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SINFO flld
TB“IEMIDHIBIIBIE
& SPRING CHORAL
FESTIVAL- LONDON
2m
Friday 7*" January at 7.30pm
Mozart
Requiem
Mozart Violin Concerto no 35
by Candlelight
Vivace Chorus
Brandenburg Sinfonia
violin Nazrin Rashidova
Conductors
Jeremy Backhouse & Robert Porter
St Martin-in-the-Fields, Trafalgar Square, London WC2N 4]]J
Welcome
May I offer you a very warm welcome to the second concert of the
Brandenburg Spring Choral Festival 2011?
An important strand of the Brandenburg concert schedule is working
with choirs to support them for what is often the major event of their
calendar, so it gives me enormous pleasure to be able to invite some of
our favourite choirs to join us for the Festival and especially in our
favourite venue.
St Martin-in the-Fields is such a marvellously atmospheric setting and
of course the acoustic is just perfect for the vocal music, whether solo
or choral.
[ am delighted to welcome our old friends Vivace Chorus with their
conductor Jeremy Backhouse in their second visit to St Martins for us
within a month.
As an extra bonus we are introducing a new friend — Nazrin Rashidova to play the Mozart Violin Concerto
in the first half. Although she is just at the start of her career, I am sure you will be enchanted by her
playing and I am pleased to say she is joining us for three concerts over the course of the Festival.
You will find details of all the remaining concerts in the Brandenburg Spring Choral Festival in the
brochures available this evening so we do hope to see you again, either here at St Martins, or at one of the
interesting smaller venues.
By way of contrast, if you are not in a rush to get away tonight why not stay for the late night Jazz Piano
gig with the Musical Director from Ronnie Scott’s Club — James Pearson.
Finally you will be encouraged to make a small donation to the St Martin’s Vicars Fund at the end of the
evening. We are supporting the Fund at every concert throughout the Festival and the money we raise will
contribute to the fantastic work the Fund does for homeless people throughout the year.
Robert Porter
Brandenburg Artistic Director
BS:
If you enjoy tonight’s concert why not sign up as a “ Friend of the Brandenburgs”. It is an email service
that keeps you up to date with our activities. There is no charge, you can withdraw from our mailing list at
any time, and because we understand what a pain it can be constantly to receive unwelcome emails, we
guarantee not to pass on your email address to anyone. In particular it will enable us to send you details of
our exciting Brandenburg Spring Choral Festival next year.
Simply send us a quick one-line email asking to be put on the list to bob@brandenburg.org.uk
We are hoping to extend the scope of the “Friends” to include social events attached to our concerts so I
hope to see you at another concert really soon.
The Brandenburg Sinfonia gratefully acknowledges the generosity of
the Josephine Baker Trust by supporting the soloists in this evening’s performance.
page 2
Bn@lenburg
¥ Sinfonta
The Orchestra
Violin 1
Oboe
Horn
Mihkel Kerem
Emily Pailthorpe
David Lee
David Ballesteros
Rachel Broadbent
David Bentley
Bassett Horn
Trumpet
Violin 2
Peter Sparks
Paul Archibald
Richard Milone
Juliet Bucknall
Gilian Hicks
Bassoon
Trombone
Viola
Sarah Burnett
Emma Juliet Boyd
Matthew Quenby
Rosemary Cow
Susan White
Rhys Watkins
Charlotte Scott
Jon Thorne
Dougal Prophet
Cello
Timpani
Adrian Bradbury
Tristan Fry
Ben Rogerson
Bass
Beveley Jones
Artistic Director
Associate Music Director
Ensemble Director
Robert Porter
Sarah Tenant-Flowers
Mihkel Kerem
Concert Manager
Marketing Manager
Friends Co-ordinator
Jane Kersley
Pippa Goodall
Martin Cole
PA to Artistic Director
Transport Manager
Finance
Eve Christie
Alan Fryer
Patricia Unwin
page 3
Jeremy Backhouse - Conductor
Jeremy Backhouse began his musical career in Canterbury
Cathedral, where he was Head Chorister, and later studied
music at Liverpool University. He spent 5 years as Music
Editor at the Royal National Institute for the Blind, where he
was responsible for the transcription of print music into
Braille. In 1986 he joined EMI Records as a Literary Editor
and from April 1990 he combined work as a 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 Mabhler’s
Symphony No. 2 and Symphony No. 8, Prokofiev's Alexander Nevsky, Elgar's The Dream of Gerontius, Karl
Jenkins' 7he Armed Man and Mendelssohn's Symphony No. 2 (Lobgesang).
