ED
A MASS FOR PEACE
Karl Jenkins
2
MASS
IN TIME
®
, OF WAR
*
@
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Haydn
The Brandenburg
Sinfonia
L Conductor:
.,
Jeremy
Backhouse
GRuoiyldaforG am arScho l
~ Vivace
Chorus
Joseph Havydn
Mass in Time of War
KarlJenkins
The ArmedMan
Alice Rose Privett
Soprano
Angharad Lyddon
Contralto
Nicholas Scott
Tenor
Bozidar Smiljanic
Bass
Brandenburg Sinfonia
Conductor: Jeremy Backhouse
With the Call to Prayer in The Armed Man
given by Imam Hafiz M S Hashmi
PRE-CONCERT TALKS
| Before Vivace Chorus concerts, we offer ticket holders a free talk given §
| by an acknowledged music expert who has a special interest in the §
| works to be performed.
| For tonight's pre-concert talk, in the Chapter House at 6.30pm, we are §
pleased to welcome back composer and teacher Dr Steven Berryman. §
| Passionate about music education, Steven is currently the Assistant §
| Director of Music at North London Collegiate School and also teaches at §
| the Junior Department of the Royal Academy of Music. As a composer §
| himself - a new work for female voices by Steven will be performed at §
i North London Collegiate School later this month - his talk promises to §
| give a professional insight into the works you will hear tonight.
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Best of British, May 2013
‘It was a lovely concert!
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5
St
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Rutter mass was
the overall effect was quite ethereal and haunting!”
'Please congratulate Dr Berryman for the pre-concert
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/
The
especially lovely and we did like the Angel Song II -
talk! Not only was the talk interesting but he also
really picked out the most pertinent examples and
presented the key points very clearly, which very
’
é
much enhanced the listening during the concert
afterwards.”
"The music was great - congratulations on going for
the more modern programme.”
03B
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A
Flash photography, audio and video recording are not permitted
without the prior written consent of the Vivace Chorus. Please also
kindly switch off all mobile phones and alarms on digital watches.
2
Vivace Chorus
PTSe
Tonight’s concert
This concert brings together two very different works linked by a simple,
common theme: Peace in time of war.
The often energetic and joyful Mass in Time of War, or Missa in tempore
belli, leaves us in no doubt that Haydn intended audiences to be uplifted
by his work. This piece is really about faith, devotion and peace — not just
between countries, but within us all.
The theme of Karl Jenkins’ popular mass, The Armed Man, is clearly
pacifist. Beginning with the marching feet of the chorus, The Armed Man
uses a range of choral and orchestral effects to bring the audience right
into the heart of brutal combat and draws on a range of texts from across
the centuries to highlight the unchanging horror of war.
The messages of these works are as relevant as ever, portrayed through
music that is by turn stirring, foreboding, heartening and emotional.
Joseph Haydn (1732 — 1809)
Haydn was
born
in
Rohrau,
a tiny
Austrian village, and showed an early
musical talent. Aged eight, he went to
Vienna to serve as a choirboy in the
Cathedral
of
subsequently
St
Stephen,
became
a
and
freelance
musician. He gave music lessons to
children,
struggled
composition,
(including
bands).
to
teach
himself
and
took
odd
jobs
playing
violin
in
street
But
gradually
aristocratic
patrons of music began to notice his
talent,
and
in
1761
he entered the
service of the Esterhazys, the richest
and most powerful of the Hungarian noble families. For nearly 30 years
most of his music was composed for performances in the palaces of the
family, especially Esterhaza, which contained an opera house, a theatre
and two concert halls.
Word spread
about the
Esterhazys’
composer,
and
Haydn's
music
became immensely popular all over Europe. In 1791 — 1792 and again in
1794 — 1795, Haydn visited London. His visits were a huge success;
audiences flocked to his concerts, and he quickly achieved wealth and
Vivace Chorus
3
fame, being received by the royal family and given an honorary doctorate
at Oxford.
In 1795, he returned to Vienna, where he turned to the composition of
large religious works for chorus and orchestra. These include his two
great oratorios The Creation and The Seasons. His health began to
deteriorate and he remained in Vienna until he died in 1809, aged 77,
during an attack on Vienna by the French army under Napoleon.
Haydn was a pathfinder for the classical style, and a pioneer in the
development of the symphony and the string quartet, which some
scholars believe that he invented. Haydn's output also includes piano
sonatas, piano trios, divertimentos, concertos, operas, and masses. The
variety in his works is astounding. He was a great innovator and
experimenter who hated arbitrary 'rules' of composition. "Art is free," he
said. "The educated ear is the sole authority ... and | think | have as
much right to lay down the law as anyone."
Mass in Time of War
The Mass in Time of War, or Missa in tempore belli, is the second of six
masses Haydn composed between 1796 and 1802 in his role of
Esterhazy Kappelmeister.
Written as Austria was losing ground against French troops in ltaly and
Germany and feared an invasion of its own lands, it was first performed
in Vienna in 1796. Whilst war was clearly in the air and on the mind of
the composer, despite its title the music invokes faith, devotion and
peace.
After the slow introduction to the Kyrie, this work is one minute energetic
and cheerful, reflecting the joy Haydn found in his faith, and the next full
of foreboding. The opening and closing sections of the Gloria, for
example, are bright and positive, in stark contrast to the later Agnus Dei,
which opens with a sense of threat in a minor key against the
background of the relentless, ominous-sounding timpani, giving the work
its alternative names, ‘Paukenmesse’ or ‘Kettledrum Mass'. Finally, the
music brightens with trumpet fanfares and a quicker, dance-like tempo
during the closing Dona nobis pacem, so ending with a celebration of
peace.
4
Vivace Chorus
I. Kyrie
Il. Gloria
I1l. Credo
IV. Sanctus
V. Benedictus
VI. Agnus Dei
l. Kyrie
Kyrie eleison.
Lord, have mercy.
Christe eleison.
Christ, have mercy.
Kyrie eleison.
Lord, have mercy.
Il. 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.
We praise Thee, we bless Thee,
Laudamus te, benedicimus te,
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,
O Lord God, heavenly King,
Deus Pater omnipotens.
God The Father Almighty.
