Financially assisted by
e
«J
fonductor: Jeremy Backhouse
GUILDFORD BOROUGH
ANNA ARTHUR & ASSOCIATES
SOLICITORS
EVERY SUCCESS FOR THIS EVENING
FIERI FACIAS HOUSE, HIGH STREET
RIPLEY, SURREY GU23 6AF
TEL: 01483 222499 — FAX: 01483 222766
President Sir David Willcocks CBE MC
Verdi:
Messa da Requiem
with Freiburger Bachchor and Romsey Choral Society
Claire Seaton
Soprano
Susanna Spicer
Mezzo-soprano
Andrew Mackenzie-Wicks
Tenor
Michael Bundy
Bass
Brandenburg Sinfonia
Conductor: Jeremy Backhouse
Vivace Chorus wish to dedicate tonight's concert to the
memory of Vernon (Tod) Handley CBE, who died on
10 September. Tod was the former Music Director of the
Guildford Philharmonic Orchestra from 1962-85, and under
whom we sang as the Guildford Philharmonic Choir.
Please note: there will be NO INTERVAL during this performance.
Vivace Chorus
3
Giuseppe Verdi (1813 — 1901)
Verdi was born in Le Roncole, near
Busseto, Duchy of Parma, in 1813,
the son of an innkeeper and grocer.
Verdi displayed undoubted musical
talent very early. While studying in
Busseto,
he
came
under
the
patronage of Antonio Barezzi, a rich
~
merchant and the President of the
local Philharmonic Society, who
helped Verdi to continue his musical
studies in Milan. Verdi became the
most prominent of young Italian
composers and dominated the world
of
Italian
triumphant
opera
from
success
at
his
first
Scala,
Milan, in 1842 with Nabucco, until
his
final
two
Shakespearean
masterpieces, Otello in 1887 and
La
Falstaff in 1893, both of which were
staged at the same opera house.
Verdi's career coincided with the rise of Italian nationalism. His operatic
output of stirring melody, and tragic and heroic situations, struck a chord
in an Italy struggling for freedom and unity, causes with which he was
sympathetic. Among the other best-known of his 28 operas are Macbeth,
Rigoletto, Il Trovatore, La Traviata, Simon Boccanegra,
Maschera, La Forza del Destino, Don Carlos and Aida.
Un Ballo in
The origin of Verdi's Requiem stemmed from the death of Rossini in
1868. Verdi proposed that a Requiem should be composed by 13 leading
ltalian contemporaries of Rossini, including himself, each of whom would
contribute a movement. Somewhat predictably, initial enthusiasm for the
idea soon gave way to all sorts of professional rivalries, and it also
became clear that the piece would be little more than an unconvincing
pot-pourri. Thus although the Requiem was compiled and completed, it
was not performed during Verdi's lifetime.
In 1873, the Italian poet, novelist and national hero Alessandro Manzoni
died. Verdi had been a lifelong admirer and was deeply affected by his
death. He decided to write a Requiem in Manzoni’s memory, and began
by re-working the Libera me which he had composed 5 years earlier for
the ill-fated Rossini project. Although it is Verdi’s only large-scale work
4
Vivace Chorus
not intended for the stage, the Messa da Requiem is unashamedly
theatrical in style, with passages of great tenderness and simplicity
contrasting with intensely dramatic sections. Writing at the time, the
eminent conductor and pianist Hans von Bllow aptly described it as
"Verdi’s latest opera, in church vestments".
The first performance of the Requiem took place on 22 May 1874, the
first anniversary of Manzoni’s death, in the Church of San Marco, Milan.
Special permission had to be obtained from the Archbishop for the
inclusion of the female choristers, who were hidden behind a screen and
clad in full-length black dresses and mourning veils. Although it was a
successful performance, the restrained circumstances and prohibition
against applause produced a somewhat muted reaction.
In contrast, the second performance 3 days later, at La Scala (the opera
house is shown on the cover of tonight's programme), was received by
the capacity crowd with tumultuous enthusiasm. The Requiem became
an overnight sensation, and was received with equal acclaim at the many
European performances that soon followed. Its British premiere took
place in May 1875 at the Albert Hall, conducted by Verdi himself, with a
chorus of over 1000 and an orchestra of 140. One journalist described
the work as 'the most beautiful music for the church that has been
produced since the Requiem of Mozart" — a view that was echoed by
most people. However, a significant minority found it offensive that Verdi,
an agnostic, should be writing a Requiem. For them the very qualities
which made his music so ideally suited to the theatre made it wholly
unacceptable for the church. Today this difference between traditional
sacred music and Verdi’'s operatic treatment of the Requiem text is no
longer considered contentious.
Messa da Requiem
l.
Requiem and Kyrie
Il.
Sequence (Dies irae)
.
Offertorio
IV.
Sanctus
V.
Agnus Dei
VI.
Lux aeterna
VIl.