Jeremy is also the conductor of the Vasari Singers, widely acknowledged as one of the finest chamber choirs
in the country, performing choral music from the Renaissance right up to contemporary commissions. In
2005, the choir and Jeremy celebrated their 25th anniversary together.
Jeremy has also worked with a number of the country’s leading choirs, including the Philharmonia Chorus,
the London Choral Society and the Brighton Festival Chorus. For 6 years, to the end of 2004, Jeremy was
the Music Director of the Wooburn Singers, only the third conductor in the distinguished history of the
choir, following Sir Richard Hickox (who founded the choir in 1967) and most recently, Stephen Jackson.
Robert Porter — Conductor
Robert (Bob) Porter began studying the bassoon aged 11. By the age of 14 he had been accepted
as a Junior Exhibitioner at the Royal Academy of Music, and two years later joined the National
Youth Orchestra. After studying with Martin Gatt, Roger Birnstingl and Enzo Mucetti he played
with every major professional orchestra in London and was appointed Sub-Principal in the
London Mozart Players in 1987. He has taught in the Junior Department of the Guildhall School
of Music since 1973, and as Head of Wind Brass and Percussion since 1985.
As Artistic Director of the Brandenburg orchestras since their inception in the early 1980’s he has
shaped the musical ethos of the orchestras and built a unique musical entity, recognised
internationally.
In addition to regular appearances at all the major venues in
London, and a monthly concert series at St Martin-in-the—Fields the
orchestras have undertaken many overseas tours, including three
major US tours and a residency in the Barbados Festival.
He was made a Freeman of the City of London in 1991 for services
to music.
Other positions of responsibility include:
Member Artistic Commission of the Jove Orquestra National de
Catalunya
Associate Music Director of Central Festival Opera
Trustee of Josephine Baker Trust
page 4
VIVACE CHORUS
The choir was founded in 1947 as the Guildford Philharmonic 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: we started the 2008/9 season with a spectacular
performance of Verdi’s Requiem, in combination with our twin choir, the Freiburger 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. The season finished with Will
Todd’s 7¢ Deum — a world premiere and first commission by the choir, which we recorded last
summer and has just been released on CD.
In June 2009, half the choir and Jeremy embarked on what quickly became known as the 7our de
France. We gave concerts of music from the early 16th to late 20th centuries in the cathedrals of
Paris (Notre-Dame), Rouen and Beauvais. This proved to be both inspiring and emotionally
moving — and we had great fun too!
The 2009/10 season started in lively fashion with Haydn’s 7he Creation, to mark the 200th
anniversary of the composer’s death. Our Italian evening in March showed the operatic composers
Verdi and Puccini in a light new to many, and lastly we brushed up our Russian pronunciation,
returning to Prokofiev, this time with fvan the Terrible.
Our biggest project to date, to mark the centenary of Mahler’s death, is a performance of his
monumental Symphony No. 8 in the Royal Albert Hall on 15th May 2011.
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 Martin-in-the-Fields.
page 5
CBradenure
W) SInfonia
THE BRANDENBURG SINFONIA is one of the most dynamically versatile
musical organisations in the country.
It is renowned for its special quality of sound and poised vivacity in performance.
The Orchestra performs regularly in the majority of the major venues across the country and in
London at the Barbican Halls, Royal Albert Hall, Queen Elizabeth Hall, Fairfield Hall and St
John’s Smith Square.
THE BRANDENBURG SINFONIA is also in great demand abroad and has, in recent years visited
France, USA, Bermuda, the Channel Islands, Barbados, Cyprus, Malta and St Petersburg.