Domine Fili unigenite,
O Lord the only begotten Son,
Jesu Christe;
Jesus Christ;
Domine Deus, Agnus Dei,
O Lord God, Lamb of God,
Filius Patris,
Qui tollis peccata mundi,
miserere nobis.
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.
Son of the Father,
That takest away the sins of the
world, have mercy upon us.
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, 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
| believe in one God,
the Father almighty,
factorem coeli et terrae,
maker of heaven and earth,
and of all things visible and invisible.
And in one Lord, Jesus Christ, the
visibilium omnium et invisibilium.
Et in unum Dominum Jesum
Christum, Filium Dei unigenitum,
Vivace Chorus
only begotten Son of God,
Et ex Patre natum ante omnia
Begotten of his Father before all
saecula. Deum de Deo,
worlds. God of God,
lumen de lumine,
light of light,
Deum verum de Deo vero.
Very God of very God.
Genitum, non factum,
Begotten, not made, being of one
consubstantialem Patri:
substance with the Father:
per quem omnia facta sunt.
by whom all things were made.
Qui propter nos homines
et propter nostram salutem
descendit de coelis.
Who for us men
came down from heaven.
Et incarnatus est de Spiritu Sancto
And was incarnate by the Holy Ghost
ex Maria Virgine:
of the Virgin Mary:
and for our salvation
et homo factus est.
and was made man.
Crucifixus etiam pro nobis
And was crucified also for us
sub Pontio Pilato:
under Pontius Pilate:
passus, et sepultus est.
suffered, and was buried.
Et resurrexit tertia die,
And the third day He rose again
secundum scripturas.
according to the scriptures.
Et ascendit in coelum:
sedet ad dexteram Patris.
And ascended into heaven, and
Et iterum venturus est
And He shall come again
cum gloria judicare vivos et mortuos:
with glory to judge the living and the
Cujus regni non erit finis.
dead: His kingdom shall have no end.
Et in Spiritum sanctum Dominum,
And (I believe in) the Holy Ghost, the
sitteth at the right hand of the Father.
et vivificantem:
Lord and giver of life::
Qui locutus est per Prophetas.
Et unam sanctam catholicam et
Who spake by the Prophets.
apostolicam Ecclesiam.
Confiteor unum baptisma
apostolic Church.
in remissionem peccatorum.
for the remission of sins.
Et expecto resurrectionem
And | look for the resurrection of the
mortuorum et vitam venturi saeculi.
dead and the life of the world
to come. Amen.
Amen.
And in one holy catholic and
| acknowledge one baptism
IV. Sanctus
Sanctus, sanctus, sanctus,
Holy, holy, holy,
Dominus Deus Sabaoth.
Lord God of Hosts.
Pleni sunt coeli et terra gloria tua.
Heaven and Earth are full of Thy
Hosanna in excelsis.
glory. Hosanna in the highest.
V. Benedictus
Benedictus qui venit
Blessed is he who cometh
in nomine Domini.
in the name of the Lord.
Hosanna in excelsis.
Hosanna in the highest.
Vivace Chorus
VI. Agnus Dei
Agnus Dei, qui tollis peccata mundi,
miserere nobis.
Agnus Dei, qui tollis peccata mundi,
dona nobis pacem.
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.
~ Interval~
Karl Jenkins (1944 Karl Jenkins was born in the small Welsh coastal village of Penclawdd
on the Gower Peninsula West of Swansea. His father, a school teacher,
was also an organist and choirmaster of the local Tabernacle Chapel and
it was he who began teaching his son the piano when Karl was 6 years
old. During these formative years, apart from being introduced to the
classical world by his father via recordings and the occasional concert,
he was also, as part of chapel life, exposed to the unique sound of Welsh
hymn singing, echoes of which are to be heard in future compositions.
On entering Gowerton Grammar School aged 11, Karl began to play the
oboe and within the next few years progressed through the Glamorgan
Youth Orchestra and the National Youth Orchestra of Wales, Cardiff.
During his school and university years he became increasingly interested
in jazz (playing saxophone) which was to have a significant bearing on
his compositional style in later years.
Following his studies he won awards as a jazz oboist and took up the
saxophone, working with, amongst others, Ronnie Scott. He co-founded
Nucleus in 1972, winning first prize at the Montreux Jazz Festival, before
joining the progressive rock band Soft Machine. When, in 1995, he
started
writing for the concert hall, he was writing what he calls
"polystylist" work — for example, the finale of his second string quartet
races through pastiches of Hollywood music and hoe-down — but says:
"l think my style now is more amalgamated, more cohesive." That said,
"I'm still drawing from different elements, different cultures."
Karl Jenkins holds a Doctor of Music degree from the University of
Wales, and has been made both a Fellow and an Associate of the Royal
Academy of Music. He was awarded an OBE for services to British
music in the 2005 New Year Honours List, and then a CBE in 2010.
Vivace Chorus
P4
The Armed Man — A Mass for Peace
To mark the millennium, Britain's Royal Armouries commissioned the
composition of a mass which would reflect on war and peace in a multicultural, global society. In a manner reminiscent of Britten's War
Requiem, The Armed Man interpolates a number of different texts within
the usual Mass form. Classical poets, including Dryden, Tennyson and
Kipling, biblical verses and text from Muslim, Hindu and Japanese
sources contribute to a compelling account of the descent into and
terrible consequences of war.
According to Guy Wilson, former Master of the Armouries at the Tower of
London Royal Armouries, "The theme that 'the armed man must be
feared' seemed to me painfully relevant to the 20th century and so the
idea was born to commission a modern 'Armed Man' mass. What better
way both to look back and reflect as we leave behind the most war-torn
and destructive century in human history, and to look ahead with hope
and commit ourselves to a new and more peaceful millennium."
The Armed Man received its world premiere in April 2000 at London's
Royal Albert Hall. Reviews described it as "a firebomb of orchestral and
human voices" (The Times) that drew "prolonged shouts of approval from
the audience" (The Independent). This hour-long piece has been
performed constantly since its first appearance. Large in both scope and
scale, The Armed Man is a profoundly moving yet very accessible work
which uses the most traditional of means to explore an all too
contemporary subject. As Jenkins explained, "When | started composing
The Armed Man, the tragedy of Kosovo unfolded. | was thus reminded
daily of the horror of such conflict and so | dedicate this work to the
victims of Kosovo."