Libera me
The work begins with a hushed and solemn falling phrase on the cellos,
a motif that recurs later. The opening Requiem is followed by the Kyrie,
introduced by the four soloists. Here the operatic nature of the piece is
Vivace Chorus
5
clearly revealed, with its expansive rising melody and wide dynamic
contrast.
The lengthy second movement is a sequence of nine widely contrasting
sections containing some of Verdi’s most dramatic and emotional music,
notably the terrifying Dies irae theme with doom-laden thunderclaps
provided by the bass drum; the on- and off-stage trumpets representing
the ‘last trump’ of Biblical prophecy; and the tender pleading of the Salva
me. The Dies irae motif is never far away, but eventually the terrors of
the Last Judgement give way to the heartfelt Lacrymosa, and quiet final
prayer, Dona eis requiem.
For the Offertorio, Verdi adopts a much more liturgical idiom, with a
predominantly four-part vocal texture over a restrained accompaniment
for
the soloists’ Domine Jesu. Trumpet fanfares announce the
exhilarating Sanctus, an animated fugue for double chorus based on an
inversion of the opening cello motif, with colourful, scurrying orchestral
writing.
The Agnus Dei sounds at first as if it is from some remote region. After
the rich romanticism of much of the earlier music, Verdi presents us with
an austere, unaccompanied duet, in bare octaves. The chorus answers,
also in octaves but with the addition of a small group of instruments, and
then, as the second and third statements of the Agnus Deij text progress,
the
music grows
in
richness
and warmth.
Lux aeterna is
a short
movement for a trio of solo voices, sometimes unaccompanied and
sometimes supported by shimmering strings.
After the chant-like opening of the final movement, Libera me, and a
short arioso for the soprano soloist, Verdi returns to the original Dies irae
and Requiem themes. The extended final section of the work is another
energetic fugue, again loosely based on a version of the cello motif. After
a tremendous climax, the work gradually moves towards a quiet end,
although the concluding prayer of supplication, surely reflecting Verdi's
own uncertainty, noticeably lacks the final serenity and assurance of
salvation found in most other Requiems.
Few choral works have captured the public imagination in the way that
Verdi's Requiem has. The uncomplicated directness of his style, his
soaring, lyrical melodies which lie perfectly for the human voice, the
scintillating orchestration and, most significantly, the work’s extraordinary
dramatic and emotional intensity, all contribute to the Requiem’s status
as one of the great icons of Western music.
John Bawden
6
Vivace Chorus
I. Requiem and Kyrie
Quartet and Chorus:
Requiem aeternam dona eis, Domine,
Grant them eternal rest, Lord,
Et lux perpetua luceat eis.
And may perpetual light shine on them.
Te decet hymnus, Deus, in Sion, et
Thou, Lord, art praised in Sion, and
Tibi reddetur votum in Jerusalem
A vow shall be paid to Thee in Jerusalem.
Exaudi orationem meam:
Hear my prayer,
Ad te omnis caro veniet.
To Thee all flesh shall come.
Kyrie eleison.
Lord have mercy upon us.
Christe eleison.
Christ have mercy upon us.
Il. Sequence
Chorus:
Dies irae, dies illa,
Day of wrath, that day
Solvet saeclum in favilla,
Will dissolve the earth in ashes
Teste David cum Sibylla.
As David and the Sibyl bear witness.
Quantus tremor est futurus,
Quando judex est venturus,
What dread there will be
Cuncta stricte discussurus!
To weigh all things strictly.
Bass and Chorus:
Tuba mirum spargens sonum,
A trumpet, spreading a wondrous sound
Per sepulcra regionem,
Through the graves of every land,
Coget omnes ante thronum.
Will drive all before the throne.
When the Judge shall come
Mors stupebit et natura,
Death and Nature will be astonished
Cum resurget creatura,
When all creation rises again
Judicanti responsura.
To answer to the Judge.
Mezzo-soprano and Chorus:
Liber scriptus proferetur,
A book of writing will be brought forth
In quo totum continetur,
Containing everything for which
Unde mundus judicetur.
The world shall be judged.
Judex ergo cum sedebit,
Therefore when the Judge takes his seat
Quidquid latet apparebit:
Whatever is hidden will appear.
Nil inultum remanebit.
Nothing will remain unavenged.
Dies irae, dies illa,
Day of wrath, that day
Solvet saeclum in favilla,
Will dissolve the earth in ashes
Teste David cum Sibylla.
As David and the Sibyl bear witness.
Soprano, Mezzo-soprano and
Tenor:
Quid sum miser tunc dicturus?
What then shall | say, wretch that | am,
Quem patronum rogaturus,
What advocate entreat to speak for me,
Cum vix justus sit securus?
When even the righteous are not secure?
Vivace Chorus
Solo Quartet and Chorus:
Rex tremendae majestatis,
Qui salvandos salvas gratis:
Salva me, fons pietas.
