VIVALDI
‘GLORIA’
and other Venetian Baroque music
Saturday
7th March 2009
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
R
.'
Vivaladi Gloria' andottrer
Venetian Barogue music
Monteverdi
Deus in adjutorium
(from 1610 Vespers) SV 206
Monteverdi
Beatus vir Sv 268
Gabrieli
Sonate Pian’ e Forte
Gabrieli
Jubilate Deo
Vivaldi
Magnificat RV 610a - 611
Lotti
Crucifixus
Schiitz
Psalm 150 swv 38
Holborne
Music for Brass
Vivaldi
Gloria in D major RV 589
Alexandra Kidgell
Soprano
Frédérique Klooster
Soprano
Roderick Morris
Counter-tenor
Alexander Sprague
Tenor
Brandenburg Sinfonia
conductor Jeremy Backhouse
Vivace Chorus
The Baroque, Venice and its Musicians
The Baroque era describes the style or period of European music
between approximately 1600 and 1750. Both opera and the orchestra
were conceived and developed in parallel during this period. When
compared with its predecessors, late Baroque music especially can be
seen as being highly ornate, lavishly textured and intense. The Baroque
era was characterised
by rich counterpoint and a highly decorated
melodic line. Another distinguishing characteristic was the emphasis on
contrast of volume, texture, and pace in the music, as compared to
music of the late Renaissance.
Venice, the centre of trade with the east, had become an extraordinarily
wealthy, powerful, independent and cosmopolitan city. Towards the end
of the 16th century, when the earliest piece in tonight's programme was
composed,
Renaissance Venice was also a great centre of musical
influence — the Venetian polyphonic choral compositions of this period
were among the most famous throughout Europe.
In the early 17th century,
many
fine
musicians
were attracted to Venice,
among them Monteverdi
(1567 - 1643), one of the
greatest
composers
of
his age. The composers
working in Venice during
the
late
Renaissance
(1550 - 1610),
became
known as the Venetian
School. Many worked at
:
the
Basilica
di
San
Marco (St Mark's Basilica; pictured above), the most famous of the city's
churches. It is adjacent and connected to the Palazzo Ducale, or Doge's
Palace, and its richness and status as a symbol of Venetian wealth and
power increased from the 11th century onwards.
The innovations introduced by Monteverdi and other near-contemporary
composers of the Venetian School, such as Gabrieli (1555 - 1612) and
Schiitz (1585 - 1672), were instrumental in the transition from the music
of the Renaissance to that of the Baroque. However, arguably the most
famous of Venice's musical sons, Vivaldi (1678 - 1741), followed in their
footsteps to become, along with his near-contemporaries Handel and
Johann Sebastian Bach, the leading lights of the late Baroque era.
4
Vivace Chorus
Claudio Monteverdi (1567 — 1643)
If one had to name the one composer
who led the way from the Renaissance
to the Baroque, it would have to be
Monteverdi.
The
changes
from
his
earliest sacred and secular pieces to
his late operatic works exemplify the
shifts in musical thinking that took place
in the last decades of the 16th century
and the early decades of the 17th.
Monteverdi was born in Cremona, ltaly,
and his musical talent was evident from
an early age: his first publication was
issued by a prominent Venetian publishing house when he was 15, and
by the time he was 20 a variety of his works were in print. He thus
established his musical reputation beyond his provincial hometown, and
this helped him to find employment in the court of the Duke of Mantua.
However, disagreements with the court of Mantua led Monteverdi to seek
work elsewhere; finally in 1613 he was appointed Maestro di Cappella at
St Mark's Basilica in Venice.
Initially Monteverdi was fully occupied in reorganizing and improving the
Cathedral choir as well as writing music for it, and it was not until 1616
that he was free to accept outside commissions, including secular pieces
(ballet and opera) from Mantua.
Monteverdi remained at St. Mark’s until his death in 1643. In addition to
gaining fame throughout Europe for his sacred compositions, he also
enjoyed, during his later years, a revival of his operatic career after the
opening of Venetian opera houses in 1637.
Deus in adjutorium
This, the opening section of Monteverdi's Vespers of 1610, is a brilliant
choral fanfare, its text based on Psalm 69:2 (Vulgate; Authorised version
Psalm 70:1) with the second half of the Gloria Patri. It is musically
derived from the introduction to his opera L'Orpheo (1607). The scoring
is for six-part (SSATTB) chorus, two oboes, brass, strings and organ.
The Vespers of 1610, SV 206, published in Venice when Monteverdi was
working at the ducal court in Mantua, is rightly regarded as one of the
masterpieces of the 17th century, and stands out for its assimilation of
both old and new styles.
Vivace Chorus
5
It is not known whether Monteverdi actually performed this setting of the
Vespers [there were to be others later] either in Mantua or Venice; the
work may have been written as an audition piece — and may, with its
dedication to Pope Paul V, have been instrumental in Monteverdi
achieving the appointment of Maestro di Cappella at St Mark's Basilica.
Deus, in adjutorium meum intende,
Domine, ad adjuvandum me festina.
Gloria Patri et Filio
et Spiritui Sancto.
Sicut erat in principio, et nunc, et
semper, et in saecula saeculorum,
Amen. Allelujah.
