ROYAL PHILHARMONIC ORCHESTRA
CONDUCTOR: JEREMY BACKHOUSE
REQUIEM
VIVACE CHORUS
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LONDON PHILHARMONIC CHOIR
TWICKENHAM CHORAL SOCIETY
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Vivace
Chorus
Royal Philharmonic Orchestra
Verdi
Requiem
Claire Seaton
Soprano
Kate Symonds-Joy = Mezzo-soprano
Daniel Joy
7enor
David Stout
Baritone
Royal Philharmonic Orchestra
Vivace Chorus
London Philharmonic Choir
Twickenham Choral Society
Wimbledon Choral Society
Conductor: Jeremy Backhouse
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Gwseppe Verdi (1813 — 1901)
Verdi was bornin Le Roncole,
an Italian village near Busseto,
Duchy of Parma, into a family
of small landowners and inn-
keepers. He displayed musical
talent very early, receiving his
first organ lessons at the age of
7 and even playing the organ at
a local church. Verdi's parents
moved from Le Roncole to
Busseto when he was 10, and
the following year Verdi began
to study composition privately
with Ferdinando Provesi. By the age of 15 he had already
started composing and had become an assistant church
organist. At the age of 20 he moved to Milan, but was
rejected by the Conservatory of Music there so studied
privately with Vincenzo Lavigna. In Milan he also came
under the patronage of Antonio Barezzi, a rich merchant
and the President of the local Philharmonic Society and
whose daughter, Margherita, was Verdi's student and later
his wife. Verdi became the most prominent of young Italian
composers and dominated the world of Italian opera from
his first triumphant success at La Scala, Milan, with
Nabucco (1842), until his final two Shakespearean
masterpieces, Otello (1887) and Falstaff (1893, when he
was 80), both of which were staged at the same opera
house.
Among the other best-known of his 28 operas are Macbeth
(1847), Rigoletto (1851), Il Trovatore (1853), La Traviata
(1853), La Forza del Destino (1862), Don Carlos (1867) and
Aida (1871).
Verdi's career coincided with the rise of Italian nationalism
during the Austrian occupation. His operatic output of
stirring melody, and tragic and heroic situations, struck a
chord in an Italy struggling for freedom and unity, causes
which he embraced. (Va, pensiero, the famous Chorus of
the Hebrew Slaves from Nabucco, became a popular song
among supporters of Italian unification; they would also
shout "Viva VERDI!" as a clandestine slogan at many of his
opera performances, the letters ‘V.E.R.D.I’, standing for
Vittorio Emanuele Re d’ltalia, the King of Sardinia, who
would be placed on the throne of a united Italy.)
After an extended excursion to Paris in 1853, Verdi
returned to Busseto, where he wrote Simon Boccanegra
(1857) and Un Ballo in Maschera (1859), both of which
embroiled him further in politics. By this time he had been
elected representative of Busseto in the provincial
parliament. In 1861, after Victor Emmanuel became King of
Italy, he entered the country’s newly-formed national
parliament, ultimately serving as a senator, but did not
stand for re-election when his term expired in 1865,
preferring to devote his time to music.
Verdi lived in Milan during the last years of his life, revered
and honoured in both his homeland and throughout the
world. At his state funeral in 1901, the cortege was
accompanied not only by immediate family and friends, but
also by members of the Italian royal family and parliament,
civic dignitaries, foreign diplomats and fellow composers,
among them Puccini, Mascagni and Leoncavallo. Led by
Arturo Toscanini, the forces of La Scala sang Va, pensiero
—
joined by the muted voices of the thousands of people
lining the black-draped streets, paying their last respects to
the man who had dominated the Italian musical scene for
half a century.