King of dread majesty,
Who freely savest the redeemed,
Save me, fount of pity.
Soprano and Mezzo-soprano:
Recordare, Jesu pie,
Quod sum causa tuae viae:
Ne me perdas illa die.
Quaerens me, sedisti lassus;
Redemisti crucem pacem:
Tantus labor non sit cassus.
Juste judex ultionis:
Donum fac remissionis
Ante diem rationis.
Remember, merciful Jesu,
That | am the cause of Thy pilgrimage,
Do not forsake me on that day.
Seeking me Thou didst sit down weary,
Thou didst redeem me on the Cross,
Let not such toil be in vain.
Just and avenging Judge,
Grant remission
Before the day of reckoning.
Tenor:
Ingemisco tanquam reus,
Culpa rubet vultus meus;
Supplicanti parce, Deus.
Qui Mariam absolvisti,
| groan like a guilty man,
| blush for my wrong-doing,
Spare a suppliant, God.
Thou who didst absolve Mary
Et latronem exaudisti,
Mihi quoque spem dedisti.
And hearken to the thief,
Preces meae non sunt dignae,
My prayers are not worthy,
But Thou in Thy merciful goodness grant
Sed tu, bonus, fac benigne,
Ne perenni cremer igne.
Inter oves locum praesta,
Et ab hoedis me sequestra,
Statuens in parte dextra.
Bass and Chorus:
Confutatis maledictis,
Flammis acribus addictis,
Voca me cum benedictis.
Oro supplex et acclinis,
Cor contritum quasi cinis:
Gere curam mei finis.
Chorus:
Dies irae, dies illa,
Solvet saeclum in favilla,
Teste David cum Sibylla.
To me also hast given hope.
That | burn not in everlasting fire.
Place me among Thy sheep
And separate me from the goats,
Setting me on Thy right hand.
When the wicked are confounded
And consigned to bitter flames,
Call me with the blessed.
| pray in supplication on my knees,
My heart contrite as ashes.
Take care of my end.
Day of wrath, that day
Will dissolve the earth in ashes
As David and the Sibyl bear witness.
Vivace Chorus
Solo Quartet and Chorus:
Lacrymosa dies illa,
Qua resurget ex favilla,
Tearful that day
When from the dust shall rise
Judicandus homo reus.
Sinful man to be judged.
Huic ergo parce, Deus.
Pie Jesu Domine:
Therefore spare him, God.
Merciful Jesu, Lord,
Dona eis requiem.
Amen.
Amen.
Grant them rest.
lll. Offertorio
Quartet:
Domine Jesu Christe, Rex gloriae:
Lord Jesus Christ, King of glory,
Libera animas omnium fidelium
Deliver the souls of all the faithful dead
Defunctorum de poenis inferni
Et de profundo lacu;
And from the deep pit.
From the pain of hell
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.
That they not fall into darkness.
Sed signifer sanctus Michael
But may the holy standard-bearer,
Repraesentet eas in lucem sanctam.
Quam olim Abrahae promisisti
Michael, lead them into the holy light;
Which Thou didst promise of old to
Et semini ejus.
Abraham and his seed.
Hostias et preces tibi, Domine,
Lord Jesus Christ, King of glory,
Laudis offerimus.
Tu suscipe pro animabus illis,
Sacrifices and prayers we offer Thee,
Quarum hodie memoriam facimus.
Whom we commemorate this day.
Fac eas, Domine,
Let them, Lord,
Lord; receive them for those souls
De morte transire ad vitam,
Pass from death into life,
Quam olim Abrahae promisisti
Which Thou didst promise of old to
Et semini ejus.
Abraham and his seed.
Libera animas omnium fidelium
Deliver the souls of all the faithful dead
Defunctorum de poenis inferni;
Fac eas de morte transire ad vitam.
From the pain of hell;
May they pass from death into life.
IV. Sanctus
Double Chorus:
Sanctus, sanctus, sanctus, Dominus
Deus Sabaoth.
Pleni sunt coeli et terra gloria tua.
Holy, holy, holy
Hosanna in excelsis!
Lord God of Hosts;
Heaven and Earth are full of Thy glory.
Hosanna in the highest.
Benedictus qui venit in nomine
Domini. Hosanna in excelsis!
Of the Lord. Hosanna in the highest.
Vivace Chorus
Blessed is he who cometh in the name
V. Agnus Dei
Soprano, Mezzo-soprano and
Chorus:
Agnus Dei, qui tollis peccata mundi,
Dona eis requiem.
Agnus Dei, qui tollis peccata mundi,
Dona eis requiem sempiternam.
Lamb of God, who takest away the sins of
the world, grant them rest.
Lamb of God, who takest away the sins of
the world, grant them everlasting rest.
VI. Lux aeterna
Mezzo-soprano, Tenor and Bass:
Lux aeterna luceat eis, Domine,
Cum sanctis tuis in aeternam;
Quia pius es.