The work starts in a six-century-old tradition of 'Armed Man' masses that
take the 15th century French song L'Homme Armé as their starting
point. This is introduced with a marching drumbeat and a simple tune
played on whistles. The choir falls into the marching rhythm and
strengthens it. The song is a strong call to arms and establishes the
darkness to follow.
The second movement is the traditional Muslim Call to Prayer. This
contrasts with the more elaborate Kyrie, which requests divine blessing
in the Christian tradition.
This ecclesiastic contemplation is invaded by the dark sounds of the
fourth movement, Save Me from Bloody Men, based on text from the
Psalms. This starts out sounding like a traditional Gregorian chant for
male voices, perfectly in line with the religious songs preceding it. The
8
Vivace Chorus
twist comes in the final phrase, where a sudden drumbeat and ominous
notes invoke a sense of doom, and the voices sound more angry than
afraid.
The Sanctus is a hymn of praise, but at this point in the work it is
overshadowed by its context. It is followed by the first two verses of the
ominous poem Hymn Before Action (1896) by Rudyard Kipling (1865 —
1936), which establishes the mind-set needed for battle, giving both
motivation
for
the
fight
and
encouraging
the
soldiers
to
sacrifice
themselves for the greater good.
Charge! establishes the start of battle with powerful cries, trumpets and
drums, all of which are also mentioned in the text, taken from A Song for
St. Cecilia's Day, written in 1687 by John Dryden (1631 — 1700) and
interspersed with the line How blest is he who for his country dies from
To the Earl of Oxford by Jonathan Swift (1667 — 1745). The motivation
and encouragement of the previous movement are thematically repeated
and, towards its conclusion, the abstract screams of the battle unfold.
This is followed by silence, then the sounding of the Last Post.
Angry Flames starts with the sound of a lone trumpet followed by the
ringing
of
a
bell,
a
slow
melody,
and
then
the
quiet,
sad
solos,
sometimes supported by the chorus. The text is translated from the
Japanese of Toge Sankichi (1921 — 1953), a Hiroshima survivor who
died of radiation exposure, and clearly reflects the violence of the nuclear
explosions of 1945, powerfully describing the horrors left behind as a city
lies in flames.
The
ninth
ancient
movement
text
from
the
Torches continues the mournful mood,
Hindu
6th
century
epic
Sanskrit
poem
using
The
Mahabharata to describe the terrible fate of the victims of war. The
melody, instrumentation and singing are all quite subdued, as if fearful of
disturbing the dead. Only the final word, torches, is sung loudly and
angrily. This is followed by the Agnus Dei, from the traditional Latin text
of the Mass, asking for divine peace.
Now the Guns have Stopped uses text by the former Master of the
Royal Armouries, Guy Wilson, and is a song of mourning and loneliness
sung by a weary battle survivor. This beautiful, sparse, chilling threnody
describes the horror of war at a very intimate level.
The Benedictus starts out quietly with the orchestra, followed by the
choir, sounding as if in the distance. Upon the entry of the horns, it
becomes a powerful song of praise with a strong melody.
Vivace Chorus
9
The final movement, Better is Peace begins with text by Sir Thomas
Malory (? — 1471) from Le Morte d'Arthur, (1469 — 1470) and continues
with the same melody that started the piece — The Armed Man. Optimism
comes with encouraging words by Tennyson (1809 — 1892) from
In Memoriam A. H. H. (1850) and the work closes with biblical text from
the Book of Revelation. Using joyful instrumentation and choral text, the
movement establishes a new beginning, with hope for a brighter future.
1.
The Armed Man
7.
Charge!
2.
The Call to Prayer (Adhan)
8.
Angry Flames
3.
Kyrie
9.
Torches
4.
Save Me from Bloody Men
10.
Agnus Dei
5.
Sanctus
11.
Now the Guns Have Stopped
6.
Hymn Before Action
12.
Benedictus
13.
Better Is Peace
1. The Armed Man
L'homme armé doit on douter;
On a fait partout crier,
The Armed Man must be feared:
Everywhere it has been proclaimed
Que chacun se viegne armer
That every man should arm himself
D'un haubregon de fer.
With an iron coat of mail.
Anon. traditional. c1450 — 1463
2. The Call to Prayer (Adhan)
Allaho-Akbar-U'llaho-Akbar
Ash-Hadu-Anlaa-llaha lII'Allah
Ash-Hadu-Anna-Muhammadan
Rasoul-U-Llah
Ha-Ya Ala-Ssalah
He-Ya Ala-Lfalah
Allaho-Akbar-U'llaho-Akbar
Laa-llaha III'Allah.
10
Allah is great, Allah is great
| bear witness that there is no God but Allah
| bear witness that Muhammad is the
Messenger of Allah
Come fast to prayer
Come fast to success
Allah is great, Allah is great
There is no God but Allah.
Vivace Chorus
3. Kyrie
Kyrie eleison.
Lord, have mercy.
Christe eleison.
Kyrie eleison.
Christ, have mercy.
Lord, have mercy.
4. Save Me from Bloody Men
Be merciful unto me, O God:
For man would swallow me up;
He fighting daily oppresseth me.
Mine enemies would daily swallow me up;
For they be many that fight against me.
O thou most high.
Defend me from them that rise up against me.
Deliver me from the workers of iniquity,
And save me from bloody men.
from Psalms 56 and 59
5. Sanctus
Sanctus, Sanctus, Sanctus,
Holy, Holy, Holy,
Dominus Deus Sabaoth,
Pleni sunt coeli et terra gloria tua.
Lord God of hosts.
Heaven and earth of full of Thy glory.
Hosanna in excelsis.
Hosanna in the highest.
6. Hymn Before Action
The earth is full of anger,
The seas are dark with wrath,
The Nations in their harness
Go up against our path:
Ere yet we loose the legions
Ere yet we draw the blade,
Jehovah of the Thunders,
Lord God of Battles, aid!
High lust and *froward bearing,
“froward = contrary,
Proud heart, rebellious brow;
obstinate, headstrong
Deaf ear and soul uncaring,
We seek Thy mercy now!