Gunseppe Verdi (1813 — 1901)
Verdi was bornin Le Roncole,
an Italian village near Busseto,
Duchy of Parma, into a family
of small landowners and innkeepers. He displayed musical
talent very early, receiving his
first organ lessons at the age of
7 and even playing the organ at
a local church. Verdi's parents
moved from Le Roncole to
Busseto when he was 10, and
the following year Verdi began
to study composition privately
with Ferdinando Provesi. By the age of 15 he had already
started composing and had become an assistant church
organist. At the age of 20 he moved to Milan, but was
rejected by the Conservatory of Music there so studied
privately with Vincenzo Lavigna. In Milan he also came
under the patronage of Antonio Barezzi, a rich merchant
and the President of the local Philharmonic Society and
whose daughter, Margherita, was Verdi's student and later
his wife. Verdi became the most prominent of young Italian
composers and dominated the world of Italian opera from
his first triumphant success at La Scala, Milan, with
Nabucco (1842), until his final two Shakespearean
masterpieces, Otello (1887) and Falstaff (1893, when he
was 80), both of which were staged at the same opera
house.
Among the other best-known of his 28 operas are Macbeth
(1847), Rigoletto (1851), Il Trovatore (1853), La Traviata
(1853), La Forza del Destino (1862), Don Carlos (1867) and
Aida (1871).
Verdi's career coincided with the rise of Italian nationalism
during the Austrian occupation. His operatic output of
stirring melody, and tragic and heroic situations, struck a
chord in an Italy struggling for freedom and unity, causes
which he embraced. (Va, pensiero, the famous Chorus of
the Hebrew Slaves from Nabucco, became a popular song
among supporters of Italian unification; they would also
shout "Viva VERDI!" as a clandestine slogan at many of his
opera performances, the letters ‘V.E.R.D.I’, standing for
Vittorio Emanuele Re d’ltalia, the King of Sardinia, who
would be placed on the throne of a united lItaly.)
After an extended excursion to Paris in 1853, Verdi
returned to Busseto, where he wrote Simon Boccanegra
(1857) and Un Ballo in Maschera (1859), both of which
embroiled him further in politics. By this time he had been
elected representative of Busseto in the provincial
parliament. In 1861, after Victor Emmanuel became King of
Iltaly, he entered the country’s newly-formed national
parliament, ultimately serving as a senator, but did not
stand for re-election when his term expired in 1865,
preferring to devote his time to music.
Verdi lived in Milan during the last years of his life, revered
and honoured in both his homeland and throughout the
world. At his state funeral in 1901, the cortege was
accompanied not only by immediate family and friends, but
also by members of the Italian royal family and parliament,
civic dignitaries, foreign diplomats and fellow composers,
among them Puccini, Mascagni and Leoncavallo. Led by
Arturo Toscanini, the forces of La Scala sang Va, pensiero
—
joined by the muted voices of the thousands of people
lining the black-draped streets, paying their last respects to
the man who had dominated the Italian musical scene for
half a century.
The origins of the Messa da Requiem
In 1868, when Verdi was in his mid-fifties, the great Italian
composer Gioachino Rossini, famed especially for his
39 operas, died. Verdi, who eulogised Rossini as “one of
the glories of Italy,” proposed a musical tribute by Rossini’s
colleagues: a requiem mass, the individual sections of
which would be composed by 13 leading Italian composers
of the day, each of whom would contribute one movement.
Verdi himself set about writing the closing Libera me, and
assigned the remaining sections of the mass to the other
12 composers according to an overall tonal and textural
plan. Nearly all were influential church musicians, but most
had also written for the stage — although they and their
music are largely unknown today.
The project was completed early in 1869, when all of the
individual movements were gathered in Milan, and
submitted to Ricordi, Verdi’s publisher in the city. Verdi’s
original proposal was to have the Messa per Rossini
performed in Bologna, on 13 November 1869, the first
anniversary of Rossini’s death. After this first and only
performance, the score would be sealed and placed in the
vault of Bologna’s Music School as a monument to Rossini,
who had spent much of his career in that city.
Unfortunately this grandiose gesture was sabotaged by a
lack of available funds and by Italian musical/political
rivalries between the cities of Bologna and Milan. The
performance, although scheduled, was cancelled by the
organising committee only days beforehand. Thus although
the requiem was compiled and completed, it was not
performed during Verdi's lifetime (but see postscript).
Verdi briefly considered writing a complete mass himself,
but abandoned the idea as he had important opera
commissions to fulfil, not the least of which was writing
Aidato commemorate the opening of the Suez Canal.