Requiem aeternam dona eis, Domine,
Et lux perpetua luceat eis.
VIl. Libera me
Soprano and Chorus:
Libera me, Domine, de morte aeterna
In die illa tremenda;
Quando coeli movendi sunt
Et terra: dum veneris
May eternal light shine upon them, Lord,
With Thy saints for ever,
For Thou art merciful.
Grant them eternal rest, Lord,
And may perpetual light shine upon them.
Deliver me, Lord, from eternal death,
On that fearful day
When the heavens are moved
And the earth: when thou shalt come
Judicare saeculum per ignem.
To judge the world by fire.
Tremens factus sum ego et timeo,
Dum discussio venerit atque
I tremble, and | fear the judgment
And the wrath to come,
Ventura ira,
Quando coeli movendi sunt et terra.
When the heavens and the earth
Shall be moved.
Dies irae, dies illa calamitatis et
Miseriae; dies magna et amara valde.
Day of wrath, that day of terror, calamity,
And misery, that great and bitter day.
Requiem aeternam dona eis, Domine,
Et lux perpetua luceat eis.
Grant them eternal rest, Lord,
And may perpetual light shine upon them.
Libera me, Domine, de morte aeterna
Deliver me, Lord, from eternal death
On that fearful day.
In die illa tremenda;
Quando coeli movendi sunt
Et terra: dum veneris
Judicare saeculum per ignem.
Libera me, Domine, de morte aeterna
In die illa tremenda.
Libera me.
When the heavens are moved
And the earth when thou shalt come
To judge the world by fire.
Deliver me, Lord, from eternal death
On that fearful day.
Deliver me, Lord.
Some of the printed music for this evening's concert has been hired
from Surrey County Council Performing Arts Library.
10
Vivace Chorus
Claire Seaton — Soprano
Born
in
Wolverhampton,
Claire Seaton studied at the
Birmingham School of Music,
at
the
Royal
Music
with
and
Kenneth
Academy
Rae
Bowen,
subsequently
of
Woodland
with
and
Linda
Esther-Grey. She joined Kent
Opera during her final year at
the Academy, was awarded
the 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
Glyndebourne
at
included
covering the roles of Ellen
Orford (Peter Grimes) and
the Countess (Le Nozze di Figaro), followed by contracts with Opera de
Lyon and Opera Europa.
One of the country's
most adaptable sopranos,
Claire also enjoys
remarkable success in the early music field, working with ensembles
such as The Tallis Scholars and 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; she is particularly
renowned
for
her
performances of
Verdi's
Requiem,
Brahms'
Ein deutsches
engagements
Requiem
and
Mozart's
C
Minor
Mass.
Recent
have included Strauss's Four Last Songs, Gershwin's
Porgy and Bess and Vaughan Williams' Sea Symphony in 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,
recently
released
by
Fleet
Street
Records.
Claire's
discography also includes the role of The Believer in Rutland Boughton's
Bethlehem (Naxos) and Pergolesi's Stabat Mater, with counter-tenor
Andrew Watts (Fleet Street Records).
Vivace Chorus
11
Susanna Spicer — Mezzo-soprano
One of the first female choral
scholars
at Trinity College,
Cambridge, Susanna Spicer
subsequently
studied
London's Guildhall.
at
A highly experienced concert
singer,
her
solo
engagements have included
appearances
Festival
Rattle
at
Hall
and
Philharmonic
the
Royal
with
Simon
the
London
Orchestra
in
Stravinsky's Mass and with
Kurt Masur and the LPO in
Debussy's
de
Saint
for
Le Martyre
Sebastien (both
Radio 3), at the Royal Albert
Hall with David Willcocks in
Messiah and Elijah, at the
Queen
Elizabeth
Hall
in
Music with the English Chamber
Orchestra and at the BBC Proms in Schubert's Die Verschworenen with
the Orchestra of the Age of Enlightenment and Nicholas McGegan.
Vaughan
Williams'
Serenade
to
Susanna sang in Trevor Pinnock's performances of Bach's St John and
St Matthew Passions in Europe, Japan and Turkey, and has performed
all the major works of the oratorio repertoire in the UK's principal concert
halls and cathedrals. These include Mahler's Symphony No. 8 in
Edinburgh's Usher Hall, Verdi's Requiem in the Barbican and Winchester
Cathedral, and Beethoven's Missa Solemnis in The Maltings, Snape.
She has sung for Glyndebourne Festival Opera, Kent Opera and Opera
de Lyon and her recordings include Paul Patterson's Missa Brevis with
the LPO, Poulenc's Le Dialogue des Carmelites with Kent Nagano,
works by Britten with The Finzi Singers, Beethoven's Choral Fantasia
and works by Percy Grainger with John Eliot Gardiner, and Biber's Missa
Christi resurgentis for Andrew Manze and The English Concert.