= O God, make haste, to deliver me:
O Lord, make haste, to help me.
Glory be to the Father and to the Son
and to the Holy Spirit.
As it was in the beginning, is now, and
ever shall be, world without end,
Amen. Allelujah.
Beatus vir, SV 268
The
motet Beatus vir was probably composed in 1630 and was
published in Monteverdi’s great collection of 1640-41, Selva morale e
spirituale. These were pieces which might have been heard at a
Venetian Vespers. This choral setting of Psalm 111 (Vulgate; Authorised
version Psalm 112) is a superb example of Monteverdi's dramatic style.
Small groups of voices are contrasted with the sound of the full chorus.
This waxing and waning of sound, a technique known as stile concertato,
was frequently used in the Baroque period and adds new dimensions of
joy and depth to the music. The piece is scored for six-part chorus
(SSATTB) with two obbligato violin parts, brass and organ.
Beatus vir qui timet Dominum: In
mandates ejus volet nimis.
Praise ye the Lord. Blessed is the man
that feareth the Lord, that delighteth
greatly in His commandments.
Potens in terra erit semen ejus:
generatio rectorum benedicetur.
Gloria et divitiae in domo ejus:
et justitia ejus manet
in saeculum saeculi.
Exortum est in tenebris lumen rectis
misericors, miserator et justus.
6
His seed shall be mighty upon earth: the
generation of the upright shall be blessed.
Wealth and riches shall be in his house:
and his righteousness endureth for ever.
Unto the upright there ariseth light in the
darkness: he is gracious, and full of
compassion, and righteous.
Vivace Chorus
Jucundus homo qui miseretur
et commodat: disponet sermones
suos in judicio.
Quia in aeternum non
commovebitur: in memoria aeterna
erit justus.
Ab auditione mala non timebit.
Paratum cor ejus sperare in
Domino.
Confirmatum est cor ejus:
non commovebitur donec
despiciat inimicos suos.
Dispersit dedit pauperibus, justitia
ejus manet in saeculum saecul,
cornu ejus exaltabitur in gloria.
Peccator videbit, et irascetur,
dentibus suis fremet et tabescet:
desiderium peccatorum peribit.
Gloria Patri et Filio et
Spiritui Sancto. Sicut erat in
principio, et nunc, et semper, et in
saecula saeculorum, Amen.
A good man sheweth favour, and lendeth:
he will guide his affairs with discretion.
Surely he shall not be moved for ever:
the righteous shall be in everlasting
remembrance.
He shall not be afraid of evil tidings:
his heart is fixed, trusting in the Lord.
His heart is established,
he shall not be afraid until he see
his desire upon his enemies.
He hath dispersed, he hath given to the
poor; his righteousness endureth for ever;
his horn shall be exalted with honour.
The wicked shall see it, and be grieved;
he shall gnash with his teeth, and melt
away: the desire of the wicked shall
perish.
Glory be to the Father and to the Son and
to the Holy Ghost. As it was in the
beginning, is now, and ever shall be,
world without end, Amen.
Giovanni Gabrieli (ca 1554 — 1612)
Gabrieli was a leading figure in Renaissance Venetian music.
He was
born in Venice and raised by his uncle Andrea Gabrieli, whose career
as
composer and organist at St Mark's Basilica anticipated his own.
After
his uncle's death in 1586, Giovanni succeeded him as first organist at the
basilica and retained this position until his own death in 1612.
Gabrieli
composed vocal and instrumental pieces for the church
alongside grand ceremonial music for state festivities. He continued the
traditional cori spezzati techniques developed at St. Mark's during
the
16th century, contrasting different groups of singers and instrumentalists
and making use of the spatial effects possible in the great basilica.
He
was also one of the most renowned teachers of his time, and taught
a
young
generation
of composers,
musical idioms of the Baroque.
Vivace Chorus
such
as
Heinrich
Schiitz,
the
new
7
Sonate pian’ e forte
Until the end of the 16th century, musical instruments had been mainly
used to accompany voices. But just before 1600, in ltaly in particular,
composers began to write pieces for instruments alone. The Sonata
came to have a special meaning later in musical history, but at this time it
simply meant a piece to be played on instruments, as opposed to being
sung (the Cantata).
Gabrieli's sonatas for antiphonal brass ensembles remain masterworks
in the genre. He was one of the first composers to delineate dynamics in
his pieces and his Sonate pian' e forte for antiphonal brass choirs,
published in 1597, was one if the first compositions to designate degrees
of loud and soft for contrasting groups of instruments. By composing
music for two or three ensembles that would be situated in varying
positions within the performing space in St Mark's Basilica, he created
vistas of sound that achieved a homogeneous sonority despite the
physical distances that might separate the ensembles.
Jubilate Deo
Gabrieli's eight-part setting of Jubilate Deo was first published in his
Sacrae Symphoniae of 1597. The text is not that of the familiar Jubilate
of the Latin Psalm 99 (Vulgate; Authorised version Psalm 100), but was
in all probability a special arrangement for some religious or civic event.
The piece is, however, typical of his style of writing, full of pomp and
splendour, and represents both a crowning glory of the Renaissance and
a prologue to the era of the Baroque.
Jubilate Deo, omnis terra:
Quia sic benedicetur homo
qui timet Dominum.