The sinner that forswore Thee,
The fool that passed Thee by,
Our times are known before Thee,
Lord, grant us strength to die!
Vivace Chorus
Rudyard Kipling
11
7. Charge!
The trumpets loud clangor
Excites us to arms,
With shrill notes of anger
And mortal alarms.
How blest is he who for his country dies.
The double double beat
Of the thundering drum
Cries Hark! the foes come,
Charge, 'tis too late, too late to retreat!
How blest is he who for his country dies.
Charge, Charge.
Swift/Dryden
8. Angry Flames
Pushing up through smoke
From a world half-darkened by overhanging cloud,
The shroud that mushroomed out
And struck the dome of the sky,
Black, red, blue,
Dance in the air,
Merge,
Scatter glittering sparks,
Already tower over the whole city.
Quivering like seaweed, the mass of flames spurts forward.
Popping up in the dense smoke,
Crawling out, wreathed in fire,
Countless human beings on all fours.
In a heap of embers that erupt and subside,
Hair rent,
Rigid in death,
There smoulders a curse.
Hiroshima survivor Toge Sankichi,
translated by Richard H Minnear
12
Vivace Chorus
9. Torches
The animals scattered in all directions, screaming terrible screams.
Many were burning, others were burnt.
All were shattered and scattered mindlessly, their eyes bulging.
Some hugged their sons, others their fathers and mothers,
unable to let them go, and so they died.
Others leapt up in their thousands, faces disfigured, and were consumed by
the fire.
Everywhere were bodies squirming on the ground,
Wings, eyes and paws all burning.
They breathed their last as living torches.
from The Mahabharata ,
translation edited by Guy Wilson
10. Agnus Dei
Agnus Dei, qui tollis peccata mundi,
miserere nobis.
Agnus Dei, qui tollis peccata mundi,
dona eis requiem sempiternam.
Lamb of God, who takest away the sins
of the world, have mercy upon us.
Lamb of God, who takest away the sins
of the world, grant us peace.
11. Now the Guns Have Stopped
Silent, so silent now,
Now the guns have stopped.
| have survived all,
| who knew | would not.
But now you are not here.
| shall go home alone;
And must try to live life as before
And hide my grief.
For you, my dearest friend,
who should be with me now,
Not cold too soon,
And in your grave,
Alone.
Guy Wilson
12. Benedictus
Benedictus qui venit
in nomine Domini.
Blessed is he who cometh
in the name of the Lord.
Hosanna in excelsis.
Hosanna in the highest.
Vivace Chorus
13
13. Better is Peace
Better is peace than always war. (Lancelot)
And better is peace than evermore war. (Guinevere)
Sir Thomas S Malory
L’homme armé doit on douter
The Armed Man must be feared
Ring out the thousand wars of old.
Ring in the thousand years of peace.
Ring out the old, ring in the new,
Ring happy bells across the snow:
The year is going, let him go,
Ring out the false, ring in the true.
Ring out old shapes of foul disease.
Ring out the narrowing lust of gold,;
Ring out the thousand wars of old,
Ring in the thousand years of peace.
Ring in the valiant man and free,
The larger heart, the kindlier hand.
Ring out the darkness of the land,
Ring in the Christ that is to be.
Alfred Lord Tennyson
God shall wipe away all tears
And there shall be no more death,
Neither sorrow nor crying,
Neither shall there be any more pain.
Praise the Lord.
Book of Revelation 24:1
Some of the printed music for this evening's concert has been hired from
Surrey County Council Performing Arts Library
Boosey & Hawkes Music Hire Library and
Novello & Co Ltd Hire Library
14
Vivace Chorus
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Vivace Chorus
15
Alice Rose Privett — Soprano
Alice
Rose
Privett graduated from
the
Guildhall School of Music and Drama and
the
Royal
honours
Academy
in
her
postgraduate
of
Music
with
undergraduate
degrees;
she
and
now
continues her studies on the Academy
Opera Course under
Elizabeth Ritchie.
#
Operatic
roles
L'lncoronazione
| Papagena
with
the
tutelage
of
include
Poppea
in
di
Poppea,
and
Longborough
Festival
| Opera, Pamina with LFO on tour and
# Barefoot Young Artists, Baronessa Irene
@ in La Vera Costanza with RAO, cover
Gretel in Hansel and Gretel for Garsington Opera and Carolina in The
Secret Marriage with British Youth Opera.
Alice has a keen interest in new music, and was awarded the Tracey
Chadwell Memorial Prize by the GSMD for work in contemporary song.
Last summer she sang Narrator in Laura Bowler's Sandman at the
Téte
a Téte Opera festival, and in October performed in a centenary
performance of Pierrot Lunaire with Jane Manning. In February she will
perform Requiem - Songs for Sue (Knussen) at the RAM.
Alice was a Britten
member
of
the
Pears Young Artist in 2012, and is currently a
Royal
Academy's
Song
Circle
and
a
Bach
Kohn
Foundation Soloist.
Oratorio experience includes Handel's Messiah (St Martin-in-the-Fields
and Kings Place), a world premiere of the McCabe Psalm Cantata at St
John's, Smith Square, Tippett's A Child of Our Time in Guildford and
Israel in Egypt with the Huddersfield Choral Society.
In competition she has won the first prize in the Susan Longfield Award
(2011), the Royal Overseas League (2011) with the ensemble ‘Cries of
London’ (with whom she performed at the Wigmore Hall, July 2013), and
in the Joan Chissel Schumann Prize at the Royal Academy of Music
(2012). Alice is generously supported by the Sickle Foundation and the
Josephine Baker Trust. In 2014 she looks forward to singing Ginevra in
Ariodante for RAO and Gretel for West Green Opera.
16
Vivace Chorus
Angharad Lyddon - Contralto
Angharad
Lyddon
is
from
Wrexham, North Wales. She has
Bachelor's and Master's Degrees
from the Royal Academy of Music
and now studies on the Academy
Opera Course.
Angharad has been a soloist at
cathedrals
and
concert
halls
around the country including a
* concert of Bach Cantatas with Sir
i
John
Eliot
Christmas
Gardiner,
Bach's
Oratorio
in
Kristiansand, Norway and concerts
at the Wigmore Hall.