12
Vivace Chorus
Andrew Mackenzie-Wicks — Tenor
Andrew Mackenzie-Wicks was a
chorister at Chichester Cathedral
and a choral scholar at Durham
University, where he read music.
He then studied singing and
performance
at
the
Royal
Northern
College
of
Music,
assisted by The Countess of
Munster Musical Trust.
He has subsequently appeared
with many of the major British
Opera
companies,
including
Glyndebourne
Festival
Opera,
English National Opera, Scottish
Opera, Welsh National Opera,
Opera North, Grange Park Opera,
Opera
Northern
Ireland,
the
Dublin Opera Theatre Company,
Buxton
Festival
Opera
and
English Touring Opera. His repertoire encompasses major roles in
operas by Handel, Mozart, Rossini, Donizetti, Puccini and Richard
Strauss, and also more contemporary works by Stravinsky, Prokofiev
and Britten.
Andrew's extensive concert career includes performances throughout
Britain and Europe and at the BBC Proms. He has toured with The
Monteverdi Choir and Sir John Eliot Gardiner, The Gabrieli Consort and
Paul McCreesh, and with The King's Consort. Notable performances
include Mozart's Requiem and Mass in C Minor in the USA and Europe;
a televised performance of Handel's La Ressurezione in Rome; Bach's
Christmas Oratorio in Copenhagen, Handel's Messiah in Mexico City and
Britten's War Requiem in Germany and Russia.
Recent performances in the UK also include Elgar's The Kingdom,
Beethoven's Missa Solemnis and Choral Symphony, Verdi's Requiem
and Rossini's Petite Messe Solennelle.
Vivace Chorus
13
Michael Bundy read music at
Trinity
and
College,
studied
Cambridge,
singing
at the
Guildhall School of Music
and Drama and with Hugues
Cuenod and Erich Vietheer
before establishing a career
that spans many genres. His
oratorio performances have
included all the major works
of the repertoire in the UK's
principal
concert
cathedrals
halls
and
and
abroad,
including
Elgar's Dream of
Gerontius in Prague. His solo
engagements with
Sir John
Eliot Gardiner have included
Berlioz' L'Enfance du Christ
et el
gag-Cnc
B=IEEM
and
Handel's
Israel in
Egypt
(BBC Proms), Bach's B Minor
Mass, Haydn's Nelson Mass, and Mozart's C Minor Mass and Requiem.
He has toured Europe, Turkey and Japan with Trevor Pinnock and The
English Concert in Bach's St Matthew Passion and has sung with groups
such
as The Sixteen, the Orchestra of the Age of
Futurum Ensemble of Sweden and the BBC Singers.
Enlightenment,
Michael's operatic
repertoire exceeds forty roles and
includes
performances with the Royal Opera, English National Opera, Kent
Opera, Scottish Opera, Theater Basel and Mauritius Opera. He also
specialises in French mélodie and has recorded a series of CDs
featuring songs by the Parisian organists Widor, Vierne and Tournemire.
A book
Prophets
publication shortly.
without Honour on
the
same subject
is
due for
Michael maintains a strong interest in contemporary music, having
performed Jonathan Harvey's Passion and Resurrection and the
premieres of Flowers (John Hardy), Helen of Braemore (Eddie McGuire)
and Stabat Mater (Cecilia Macdowall). On a lighter note, he played Olin
Britt (Music Man)
and Mr Lindquist (A Little Night Music) for BBC
Radio 2, and is one of the 'Star Singers' in Friday Night is Music Night.
14
Vivace Chorus
Jeremy Backhouse
Jeremy Backhouse began his musical career in Canterbury Cathedral,
where he was Head Chorister, and later studied music at Liverpool
University.
He spent 5years 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 Consultant Editor for
EMI Classics with a career as a freelance conductor. In November 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 Philharmonic Choir (now
Vivace Chorus). Major works performed in Guildford Cathedral 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 anniversary 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
15
_
Brand@flburg AI'lISt-IC Dlrec'tor. Robert Porter
RN
the
SIHFOflla
Associate Music Director — Sarah Tenant-Flowers
: The Brandenburg Sinfonia is one of the most dynamically versatile
‘ musical organisations in the country Itis 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, Russia, Germany, Japan and Hong?’
- Kong. In 1999 the orchestra established major concert series at both
. St Martin-in-the-Fields and Crystal Palace Bowl.
'
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. lts
s repertoire ranges from Bach to Lloyd Webber and its members give
;around 100 performances of orchestral, chamber, choral and operatic
,musm during the year. The orchestras for a number of touring
'compames are formed from members of the Brandenburg Sinfonia
flncludlng First Act Opera, London City Opera, Opera Holland Park,
¢ London Opera Players and Central Festival Opera.
