The Brandenburg Sinfonia
Conductor: Jeremy Backhouse
Saturday
6th March 2010
7.30 pm 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
An ltalian Evening
Puccini:
Preludio Sinfonico
Verdi:
Quattro Pezzi Sacri (Four Sacred Pieces)
Puccini:
Crisantemi (Chrysanthemums)
Messa di Gloria
Andrew Dickinson
Tenor
Frederick Long
Bass-baritone
The Brandenburg Sinfonia
conductor
Jeremy Backhouse
Vivace Chorus
PRE-CONCERT TALK
‘Some first and last thoughts: early Puccin
i to late Verdi’
| This will start at 6.30pm in the Chapter House
of the Cathedral. The
speaker will be Russell Keable, Director of Conduc
ting at the University
| of Surrey. Russell’s academic interests have
led him to revive some rare
;
[
§
§
| opera and ballet repertoire, and less-we
ll-known works by many British |
| composers,
as
well
as
. score for The Sea Hawk.
reconstruction
of
music from
Korngold's
film
§
| Russell broadcasts regularly on Radio 3
and performs with orchestras
L and choirs throughout the British Isles,
including the London Mozart f
| Players, Manchester Camerata, Northern
Ballet Orchestra, BBC Concert |
| Orchestra, Viva and the Royal Philharmonic Orchest
ra.
| Please note: Members of the audience who wish
to attend the talk and |
| do not already have reserved seating can
reserve their concert seats
| beforehand in the appropriate unreserved areas
of the Cathedral. The :
| talk should finish at 7.10pm, allowing time to order refres
hments etc.
Life wasn’t always about opera...
The two composers featured in this evening's
programme are renowned
largely for their operatic output and little else.
Verdi and Puccini were
both outstanding masters of Italian opera, Puccini
being the last of the
great Italian composers and Verdi's only true
successor.
However, both these great operatic composers
also ventured into other
genres at least occasionally, and someti
mes with outstanding success
here too. Tonight you have the opportunity
to hear some relatively
unknown music, both sacred and secular, written
by these composers
while away from their usual world of the opera
house.
Giuseppe Verdi (1813 — 1901)
The son of an innkeeper and grocer, Verdi displa
yed undoubted musical
talent very early. After studying with the local
organist of Roncole, he
continued his musical studies in nearby Busset
o, where he came under
the patronage of Antonio Barezzi, a rich mercha
nt and the president of
the local philharmonic society, who offered to
pay for him to study at
Milan Conservatory. But having gone there
in 1832, Verdi was not
admitted, mainly as his piano technique was judged
to be unsatisfactory.
4
Vivace Chorus
He studied privately in Milan for 2 years and in 1836 he returned to
Busseto, where he was appointed Maestro di Musica.
After 3 years and keen to test his ability as an opera composer, he
moved back to Milan, where the impresario Merelli accepted his first
opera and commissioned another. However, between 1838 and 1840,
Verdi's wife (Barezzi's daughter) and two children died. In this most
painful period of his life, Verdi considered giving up composition, but was
persuaded
by
Merelli
to
compose
Nabucco
(1841);
its
triumphant
success at La Scala in 1842 made him the most prominent of young
Italian composers. Thereafter he wrote series of operas, some more
successful than others at their premiéres, but each eagerly sought after
by
impresarios,
making
his
stature
as
one
of
the
greatest
opera
composers unchallengeable.
Verdi also wrote several songs and choral
music, producing occasional masterpieces
into his old age. These included Messa da
Requiem, in memory of the revered ltalian
poet
and
(1874),
novelist
and
the
Otello (1887)
Alessandro
two
and
late
Manzoni
masterpieces
Falstaff (1893)
which
crowned his operatic achievements.
The
Quattro
Pieces)
Pezzi
were
Sacri
Verdi's
(Four
last
Sacred
completed
compositions, published as a group in 1898.
Verdi (1898)
Giacomo Puccini (1858 — 1924)
Puccini was the fifth generation of a family
of professional musicians and composers,
living and working in and around Lucca, in
Tuscany. All the previous generations of his
family were
basically church
composers
and organists at Lucca's Cathedral — San
Martino.
When his father died, Puccini took over the
position of choirmaster and organist at San
Martino at the age of 14. It was expected
that
Vivace Chorus
he
would
continue
the
long
family
]
tradition; however, one night in 1876 all that changed, when
a friend walked all of 13 miles to the city of Pisa to see a
Puccini and
production of
Verdi's Aida. This made such an impact on him that he decided to
follow
his instinct for operatic composition. With a scholarship and financial
support from an uncle, he entered the Milan Conservatory in 1880.
While still a student there, Puccini came to the attention
of the great
Milanese music publisher Giulio Ricordi, beginning Puccini's life-long
association with the house of Ricordi. With the first performance of
his
opera Manon Lescaut, produced at Turin in 1893, Puccini achieved
his
greatest
ever
success,
and
he
became
known
outside
Italy.
continued to write mainly operatic works, the range and diversity
He
of which
are defined by La Bohéme at one extreme and Turandot, unfinishe
d at
his death, at the other.
Puccini himself acknowledged that his true talent lay "only in the theatre,"
and so his
non-operatic works are understandably few. His choral,
orchestral and instrumental works therefore date mainly from his
early
years, but there are more of them than the average concertgoer might
ever imagine.
Preludio Sinfonico
The Preludio Sinfonico was written in 1876 while Puccini
was only
18 years old and was rediscovered more than a century later,
thanks to
the research of Italian pianist, musical editor and publisher Pietro
Spada.
This brief prelude demonstrates the young composer’s mastery
of the full
orchestra and also reveals the influence of Wagner’'s music. The
piece
opens quietly with the woodwind, echoed by the strings
and gradually
moves forward to a grand climax, followed by a gentle
conclusion,
reminiscent of the opening.
Quattro Pezzi Sacri
In complete contrast to tonight’s youthful opening work, Verdi's Quattro
Pezzi Sacri were written during his later years and represent
the
composer at his most mature in terms of harmony, structure
and melodic
invention. The Quattro Pezzi Sacri were written between 1889 and
1897,
and although published together, Verdi did not intend that they
should
always be performed together.