The varied range of activities undertaken by the orchestra include a major concert series at St
Martin-in-the- Fields and a major Classical Music cruise on the QE2.
One of the recent highlights was an International Opera Gala conducted by Richard Bonynge in
the presence of HRH Prince Charles.
A large number of artists of international standing have worked with the orchestra including
Richard Bonynge, Yvonne Kenny, Emmanuel Hurwitz, Lesley Garrett, John Georgiadis, John
Wallace, Emma Kirkby, James Bowman and Gordon Hunt.
Its repertoire ranges from Bach to Lloyd Webber and its members give over one hundred
performances of orchestral, chamber choral and operatic music during the year.
The orchestras for a number of touring companies are formed from members of
THE BRANDENBURG SINFONIA including Central Festival Opera, First Act Opera, London City
Opera, and English Pocket Opera.
“What made it actually rather enjoyable
was the playing ofthe chamber orchestra
which was consistently well shaded and
nuanced”
THE TELEGRAPH
“Some of the most stylish Mozart
for some time”
playing
THE TIMES
“An ensemble of distinguished
players...”
THE INDEPENDENT ON
SUNDAY
“Played with a verve and sparkle”
THE TIMES
page 6
Nataly Chalkley - Soprano
Bristol-born soprano, Nathalie Chalkley, is currently studying on
the opera course at the Royal Academy of Music with Lillian
Watson and Audrey Hyland. Recent successes whilst at the
Academy include; becoming a member of Academy Song Circle,
receiving the
G Embley Memorial Prize and RAM Friends
Development Award, reaching the final of the Richard Lewis
competition and coming second in the Elena Gerhardt Lieder
Prize, Isabel Jay and Blyth Buesst Opera Prizes. She is generously
supported by the John Thaw trust, Josephine Baker trust,
Musicians Benevolent Fund (Sybill Tutton Award), John Lewis
award scheme and the Academy Development Scheme.
Nathalie’s recent concert appearances include; Judas Maccabeaus
for Paul Spicer at St. John’s Smith Square with the London Baroque Sinfonia, Bach and Handel
arias with the English Concert conducted by Harry Bickett and Laurence Cummings and Mozart’s
Mass in C minor in Christchurch Priory. Operatic performances include Vixen in Jan4 ek’s
Cunning Little Vixen as part of the Royal Academy Opera Scenes, Susanna in Le nozze di Figaro
for Opera Gold, second Nymph for BYO’s production of Euridice and performing a recital of
Schubert at the Oxford Lieder Festival with guitarist Christoph Denoth. Future engagements
include covering the role of Papagena for Garsington Opera.
Angharrad Lyddon - Alto
Angharad Lyddon originates from Wrexham North Wales and had
her first singing lesson at the age of 6. Since then she has performed
regularly; first with the Stagecoach Theatre Arts Programme and then
at the Royal Northern College of Music Junior School where she
studied with Diana Palmerston.
As a member of the National Youth Choir of Great Britain Angharad
has toured Eastern Europe and performed at prestigious music venues
such as the Albert Hall, the Thomaskirche in Leipzig and various
Cathedrals around the UK. Concert highlights include singing with
the Sixteen at York Minster, the King Singers at the Birmingham
Symphony Hall and at Westminster Hall as part of the commemoration for the Abolition of Slavery.
Competitively Angharad is twice winner of the Anna Markland Award for Outstanding Performance,
recipient of the Lakewood People to People Award, the Junior RNCM Singers’ prize, the AESS Courtney
Kenny Award and several trophies at this year'’s Chester Competitive Music Festival.
Now in her final undergraduate year at the Academy, Angharad has found much success as a soloist and
ensemble singer. She is a member of the Academy Song Circle and Academy/Kohn foundation Bach
Cantata chorus who she performs with regularly. Her solo performance highlights include Wakefield
Cathedral; Westminster Abbey; the Austrian Cultural forum; The Paul Hamlyn Hall, Royal Opera
House; the world premiere of ‘Greenhouses’ by Tansy Davis; Lady Mary in ‘Sir Nigel of Tilford’ for
Tilford Bach Society and Third Lady in “The Magic Flute’ for Jackdaws.