Deus Israel conjungat vos
Et ipse sit vobiscum
Mittat vobis auxilium
De sancto tueatur vos et de Sion.
Jubilate Deo, omnis terra:
Benedicat vobis Dominus ex Sion
Qui fecit coelum et terram.
Jubilate Deo, omnis terra:
Servite Domino in laetitia.
O be joyful in the Lord, all ye lands.
For blessed shall be the man
Who fears the Lord.
May the God of Israel join you
And may He be with you.
May He send you help
From His holy place and from Zion.
O be joyful in the Lord, all ye lands.
May the Lord bless you out of Zion,
He who made heaven and earth.
O be joyful in the Lord, all ye lands.
Serve the Lord with gladness:
Vivace Chorus
Antonio Vivaldi (1678 — 1741)
Born in Venice, the son of a
professional violinist in the orchestra
of St Mark's Basilica, Vivaldi was a
gifted violinist himself, and in 1703
was appointed maestro di violino at
the Ospedale della Pieta, one of four
Ospedale in Venice maintained by
the State as schools for female
orphans and the abandoned. The
schools were also funded by rich
patrons who sent their daughters to
the Ospedale for the benefit of their
musical education. In this same year
he was ordained a priest, but within
a short time of his ordination,
he
gave up the priesthood. The demands for his services were considerable
and necessitated travelling widely throughout Europe promoting his own
compositions, as well as working in opera in a number of theatres.
Vivaldi's music is universally associated with his native city of Venice.
For much of his life he enjoyed a fruitful musical association with the
Ospedale in a variety of capacities, at different times as violin teacher,
musical director and external supplier of compositions, making the girls’
orchestra one of the most admired and accomplished in Europe.
Vivaldi was a prolific and hugely influential composer. The cycle of violin
concerti (Opus 8, nos. 1-4) known as The Four Seasons is the best
known example from a catalogue of more than 500 of his instrumental
concerti. In addition, more than 50 sacred vocal compositions and at
least 40 cantatas are known. Vivaldi was also active in the field of opera,
as both composer and impresario, having around 50 operas to his credit,
at least 16 of which are extant and complete. His influence is readily
discernable in the forms of later baroque music, notably in original
compositions by Johann Sebastian Bach and also in Bach's many
transcriptions of Vivaldi's concerti.
Magnificat RV 610a — 611
The Magnificat (or the Song of Mary) is the text from Luke 1:46-55: in
this setting, the piece is scored for four soloists, double choir, two oboes,
strings and continuo.
Vivace Chorus
9
I. Magnificat — Chorus
Il. Et exultavit— Soprano, alto, tenor soloists & chorus
lll. Et misericordia— Chorus
IV. Fecit potentiam — Chorus
V. Deposuit potentes — Chorus
VI. Esurientes implevit— Soprano | & Il duet
VII. Suscepit Israel — Chorus
VIIl. Sicut locutus — Chorus
IX. Gloria— Chorus
Magnificat anima mea dominum;
et exultavit spiritus meus
in deo salutari meo. Quia respexit
humilitatem ancillae suae,
ecce enim ex hoc beatam me dicent
omnes generationes.
Quia fecit mihi magna qui potens est,
et sanctum nomen ejus.
My soul doth magnify the Lord;
and my spirit hath rejoiced in God my
Saviour. For he hath regarded the
lowliness of his handmaiden.
For behold, from henceforth all
generations shall call me blessed.
For he that is mighty hath magnified
me; and holy is his Name.
Et misericordia ejus a progenie
in progenies timentibus eum.
And his mercy is on them that fear
Fecit potentiam in brachio suo,
He hath shewed strength with his arm;
he hath scattered the proud in the
imagination of their hearts.
dispersit superbos mente cordis sui.
Deposuit potentes de sede,
et exaltavit humiles.
him, throughout all generations.
He hath put down the mighty from
their seat; and hath exalted the
humble and meek.
Esurientes implevit bonis
He hath filled the hungry with good
things, and the rich he hath sent
et divites dimisit inanes.
empty away.
Suscepit Israel puerum suum,
recordatus misericordie suae.
He remembering his mercy hath
holpen his servant Israel; as he
Sicut locutus est ad patres nostros,
Abraham et semini ejus in secula.
promised to our forefathers, Abraham
Gloria patri et filio
Glory be to the Father and to the Son
and to the Holy Ghost,
as it was in the beginning,
is now and ever shall be
et spiritui sancto,
sicut erat in principio
et nunc et semper,
et in secula seculorum. Amen.
and his seed, for ever.
World without end. Amen.
~ Interval~
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Vivace Chorus
Antonio Lotti (ca 1667 — 1740)
Lotti was born and died in Venice, and made his career at St Mark's
singing countertenor from 1687 and serving as organist's
assistant (1690 - 92), second organist (1692 - 1704), first organist
Basilica,
(1704 - 36), and finally as Maestro di Cappella (from 1736).
Much of Lotti's earlier work was secular. Between 1692 and 1719, he
composed some 30 stage works; 16 of his operas were performed in
Venice over the next 24 years. In 1705, he had a collection of madrigals
published; his only work to be published in his lifetime.