Neither did Verdi cultivate a specifically religious style for his sacred
music — on occasions recalling music from his operas — but
he was,
6
Vivace Chorus
however, an enthusiastic student of the early Italian masters of sacred
music, especially Palestrina, and this influence can be seen in his late
religious works.
In
1888,
professor
of
music Adolfo
Crescentini
published
a
"scala
enigmatica" or enigmatic scale, made up of bizarre intervals (C, D flat, E,
F sharp, G sharp, A sharp, B; with F natural in its descending form),
which he invited composers to harmonise. Hence in 1889, Verdi wrote
the first of the four pieces and his fourth setting of Ave Maria, an unusual
and
harmonically ambiguous work quite unlike anything else in
his
prolific output. It is sung a cappella, the slowly moving, rising and falling
enigmatic scale being sung once by each voice part in turn on the words
Ave Maria.
Verdi did not expect the Ave Maria to be performed, thinking of it more
as a technical exercise. In fact it is now perhaps the best-known of the
four pieces.
The Stabat Mater is a devotional poem about the Virgin Mary’s griefstricken vigil at the foot of the cross. Considering the length of the verse,
the setting is terse, and although set simply for chorus and orchestra, it
has great expressive power and a grand dynamic climax.
The ltalian text of the following Laudi alla
Vergine is a setting of
Paradiso XXXIII. [Dante Alighieri, the greatest of Italian poets, wrote
La Divina Commedia (The Divine Comedy) between 1307 and 1321.
This is a three-part allegory of life and God as revealed to a pilgrim:
Inferno (Hell), Purgatorio (Purgatory) and Paradiso (Paradise).]
This simple and tender hymn of praise to the Virgin evokes the spirit of
16th-century polyphony and is, like the Ave Maria, sung a cappella. It is
scored for women's voices alone: sopranos and altos, each in two parts,
and
makes an
ideal
intermezzo between the two
larger orchestra-
accompanied pieces.
The concluding Te Deum was written for a large double chorus (up to
16 parts) and orchestra. This is a powerful and dramatic setting of both
prayer and praise — the double choral antiphony, and the full passages
with and without orchestra, give a masterly effect of all creation united in
homage to the Creator. Doubtless the wealth of Verdi's operatic
experience contributes to one of the most powerful and original of all
versions of the text.
Vivace Chorus
7
l.
Ave Maria
Ave Maria, gratia plena, Dominus
tecum;
benedicta tu in mulieribus,
et benedictus fructus ventris tui,
Hail Mary, full of grace, the Lord is
with thee;
blessed art thou among women,
and blessed is the fruit of thy womb,
Jesus.
Sancta Maria, Mater Dei,
Jesus.
ora pro nobis peccatoribus,
pray for us sinners,
nunc et in hora mortis nostrae.
Amen.
Holy Mary, Mother of God,
now and in the hour of our death.
Amen.
Il. Stabat mater
Stabat mater dolorosa
Juxta crucem lacrimosa
Dum pendebat Filius.
Cujus animam gementem,
Contristatam et dolentem,
Pertransivit gladius.
O quam tristis et afflicta
Fuit illa benedicta
Mater Unigeniti.
Quae moerebat et dolebat,
Pia Mater, dum videbat
Nati poenas inclyti.
Quis est homo, qui non fleret,
Matrem Christi si videret
In tanto supplicio?
Quis non posset contristari,
Christi Matrem contemplari
Dolentem cum Filio?
Pro peccatis suae gentis
The mother stood sorrowing
by the cross, weeping
while her Son hung there.
Whose soul, lamenting,
sorrowing and grieving,
has been pierced by the sword.
O how sad and afflicted
was that blessed
Mother of the only-begotten.
Who wept and grieved
and trembled to behold
the torment of her glorious child.
What man would not weep
if he saw the Mother of Christ
in such torment?
Who could not be sorrowful
to behold the pious mother
grieving with her Son?
Vidit Jesum in tormentis
For the sins of His people
she saw Jesus in torment
Vidit suum dulcem natum
She saw her sweet Son
Et flagellis subditum.
Moriendo desolatum
Dum emisit spiritum.
Eja, Mater, fons amoris
Me sentire vim doloris
and subjected to the whip.
dying, forsaken,
as He gave up the spirit.
Ah Mother, fount of love,
let me feel the force of grief,
Fac, ut tecum lugeam.
Fac, ut ardeat cor meum,
that | may grieve with thee.
In amando Christum Deum
with the love of Christ, the God,
Ut sibi complaceam.
Make my heart burn
that | may please Him. :
Vivace Chorus
Sancta Mater, istud agas,
Crucifixi fige plagas,
Cordi meo valide.
Tui nati vulnerati,
Holy Mother, bring this to pass,
transfix the wounds of Him
who is crucified firmly on my heart.
Poenas mecum divide.
Thy wounded Son,
who deigns to suffer for my sake,
share his pain with me.
Fac me vere tecum flere,
Crucifixo condolere,
grieving with Him who is crucified
Tam dignati pro me pati,
Make me truly weep with thee,
Donec ego vixero.
so that | may live.
Juxta crucem tecum stare,
To stand by the cross with thee,
Et me tibi sociare
to be freely joined with thee
In planctu desidero.
in lamentation, | desire.
Virgo virginum praeclara,
Virgin of virgins, resplendent,
Mihi jam non sis amara,
do not now be harsh towards me,
Fac me tecum plangere.
let me weep with thee.
Fac, ut portem Christi mortem,
Let me carry Christ's death,
Passionis fac consortem
Et plagas recolere.
Fac me plagis vulnerari,
the destiny of his passion,
Fac me cruce inebriari,
Et cruore Filii
Flammis ne urar succensus
Per te, Virgo, sim defensus
In die judicii.
Christe, cum sit hinc exire
and meditate upon his wounds.
Let me suffer his wounds
let me drink the cup of the cross
and the blood of thy Son.
That | burn not, consumed with flames,
O Virgin, let me be defended by thee
in the day of judgement.