CONCERT BOUQUETS from 'Classical Countdown' (17 May 2008)
Congratulations to you and all at Vivace. Last
night's concert was superb. A great programme
wonderfully performed. It was magical and
uplifting. Just what the doctor ordered!!!
This was certainly an innovative mix of the familiar
(even if not always in a familiar format) sung with what
came over as genuine affection, and the relatively
unknown. Everything was performed to the high
standard we have come to expect from you. More
Contemporary Choral Classics please!
16
Vivace Chorus
SAN
¢ Violin 1
Viola
Flute
‘Mihkel Kerem
Matthew Quenby
EMorven Bryce
Karen Jones
Evgeny Chebykin
Ellen Marsden
Nicola Smedley
Chris Lund
Anna Biggin
Hanora Farrell
Clare Robson
7Julian Saxl
Morgan Goff
Brandenburg Sinfonia
Irina Pakkanen
Arun Menon
¢ Caroline Frenkel
¢ Katy Gorsuch Jones
Emma Owens
Horn
Rachel Thomas
Susie Walker
Oboe
Ruth Contractor
Ann Laws
SSN
Trumpet
Kate Moore
fHeIena Ruinard
Cello
¢ Oliver Heath
Adrian Bradbury
Clarinet
Lucy Wilding
Anthony Pike
Heidi Sutcliffe
Ben Rogerson
Tom Lessels
Michael Laird
,
Irene Haberli
’
Claire Helsden
:
EGabrieIa Nikula
[
£
¢ Violin 2
Andy Hendrie
Harriet Wiltshire
‘Sophie Appleton
Will Rudge
Bassoon
¢Nicola Gleed
Richard Skinner
¢Sam Aylward
Bass
¢ Rachel Rowntree
Albert Dennis
Jonathan Price
Frances Casey
Joanna Shewan
{ Erika Eisele
¢ Phillip Granell
¢Helen Davies
¢ Tina Jacobs-Lin
Victoria Curran
Andrew McGeoghan ‘
Rosemary Cow
Laura Campbell
Trombone
Danny Scott
/
Aidan Chamberlain
Timpani
Dougal Prophet
Gillian McDonagh
Tuba
Percussion
Richard Halliday
Stephen Quigley
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
Financially assisted by
gy
GUILDFORD
BOROUGH
from the Foundation for Sport and Arts,
PO Box 20, Liverpool.
Vivace Chorus
Registered Charity No 1026337
in the name of Guildford Philharmonic Choir
Vivace Chorus
17
Vivace Chorus
Vivace
Chorus
came
into
being
in
May 2005,
when
to
reflect
its
independent status, the former Guildford Philharmonic Choir 'rebranded'
itself. The choir was founded in 1947 and recently celebrated the
completion of its 60th season. We enjoy a challenging and varied concert
repertoire, performing works from the 16th century onwards — some wellknown, but also many rarities deserving to be heard by a wider audience.
In the 2004/05 season, we introduced our Contemporary Choral Classics
Cycle (CCCCQC), an innovative series of works from the late 20th and 21st
century. To show the variety of our recent programmes:
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 — well-loved works
by Elgar, Parry and Vaughan Williams. But the highlight of the year was
undoubtedly our third 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! Following on from this successful
collaboration, we have commissioned a new work from Will Todd, which
will be premiered at our next CCCC concert, in May 2009.
To start the 2007/8 season (and to test our nerves) our programme by
French composers was sung only with organ or unaccompanied; this
was followed by our Viennese Masters concert, which included more
a cappella singing (three Bruckner motets and a 16-part arrangement of
Mabhler's Ich bin der Welt abhanden gekommen), together with works by
Haydn and Mozart, and orchestral accompaniment. The centrepiece of
the CCCC concert which followed was Karl Jenkins' Requiem, with other
works by Britten, Fauré, Elgar, Barber and Mahler.
We now regularly sing in a 'Last Night of the Proms' charity concert to a
packed Fairfield Halls, Croydon. With our good friends the Brandenburg
Sinfonia, we also sing at least once a year in the inspiring venue of
St Martin-in-the-Fields, performing works such as Mozart's Requiem.
If you are interested in singing with us, please contact Jane Brooks,
membership@vivacechorus.org.
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.