Angharad was a Jerwood Young
N
—
‘
Artist
at
where
she
Glyndebourne
created
the
in
2013
role
of
Panthea in Luke Styles opera Wakening Shadow. She has also sung
Filipjevna in Tchaikovsky's
Eugene Onegin for RAO, Third Lady in
Mozart's The Magic Flute for Jackdaws, the title role in Bizet's Carmen,
Orfeo in Gluck’s Orfeo ed Euridice, Lucretia in Britten's Rape of Lucretia,
Older Woman in Jonathan Dove’s Flight for Academy Vocal Faculty
Scenes and Lady Mary in Sir Nigel of Tilford for Laurence Cummings
and the Tilford Bach Society.
Angharad is grateful for the support of the Countess of Munster Musical
Trust, the Josephine Baker Trust and the Sickle Foundation.
Vivace Chorus is grateful to the
Enid Weston Legacy
for the sponsorship of this evening’s soloists
Vivace Chorus
17
Nicholas Scott — Tenor
Nicholas
was
awarded
a
Sir
Elton
John
Scholarship to the Royal Academy of Music,
studying
with
Mark Wildman
and
lain
Ledingham.
Whilst
an
undergraduate,
Nicholas enjoyed a busy solo career on the
concert platform of which highlights include:
the leading role in New Chamber Opera’s
production of Arne’s The Judgement of Paris;
Britten’s
Serenade
for
Tenor,
Horn
and
Strings
with
the
St
Cecilia
Orchestra
in
Ripon;
and
Bach’'s
Cantata
BWV
in
61
Canterbury Cathedral.
Nicholas is a product of the Royal Academy
of Music/Kohn Foundation Bach Cantata Series with whom he continues
to
perform.
Cellensis,
His
performances
Handel's
include
Haydn’'s
Creation and
Foundling Hospital Anthem and
Rossini's
Missa
Petite
Messe Solennelle..
More recently, he has performed in the Victoria
International
Festival
Music
in
Malta with the
Maltese
Philharmonic
Orchestra and in the Mozart Requiem in St Martin-in-the-Fields with the
Brandenburg Sinfonia.
Nicholas’ operatic roles include: Castor, in Rameau’s Castor et Pollux
with the Yorke Trust, and as the eponymous The Wandering Scholar by
Holst and
Don
Basilio
in
Mozart's
Le Nozze di Figaro under
lain
Ledingham. He recently covered a role in Glyndebourne Festival Opera’s
production of Rameau’s Hippolyte et Aricie under William Christie.
Other notable performances include an orchestrated version of Ralph
Vaughan Williams' On Wenlock Edge at the Cheltenham Festival, the
role of Richard Dauntless in Gilbert and Sullivan’s Ruddigore at the
Buxton Festival and Messiah at the Linder Auditorium, Johannesburg.
Forthcoming projects include Messiah at Southwell Minster, Haydn’s The
Creation with the Cambridge Philharmonic Society. He will be recording
the role of St Pierre in Marc-Antoine Charpentier's Le reniement de St
Pierre and the role of Issac in Le sacrifice d’Abraham for Le Nuova
Musica and Harmonia Mundi USA in January.
Nicholas
has
been
awarded
Singers;
and
at the
Royal
Kathleen
Ferrier
Bursary for
Young
Academy of
a
Music,
the Arthur
Burcher
Memorial Prize, and the Henry Cummings Prize. Nicholas is generously
supported by the Josephine Baker Trust and is the recipient of an
ABRSM
18
Scholarship
at
The
Royal
Academy
of
Music.
Vivace Chorus
Bozidar Smiljanic — Bass
Bozidar Smiljanic
is
a young
British-born
Serbian bass-baritone currently studying at
the Royal Academy of Music (RAM) with
Mark Wildman and lain Ledingham. Born
and raised in Wembley, Bozidar gained a
degree
in
Law
at
the
University
of
Nottingham after which he spent two years
at Lincoln Cathedral as a Choral Scholar.
At the Academy, Bozidar has worked on a
variety of operatic roles including Leporello
. (Don Giovanni), Figaro (La Nozze di Figaro),
. Monterone (Rigoletto), Le Roi (Massenet’s
-
Cendrillon)
and
Superintendent
Budd
.
(Britten’s Albert Herring). He will also be
singing the role of Prince Gremin in a concert performance of
Tchaikovsky’s Eugene Onegin with the Orchestra of St John’s next April.
Bozidar has performed a wide range of oratorio works and recitals since
his 2012 debut performances of Schubert’'s Winterreise in Lincoln,
Nottingham and London.
Recent performances include Handel's
Messiah and Israel in Egypt, Bach’s Christmas Oratorio, B Minor Mass,
Magnificat, St John Passion, St Matthew Passion, Missa Brevis in A
Major (BWV 234) and Cantatas BWV 26, 60 & 117, John McCabe's
Psalm Cantata (world premiere) and Puccini’'s Messa di Gloria.
Bozidar has
participated
in
numerous master classes with
Brindley
Sherrat, Dennis O’Neill, Philip Thomas and Anthony Legge. He was
awarded the Sacred Aria Prize in the Mozart Singing Competition 2013
and was a finalist in the Richard Lewis Singing Competition. He was also
awarded the Rhoda Jones Scholarship, for achievement at the RAM.
The next few months will see Bozidar performing in venues across the
UK, including Kings Place, St John's, Smith Square, Dorchester and
Malmesbury Abbeys singing various oratorio works including Handel's
Messiah, several Bach Cantatas (Academy/Kohn Foundation Bach
Cantata Series), Bach's St John and St Matthew Passions, Haydn's
Harmoniemesse and Creation.
Bozidar is the recipient of the Fishmongers’ Award at the RAM and the
lan Fleming Award (administered by the Musicians Benevolent Fund)
and he is most heartily grateful for this and for the generous support he
receives from The Countess of Munster Musical Trust, the Josephine
Baker
Trust
Vivace Chorus
and
various
interested
people
from
Lincoln.
19
=,
Jeremy
Backhouse
musical
career
in
Canterbury
where
he
was
Cathedral,
began
his
Head
Chorister, and later studied music at
Liverpool
University.