O Christ when | must go hence,
Da per matrem me venire
grant through Thy mother that | come
Ad palmam victoriae.
to the crown of victory.
When my body dies,
let my soul be given
the glory of paradise. Amen.
Quando corpus morietur,
Fac ut animae donetur
Paradisi gloria. Amen.
lll. Laudi alla Vergine
Vergine madre, figlia del tuo Figlio,
Virgin mother, daughter of thy Son,
umile ed alta piu che creatura,
lowly and uplifted more than any creature,
termine fisso d'eterno consiglio,
tu se' colei che I'umana natura
nobilitasti si, che'l suo Fattore
fixed goal of the eternal counsel,
non disdegno di farsi sua fattura.
did not distain to make Himself its creation.
thou art she whom human nature
so ennobled that its creator
Nel ventre tuo si raccese I'amore
In thy womb was lit again the love
per lo cui caldo nell'eterna pace
under whose warmth in the eternal peace
cosi e germinato questo fiore.
this flower hath thus unfolded.
Qui se' a noi meridiana face
di caritate, e giuso, intra i mortall,
of charity, and there below with mortals
se' di speranza fontana vivace.
art a living spring of hope.
Vivace Chorus
Here art thou unto us the noonday torch
Donna, se' tanto grande e tanto vali,
che qual vuol grazia,
ed a te non ricorre,
sua disianza vuol volar senz'all.
La tua benignita non pur soccorre
a chi dimanda, ma molte fiate
liberamente al dimandar precorre.
In te misericordia, in te pietate,
in te magnificenza, in te s'aduna,
quantunque in creatura e di bontate.
Ave.
IV. Te Deum
Te Deum laudamus:
Te Dominum confitemur.
Te aeternum Patrem,
omnis terra veneratur.
Tibi omnes Angeli,
Tibi coeli et universae potestates:
Tibi Cherubim et Seraphim
incessabili voce proclamant:
"Sanctus, Sanctus, Sanctus,
Dominus Deus Sabaoth.
Pleni sunt coeli et terra
Lady, thou art so great and hast such
worth, that he who would have grace
yet doth not turn to thee, his longing
seeketh to fly without wings.
Thy kindliness not only succours
he who asketh, but does oftentimes
freely forerun his request.
In thee is mercy, in thee is pity,
in thee magnificence, in thee is united
whatever in created being is of
goodness.
Hail.
- We praise Thee, O God:
we acknowledge Thee to be the Lord.
All the earth doth worship Thee,
the Father everlasting.
To Thee all Angels cry aloud:
the heavens, and all the powers therein.
To Thee Cherubim and Seraphim
continually do cry:
"Holy, Holy, Holy,
Lord God of Sabaoth.
Heaven and earth are full
majestatis gloriae tuae”.
of the majesty of Thy glory”.
Te gloriosus Apostolorum chorus,
The glorious company of the Apostles,
The goodly fellowship of the Prophets,
Te Prophetarum laudabilis numerus,
Te Martyrum candidates
laudat exercitus.
Te per orbem terrarum
sancta confitetur Ecclesia,
Patrem immensae majestatis;
Venerandum tuum verum
The noble army of Martyrs,
praise Thee.
The holy Church throughout all the
world doth acknowledge Thee:
the Father of an infinite majesty;
Thine honourable, true
et unicum Filium; Sanctum quoque
Paraclitum Spiritum.
and only Son; also the Holy Ghost,
the Comforter.
Tu Rex gloriae, Christe.
Tu Patris sempiternus
Thou art the King of Glory, O Christ.
Thou art the everlasting Son
es Filius.
Tu ad liberandum suscepturus
hominem,
non horruisti Virginis uterum.
Tu devicto mortis aculeo,
aperuisti credentibus
10
of the Father.
When Thou tookest upon Thee to
deliver man,
Thou didst not abhor the Virgin's womb.
When Thou hadst overcome the
sharpness of death, Thou didst open
Vivace Chorus
regna coelorum.
the Kingdom of Heaven to all believers.
Tu ad dexteram Dei sedes,
Thou sittest at the right hand of God,
in gloria Patris.
in the glory of the Father.
Judex crederis esse venturus.
Te ergo quaesumus,
We believe that Thou shalt come to be
tuis famulis subveni,
help Thy servants: whom Thou hast
quos pretioso sanguine redemisti.
redeemed with Thy precious blood.
Aeterna fac cum Sanctis tuis
Make them to be numbered with Thy
Saints in glory everlasting.
O Lord, save Thy people,
our Judge. We therefore pray Thee,
in gloria numerari.
Salvum fac populum tuum, Domine,
et benedic hereditati tuae.
Et rege eos, et extolle illos usque
in aeternum.
and bless thine heritage.
Govern them and lift them up
for ever.
Per singulos dies benedicimus te;
Day by day we magnify Thee;
et laudamus nomen tuum
in saeculum saeculi.
and we worship Thy name,
ever world without end.
Vouchsafe, O Lord:
to keep us this day without sin.
Dignare, Domine, die isto
sine peccato nos custodire.
Miserere nostri Domine,
miserere nostri.
O Lord, have mercy upon us,
have mercy upon us.
Fiat misericordia tua, Domine, super
O Lord, let Thy mercy lighten upon us
nos, quemadmodum speravimus in te.
as our trust is in Thee.
In te speravi; non confundar
in aeternum.
In te, Domine, in te speravi.
In Thee have | trusted; let me never
be confounded.
In Thee Lord, in Thee have | trusted.
~ Interval ~
Crisantemi
The string quartet was a medium for which Puccini had an undoubted
affinity, and over the years he composed some five works or groups of
pieces for it. All of these compositions have been virtually forgotten
except for Crisantemi (Chrysanthemums), written in 1890 as an elegy for
Amedeo of Savoy, the Duke of Aosta. Written in a single night, Puccini
said, Crisantemi is a single, dark-hued, continuous movement which he
re-used 4 years later in the last act of Manon Lescaut to show the
suffering of Manon’s imprisonment and transportation. Almost never
heard in its original string quartet guise, Crisantemi has instead become
known as an arrangement for string orchestra.