In 1717, Lotti was granted a leave of absence from the basilica to work in
Dresden for Augustus Il. During this period he wrote many instrumental
sacred choral pieces. These Mass settings comprise unpaired Kyries,
Glorias and Credos, as they are the only movements of the Mass to be
retained in the ordinary of the Lutheran mass. Amongst these works was
his
Credo
in
F,
which
features
the
famous
eight-part
Crucifixus
movement. Lotti returned to Venice and his career at St Mark's in 1719
and from thereon, he concentrated on writing sacred music.
Crucifixus Il
[There are four surviving settings of the Crucifixus by Lotti — the others
being for five, six and ten voices.] This motet is a section of a complete
Credo in F, in four parts with string and continuo accompaniment, written
while Lotti was at Dresden (1717-1719). For this section of the Credo,
the choir doubles to eight parts. As with almost all of Lotti's motets,
hymns and canticles, this piece appears in both unaccompanied form or
with light organ accompaniment.
Crucifixus etiam pro nobis
sub Pontio Pilato,
passus et sepultus est.
He was crucified also for us
under Pontius Pilate.
He suffered and was buried.
Heinrich Schiitz (1585 — 1672)
Heinrich Schiitz is considered the most important German composer of
the 17th century and the first of international stature. From 1609 to 1613
Schitz studied with Giovanni Gabrieli in Venice. In 1613, he returned to
Germany and in 1615, entered the service of the Dresden court of the
Vivace Chorus
11
Elector of Saxony. Two years later he become Hofkapellmeister, thus
holding the most powerful musical post in Protestant Germany until his
death in 1672.
Schitz's output was almost exclusively sacred and he infused his church
music with
a greater drama than
previously heard
in Germany by
developing and transforming the ltalian choral style he had learned in
Venice. His use of contrasting vocal colours, cori spezzati, and large
choirs are all techniques he learned from Gabrieli and the Venetians. In
addition, Schutz combined the lyric and dramatic elements of Venetian
music with German polyphony.
Psalm 150 (Authorised version) SWV 38
This psalm setting is from Schiitz's first sacred music publication, the first
volume of Psalmen Davids, SWV 22 - 47, published in Dresden in 1619
and comprising 26 works for various choruses and instruments. These
pieces are among Schiitz's first choral compositions in the German
language; they show the influence of his teacher Gabrieli, but also
divulge his own unique voice and are notable for their contrasting
textures and sonorities.
The entire psalm text is bracketed/enclosed within by an antiphon, which
in this case is the Alleluia. The piece may be performed in several
different ways: tonight's setting is scored for double choir, double brass
and organ continuo.
Alleluia! Lobet den Herren in seinem
Heiligtum; lobet Ihn in der Veste
Alleluia! Praise the Lord in His holy
seiner Macht.
Lobet Ihn in seinen Taten;
firmament.
lobet Ihn in seiner groBen Herrlichkeit.
praise Him according to his
place: praise Him in his mighty
Praise Him in all his doings:
great excellence.
Lobet Ihn mit Posaunen; lobet Ihn
Praise Him with the trumpet: praise
mit Psaltern und Harfen.
Him with the psaltery and harp.
Lobet Ihn mit Pauken und Reigen;
Praise Him with the timbrel and
lobet Ihn mit Saiten und Pfeifen.
dancing: praise Him with strings
and pipes.
Praise Him with ringing cymbals:
Lobet IThn mit hellen Cimbalen;
lobet Ihn mit wohlklingenden Cimbalen.
praise Him with high-sounding
cymbals.
Alles was Athem hat,
lobet den Herren. Alleluia!
12
All that that hath life and breath,
praise the Lord. Alleluia!
Vivace Chorus
Anthony Holborne (ca 1545 — 1602)
Little is known of Holborne's life, despite his musical reputation (Dowland
dedicated the first piece in his second book of lute songs / saw my Lady
weepe, "to the most famous Anthony Holborne"). From some time in the
1590s until his death, he was in service to Sir Robert Cecil. Holborne
was a prolific composer for lute, cittern and bandore. However, his most
important work is considered to be the 1599 collection of English consort
music. Tonight we hear three pieces of Music for Brass: The Honiesuckle, The Fruit of Love and The Fairie-round.
Vivaldi Gloria in D major, RV 589
The now famous Gloria was probably written around 1715 for the girls of
the Ospedale della Pieta. Vivaldi's setting, a joyful hymn of praise and
supplication, is for four-part chorus and orchestra with three soloists: two
sopranos and one alto. It is divided into 12 contrasting movements, each
characterised by its own mood and musical texture, yet still managing to
preserve a sense of formal coherence.
The introductory movement, Gloria in Excelsis, with its octave leaps in
the strings and subsequent run with the trumpet, shows the festive
brilliance of Vivaldi’'s church music. He maintains momentum throughout
the movement with the voices entering in declamatory style before
exploring the musical material sequentially. The second movement, Et in
terra pax, with gently pulsating string accompaniment,
is quiet and
contemplative, perfused with profound sadness. This is followed by an
exuberant duet, Laudamus te; in turn the voices imitate each other and
then join almost playfully to sing in thirds together.
The sixth movement, Domine Deus, is a long melody in C major and
unfolds as a dialogue
between
solo soprano
alongside
an
equally
beautiful instrumental obbligato for either oboe or violin (Vivaldi left the
choice of instrument to the performers). The chorus Domini Fili unigenite,
with its relentless dotted rhythms, is followed by a serene slow
movement, Domine Deus, Agnus Dei, for the alto soloist and choir.