He
spent
5 years as Music Editor at the Royal
National
Institute
of
Blind
People
(RNIB), 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 combined his work as a
Consultant Editor for EMI Classics and later Boosey & Hawkes Music
Publishers with his career as a freelance conductor.
In
January
1995,
Jeremy
was
appointed
Chorus
Master
and
subsequently Music Director of the Vivace Chorus (then the Guildford
Philharmonic
ambitious
Choir).
Jeremy
programmes,
has
including
presented
and
Howell's
Hymnus
conducted
some
Paradisi
and
Szymanowski's Stabat Mater, Mahler’s ‘Resurrection’ Symphony (No. 2),
Vaughan
Williams’
A
Sea
Symphony,
Mendelssohn's
‘Lobgesang’
(Symphony No. 2), Prokofiev's Alexander Nevsky and Ivan the Terrible,
and, most recently, Mahler's ‘Symphony of a Thousand’ (No. 8) in the
Royal Albert Hall with the Royal Philharmonic Orchestra. Major classical
popular works have included Elgar's The Dream of Gerontius, Verdi's
Requiem and 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
is
totally
committed
to
contemporary
music
and
to
the
commissioning of new works. He and Vasari have commissioned over
20 works in their recent history, and this enthusiasm has spread to the
Vivace Chorus who, in May 2009, performed the premiere of their first
commission — local composer Will Todd's Te Deum.
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 Richard Hickox and
Stephen Jackson. In January 2009, Jeremy was appointed Music
Director of the Salisbury Community Choir.
20
Vivace Chorus
Bn@ienburg
sinfonta
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 Emanuel 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
Flute
Stephen Bryant
Gustav Clarkson
Anne Allen
Miranda Playfair
Victoria Barnes
Emma Parker
Anna de Bruin
Hilde Chapman
Gabriela Nikula
Barbara Dziewiecka
Jake Walker
Arun Menon
Triona Milne
Violin 2
Cello
Stephen Orton
Lucy Wilding
James Barralet
Gabiriella Swallow
Iwona Boesche
Caroline Bishop
Bass
Anthony Williams
Dawn Baker
Natalia Bonner
Rebecca Scott
Oboe
Richard Simpson
Lydia Griffiths
Clarinet
Tom Lessels
Fiona Mitchell
Bassoon
Bob Bourton
Rosie Burton
Horn
Martin Grainger
Jason Koczur
Trumpet
Angela Whelan
Charlotte Buchanan
Shane Brennan
Timpani
Janne Metsapelto
Percussion
Joe Mathers
Jonny Raper
Eluned Pritchard
Phillip Granell
Vivace Chorus
21
Vivace Chorus
Music Director: Jeremy Backhouse
Accompanist: Francis Pott
Chairman: James Garrow
Vivace Chorus has two aims: to make
music of the highest standard and to
have fun while doing so.
The choir has come a long way since it
began over 60 years ago as the
Guildford Philharmonic Choir, gaining
over time an enviable reputation for
performing first-class concerts across a
wide range of musical repertoire.
Since 1995, the choir has thrived under the exceptional leadership of our
Music Director, Jeremy Backhouse, ably supported now by Francis Pott.
Jeremy’s passion for choral works and his sheer enthusiasm for musicmaking are evident at every rehearsal and every performance, and
Francis is not just a very fine rehearsal accompanist but is also a
composer of international repute and a concert pianist in his own right.
Indeed he was the soloist in our concert in May 2012, giving an
acclaimed rendition of Rachmaninov’s Piano Concerto No. 2.
R
We relish the opportunity to
perform
more
unusual
works
such as Mabhler's
Symphony
No.
8,
or
Prokofiev's
Alexander
Nevsky as much as the
great
choral
masterpieces
of Verdi, Bach, Brahms,
Handel or Haydn. At a more
intimate level, we are at
home with the works of
Fauré,
Tavener, Allegri or
Lauridsen.
Contemporary
music is an lmportant feature of the repertoire and our ‘Contemporary
Choral Classics’ series is designed both to challenge the choir and to
promote the classics of the future.
22
Vivace Chorus
Particular successes have included a sell-out performance of Mahler’s
Symphony No. 8, the Symphony of a Thousand’, at the Royal Albert Hall
in May 2011, and a highly acclaimed performance last November of
Britten's War Requiem. Following our full house debut at ‘G Live’ in
March last year with A Night at the Opera, this first-rate concert hall was
packed again for our Elgar concert this March.
For our final concert in the 2012/3 season, part of
our Contemporary Choral Classics series, we were
joined by the Farnham Youth Choir in Rutter’'s
Mass of the Childrenand also sang Chilcott’s
Requiem. These can be heard again next January
in the beautiful setting of St Martin-in-the-Fields.
We rounded off the season with a wonderful
weekend of music making in Charterhouse School
chapel, recording a selection of choral favourites,
old and new, for a CD entitled Viva Vivace, which
can be purchased this evening at the ticket desk.
We look forward to presenting another varied programme this season,
starting with this evening’s concert of contrasting works by Haydn and
Jenkins, and ending with another grand-scale Royal Albert Hall
production, this time of the ever-popular Verdi Requiem.
In addition to our own concerts, we also sing in various charity concerts,
including the Mayor of Guildford’s annual Carol Concert, and with our
stalwart supporters, the Brandenburg Sinfonia, we sing each year in one
of London’s popular concert venues, St Martin-in-the-Fields.
We also, on occasion, venture further afield. We have visited Germany
many times over the years to sing with the Freiburg Bachchor. Other
trips abroad have included a tour, in June 2009, of north-west France
when we sang in the cathedrals of Paris (Notre-Dame), Rouen and
Beauvais, while in June 2012 we headed across France to Strasbourg,
giving concerts also in Germany, in Heidelberg and Freiburg. We are
already planning a tour next year to Verona, when we will give three
concerts, in Verona, Bardolino (Lake Garda) and Venice.
If that whets your appetite, do come and join us! New members are
always welcome. We rehearse in Holy Trinity Church, Guildford High
Street, on Monday evenings. Just turn up (before 7.15), or contact our
membership secretary Jane Brooks at membership@vivacechorus.org.
For further information, visit our website, vivacechorus.org, where you
can also sign up to receive information about our concerts, email us at
info@vivacechorus.org or follow us on Facebook or Twitter.