She studies with Glenville Hargreaves and Audrey Hyland.
page 7
Nicholas Scott - Tenor
Nick Scott was educated at Ampleforth College where he studied with Richard
Hill. In 2005 Nick was awarded a Choral Scholarship to Gloucester Cathedral.
Solo performances at Gloucester include, Monteverdi Vespers 1610, Stainers
Crucifixion as well as playing Prince Phillipe in Berkeley’s A Dinner Engagement
with Worcester College Opera, Oxford University. He also performed as a
soloist in Kodaly’s Missa Brevis at Gloucester Three Choirs Festival in 2007.
In 2007 Nick was awarded a Sir Elton John Scholarship to The Royal Academy
of Music where he is currently studying with Mark Wildman and Ian
Ledingham. Since starting in September 2007, Nick has performed in New Chamber Operas production
of Ame's The Judgement ofParis as Paris and Haydn’s Harmonie Messe with Stroud Choral Society also
Britten's Serenade for Tenor, Horn and Strings with the St Cecilia Orchestra in Ripon as well as Bachs
Cantata 61 in Canterbury Cathedral. He has performed Rossini’s Petite Messe Solennelle and has travelled
with the London Bach Players to Pau in the South of France where he sung Bachs StJohn Passion as the
Evangelist. Nick sings in the Royal Academy of Music / Kohn Foundation Bach Cantata Series and has
sung solos for the Royal Academy performance of JS Bach's St John Passion in the Spitalfields Festival
under Edward Higginbottom as well as Rameau’s opera Castor and Pollux as Castor for The Yorke Trust
in Norfolk last summer. Nick has performed Haydn’s Creation in Guildford Cathedral and Haydn's Missa
Cellensis and Handel's Foundling Hospital Anthem at Lichfield Cathedral. More recently Nick has
performed in The Victoria International Music Festival in Malta with The Maltese Philharmonic
Orchestra and sung has Mozart Requiem in Paris St Germain de Pres.
Nick has been awarded 3rd place in the Kathleen Ferrier Bursary for Young Singers and received The
Arthur Burcher Memorial Prize at the Royal Academy of Music for his end of year recital. He is
generously supported by the Josephine Baker Trust.
David Shipley - Bass
David’s vocal training began as a treble in Lichfield Cathedral
Choir when Andrew Lumsden was Organist. In his final year,
he became Head Chorister and won a music scholarship to
Shrewsbury School. After leaving school, hespent a year in Wells
Cathedral Choir as a Choral Scholar under Matthew Owens,
while working as a part-time ‘Graduate Music Assistant’ at Wells
Cathedral School.During his gap year, he was awarded a Sir Elton
John Scholarship to study at the Royal Academy of Music under
Mark Wildman and lain Ledingham.
In October 2008, at the beginning of his second year at the
Academy, David won the Kathleen Ferrier Society Bursary, and was selected to sing ‘Christus’ in
the Academy’s performance of Bach’s St John Passion at the Spitalfields Festival in June the
following year. He wasalso chosen to be a member of the small chamber group that provides the
chorus for the acclaimed series of Sunday lunch-time Bach Cantata concerts at the Academy.
During his time as an undergraduate, David has had the opportunity to participate in a number
of masterclasses with visiting professors, including Robert Tear and Barbara Bonney. He recently
auditioned successfully for support from the Josephine Baker Trust. David is now in the final year
of his undergraduate course and hopes to continue his studies at post graduate level next year.
page 8
Nazrin Rashidova - Violin
Nazrin was born in Baku, Azerbaijan in 1988, into a family of
professional musicians. She made her debut in Baku at the age of 3
and a year later, she performed at American University in Cairo, with
the Cairo Chamber, and Symphony Orchestras. At the age of six, she
was awarded a Gold Medal by the Cairo Opera House for
exceptional performance in a solo violin recital. The same year, she
gave a solo recital in Baku at the Azerbaijan State Philharmonic Hall.