18
Vivace Chorus
Vivace Chorus
FIRST SOPRANOS
FIRST ALTOS
Joanna Andrews
Penny Baxter
Helen Beevers
Bob Cowell
Monika Boothby
Mary Broughton
Tim Hardyment
Jane Brooks
Yvonne Budd
Christine Curtis
FIRST TENORS
lan Landsborough
Nick Manning
Miranda Champion
Liz Durning
Elaine Chapman
Chris Robinson
Celia Embleton
Jillian Doran
John Trigg
Sue Fletcher
Ingrid Hardiman
Christine Medlow
Rosalind Milton
Rachel Edmondson
Mo Kfouri
Hilary Minor
Susan Norton
Robin Onslow
Rachel Owen
Margaret Parry
Margaret Perkins
Kate Rayner
Judy Smith
Nikki Vale
SECOND SOPRANOS
Jacqueline Alderton
Anna Arthur
Barbara Barklem
Anna Durning
Mandy Freeman
Veronica Johnson
SECOND TENORS
John Bawden
Bob Bromham
Mary Moon
Tony Chantler
Penny Muray
Marjory Rollo
Lesley Scordellis
Geoff Johns
Stephen Linton
Martin Price
Catherine Shacklady
Claire Taylor
FIRST BASSES
Hilary Trigg
Tom Bayliss
Pamela Woodroffe
John Britten
Tony Budd
SECOND ALTOS
Michael Golden
Valerie Adam
Jeremy Johnson
Marion Arbuckle
Eric Kennedy
Chris Newbery
Chris Peters
Deborah Bayliss
Evelyn Beastall
Sylvia Chantler
Mary Clayton
Andrew Pink
Robin Privett
David Ross
Jane Kenney
Judith Lewy
Valerie Edwards
Krystyna Marsden
Philip Stanford
Elisabeth Evans
Elizabeth Massey
Lois McCabe
Kieron Walsh
Valerie Garrow
Claire Hann
Enid Millinger
SECOND BASSES
Barbara Hilder
Susan Hinton
Carol Hobbs
Roger Barrett
Norman Carpenter
Sheila Hodson
Yvonne Hungerford
Geoffrey Forster
Debbie Morton
Alison Newbery
Alison Palmer
Kate Peters
Rosalind Plowright
Susannah Priede
Vivien Rieden
Isobel Rooth
Andrea Dombrowe
Peter Andrews
Dave Cox
Brenda Moore
Jacqueline Norman
Katharine Pink
James Garrow
Prue Smith
Michael Jeffery
Nick Gough
Roger Hardiman
Ann Sheppard
Rosey Storey
Kathy Stickland
Neil Martin
June Windle
Paula Sutton
Maxwell New
Elisabeth Yates
John Parry
Pauline Wakeford
Christine Wilks
Frances Worpe
Vivace Chorus
Roger Penny
Chris Short
Michael Taylor
19
Freiburger Bachchor
Artistic Director: Hans Michael Beuerle
The Freiburg Bach Choir was founded by Theodor Egel as a student
choir of the University of Freiburg in the winter semester of 1943/44.
After intensive rehearsing in the semester, the choir performed
J.S. Bach's St Matthew Passion in the Minster of Freiburg on 5th March
1944; 39 years later, Theodor Egel conducted his final performance of
this same piece at the same place.
The time between these concerts is a history of great, almost legendary,
musical achievements and artistic success. The Freiburg Bach Choir not
only became a characteristic institution of the cultural life in its home
town and the Freiburg region, but also caused great sensation with
several concerts in Germany and abroad.
In 1983, Theodor Egel handed the direction of the Freiburg Bach Choir to
Hans Michael Beuerle. All the concerts the choir has performed in the
region and abroad (Switzerland, France, Italy, Great Britain, Ukraine,
Japan) since 1983, prove that Beuerle has been successful in continuing
the demanding tradition of the ensemble.
The repertoire of the Freiburg Bach Choir, which has been acquired
meanwhile with its conductor Hans Michael Beuerle, includes a large
part of the significant music for choir and orchestra from the 18th to the
20th century: Bach's Passions, the Christmas Oratorio and the Mass in
B minor, Handel's Messiah and Israel in Egypt, C.P.E. Bach's Magnificat,
Haydn's Creation and The Seasons (available on CD), Mozart's Requiem
and Mass in C minor, Beethoven's Missa Solemnis, Schubert's Mass in
E flat major and Mass in A flat major, Schumann's Scenes from Goethe's
Faust and Requiem for Mignon (available on CD), Verdi's Requiem,
Bruckner's Mass in D minor, Mass in F minor and Requiem, Brahm's
Ein deutsches Requiem (available on CD), Schicksalslied, Nanie and the
Alto Rhapsody (available on CD), Dvorék's Stabat Mater and Requiem,
Mendelssohn's Die erste Walpurgisnacht (available on CD) and Eljjah,
Schoenberg's Modern Psalm, Penderecki's Dies Irae and Wolfgang
Rihm's Maximum est unum (first performance).
Vivace Chorus would like to thank Baker Tilly for their generous support
towards the Freiburger Bachchor's visit for this evening’s concert.
20
Vivace Chorus
Founded in 1981, and now numbering between 70 and 80 singers, the
choir presents a minimum of three concerts a year, at least two of which
are in Romsey Abbey. Working regularly with professional soloists and
orchestras, the choir has become one of the most progressive and
adventurous choral groups in the region.
As well as singing many of the standard choral favourites (last season
included Verdi’'s Requiem, Vaughan Williams’ Sea Symphony and music
by Britten, Finzi and Rutter), the Society frequently explores less familiar
repertoire, and has established itself as a choir with a varied and
challenging programme.