Vivace Chorus
23
Vivace Chorus Singers
FIRST SOPRANO
FIRST ALTO
Pam Alexander
Barbara Barklem
Margaret
Grisewood
FIRST BASS
Polly Andrews
Penny Baxter
Carol Hobbs
John Bawden
Phil Beastall
Joanna Bolam
Monika Boothby
Beth Jones
John Britten
Mary Broughton
Jane Brooks
Margaret Mann
Richard Broughton
Elaine Chapman
Liz Durning
Val Morcom
Simon Browning
Rachel Edmondson
Kate Emerson
Jacqueline
Michael Dudley
Rebecca Kerby
Valentina Faedi
Norman
Derek Fisher
Mo Kfouri
Sheila Hodson
Beryl Northam
Michael Golden
Susan Norton
Jean Leston
Margaret Parry
Judith Lewy
Lois McCabe
Sheila Rowell
Prue Smith
Jeremy Johnson
Kate Rayner
Gillian Rix
Rosemary Spalding
Brian John
Jo Stokes
Eric Kennedy
Rosey Storey
Jon Long
Pamela Usher
Malcolm Munt
Carol Terry
Clare McKinlay
Kay McManus
Rosalind Milton
Anne Whitley
Chris Newbery
Joan Thomas
Mary Moon
Anna Williams
Adrian Oxborrow
Hilary Vaill
Penny Muray
June Windle
Peter Pearce
Gill Perkins
Elisabeth Yates
Chris Peters
Lesley Scordellis
Catherine
Shacklady
FIRST TENOR
David Ross
Mike Bishop
Philip Stanford
SECOND
SOPRANO
Jacqueline Alderton
Robin Privett
Ginny Heffernan
Carol Sheppard
Ann Smith
Marianne llisley
Marjory Stewart
Bob Cowell
Barnie Darby
Krystyna Marsden
Hilary Trigg
Owen Gibbons
Roger Barrett
Isabel Mealor
Maggie Woolcock
Tim Hardyment
Norman Carpenter
Nick Manning
Dave Cox
SECOND ALTO
Martin Price
Anna Arthur
Rachael Moore
Bob Bromham
SECOND BASS
Peter Andrews
Alison Palmer
Valerie Adam
Chris Robinson
Geoffrey Forster
James Garrow
Gillian Palmer
Geraldine Allen
John Trigg
Stuart Gooch
Kate Peters
Evelyn Beastall
Isobel Rooth
Sylvia Chantler
SECOND TENOR
Valerie Thompson
Mary Clayton
Peter Butterworth
Neil Martin
Frances Worpe
Andrea Dombrowe
Tony Chantler
John Parry
Celia Embleton
Elizabeth Evans
Valerie Garrow
Geoff Johns
Clive Perry
Stephen Linton
Peter Norman
John Thornely
Michael Taylor
Alison Newbery
Nick Gough
Michael Jeffery
The staging for tonight’s concert is owned by the Association of Surrey Choirs
To hire please contact Carrie Tinsley, Cathedral Office. tel: 01483 547870
Tonight's concert is being held in Guildford Cathedral
by kind permission of the Dean and Chapter
24
Vivace Chorus
Vivace Chorus in grateful to the Shah Jahan Mosque, Woking, for their
kind co-operation in connection with tonight’'s concert, and is pleased to
welcome the Head Imam, Hafiz M S Hashmi, to give the Call to Prayer.
i The
8
¢
&
Shah
Jahan
Mosque,
at
Woking, is Britain's first purposebuilt mosque, built in 1889 by Dr
Cottleib Wilhelm
Leitner, and the
first mosque to be built in Northern
Europe. It was primarily built to cater to the spiritual needs of
Muslim students at the Oriental
Institute and any others who were
within reach. It is one of the key
mosques in the United Kingdom. It
played
a
vital
role
in
the
establishment of Islam in Great Britain and it became known throughout
the world on account of its publications and missionary work in the early
part of this century.
The architect for the original Mosque was W. |. Chambers and its design
was based on Indian rather than Arabic mosques. The Mosque was paid
for by donations and the most generous benefactor was Her Highness
Shah Jahan, The Nawab Begum of the princely state of Bhopal, which is
why the Mosque is officially named after her.
The Mosque and its adjoining building the Salar Jung memorial house —
named after yet another benefactor, the Nizam (Ruler) of the princely
state of Hyderabad in British India — presently houses the Imam's
residence. The buildings are of an Indian style and set in grounds of
about 1 hectare. Although the Mosque itself is small, having space for
approximately 60 worshippers, the site as a whole is majestic and
creates a sense of peace and tranquillity.
For
further
information,
please
visit
the
Mosque
website
at
Vivace Chorus
25
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T
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Besf of British
From a review in the Surrey Advertiser of
&//\
st
=
;/b@/
Vivace Chorus's May 2013 concert
by Dr Steven Berryman
The Guildford based Vivace Chorus were in full voice last
weekend at Guildford Cathedral, giving a ‘Best of British'
O
s concert as part of their Contemporary Choral Classics series. Will Todd's
:Angel Song II opened the concert; a beautiful, ethereal evocation of angels:
s on Christmas night. The committed performance was controlled with immense;/
’
aplomb
by Jeremy Backhouse, conductor, who shaped the music with such/
skill to produce some very arresting changes in dynamic. This is a choir wnllmg/
' to tackle more adventurous repertoire, and they proved it with this piece. ;
-
’ Bob Chilcott's Requiem was a good choice to follow Todd, as another composer /
Ewho has produced a significant body of choral works. Vivace Chorus brought/
E‘rhis music to life with energy and evident passion throughout, with pr‘eciseE
diction. 'Exaudi orationem meam’ was a highlight for me in the ‘Introit and /
; Kyrie', with powerful solo singing from the tenor Philip Modinos. The ensemble}
s of wind players and percussion were balanced well in the cathedral acousflc,g
/! and Backhouse shaped the music throughout with detail and finesse. Emlly;
:Gar‘land soprano, sang the 'Pie Jesu' effortlessly, followed by the energetic
T
s and toe-tapping ‘Sanctus’ from the chorus.