Nazrin joined The Purcell School of Music in London in 1995, and was
the first pupil in the history of the school to have played on an 1/4 size
violin gifted to the school by the Royal family which previously belonged
to one of HRH The Prince of Wales' sons. In 2003, at the age of 15, she
was accepted to the Royal Academy of Music. During her studies, Nazrin
studied with renowned professors, Lydia Mordkovich, Felix Andrievsky
and Erich Gruenberg and has performedin masterclasses with Lord
Yehudi Menuhin, Maxim Vengerov, Lewis Kaplan and Sylvia Rosenberg. Nazrin has been a participant and
prizewinner of several international violin competitions in Europe, including Yehudi Menuhinin France,
Henry Wieniawski in Poland, Tunbridge Wells in Kent, and the Queen Elisabeth in Belgium. Nazrin’s
achievements have culminated in a nomination to attend the Woman ofThe Year Lunch 2006 in London for
her accomplishments in music. Nazrin’s most notable appearances have included performing for the exPresident of Azerbaijan in Cairo, Baku and London. Nazrin has also had the privilege of performing for HRH
The Prince of Wales on two occasions; at Buckingham Palace in 1995 and a private recital at St. James’ Palace
in 2000, which followed with a kind letter of appreciation from HRH, himself. In 2001, Nazrin played for
HM The Queen ofJordan during a charity concert in aid of MAIC in London.
She has also given numerous concerts and recitals in the U.S.A, France, Germany, Poland, Egyptand in London
at the Wigmore Hall, Purcell Room, St. Martin-in-the-Fields, Cadogan Hall and St John's Smith Square.
In September 2008, Nazrin founded FeMusa String Ensemble — Londonss first female chamber orchestra
since the 1950's! In May 2009, FeMusa gave a successful Debut Concert at Saint George’s Bloomsbury.
Their second concert in November of the same year at the prestigious Saint
James's Church Piccadilly in collaboration with the renowned Egyptian flautist, Ines Abdel Daim was
featured in BBC World News. Their recent performance at St. John’s Smith Square in November was in
collaboration with the renowned British mezzo-soprano, Louise Winter. In June of this year Nazrin
successfully performed Brahm’s Violin Concerto under the baton of
Marcello Mottadelli with the Cairo Symphony Orchestra in Cairo Opera House. The same month, she
graduated from RAM with a Master of Music Degree and was awarded the Dip RAM for an outstanding
Final Recital and a Regency award for notable achievement. During her studies at the Academy, Nazrin
had the opportunity to play on very rare violins by Antonio Stradivari, including “1666”, “1718 Maurin”,
and “1711 Parke”. She was also the first student to be kindly lent the “1707 Castelbarco” by Stradivari for
a period of two years. In September, Nazrin was invited to perform at the Azerbaijan State Philharmonic Hall
as part of the presentation of the Azerbaijani Woman” Magazine.
Future engagements include a solo appearance on 18th February at Lincolns Inn Chapel as part of the
Brandenburg Choral Festival, a concert tour to Egypt in March with FeMusa, Mozart’s 5th Violin concerto in
A with Brandenburg Sinfonia on 7th April. Nazrin is now playing on a violin after G.B Guadagnini Milan 1753
‘Straus'(Royal Academy of Music Collection) by David Rattray, London 2009 and with an 1890 Lamy bow,
generously gifted to her by James Smillie.