The Quoniam tu solus sanctus is a truncated form of the opening
movement. The final chorus, Cum Sancto Spiritu, is not Vivaldi's original
work, but as was common practice at the time, a fugue ‘borrowed’ from a
Gloria by the minor Veronese composer (Giovanni
Maria Ruggieri).
Vivaldi largely rewrote it, adding virtuoso trumpet solos, to make this a
dignified end to a masterpiece of choral music.
Vivace Chorus
13
I. Gloria — Chorus
Il. Etin terra pax hominibus — Chorus
lll. Laudamus te — Soprano | and Il duet
IV. Gratias agimus tibi — Chorus
V. Propter magnam gloriam — Chorus
VI. Domine Deus — Soprano
VIl. Domine Fili Unigenite — Chorus
VIIl. Domine Deus, Agnus Dei— Alto & chorus
IX. Qui tollis peccata mundi— Chorus
X. Qui sedes ad dexteram Patris — Alto
Xl. Quoniam tu solus Sanctus — Chorus
Xll. Cum Sancto Spiritu — Chorus
Gloria in excelsis Deo
Glory to God in the highest
Et in terra pax hominibus bonae
And on earth peace to men of goodwill.
voluntatis.
Laudamus te, benedicimus te,
adoramus te, glorificamus te.
We praise thee, we bless thee,
we worship thee, we glorify thee.
Gratias agimus tibi
We give thanks to thee
Propter magnam gloriam tuam.
For thy great glory.
Domine Deus, Rex coelestis,
Deus Pater omnipotens
Lord God, heavenly King,
God the Father almighty
Domine Fili Unigenite,
Jesu Christe
O Lord, the only-begotten Son,
Jesus Christ
Domine Deus, Agnus Dei,
Filius Patris, Domine Deus, Rex
O Lord God, Lamb of God, Son of the
Father, O Lord God, heavenly King,
coelestis, Domine Fili unigenite,
miserere nobis.
O Lord the only-begotten Son,
have mercy upon us.
Qui tollis peccata mundi,
Thou that takest away the sins of the
world, Lamb of God, Son of the Father,
Agnus Dei, Filius Patris,
miserere nobis.
Qui tollis peccata mundi,
suscipe deprecationem nostram.
Qui sedes ad dexteram Patris,
miserere nobis.
Quoniam tu solus Sanctus, tu solus
Dominus, tu solus Altissimus,
Jesu Christe.
Cum Sancto Spiritu, in gloria
Dei Patris, Amen.
14
have mercy upon us.
Thou that takest away the sins of the
world, receive our prayer.
Thou that sittest at the right hand of the
Father, have mercy upon us.
For thou only art holy, thou only art the
Lord, thou only art most high,
Jesus Christ.
With the Holy Ghost, in the glory
of God the Father, Amen.
Vivace Chorus
Verdi Requiem,
01 Nov 2008:
from
Gillian Ramsden's
review in 'The
Surrey Advertiser'
The combined choirs of Vivace Chorus, the Freiburg Bachchor, and Romsey
Choral Society, four excellent soloists and the Brandenburg Sinfonia under the
baton of Jeremy Backhouse ensured that, from the breathtaking pianissimo of
, the opening, through the vast ranges of dynamic and emotional intensity which
culminate in the utter stillness of the final ‘Libera me', we had forces capable
of providing all that Verdi could have required. Jeremy Backhouse melded these
forces together into a seamless whole. Every musical nuance was at his
fingertips and the way he held Verdi's pauses to allow the echo to die and to
hold the emotional moment was beautifully crafted...
. The three choirs sounded as if they always sang together. Their choral
discipline was excellent and they rose to every challenge of dynamic, range and
emotion. The transition from the opening 'Requiem aeternam, dona eis Domine '
into ‘et lux perpetua’ .... gave us our first taste of some exquisite orchestral and
. choral offerings...
' .. this was a performance which transported the listener...
SING WITH THE BEST
THE VIVACE CHORUS — BRINGING MUSIC TO LIFE
We don't just sing the score; we get beyond the notes on the page.
We are always looking out for new members, so join us and experience
the thrill and emotion of top-class music-making.
We rehearse on Monday evenings 7.30 — 9.30 at the
Methodist Church, Woodbridge Road, Guildford.
The staging for this concert is owned by the
Association
Choirs.
please
Peters,
of Surrey
contact Penny
To hire,
Guildford
Cathedral Office (tel: 01403 547860). It was
purchased with financial assistance from
the
Foundation
for
Sport
and
Arts,
PO Box 20, Liverpool.
Vivace Chorus
Financially assisted by
S
g‘g LLODUFé)if D
15
Alexandra Kidgell — Soprano
Alexandra
Gonville
Kidgell read
and
Caius
music
at
College,
Cambridge, where she was a Choral
Exhibitioner.
gaining
She
spent
in
experience
management,
and
is
4 years
music
now
a
postgraduate student at the Royal
Academy of Music, where she was
last year’s winner of the Michael
Head Prize for English Song.