However, the death of Alessandro Manzoni in 1873
rekindled Verdi’s interest in writing a requiem mass.
Manzoni was a towering and venerated literary figure, the
author of novels, plays and poetry and a leading voice of
the Catholic spiritual revival that took place in 19th-century
ltaly. In common with Verdi, he was also an ardent
supporter of the struggle for Italian independence and
unification.
Verdi read the Manzoni obituaries with disappointment.
“Not one sounds the way it should,” he said, “Many words,
but none of them deeply felt.” He then wrote to his
publisher, Giulio Ricordi, saying “I would like to show my
love and esteem for that great man... ... to compose a
Messa da morto to be performed next year on the
anniversary of his death. This mass would be of quite vast
proportions...” Verdi was so serious about the project he
offered to conduct it himself and even to pay the copyist’s
fees.
Unlike the ill-fated Messa per Rossini, this requiem mass
came to splendid fruition. Using the Libera me and his
sketches for a Dies irae prepared for the abortive Rossini
memorial, Verdi spent much of the next year composing his
Messa da Requiem. He completed the score in April 1874
and conducted its first performance in the Church of San
Marco, Milan, on 22nd May, one year after Manzoni’s
death and exactly as he had intended.
The response to the premiere was so enthusiastic (at least
three movements were encored) that the Milanese
demanded three more performances, produced at no less a
venue than La Scala. Similar enthusiasm was seen at
subsequent performances when, shortly afterwards, Verdi
took the work on an international tour which included
Paris, London and Vienna, as well as venues throughout
ltaly and Germany.
emotionally charged style of Italian opera. In the texts of the
requiem mass he found a ready-made, dramatic and
operatic ‘libretto’ that covered the entire range of human
But predictably, there were dissenting voices, mainly from
emotions, from terror, shame and sadness to hope and
critics who found Verdi’s treatment of the Latin texts too
exaltation. Thus Verdi’s Requiem stands as an honest
“operatic” and overtly theatrical (a reaction with ample
spiritual testament from a man who naturally conceived and
historical precedent — Handel’s Messiah being just one work
described his experiences in powerful, direct and
castigated on precisely the same grounds).
unashamedly theatrical terms.
Among those hostile to the work was the famous conductor
Postscript: For more than a century, the Messa per Rossini
Hans von Biilow, a champion of both Wagner and of
was known only as the first chapter in the story of Verdi’s
Verdi’s great contemporary Johannes Brahms. Perhaps
Reguiem. However a complete score, together with several
thinking he was defending Brahms’ £in deutsches Requiem
autograph scores of the individual movements, was
against an Italian rival, and despite choosing to miss the
discovered in 1970 by American musicologist David Rosen,
concert, von Biilow wrote an article deriding the piece as
while he was in Milan researching Verdi. The mass had long
Verdi’s “latest opera, though in ecclesiastical robes.” A
been supposed lost, but had in fact been gathering dust in
succinct rebuttal came from Brahms himself who, having
the Ricordi archives. It was finally given its world premiere
actually heard it, said “only a genius could have written
in 1988 at the European Music Festival in Stuttgart, by
such a work.”
Helmuth Rilling and the Gachinger Kantorei — a mere
119 years behind schedule!
When von Biilow finally heard Verdi’'s Requiem some
18 years later, he was moved to tears. He wrote to the
composer to apologise, whereupon Verdi wryly remarked
that he may have been right the first time!
What had escaped von Bilow and other critics is that the
composition’s most overtly dramatic moments also provide
its most moving and even devout passages. Verdi certainly
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used his dramatic skill and vivid imagination to great effect
throughout the seven movements of the work: the longest
of them, the Dies irae, is divided into nine sections, each of
which resembles a complete operatic scene in itself.
However, the work does not seem to have been an
expression of deep Catholic faith. Verdi was vehemently
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anti-clerical and had no use for conventional piety; in all
probability he was an agnostic but was also by nature a
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Messa da Requiem — The Music
.
Requiem and Kyrie
Il.
Sequenza (Dies irae)
/ll. Offertorio (Domine Jesu)
IV. Sanctus
V.