page 9
BRANDENBURG SPRING CHORAL FESTIVAL - LONDON 2011
List of Concerts
Fri14thJan
~ 7.30
SMITF
Nelson Mass
English Baroque Choir
Fril4thJan
930
SMITF
IfYe Love Me
Tiffin Boys’ Choir
Simon Toyne
Fri 21st Jan
7.30
QCOTS
Allegri Miserere
Choir of King’s College London
David Trendell
Fri 28th Jan
7.30
KCC
Jazz Mass
East London Chorus
Alexander Chaplin
Fri 4th Feb
7.30
QCOTS
The Body & the Soul
Convivium Singers
Neil Ferris
Fri11thFeb
730
SMITF
Vivaldi Gloria
Cantate
Nicholas Shaw
Fri11thFeb ~ 9.30
SMITF
Rachmaninov Vespers
Encoro
Sarah Tenant-Flowers
Fri18thFeb
LIC
730
Jeremy Jackman
Lamentations
and Magpnificat
Vivamus
Rufus Frowde
Fri25thFeb
730
NPT
Barbershop Festival
Fri 4th Mar
730
KCC
Mozart Spatzen Mass ~ Wellington College Chapel Choir
Simon Williamson
FritlithMar
730
LIC
Jesu Meine Freude
Trinity College of Music Chamber Choir
Stephen Jackson
Fri18thMar
2.00
QCOTS
Allegri Miserere
Bournemouth Sinfonietta Choir
Fri18thMar ~ 7.30
QCOTS
Agnus Dei
Borough Chamber Choir
Fri25thMar
KCC
Ave Verum Corpus
Addison Singers
Sat 26th Mar ~ 6.00
SMITF
Allegri Miserere
Cambridge Chorale
Sat 26th Mar
7.45
SMITF
Fauré Requiem
Twickenham Choral Society
Thur31stMar
7.45
SMITF
Brahms Requiem
Medici Choir
Thur31stMar
930
SMITF
Spemin Alium
Exmoor Singers of London
James Jarvis
Fri 1stApril
7.30
LIC
Victoria Requiem
St Martin-in-the-Fields Choral Scholars
Andrew Earis
Thur 7th April
7.30
SMITF
Mozart Requiem
Whitehall Choir
Thur 7th April
10.00
SMITF
Jazz Retrospective
Fri 8thAprii
730
NPG
Fri 15th April
7.30
NPT
730
~ The Sussex Harmonisers, Crossfire & Capital Connection
David Gostick
Robert Hanson
David Wordsworth
Julian Wilkins
Christopher Herrick
John Baird
Paul Spicer
James Pearson
Guildhall Jazz Singers
Scott Stroman
Hertford Choral Society & Blue Steel & Addison Jazz Choir
Derek Harrison, Mark Cherrie & Jill Jarman
Sat 16th April
7.30
NPT
Welsh Male Voice Choirs - Gwalia & Eschoir
Sun17th April
730
NPT
West End Gospel Choir
Janet Haney & Mike Williams
Nathaniel Morrison
Venue abbreviations
SMITF
St Martin-in-the-Fields
QCOTS
Queen's Chapel of the Savoy
KCC
NPT
King's College Chapel
New Players Theatre
LIC
NPG
Lincoln’s Inn Chapel
National Portrait Gallery
In association with Chimes Music, Bachtrack and the Josephine Baker Trust
THE FESTIVAL BROCHURE COVER PHOTO IS USED WITH THE PERMISSION OF
page 10
MARIAN UNIVERSITY OF FOND DU LAC, WISCONSIN, USA.
SPECIAL THANKS FROM THE FESTIVAL
Violin Concerto No. 3
Wolfgang Amadeus Mozart (1756-1791)
Mozart’s violin concertos were all written within a short span of time before the composer’s 20th birthday.
The earlier concertos had seemed more decorative in the mid-century galant style, but from the Third
onward, Mozart develops a more sinewy and spacious kind of melody. The second theme of the orchestral
ritornello has a striking shape that Mozart does not use again until the end of the recapitulation, in which
the soloist dominates.
’
The Adagio is wonderfully dreamy, with muted upper strings in triplets, and the cello and bass playing
pizzicato. The oboes take part in the dialogue with little interjections in pairs. The Rondeau is a sprightly
3/8 dance in which the wind instruments appear only for occasional punctuation at first, before gradually
playing a more important role. The biggest surprise comes with a change of meter (2/2) and the appearance of a totally new idea in G minor, a graceful dance step for the solo violin over pizzicato strings. This
runs directly into a livelier tune of folk-like character in G major. This two-section minor/major tune has
recently been identified as a Hungarian melody known as the “Strasbourger,” and the concerto is
sometimes known by this nickname.