Vivace Chorus
11
Messa di Gloria
The Messa di Gloria was written in 1880 as Puccini’s graduation thesis
from the Institute Musicale of Lucca, when he was only 22 years old. It
was also intended as a tribute to the four generations of his family who
had specialised in sacred music. In the autumn of the same year Puccini
began his 3 years of study at the Milan Conservatory.
The Mass was originally known as his Mass for Four Voices [vocal parts]
but probably derives its better-known title from the importance of its
movement, the Gloria, which accounts for almost half the
performance time of the entire work. It is an unmistakably youthful work,
but shows a mature grasp of musical composition, combining a flair for
orchestration with a similar command of vocal writing in a style which
second
opera aficionados will immediately recognise as Puccini’s own.
It is probably due to Puccini's preoccupation with opera that the Messa di
Gloria remained unperformed for a further 72 years after its first
performance, despite its undoubted quality and the resounding success
of its first performance. The piece was only brought to light again in 1952
by an American Catholic priest and musicologist, Father Dante del
Fiorentino, during his researches in Lucca for a new biography of the
composer. Although Puccini never tried to publish his Messa di Gloria,
nevertheless he thought well enough of the piece to re-use certain
themes: that of the Agnus Dei, for example, is found in more or less
identical form in Manon Lescaut.
The mass is scored for tenor, baritone and bass soloists and four-part
mixed choir with full orchestra, and divided into the customary five
movements: Kyrie, Gloria, Credo, Sanctus and Agnus Dei.
The delightful introduction to the Kyrie by the strings begins quietly and
is developed; the Christe eleison has a more forceful opening as bass,
tenor, alto and soprano voices enter in turn, a tone or semitone apart,
forming a dramatic climax. The return of the Kyrie restores the earlier
serenity and the woodwind bring the movement to a quiet close.
The
Gloria is divided into contrasting sections each with its own
character. The opening Gloria in excelsis Deo leads to a lively exchange
between the women’s and men’s voices, before all join together in
rejoicing. The simple harmonies of Et in terra pax lend an air of serenity
which gives way to ever-increasing tension and a dynamic climax as
trumpet calls introduce Laudamus te. At the words Adoramus te, strings
and woodwind accompany a gentler setting, leading to the unmistakably
operatic tenor solo, Gratias agimus tibi. The opening mood is restored
12
Vivace Chorus
with
Gloria in excelsis Deo, and a gently liting
coelestis before
the
basses
introduce
Domine Deus,
Qui tollis peccata
Rex
mundi,
a
characteristically operatic section worthy of Verdi. More solemn but just
as grand is the Quoniam tu solus sanctus, where the brass lend strength
to the choir's solid four-part harmony. Trumpet fanfares build to an
appropriate climax and lead to the final section, Cum sancto spiritu,
where Puccini shows his contrapuntal skill in a fugue introduced by the
basses, followed by the tenors, altos and sopranos.
The Credo opens in unison, an emphatic statement of belief in the
Trinity, followed by the contrasting style of Et incarnatus est, a reflective
section for tenor solo and chorus. The mood darkens for the bass solo
Crucifixus,
with
the
sombre
monotones
of
Passus
et sepultus est
conveying a deep sense of pathos. The minor mode continues in Et
resurrexit,
but
optimism
resurfaces
in
Et
expecto
resurrectionem,
heralded by trumpets, followed by the joyful Et vitam venturi saeculi. The
movement closes with a simple Amen.
The tender Sanctus and strongly stated Pleni sunt coeli from the entire
choir are followed by the beautiful baritone solo of the Benedictus,
crowned by final choral singing of Hosanna in excelsis.
The setting of the Agnus Dei may be familiar from its later operatic
transformation as the madrigal in the second act of Manon Lescaut. It
starts with a tenor solo, introducing a bass solo passage, before the two
soloists join together in music that brings inevitable suggestions of Verdi.
l. Kyrie
Kyrie eleison.
Lord, have mercy.
Christe eleison.
Kyrie eleison.
Christ, have mercy.
Lord, have mercy.
. Gloria
Gloria in excelsis Deo,
Glory be to God on high,
et in terra pax hominibus
and on earth peace
bonae voluntatis.
to men of goodwill.
Laudamus te, benedicimus te,
We praise Thee, we bless Thee,
adoramus te, glorificamus te,
we worship Thee,
gratias agimus tibi
we give thanks to Thee
propter magnam gloriam tuam.
for Thy great glory.
Domine Deus, Rex coelestis,
Deus Pater omnipotens.
O Lord God, heavenly King,
Domine Fili unigenite,
Vivace Chorus
God The Father Almighty.
O Lord the only begotten Son,
13
Jesu Christe;
Domine Deus, Agnus Dei,
Filius Patris,
Qui tollis peccata mundi,
miserere nobis.
Qui tollis peccata mundi,
suscipe deprecationem nostram.
Quoniam tu solus sanctus.
Tu solus Dominus.
Tu solus altissimus,
Jesu Christe, cum sancto Spiritu,
in gloria Dei Patris. Amen.
Jesus Christ;
O Lord God, Lamb of God,
Son of the Father,
That takest away the sins of the
world, have mercy upon us.
Thou that takest away the sins of the
world, receive our prayer.
For Thou only art holy.
Thou only art the Lord.
Thou only, O Jesus Christ,
with the Holy Spirit, art most high
in the glory of God the Father. Amen.
lll. Credo
Credo in unum Deum
Patrem omnipotentem
factorem coeli et terrae,
visibilium omnium et invisibilium.
Et in unum Dominum Jesum
Christum, Filium Dei unigenitum,
Et ex Patre natum ante omnia
saecula. Deum de Deo,
lumen de lumine,
Deum verum de Deo vero.
Genitum, non factum,
consubstantialem Patri:
per quem omnia facta sunt.
Qui propter nos homines
et propter nostram salutem
| believe in one God,
the Father almighty,
maker of heaven and earth,
and of all things visible and invisible.
And in one Lord, Jesus Christ, the
only begotten Son of God,
Begotten of his Father before all
worlds. God of God,
light of light,
Very God of very God.