Previous concerts have included Bach’'s St Matthew Passion, Bernstein's
Chichester Psalms, Handel's Dixit Dominus and Rutter's Mass of the
Children. In 1996 the choir won a Performing Right Society Enterprise
Award. Living composers have been frequently championed and include
Bob Chilcott, Tarik O’Regan and John Tavener.
The choir has performed in Europe; Caen and Rouen in France, Ghent in
Belgium, Cologne and Steyerberg in Germany and Den Haag in Holland.
Vivace Chorus
21
Freiburger Bachchor
SOPRANOS
Myriam Egel
ALTOS
Iris Bechtold
TENORS
Gunter Fritz
Rena Hadji-Cheykh
Friederike Herrmann
Andreas Kautzsch
Helga Kaiser
Gertrud Keil
Inge Knipper
Christine Kom
Jonas Schupp
Werner Voss
Christine Lauck-Bauer
Anneli Petrak
Barbara Mutke
Gudrun SaBe
Sabine Spors
Anne Verbeek
BASSES
Freimut Bahmann
Susanne Steinhauser
Chikako Tokada
Ursula Weltzien
Angelika Wélfing
Werner Bauer
Guido Blssemeier
Johannes Charra
Martin Kéllner
Alfred Kiinschner
Albrecht Verbeek
Karl-Hinrich Voss
Hans-Ulrich Weltzien
Romsey Choral Society
SOPRANOS
ALTOS
Sarah Andrews
Jane Bull
TENORS
Ewan Love
Sarah Carmichael
Julie Carlton
John Niblett
Natalie Carr
Catherine Chatters
Sarah Cornforth
Peter Phillips
Marlene Clayson
Janet Féat
Anne Goodswen
Gay Corran
Jacky Gilks
BASSES
Bob Goodwin
Pat Goodwin
Sally Hall
Myra Glover
Patricia Hilton-Robinson
Chris Green
Mike Hollingworth
Elizabeth Heap
Jenny Mills
Paul Kuzan
Lynn Hollingworth
Sue Reese
Clive Marks
Cheryl Irons
Joan Robinson
Hywel Morgan
Helen Jeanes
Helen King
Pam Leech
Lynne Smith
Wendy Stafford
Berry Stone
Mark Smith
John Tilling
Ross Valentine
Julia Loescher
Kaarina Manzur
Cynthia Swann
Kath Tilling
Stephen Waring
Gill Pentney
Rosemary Powell
Annie Stringfellow
Karen Trewinnard
Rosie Tugwell
Susan Welland
22
Vivace Chorus
Start the Festive Season with us...
The Rotary Club of Guildford
and Vivace Chorus
f
present
THE MAYOR OF GUILDFORD’S
CHRISTMAS CONCERT
Conductor:
,
- Jeremy Backhouse
SOUNDS GREAT
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23
Vivace Chorus Functionaries
Music Director
Jeremy Backhouse
Accompanist
Francis Pott
We are delighted to welcome Francis as our new accompanist, following the
departure of Jeremy Filsell to take up the position of Principal Organist at the
Basilica of the National Shrine of the Immaculate Conception, Washington DC.
The Committee
James Garrow
Chairman
email: chairman@vivacechorus.org
Bob Cowell
Hon. Treasurer
email: treasurer@vivacechorus.org
Isobel Rooth
Hon. Secretary, Minutes Secretary and
Methodist Church liaison
email: secretary@vivacechorus.org
Jane Brooks
Membership Secretary
email: membership@vivacechorus.org
Jackie Alderton
Ladies’ uniforms
Mailings Coordinator
Tel. 01932 343625
email: mailing@vivacechorus.org
Hilary Trigg
Publicity
email: publicity@vivacechorus.org
Michael Taylor
Ticket Sales
Tel. 07958 519741
email: tickets@vivacechorus.org
James Garrow
Fund-raising/Social events
Miranda Champion
Neil Martin
Chris Short
Rosey Storey
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
24
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 Bellerboy MBE
Mr. Laurie James
Mrs. Doreen Bellerby MBE
Mrs. M. van Koetsveld
Mr. & Mrs. Peter Bennett
Mrs. Christine Medlow
Mrs. J. G. Blacker
Mr. Ron Medlow
Mr. Robin Broadley
Dr. Roger Muray
Mr. & Mrs. R.H.R. Broughton
Mr. & Mrs. Maxwell S. New
Mr. H.J.C. Browne
Mr. & Mrs. John Parry
Mrs. Maryel Cowell
Mrs. Jean Radley
Mr. & Mrs. Philip Davies
Mr. & Mrs. B. Reed
Mr. Michael Dawe
Dr. & Mrs. M.G.M. Smith
Mrs. Margaret Dentskevich
Miss Enid Weston
Friends
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
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