Requiem
Mozart was commissioned to write the Requiem Mass
by a wealthy nobleman, Count Walsegg, in memory of
his wife who had died at the age of twenty. Work on the
Requiem proceeded slowly as Mozart was in the process
of completing his two final opera La Clemenza Di Tito
and The Magic Flute. By the time he came to
concentrate on the Requiem, he was suffering from his
final illness and his growing weakness made it
impossible for him to complete the work.
Indeed, by the time he died, only the first two
movements were completely finished.
The third to the ninth movements Dies Irae to Hostias
were drafted out, but there were no notes for the final
four movements. Constanze, Mozart’s wife, was afraid
that she would have to return the payment already made
by Count Walsegg and so asked Mozart’s pupil Franz
Siissmayer to complete the Requiem.
Stissmayer had spent the whole of Mozart’s final months
with him, working on the Requiem so it is likely that
the whole piece closely resembles Mozart’s intentions.
The generally dark and passionate character of the work
is accounted for by the predominance of minor keys
and the rich texture of the orchestration: Mozart did not
use french horns or the upper woodwind, using bassett
horns, bassoons, trumpets, trombones and timpani,
with the strings playing frequently in the lower registers.
However another major factor is Mozart’s bold
harmonic language which leads the listener through the
despair of death to the joy of eternal life.
St
Martin
in
the
Please note - for your comfort and enjoyment
Smoking and consumption of food and drink
are not allowed in the church.
Patrons are kindly requested to switch off
mobile phones and alarms on digital watches.
Flash photography, audio and video recording are not permitted.
Please try to restrain from coughing;
A handkerchief placed over the mouth whilst coughing
assists greatly in limiting the noise. Thank you.
There will be an interval of 20 minutes.
A bell will be rung 5 and 2 minutes before the end of the interval.
Once the concert starts again entry will only be permitted between pieces.
The Crypt Gallery and Café-in-the-Crypt
can be hired for private functions. Phone 020 7839 4342.
Don't forget to pick up your
2011 Festival programme!
To sponsor an individual
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concert featuring in the
Festival please call:
Dick Jones
+44 (0)1372 37 99 51
or
Bob Porter on 07770 937 328
Designers, Typographic Artists and Printers
for the Brandenburg Spring Choral Festival
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and Mole Valley Arts Alive Festival
Ll
Supporting Virtuocity with Creativity
www.jonescreative.co.uk
WHAT’S
UP NEXT IN THE BRANDENBU RG'S‘?PRIN’G;C HORAL FESTIVAL - LONDON 2011
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BRANDENBURG
BRANDENBURG
SPRING CHORAL
FESTIVAL- LONDON
"WAL- (ONBON
201
Sponsored by
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Chimes
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by Candlelight
Sponsored by
Chimes
3
ACADEMY BARDICAN MG
TON
e e
Conductor Simon Toyne
St Martin-in-the-Fielc
,
Box Office: (
St Martin-in-the-Fie
London WC2N 4]
w.smitf.org
Queen’s Chapel
'BRANDENBURG
of the Savoy
1
algar
Square,
London WC2N 4]
Box Office
2
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FESTIVAL- LONDON
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Friday
21" January at7.30pm
Friday 28" January
at 7.30pm
Jazz
Bob Chilcott ingeniously combines the cathedral choral tradition with an
authentic andatmospheric jazz voice, ranging from blues settings
of the Kyrie
and Agnus Dei. to a vivacious up-tempo Gloria
in excelsis.
The programme will also include jgzz‘i_terhs played
by musicians from the
S;ionsored by
Guildhall School of Music
& Drama
Sponsored by
Chimes
Spgflsoved by
v
i
o
The Choir of
Kings College London
~ Conductor David Trendell
Queen’s
5
,Sponsafed_zly I
Chi
TAC ADEMY S BARIC AN<KENSINGTON
Chapel of the Savoy, Savoy
Box Office: 020 7766 1100
Hill, Strand, WC2R 0DA
Online: w ww.smitf.org
Tickets: £18 unreserved
i
East London Chorus
Conductor Alexander Chaplin
The College Chapel, King's College
London, Strand,
Box Office: 020 7766 1100
London WC2R 2LS
Online: www.smitf.org
Tickets: £18 unreserved
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