Begotten, not made, being of one
substance with the Father:
by whom all things were made.
Who for us men
and for our salvation
descendit de coelis.
came down from heaven.
Et incarnatus est de Spiritu Sancto
ex Maria Virgine:
And was incarnate by the Holy Ghost
et homo factus est.
Crucifixus etiam pro nobis
sub Pontio Pilato:
passus, et sepultus est.
Et resurrexit tertia die,
secundum scripturas.
of the Virgin Mary:
and was made man.
And was crucified also for us
under Pontius Pilate:
suffered, and was buried.
And the third day He rose again
according to the scriptures.
Et ascendit in coelum:
sedet ad dexteram Patris.
And ascended into heaven, and
Et iterum venturus est
cum gloria judicare vivos et mortuos:
And He shall come again
with glory to judge the living and the
14
sitteth at the right hand of the Father.
Vivace Chorus
Cujus regni non erit finis.
Et in Spiritum sanctum Dominum,
et vivificantem:
Qui ex Patre, Filioque procedit.
Qui cum Patre, et Filio simul adoratur,
et conglorificatur:
Qui locutus est per Prophetas.
Et unam sanctam catholicam et
apostolicam Ecclesiam.
Confiteor unum baptisma
in remissionem peccatorum.
Et expecto resurrectionem
mortuorum et vitam venturi saeculi.
Amen.
dead: His kingdom shall have no end.
And (I believe in) the Holy Ghost, the
Lord and giver of life: Who
proceedeth from the Father and Son.
Who with the Father and Son
together is worshipped and glorified:
Who spake by the Prophets.
And in one holy catholic and
apostolic Church.
| acknowledge one baptism
for the remission of sins.
And | look for the resurrection of the
dead and the life of the world
to come. Amen.
IV. Sanctus
Sanctus, sanctus, sanctus,
Dominus Deus Sabaoth.
Pleni sunt coeli et terra gloria tua.
Hosanna in excelsis.
Benedictus qui venit
in nomine Domini.
Hosanna in excelsis.
V. Agnus Dei
Agnus Dei, qui tollis peccata mundi,
miserere nobis.
Agnus Dei, qui tollis peccata mundi,
dona nobis pacem.
Holy, holy, holy,
Lord God of Hosts.
Heaven and Earth are full of Thy
glory. Hosanna in the highest.
Blessed is he who cometh
in the name of the Lord.
Hosanna in the highest.
Lamb of God, that takest away the
sins of the world, have mercy upon
us. Lamb of God, that takest away the
sins of the world, grant us peace.
Some of the printed music for this evening's concert has been hired from
Surrey County Council Performing Arts Library,
Concord Music Hire Library and United Music Publishers.
The Vivace Chorus gratefully acknowledge the sponsorship
of tonight’s soloists by the Josephine Baker Trust.
Vivace Chorus
15
Andrew Dickinson - Tenor
Andrew is currently on the Opera Course
at the Royal Academy of Music (RAM)
studying
under
Ryland
Davies
and
Audrey Hyland. The Derek Butler Trust,
an lan Fleming Award from the Musicians’
Benevolent Fund and the Countess of
Munster Award assist him in his studies.
Before that he completed his Bachelor of
Music degree with 1st Class Honours at
the Royal Scottish Academy of Music and
Drama
(RSAMD),
studying
with
Peter
Wilson. Whilst at the RSAMD, Andrew
won the Florence Veitch Prize for Oratorio
;
@@
in 2007 and the Frank Spedding Lieder
competition 2008. In his first year at the RAM he won the prestigious
Arthur Bliss Prize and reached the final of the Richard Lewis Competition
as well as making his Wigmore Hall debut in a performance of Vaughan
Williams’ On Wenlock Edge.
Recent operatic roles include Raoul de St Brioche in Lehar’'s The Merry
Widow with Scottish Opera; Ferrando in Mozart's Cosi Fan Tutte and the
Mayor in Britten’s Albert Herring with RSAMD; Alchemist in Bernstein’s
Candide and
Lehrbube
in Wagner's
Die Meistersinger,
both at the
Edinburgh Festival, and Don Ottavio in Mozart’s Don Giovanni with Fife
Opera. Andrew has recently played Ferrando in Cosi Fan Tutte with
Clonter Opera as well as |l Conte Alberto in the RAM production of
Rossini’s L'occasione fa il Ladro. He was also privileged to be part of the
Bayreuth Chorus for their 2009 season. Andrew will be playing the title
role in Albert Herring for Royal Academy Opera in March 2010 and will
then join the Glyndebourne Chorus for their 2010 summer season.
Andrew has sung in Handel's Messiah as a guest soloist across Central
and Eastern Europe, including venues such as St Stephen’s Cathedral in
Vienna and the Liszt Academy in Budapest. Other oratorio highlights
include Elgar’s The Apostles, Puccini’'s Messa di Gloria, Mendelssohn's
Elijah and St Paul, Gounod’s St Cecilia Mass, Rossini's Petite Messe
Solennelle,
Mozart's
Bach’'s
St John
Coronation Mass in
Passion
at
St Martin-in-the-Fields
Ravensburg.
Recent concerts
and
include
Britten’s War Requiem at Dunblane Cathedral and Haydn's Nelson Mass
at Eton College. Andrew will also sing Bach’s St Matthew Passion at
Canterbury Cathedral in March.
16
Vivace Chorus
Frederick Long — Bass-baritone
Frederick
experience
is
a
as
versatile
musician,
singer,
pianist,
a
with
cellist,
conductor and composer. After graduating
from Bristol University with a first class degree
in music, he won a scholarship to study as a
bass-baritone at the Royal Academy of Music,
where he is taught by Mark Wildman and lain
Ledingham. Now in his second year, he has
performances
of
major
oratorio
given
repertoire across the country,
including the
Mozart,
Fauré
and
Duruflé
Requiems,
Haydn’s Creation, Handel's Messiah and
Puccini's Messa di Gloria. Frederick was
delighted to be invited to the Victoria Rooms
last year to perform the eponymous prophet in Mendelssohn's Elijah
as
part of Bristol University's centenary celebrations, and more recently
to
St. John's, Smith Square, for Handel's Judas Maccabaeus, with Paul
Spicer and the City of London Baroque Sinfonia.
