John Wallace, Emma Kirkby, James Bowman
and Gordon Hunt.
Its repertoire ranges from Bach to Lloyd Webber and its members give over
one hundred 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 Central Festival Opera, First Act Opera,
London City Opera, and English Pocket Opera.
“What made it actually rather enjoyable was the playing of the chamber
orchestra which was consistently well shaded and nuanced”
THE TELEGRAPH
“Some of the most stylish Mozart playing for some time”
THE TIMES
“An ensemble of distinguished players”
THE INDEPENDENT ON SUNDAY
“Played with a verve and sparkle”
THE TIMES
musicat
ST MARTIN'’S
TRAFALGAR SQUARE LONDON
SPRING CHORAL
FESTIVAL 2008
the
SBrapeenire
¥ sinfonta
Saturday 19th January 2008
Mozart Requiem
Friday 1st February 2008
Fauré Requiem
Friday 15th February 2008
Rachmaninov Vespers
Friday 29th February 2008
Mozart Requiem
Brandenburg Baroque Soloists
Friday 14th March 2008
Vivaldi
Gloria and Four Seasons
St. Martin-in-the-Fields, Trafalgar Square, London WC2N 4))
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 from coughing;
A handkerchief placed 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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