T
Paul Mealor's Ubi caritas et amor, chosen for the Royal Wedding in 2011, was/
sung with a rich, warm choral sound. The choir blended well, with precnse;
. diction and carefully graded shaping gave the piece direction. It was the/
performance of John Rutter's Mass of the Children, featuring the stunning /
Farnham Youth Choir that gave the audience a work full of captivating’
melodies, rich harmonies and sensitive accompaniments. The baritone Richard Z
’ Walshe gave a sensitive and thoughtful account of ‘Lord, open thou mine }
-
s eyes’, which followed the beautiful ‘Agnus Dei’ which was a wonderful dialogue
‘ between
the
Vivace
Chorus
and
the
children.
The
larger
ensemble;
, accompanymg the Rutter brought the colourful orchestration to life and was;/
’' balanced against the mass choral forces with immense skill. We all IefT‘
’ reminded of how rich, varied and exciting British choral music is Today,,
'Thanks to Jeremy Backhouse and his inventive programming, with the /
¢[ committed Vivace Chorus, Farnham Youth Choir and promising soloists.
-
[/gD
26
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Vivace Chorus
Vivace Chorus Patrons
The Vivace Chorus is extremely grateful to all patrons for their support.
Honorary Life Patrons:
Mr Bill Bellerby MBE
Dr John Trigg MBE
Mrs Doreen Bellerby MBE
Premier Patrons:
Dr Michael Golden
Robin & Penny Privett
Dr Marianne llisley
Platinum Patrons:
Mr & Mrs Stephen Arthur
Mr Laurie James
Dr Roger Barrett
Mrs Pamela Leggatt
Mr & Mrs Peter B P Bevan
Mr Lionel Moon
John & Barbara Britten
John & Janet McLean
Richard & Mary Broughton
Ron & Christine Medlow
Michael Dawe
Dr Roger Muray
Mr & Mrs G Dombrowe
Mr & Mrs John Parry
Mr & Mrs Joseph Durning
Dr & Mrs
Susan and Cecil Hinton
Idris Thomas
Mrs Carol Hobbs
Mrs Pamela Usher
Mrs Rita Horton
Bill & June Windle
M G M Smith
Gold Patrons:
Robin & Jill Broadley
Mr & Mrs Maxwell S New
Mr Roger & Sharon Brockway
Mrs Jean Radley
Mrs Aileen Edwards
Sheila Rowell
Mr Geoffrey Johns
Brenda & Brian Reed
Dr Stephen Linton
Prue & Derek Smith
Silver Patrons:
Mrs Iris Bennett
Maggie van Koetsveld
Bob & Maryel Cowell
If you have enjoyed this concert, why not become one of our patrons?
We have a loyal band of followers whose regular presence at our
concerts is greatly appreciated. With the valued help of our patrons, we
are able to perform a wide range of exciting music, with world-class,
professional musicians in venues such as Guildford Cathedral, G Live
and the Royal Albert Hall. Patrons enjoy discounts of between 10% and
30% off concert tickets, reserved seating and priority booking for the best
seats for as little as £50pa. If you are interested, please contact Joan
Thomas on 01483 893178 or email: patrons@vivacechorus.org.
Vivace Chorus
27
Vivace Chorus dates for your diary
The Mayor of Guildford's Christmas Carol Concert
Sunday 15 December 2013 7 pm Holy Trinity Church, Guildford
A programme of carols old and new, supporting the Mayor of Guildford's
Christmas Charity.
Best of British
Friday 3 January 2014 7.30pm St Martin-in-the-Fields, London
Jeremy Backhouse conducts Vivace Chorus and the Farnham Youth
Choir in Rutter’'s Mass of the Children and Chilcott’'s Requiem.
A Brandenburg Choral Festival concert with the Brandenburg Sinfonia.
Vivace Chorus ‘Come and Sing’
Saturday 25 January 2014 10.30am - 4.30pm Normandy Village Hall
Join Jeremy and the choir for a day learning and singing
Bernstein's Chichester Psalms and Britten's Rejoice in the Lamb.
Fascinatin' Rhythm
Saturday 8 March 2014 7:30pm G Live, Guildford
A jazzy cocktail of music from Gershwin, Bernstein, Walton and others,
with the Brandenburg Sinfonia and piano soloist Francis Pott.
Pre-concert talk by Terry Barfoot.
And to bring our season to a resounding close:
The Verdi Requiem
Sunday 18 May 2014 7.30pm Royal Albert Hall, London
Vivace Chorus with the London Philharmonic Choir, Wimbledon and
Twickenham Choral Societies, and the Royal Philharmonic Orchestra.
Tickets already on sale!
Further details at vivacechorus.org
or from info@vivacechorus.org
Printed by WORDCRAFT
115 Merrow Woods, Guildford, Surrey GU1 2LJ
Tel: 01483 560735
Registered Charity No. 1026337
Vivace Chorus
28
|
Vivace Chorus
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We regret that Nicholas Scott is indisposed and
unable to sing for us tonight. We are very grateful to
Julian Gregory, who has stepped in at very short
notice to take his place.
Julian started his singing career
at the age of eight as a chorister
at St John's College Choir,
Cambridge, under Christopher
Robinson. After five years as a
major Music Scholarship holder
at Eton College, he returned to
St John's as a tenor Choral
Scholar in 2009, after a period of months singing at
Norwich Cathedral under David Lowe, his former
teacher.
After graduating from Cambridge, Julian spent last
year on a Scholarship Exchange to Heidelberg
University, where he studied and intensively learnt
German. He is the holder of The Drapers' Company's
"Baroness de Turckheim Scholarship" at the Royal
Academy of Music, where he is currently studying his
Masters in Vocal Performance and learning with Neil
Mackie.
Recent performance highlights include St John Passion
Evangelist at Truro Cathedral, a solo recital at Charlton
House, Greenwich, St Matthew Passion soloist at St
Mary-le-Tower, Ipswich, and soloist with the Ziirich
Sing-Academy in performances of Monteverdi's
Vespers in Zirich.
FN£R2A4OV.0ET&7SANUTMBER
The Armed Man
A Mass for Peace - Karl Jenkins
Mass in Time of War
Haydn
VIVBCe
=
Guildford Cathedral
Saturday 16 November, 2013 7.30 pm