She has appeared frequently as a
soloist: engagements have included
Mozart's Requiem at St Martin-inthe-Fields; Bach's Mass in B minor,
Schubert's Mass in E flat and
. Brahms' Liebeslieder Waltzes with
. Epsom
Choral
Society;
Fauré's
Requiem
and
Bach's
Cantata
No 140 with Amersham and Chesham Choral Society; Bach's Magnificat
and Vivaldi's Gloria with Norwich Baroque; Handel's Messiah with the
Britten Pears Chamber Choir; Handel's Dixit Dominus in King's College
Chapel with Stephen Cleobury; Fauré's Requiem with the Hertfordshire
Chorus; Bach's St John Passion with the choir of Jesus College,
Cambridge; Mozart's Coronation Mass and Purcell's O sing unto the Lord
with Buckingham Choral Society; Gounod's St Cecilia Mass with
Southend Choral Society; Bach's St Matthew Passion and Beethoven's
Mass in C.
Alexandra also continues to enjoy consort singing, and regularly works
with
many of the UK's leading
The Gabrieli Consort and | Fagiolini.
groups,
including
The
Sixteen,
Alexandra studies with Elizabeth Ritchie and Audrey Hyland, and is
grateful for the generous support of the Josephine Baker Trust, the
George Heim Memorial Trust, the John Wates Charitable Trust, the
Kathleen Trust, the Michael James Music Trust, the William Allen Young
Charitable Trust, the Women’s Career Foundation (Girls of the Realm
Guild), and the Sir Mark and Lady Turner Charitable Settlement.
16
Vivace Chorus
Frédérique
graduated
from
the
Rotterdam Conservatory in 2005.
She is currently undertaking a
Master of Arts Course at the
Royal
Academy
of
Music,
studying with Elizabeth Ritchie.
i
Frédérique
has
experience
in
considerable
the
field
contemporary opera. She
W the
leading
role
in
a
performance
by
the
of
took
new
Dutch
company Muziektheater Hollands
Diep: BINGEN, Hildegard von, about the life of the 12th century female
composer, and has appeared in Alzheimer by Chiel Meijering.
Frédérique performs with Yo! Opera, a Dutch company that tries to bring
opera to a greater audience. She took part in Just for one day at the
Chamber Opera Festival Zwolle and Springdance Festival in Utrecht.
Recently she has also been working with them on a new production of
De Operaflat, and performed a new contemporary opera scene,
De gelukkige werknemer (The happy employee), by the young German
composer Jan Maihorn, at the Yo! Opera Festival.
In April 2009, Frédérique will sing the role of the Young Waterman in the
world premiére of the new Dutch contemporary opera Waterman, by
Hans Koolmees, with Muziektheater Hollands Diep. She has also been
accepted as a freelance member of the choir of the Nationale Reisopera
(Dutch National Touring Opera).
Frédérique also joined the English vocal ensemble Vox Animae in 2007.
In June 2007 and August 2008, they performed Hildegard von Bingen'’s
Ordo Virtutum, or The Play of the Virtues, in a staged version at the
Bridgewater Hall in Manchester, at the Lake District Festival in Kendal
and at Brighton Early Music Festival.
Frédérique is also frequently asked by choir or orchestra conductors to
perform as a soloist. Performances have included: Pergolesi's Stabat
Mater, with the Purcell Kamer Orkest; excerpts of Bach’'s Christmas
Oratorio, with the Shoreham Oratorio Choir; Charpentier's Messe de
Minuit and duets by Victoria and Monteverdi, and Vivaldi’'s Gloria at
St Martin-in-the-Fields. In March 2009, Frédérique will sing in Bach’s
St John Passion with the Bedford Choral Society.
Vivace Chorus
17
Roderick Morris — Counter-tenor
Roderick started singing at the age of
when he joined New College
Choir in Oxford, where he went on to be
seven
head chorister in his final year. He went
on to gain a choral scholarship to the
University of Cambridge.
He
has
performed
in
recitals
and
concerts in the UK and abroad, including
South Korea, Japan and North America.
Recent solo performances have included
Bach’s Mass in B minor and St John
Passion, Bernstein's Chichester Psalms,
Handel's Dixit Dominus and Messiah,
Orff's
Carmina Burana,
Canticles, and the UK premiere of Arvo Part's Miserere.
the
Britten
Roderick has worked as a soloist with groups including Manchester
Baroque, The Armonico Consort, The Chester Bach Singers and The
Oriana Ensembile.
His operatic roles include the title role in Handel's Xerxes, Oberon in
Britten's A Midsummer Night's Dream, and Satirino in Cavalli’s La Calisto
with Royal Academy Opera. Future operatic roles will include Athamas
from Handel's Semele for the Amersham Festival in April 2009.
Roderick currently studies with Nicholas Clapton on the vocal studies
course at the Royal Academy of Music. He will continue these studies
next year on the Royal Academy Opera course, starting in September.
He is generously supported by the Josephine Baker Trust and has
been granted an lan Fleming Award by the Musicians
Benevolent Fund.
recently
TAPLRMW
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Vivace Chorus
Alexander Sprague- Tenor
| Alexander is currently studying with Ryland
Davies
and
lain
Leddingham
on
the
.
preparatory opera course at The Royal
Academy of Music, where he is supported by
the Josephine Baker Trust.