Agnus Der
VI. Lux aeterna
VIl Libera me
I. Requiem and Kyrie
The work begins quietly: muted cellos establish the
solemnity of the movement, followed by the opening
Requiem, the prayer for eternal rest, from a hushed choir.
Te decet hymnus is a four-part melody for unaccompanied
choir which shows Verdi to be a master of the art of
counterpoint; this is followed by a repeat of the hushed
opening music. The four soloists then enter one by one at
the Kyrie eleison, a prayer set to a noble, flowing prayer for
divine compassion.
Il. Sequenza (Dies irae)
Verdi’s setting of the sequence text Dies irae is both
complex and lengthy, its nine widely contrasting sections or
themes occupying more than one-third of the entire piece.
i) Dies irae: The movement opens dramatically with four
staccato chords on the bass drum followed by full fortissimo
orchestra and chorus, revealing the terror of the dreaded
and awe-inspiring Day of Judgement. (Verdi may have been
inspired, in part, by the similarly massive setting of the Dies
irae in the Berlioz Grande Messe des Morts of 1837.) The
mood quietens at Quantus tremor est futurus, which leads
directly into:
ii) Tuba mirum: Trumpet fanfares echo between the
orchestra and offstage trumpets, building to a climax with
the choir and orchestra. By contrast, Mors stupebit shows
the fear of the bass soloist, standing aghast at the
resurrection of all dead souls, his voice catching repeatedly
on the word Mors (death).
iii) Liber scriptus: This powerful mezzo-soprano aria was
written for the London premiere of 1875 to replace a choral
fugue felt by Verdi to be lacking in drama, especially as it is
followed by a brief reprise of the Dies irae.
iv) Quid sum miser: A bleak trio of lamentation for the
three upper solo voices, including a haunting
accompaniment by a solo bassoon.
v) Rex tremendae majestatis: The opening text, with its
distinctive dotted-note rhythm, is thundered out by the
basses, followed by Salva me, a plea for mercy from all four
soloists, who are then joined by the full chorus for a great
emotional climax.
vi) Recordare: A prayerful duet for soprano and mezzosoprano, followed by arias for the male soloists. In all three
sections, Verdi gives his gift for melody free reign.
vii) Ingemisco: The tenor soloist takes up the penitential
prayer in a mood of tender lyricism evoked by reference to
the pardoning and redemption of the sinner Mary
Magdalen.
viii) Confutatis maledictis: The bass soloist pleads for
mercy at his hour of death in an expressive aria before the
chorus again interjects with a blazing final reprise of the
Dies irae.
ix) Lacrymosa: In essence, the closing scene of this religious
drama’s first act. A simple and prayerful lament is heard first
from the mezzo-soprano soloist and then taken up by the
chorus. Pie Jesu Domine is a short unaccompanied passage
for solo quartet and the section closes with a hushed Amen,
VI. Lux Aeterna
a sobering conclusion to a movement that began with
The brief Lux aeterna, a tremulous, almost chant-like trio for
images of fire and brimstone.
the three lower solo voices, is remarkable for some of the
l1l. Offertorio (Domine Jesu)
Verdi.
most ethereal, luminous orchestral scoring ever used by
The entire movement is a showpiece for solo quartet and
comes as a refreshing contrast to much of the preceding
VII. Libera Me
Dies irae, as the supplicants entreat for deliverance of the
As with the Dies irae, the Libera me is complex and lengthy
faithful dead from the pain of hell. One of the great
in structure. This powerful final movement, for soprano and
moments of the work comes well into the movement with
chorus, is based on that which Verdi wrote for the Rossini
the entry of the soprano, as Michael the holy Standard-
Requiem of 1869. However, much of the musical material
Bearer, on an E sustained for an entire five bars. This is
used in the earlier movements of this Manzoni Requiem is
followed by the first of two fugue-like statements of the
reprised here, especially some of the most striking and
music for Quam olim Abrahae
— a reminder to the Lord of
memorable themes: the tempestuous Dies irae and the
his promised redemption. Following the tranquillity of the
opening Requiem aeternam, magically re-scored in a
central Hostias comes a repeat of Quam olim Abrahae and
breathtakingly beautiful setting for unaccompanied chorus
the movement ends with the soprano floating on a high A
led by the soprano soloist. The work draws to an end with a
flat.