Frederick's growing operatic experience includes Somnus (Handel’s
Semele) for Royal Academy Opera under Sir Charles Mackerras, Noye
(Britten’s Noye's Fludde) at Rugby School, and Life in the world premier
of Martin Georgiev's chamber opera, The Mirror. Later in March he will
play Superintendent Budd (Britten’s Albert Herring) for Royal Academy
Opera (alongside tonight's other soloist!).
2010 marks the beginning of Frederick's tenure as a Kohn Bach Scholar
soloist in the Academy's flagship Bach Cantata series, and he also looks
forward to a return to his alma mater for the Verdi Requiem, Messiah at
St. Martin-in-the-Fields, and the official commencement of his studies
with Royal Academy Opera in September.
Frederick would like to acknowledge the support of the John Lewis
Scholarship, the Arts and Humanities Research Council and the
Josephine Baker Trust.
The Creation - 14th November 2009
(from Mark Wildman, Head of Vocal Studies at the Royal Academy of Music):
-
I greatly enjoyed the concert and was bowled over by the
excellence of the chorus and by Jeremy's great skill and sensitivity
in guiding everyone through a difficult score. The whole evening was
a real pleasure. It was a privilege to work with you all.
Vivace Chorus
17
Photography by Sim Canetty-Clarke
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
Mendelssohn’s Symphony No. 2 (Lobgesang), Verdi's Requiem and
most recently, in November 2009, Haydn's The Creation.
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, following Sir Richard Hickox
(who founded the choir in 1967) and most recently, Stephen Jackson. In
January 2009, Jeremy was appointed Music Director of the Salisbury
Community Choir. His first concert with them was in May 2009.
18
Vivace Chorus
che
l
b
“ urg
Artistic Director — Robert Porter
Associate Music Director — Sarah Tenant-Flowers
The Brandenburg Sinfonia is one of the most dynamica
lly versatile
musical organisations in the country. It is renowned for
its special quality
of sound and poised vivacity in performance. The orchestr
a 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 Branden
burg 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.
lts 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
and Central Festival Opera.
Violin 1
Mihkel Kerem
Viola
Oboe
Matthew Quenby
Trumpet
Dan Bates
Chris Deacon
Heidi Bennett
Leo Payne
Deborah White
Anna Harpham
Caroline Frenkel
Oliver Wilson
Emily Steinitz
Cello
Floortie Gerritsen-
Ben Rogerson
Francis Kefford
Mariam Ruetschi
Huston
Kate Robinson
Violin 2
Harriet Wiltshire
Graham Walker
Helena Binney
:
Elizabeth van Ments
Oriana Kristzen
Sally Fenton
Gabriella Nikula
Rowan Bell
Catriona Hepburn
Bass
Anthony Williams
Lawrence Ungless
Flute
Fergus Davidson
Nicola Smedley
Kimberley Boyle
Vivace Chorus
Opera Players
Rachel Broadbent
James Beatty
Jo Harris
Clarinet
Trombone
Neyire Ashworth
Juliet Bucknall
Tom Lessels
Susan White
Emma Juliette Boyd
Dougal Prophet
Bassoon
Tuba
Jonathan Price
Alex Kidston
Rosie Cow
Rosie Burton
Timpani
Rachel Simms
Tristan Fry
Horn
Percussion
Tommy Foster
Nick Wolmark
Susie Koczur
Evgeny Chebykin
Jason Koczur
19
About the Vivace Chorus
Jeremy Backhouse
Music Director
Francis Pott
Accompanist
The Committee
James Garrow
Chairman
Tel. 01403 751552
Isobel Rooth
Hon. Secretary
Tel. 01252 702979
email: secretary@vivacechorus.org
Bob Cowell
Jane Brooks
Hon. Treasurer
Tel. 01483 770896
Membership Secretary
Tel. 01483 539088
email: membership@vivacechorus.org
Michael Taylor
Ticket sales
Tel. 07958 519741
email: tickets@vivacechorus.org
Jackie Alderton
Mailings
Tel. 01932 343625
Gill Perkins
Sponsorship
Tel. 01483 458132
Chris Short
Patrons' liaison
Tel. 07703 807250
Hilary Trigg
Publicity
Hilary Minor
Press Officer
Neil Martin
Committee member
Other (non-Committee) responsibilities
Christine Medlow
Music Librarian
John Britten
Music sales
Penny Baxter
Pre-concert talks
Prue Smith
Auditions accompanist, cathedral & library displays
Brenda Moore
Programme notes, soloists’ liaison & advertising
Alan Batterbury
Concert staging
Chris Alderton
Front of House
Chris Peters
Website Manager
For other phone numbers and email addresses, please refer to the
'Contact us' page of our website: www.vivacechorus.org.
20
Vivace Chorus
The choir was founded in 1947 as the Guildford Philhar
monic Choir but
in May 2005, to reflect its new independent status from
the Borough of
Guildford, 'rebranded' itself as the Vivace Chorus.
We enjoy a
challenging and varied repertoire from the 16th century
onwards; some
pieces are well-known, others are rarities deserving
to be heard by a
wider audience. In the 2004/5 season, we introduced
our Contemporary
Choral Classics Cycle, an innovative series of works
from the late 20th
and 21st centuries. To show the variety of our recent
programmes:
The 2007/8 season tested both our tuning and
our nerves, with a
programme
by
French
unaccompanied,
composers,
followed
by
our
sung
Viennese
only
with
Masters
included more a cappella singing (three Bruckner motets
organ
concert
or
which
and a 16-part
arrangement of Mahler's Ich bin der Welt abhand
en gekommen). Our
contemporary concert featured Karl Jenkins' Requiem
, with other works
by Britten, Fauré, Elgar, Barber and Mahler.