During his time at the Academy, Alexander
has
performed
L’Elisir
scenes
d’Amore
as
from
Donizetti's
Nemorino,
Britten's
A Midsummer Night's Dream as Lysander,
Rossini's /I Barbiere di Siviglia as Count
~ Almaviva,
and
Massenet's
Manon
as
Des Grieux. He was also a member of the
chorus
in
the
Royal Academy Opera
School’s production of Mozart's Le Nozze di
Figaro conducted by Sir Colin Davies.
Alexander has sung in master classes with Robert Tear and Dennis
O'Neill, performed in Montverdi's Lamento della Ninfa with Sir John Eliott
Gardiner, and sung the role of Peachum
The Beggars Opera, alongside Neil Jenkins.
Alexander
has
also
made
numerous
solo
in
scenes
appearances
from
Gay's
across the
country on the oratorio stage, his most recent roles include Mozart's
Requiem at St Martin-in-the-Fields, London, and with the Northern
Sinfonia at Durham Cathedral, the Evangelist in Bach's St John Passion
at Bristol Cathedral, Jenkins' The Armed Man with Guernsey Symphony
Orchestra and a tour of Handel's Messiah with the Bath Philharmonia.
Forthcoming coming engagements include Bach's Mass in B minor with
The
Brandenburg
Sinfonia
at
St Martin-in-the-Fields
and
Mozart's
Requiem in Eton Chapel. Alexander will also be performing in the chorus
of Bizet's Carmen at Opera Comique, Paris, with Sir John Eliott Gardiner
this summer.
TOR
Vivace Chorus
Yerdi Requiem, 07 cNov 2008:
What a spectacular petformance of the
Verdi (Requiem on aturday — the best
Vve
ever heatrd. fon.gtatalation.& to all concerned.
19
AUSNR
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).
Since 1980, Jeremy has been the conductor of the Vasari Singers,
acknowledged as one of the finest chamber choirs in the country,
performing music from the Renaissance to contemporary commissions.
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.
In January 2009, Jeremy was also appointed Music Director of the
Salisbury Community Choir. His first concert with them will be in May.
20
Vivace Chorus
Bndenburg
i Sinfonia
Artistic Director — Robert Porter
Associate Music Director — Sarah Tenant-Flowers
The Brandenburg Sinfonia is one of the most dynamically versatile
musical organisations in the country. It is renowned for its special quality
of sound and poised vivacity in performance. The orchestra performs
regularly in the majority of the major venues across the country, and in
London at the Barbican, Royal Albert Hall, Queen Elizabeth Hall,
Fairfield Halls and St John's, Smith Square. The Brandenburg Sinfonia is
also in great demand abroad and has visited France, USA, Bermuda, the
Channel Islands, Barbados, Russia, Germany, Japan and Hong Kong. In
1999 the orchestra established major concert series at both St Martin-inthe-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. Its repertoire
ranges from Bach to Lloyd Webber and its members give around
100 performances of orchestral, chamber, choral and operatic music
during the year. The orchestras for a number of touring companies are
formed from members of the Brandenburg Sinfonia including First Act
Opera, London City Opera, Opera Holland Park, London Opera Players
and Central Festival Opera.
Violin 1
Viola
Matthew Quenby
Oboe
Gareth Hulse
Trumpet
Mihkel Kerem
David Ballesteros
Mariam Ruetschi
Rachel Broadbent
Oriana Kriszten
Rachel Calaminus
Chris Deacon
Gillian Hicks
Organ
Malcolm Hicks
Ross Brown
Heidi Sutcliffe
Sarah Wolstenholme
Catrin Wyn Morgan
Gabriella Nikula
Cello
Paul Archibald
Lucy Wilding
Dominic O'Dell
Trombone
Lizzie Ball
Bass
Rachel Rowntree
Anthony Williams
Susan White
Emma Juliet Boyd
Violin 2
Louisa Aldridge
Dougall Prophet
Lucy Saunders
Some of the printed music for this evening's concert has been hired
from Surrey County Council Performing Arts Library, Andrew Phillips
Hire Library, Novello Hire Library, Oxford University Press Hire
Library and Yorkshire Libraries and Information.
Vivace Chorus
21
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 (CCCC), 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, on 16th May.
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
Mahler's Ich bin der Welt abhanden gekommen), together with works by
Haydn and Mozart, with 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.