We started the 2008/9 season with a spectacular perform
ance of Verdi's
Requiem, in combination with our twin choir, the Freibur
ger Bachchor,
and Romsey Choral Society. Then as a complete contrast
, our Venetian
Baroque concert included some of the earliest music
we have ever sung.
These were masterpieces from Gabrieli, Schiitz and
Monteverdi, with
Vivaldi's uplifting Gloria to end the evening. Finally, and
following on from
the success of our first-ever jazz concert in May 2007
(which included
Will Todd's fabulous Mass in Blue), the season finished
with Will Todd's
Te Deum — a world premiére and first commission by
the choir.
We also regularly sing in a 'Last Night of the Proms' charity
concert in the
Fairfield Halls, Croydon, and with our good friends
the Brandenburg
Sinfonia, we sing at least once a year in the superb venue
of St Martinin-the-Fields, performing works such as Mozart's Requiem
.
During last summer's break, half the choir and Jeremy
embarked on
what quickly became known as the Tour de France.
We gave concerts in
the cathedrals of Paris (Notre-Dame), Rouen and Beauvai
s. This proved
to be both inspiring and emotionally moving — and we
had great fun too.
Eagerly anticipated events are a commercial recording
of Will Todd’s
Te Deum and, to mark the centenary of Mahler’s death,
a performance of
his Symphony No. 8, being planned for May 2011 in the
Royal Albert Hall.
If you are interested in singing with us, please contact
Jane Brooks,
01483 539088. Rehearsals are held on Monday evening
s at Holy Trinity
Church, Guildford High Street, and prospective member
s are welcome to
attend rehearsals on an informal basis before committ
ing to an audition.
For more information, see our website at www.vivacechorus.org.
Vivace Chorus
21
Vivace Chorus Singers
FIRST SOPRANOS
FIRST ALTOS
Joanna Andrews
Helen Beevers
Penny Baxter
Mary Broughton
Rachel Edmondson
Maggie Martelli
Hilary Minor
Susan Norton
Robin Onslow
Margaret Parry
Margaret Perkins
Kate Rayner
Gillian Rix
Laura Sheppard
Monika Boothby
Jane Brooks
Liz Durning
Sue Fletcher
Jane Hedgecock
Sheila Hodson
Pamela Leggatt
Margaret Mann
Lois McCabe
Clare McKinlay
Kay McManus
Christine Medlow
Alex Simpson
Carol Terry
Nikki Vale
Rosalind Milton
Mary Moon
Gill Perkins
Karen Prodger
SECOND SOPRANOS
Marjory Rollo
Jacqueline Alderton
Anna Arthur
Lesley Scordellis
Catherine Shacklady
Hilary Trigg
Maggie Woolcock
Barbara Barklem
Judith Chester
Anna Durning
Mandy Freeman
Jane Kenney
Judith Lewy
Krystyna Marsden
Enid Millinger
Debbie Morton
Alison Newbery
Alison Palmer
Kate Peters
Rosalind Plowright
Isobel Rooth
Ann Sheppard
Judy Smith
Paula Sutton
Philippa Walker
Christine Wilks
Frances Worpe
SECOND ALTOS
Geraldine Allen
Hannah Andrews
Marion Arbuckle
Evelyn Beastall
Sylvia Chantler
Mary Clayton
Christine Curtis
Celia Embleton
Elizabeth Evans
Valerie Garrow
Jo Glover
Claire Hann
Barbara Hilder
Susan Hinton
Carol Hobbs
Yvonne Hungerford
Janet Lansdale
Beryl Northam
Prue Smith
Jo Stokes
Rosey Storey
June Windle
Elisabeth Yates
22
FIRST TENORS
Bob Cowell
Tim Hardyment
Nick Manning
Martin Price
Chris Robinson
John Trigg
SECOND TENORS
John Bawden
Bob Bromham
Tony Chantler
Stephen Chowns
John Duke
Fergus Hamilton
Geoff Johns
Stephen Linton
Jon Scott
FIRST BASSES
John Britten
Michael Golden
Brian John
Jeremy Johnson
Eric Kennedy
Chris Peters
Robin Privett
Philip Stanford
Kieron Walsh
SECOND BASSES
Peter Andrews
Alan Batterbury
Norman Carpenter
Dave Cox
Geoffrey Forster
James Garrow
Nick Gough
Michael Jeffery
Jonathan Long
Neil Martin
Maxwell New
Roger Penny
Chris Short
Michael Taylor
Vivace Chorus
Patrons of Vivace Chorus
The Vivace Chorus is extremely grateful to all Patron
for their financial support.
s
Platinum Patrons:
Dr Roger Barrett
Mr and Mrs Peter B P Bevan
Mrs J G Blacker
John and Barbara Britten
Mr and Mrs R Broughton
Mr Michael Dawe
Mr and Mrs J Durning
Dr Michael Golden
Mrs Rita Horton
Gold Patrons:
Mr Robin Broadley
Mr and Mrs Philip Davies
Mr and Mrs G Dombrowe
Mr and Mrs John Parry
Mr Laurie James
Mrs Pamela Leggatt
Mr John McClean
Ron and Christine Medlow
Dr Roger Muray
Mr and Mrs Maxwell S New
Dr and Mrs M G M Smith
Dr John Trigg MBE
Miss Enid Weston
Bill and June Windle
Mrs Jean Radley
Brenda and Brian Reed
Prue and Derek Smith
Silver Patrons:
Dr J B R Arbuckle
Mr Bill Bellerby MBE
Mrs Doreen Bellerby MBE
Mrs Iris Bennett
Mr H J C Browne
Mrs Maryel Cowell
Mrs Carol Hobbs
Mrs M van Koetsveld
Mr Lionel Moon
New Patrons are always welcome. If you are interes
ted in participating,
please contact our Patrons Secretary, Chris Short,
on 07703 807250 or
email patrons@vivacechorus.org
Our Patrons scheme underwent a re-launch in
2009, the purpose of
which was two-fold: to give Patrons additional benefit
s for their financial
backing and to encourage new Patrons to suppor
t the choir, which will
help us to continue to perform innovative, high-quality
programmes.