22
Vivace Chorus
Vivace Chorus
FIRST SOPRANOS
Joanna Andrews
FIRST ALTOS
Penny Baxter
FIRST TENORS
Bob Cowell
Helen Beevers
Mary Broughton
Miranda Champion
Monika Boothby
Tim Hardyment
Jane Brooks
Nick Manning
Christine Curtis
Chris Robinson
Elaine Chapman
Liz Durning
John Trigg
Rachel Edmondson
Celia Embleton
Hilary Minor
Sheila Hodson
Lois McCabe
John Bawden
Margaret Parry
Margaret Perkins
Kay McManus
Christine Medlow
Rosalind Milton
Bob Bromham
Tony Chantler
Geoff Johns
Susan Norton
Robin Onslow
SECOND TENORS
Kate Rayner
Mary Moon
Stephen Linton
Gillian Rix
Penny Muray
Martin Price
Judy Smith
Rosemary Spalding
Carol Terry
Gill Perkins
Marjory Rollo
FIRST BASSES
Tom Bayliss
Lesley Scordellis
Catherine Shacklady
Ann Smith
Hilary Trigg
John Britten
Michael Golden
Brian John
Barbara Barklem
Anna Durning
Frankie Freeman
SECOND ALTOS
Jeremy Johnson
Eric Kennedy
Geraldine Allen
Marion Arbuckle
Chris Peters
Mandy Freeman
Deborah Bayliss
Evelyn Beastall
Robin Privett
Jane Kenney
Judith Lewy
Krystyna Marsden
Sylvia Chantler
Mary Clayton
Enid Millinger
Debbie Morton
Alison Newbery
Carolyn Edis
Jon Scott
Philip Stanford
Kieron Walsh
Valerie Edwards
Elizabeth Evans
SECOND BASSES
Valerie Garrow
Claire Hann
Peter Andrews
Roger Barrett
Barbara Hilder
Alan Batterbury
Carol Hobbs
Norman Carpenter
Dave Cox
Nikki Vale
SECOND SOPRANOS
Anna Arthur
Alison Palmer
Kate Peters
Rosalind Plowright
Susannah Priede
Claire Protherough
Vivien Rieden
Yvonne Hungerford
Chris Newbery
David Ross
Brenda Moore
Geoffrey Forster
Isobel Rooth
Ann Sheppard
Jacqueline Norman
James Garrow
Beryl Northam
Nick Gough
Kathy Stickland
Prue Smith
Michael Jeffery
Paula Sutton
Christine Wilks
Rosey Storey
Elisabeth Yates
Neil Martin
Frances Worpe
Maxwell New
John Parry
Chris Short
Michael Taylor
Vivace Chorus
23
Choir Functionaries
Music Director
Jeremy Backhouse
Accompanist
Francis Pott
The Committee
James Garrow
Chairman
email: chairman@yvivacechorus.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
Music Librarian
Helen Beevers
Patrons Liaison
email: patrons@vivacechorus.org
Chris Peters
Website Manager
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
Golden and Associates
Dr. Roger Barrett
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
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
Mr. & Mrs. G. Dombrowe
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
Vivace Chorus
Registered Charity No 1026337
in the name of Guildford Philharmonic Choir
Printed by WORDCRAFT
115 Merrow Woods, Guildford, Surrey GU1 2LJ
Tel: 01483 560735
Vivace Chorus
25
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
/t\—/\usic lovers...
\
You'll find what you want at the
FASHION TRAPP
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01483 422006
CREDIT CARDS ACCEPTED
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26
POUND LANE, GODALMING, SURREY GU7 1BX
fom@therecordcorner.co.uk
Vivace Chorus
Orchestra of the
Age of Enlightenment
A Celebration of Handel
Thursday 7 May, 7.45pm, The Anvil, Basingstoke
Handel
Concerto grosso op.6, No.1
Overture and arias from Rinaldo
Concerto grosso op.3, No.2
Concerto grosso op.6, No.7
Cantata for soprano and orchestra, Silete venti
Alison Bury director/violin
Elin Manahan Thomas soprano
Christopher Cook presenter
BOOKNOW
Tickets £10, £16,£25
01256 844244
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Francis Pott — 6 months on...
In October 2008, Francis succeeded Jeremy Filsell
as accompanist to the Vivace Chorus. Francis is a
long-established friend and colleague of both
Jeremy Filsell and our Music Director, Jeremy
Backhouse, both of whom also feature in the CD of
Francis' oratorio The Cloud of Unknowing [Signum
' Records, SIGCD 105]. This pre-existing rapport
has been invaluable in enabling Francis to settle
into his new role so quickly.
Francis is a man of many talents — he is Professor of Composition at
London College of Music and has established an international reputation,
especially with his sacred choral and organ music. His compositions have
been performed in some 20 countries worldwide. In 1997 he was winner
of the 2nd Prokofiev International Composing Competition in Moscow and
in 2006 he was a nominated finalist in the prestigious BACS Composer
Awards. He is currently working on three simultaneous commissions.
A busy pianist and accompanist as well, Francis is also currently writing a
major critical study of the Russian pianist/composer Nikolai Medtner
(1880 - 1951) for Ashgate Press.
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Come and join us at
our next Concert:
TAVENER: ‘The Lamb’
RUTTER: ‘A Gaelic Blessing’ and
‘The Lord Bless You and Keep You'’
LAURIDSEN: ‘O Magnum Mysterium’
and ‘Lux Aeterna’
WHITACRE: ‘Lux Aurumque’
WILL TODD: ‘Te Deum’ Will, composer of the scintillating
‘Mass in Blue’, writes: “My new ‘Te
Deum’ is at times massive, rhythmic,
lyrical and heartfelt. It promises to
be an exciting and moving experience
for performers and audiences alike.”
.....
2
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7.30
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next season:
To celebrate the bi-centenary of the death of Haydn, we present his most
loved choral work, THE CREATION. With its innovative writing and orchestral
scoring, this will be another evening to remember.
Saturday, 14th November 2009, 7.30pm Guildford Cathedral
www.VivaceChorus.org
Registered Charity No 1026337
|
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