Vivace Chorus
23
‘Creative Genius'
The Creation, 14th Nov 2009
from Gillian Ramsden's review for
‘The Surrey Advertiser'
..This work, written at the end of the eighteenth century, has not always had
the popularity it deserves in Britain, but over the last hundred years it has
enjoyed a renaissance and now justly takes its place in the top rank of oratorios.
The Vivace Chorus and the Brandenburg Sinfonia were joined by three soloists:
soprano, tenor and bass. The contrast between the dark bass of Mark Wildman
and the fresh, lyrical voice of young Nicholas Scott were ideally suited to this
work, where Haydn uses the different vocal timbres and ranges to depict light
and darkness, the heavens and the depths of the ocean, the birds flying free
and the beasts of the earth with heavy tread or sinuous trace.
The immaculate diction of Mr. Wildman was a joy to hear, as was his connection
to the story and obvious enjoyment in telling it. I expect great things of the
tenor.. He had great elegance of phrasing, and his clarity of diction is quite a
rarity in young singers nowadays. The strong, bright voice of Rebecca Goulden
soared over the orchestra and up into the vaults of heaven just as Haydn must
have intended.
The Brandenburg Sinfonia rose to every challenge, as, indeed, did the Vivace
Chorus, and this is a challenging work. From the beautifully soft beginning when
the Spirit of God first begins its creative work, through the downfall of the
hosts of darkness and the glorious fugal hymns of praise, to the final resounding
Amens, the choir were responsive to the conductor and produced a wonderful
choral sound.
..Jeremy Backhouse held all the forces under his baton together to bring us a
performance of an exceptionally high standard. The rehearsal on the day of the
performance is usually the only one with the orchestra, and the director,
understandably, must give them a great percentage of his attention, often to
the detriment of the chorus. In performance Jeremy never lets his chorus
down. He is helped in this of course by the sheer professionalism of this
orchestra,
but
the communication
between
musical
director and
choir
is
exceptional.
Thank you, Vivace Chorus, for a wonderful evening.
O,
24
Vivace Chorus
The staging for this concert
is owned by
the Association of Surrey
Choirs. To
hire, please contact Penn
y Peters,
Guildford Cathedral Offic
e (tel: 01403
e
:
F'"a""g'l'}’,“fi,'s,:“i;’,';‘{,
<1 BOROUGH
547860). It was purchase
d with financial
assistance from the Foun
dation for
Sport and Arts, PO Box 20,
Tonight's concert has been
held in Guildford Cathedral
by kind permission of the
Liverpool.
Dean and Chapter.
Printed by WORDCRAFT
115 Merrow Woods, Guil
dford, Surrey GU1 2LJ
Tel: 01483 560735
Vivace Chorus
Registered Charity No 102
6337
in the name of Guildford Phil
harmonic Choir
So sorry to leave you.;.
v
"I have so enjoyed my 37 year
s with Vivace, but sadly we
are now moving to Nort
h Devon & our time
running out fast!
in Guildford is
I didn't want to just disa
ppear without thanking ever
for making me so welcome
I've learnt such a lot!
I shall be writing a little note
& making Vivace so special.
to J eremy, who is the best
miles that I've ever come acros
as a group of people,
much enjoyment.
And
musical director by
s, but the success of the choir
is that everyone play
And that is so rare. I have
yone
, both musically &
s their part & is welc
some wonderful memories
omed & valued.
of concerts & rehearsals,
&
Thank you so much Vivace,
& T hope you continue to go
from strength to strength
for many years to come!
Best wishes
Deborah Bayliss (Alto 2)
Vivace Chorus
25
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26
Vivace Chorus
M Guildford Spring Music Festival gsmf
21 March
- 27* March 2010
Opening Day - Sunday 21st March 2010
Rock Choir
The musical phenomenon of the decade.
Over 350 members who sing with the groups in Guildford, Godalming and Farnham will be
appearing to take the audiences through their routines of rock, pop and Motown.
Four performances at 3pm, 5pm, 7pm and 9pm
- come to one, two or all at special prices.
Lunchtime Concerts
22nd
Jazz Lunch
Evening Concerts
22nd
with Jimmy Hastings and his Quartet
A splendid evening’s entertainment with
eat your sandwiches or buy lunch at Al
Guildford’s international opera star
Fresco at the Theatre
23rd
Guildford County School
baritone
23rd
Chamber Music from some of the most
GSA stars take us down Broadway and
Guildford’s Music Academy
Santiago String Quartet
Guildford School of Acting
Songs from the Shows
talented young musicians from
24th
An Audience with Jonathan Veira
to the West End
24th
Surrey Brass
Music from the Americas
The Grand Tour
including tangos by Piazzolla
Brass arrangements of Rossini, Bizet,
R Strauss and others
25th
Members of Musica Viva**
25th
Virtuoso Baroque
Simon Phillips and Stephen Ridge
A return by two local prize-winning
Heather Tomala (recorders)
with harpsichord and cello
26th
Penelope Cave**
pianists in a varied programme
26th
The King, the Court and the Comédie
The President’s Concert
Philip Langridge, GSMF’s President,
Frangois Couperin and the Music of
and The Heath Quartet
Versailles
27th
Music for Two Pianos
with Terence Allbright (piano).
Surrey Cantata
27th
Parry to Britten
Classics of English choral music
Surrey Mozart Players
Musical Director Kenneth Woods
Soloist Emma Curtis Elgar, Schumann
Haydn and Beethoven
Tickets for all events available from
The Electric Theatre Box Office 01483 444789
Guildford Tourist Office 01483 444334 and online at www.gsmf.org.uk
Lunchtime Concerts £8 — Evening Concerts £12
*¥* These events will be held in the Guildhall High Street Guildford
Y CHORUS
THE LONDON CH
ORUS
ROMSEY CHORAL
TIFFIN BOYS’ CHO
SOCIETY
IR
Vivace
Chorus
00 Q/
F£NRA2OVET SNUMEBRAT
J_
PUCCINI
VERDI
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GUILDFORD CATHEDRAL
¥ SATURDAY 6TH MARCH: 7.30PMm
PRE-CONCERT TALK AT 6.30PM