sprightly fugue on Libera me, Domine but concludes with a
hushed and intense prayer for deliverance. This palpably
IV. Sanctus
lacks the serenity that comes from a certainty of salvation
The movement begins with a trumpet fanfare and energetic
and in all likelihood reflects the uncertainty of this
exclamations from the chorus, after which Verdi again
composer over his own ultimate destiny.
displays his skill in contrapuntal writing: the chorus then
sing the entire Sanctus, Benedlictus and Hosanna in an
animated, unbroken double fugue (eight-part counterpoint
for two choirs) which bounces along joyfully, in striking
contrast to anything heard thus far in the work.
V. Agnus Dei
This, the shortest movement of the Requiem, is also the
simplest, beginning with the soprano and mezzo-soprano
soloists who sing in octaves, unaccompanied. The chorus
then enters, also in unison octaves, but with sparse
orchestral accompaniment, and a series of exchanges
ensues during which the music grows in warmth and
lushness.
(There will be no interval in this performance.)
The Requiem
I. Requiem and Kyrie
Quartet and Chorus:
Requiem aeternam dona eis, Domine,
Grant them eternal rest, Lord,
Et lux perpetua luceat ers.
And may perpetual light shine on them.
Te decet hymnus, Deus, in Sion, et
Thou, Lord, art praised in Sion, and
Tibi reddetur votum in Jerusalem
A vow shall be paid to Thee in Jerusalem.
Exaudi orationem meam:
Hear my prayer,
Ad te omnis caro veniet.
To Thee all flesh shall come.
Kyrie eleison.
Lord have mercy upon us.
Christe eleison.
Christ have mercy upon us.
Il. Sequenza
Chorus:
Dies irae, dies illa,
Day of wrath, that day
Solvet saeclum in favilla,
Will dissolve the earth in ashes
Teste David cum Sibylla.
As David and the Sibyl bear witness.
Quantus tremor est futurus,
What dread there will be
Quando judex est venturus,
When the Judge shall come
Cuncta stricte discussurus!
To weigh all things strictly.
Bass and Chorus:
Tuba mirum spargens sonum,
A trumpet, spreading a wondrous sound
Per sepulcra regionum,
Through the graves of every land,
Coget omnes ante thronum.
Will drive all before the throne.
Mors stupebit et natura,
Death and Nature will be astonished
Cum resurget creatura,
When all creation rises again
Judlicanti responsura.
To answer to the Judge.
Mezzo-soprano and Chorus:
Liber scriptus proferetur,
A book of writing will be brought forth
In quo totum continetur,
Containing everything for which
Unde mundlus judicetur.
The world shall be judged.
Judex ergo cum sedebit,
Therefore when the Judge takes his seat
Quidquid latet apparebit:
Whatever is hidden will appear.
Nil inultum remanebit.
Nothing will remain unavenged.
Dies irae, dies illa,
Day of wrath, that day
Solvet saeclum in favilla,
Will dissolve the earth in ashes
Teste David cum Sibylla.
As David and the Sibyl bear witness.
Soprano, Mezzo-soprano and Tenor:
Quid sum miser tunc dicturus?
What then shall | say, wretch that | am,
Quem patronum rogaturus,
What advocate entreat to speak for me,
Cum vix justus sit securus?
When even the righteous are not secure?
Solo Quartet and Chorus:
Rex tremendae majestatis,
King of dread majesty,
Qui salvandos salvas gratis:
Who freely savest the redeemed,
Salva me, fons pietatis.
Save me, fount of pity.
Soprano and Mezzo-soprano:
Recordare, Jesu pie,
Remember, merciful Jesu,
Quod sum causa tuae viae:
That | am the cause of Thy pilgrimage,
Ne me perdas illa die.
Do not forsake me on that day.
Quaerens me, sedisti lassus;
Seeking me Thou didst sit down weary,
Redemisti crucem passus:
Thou didst redeem me on the Cross,
Tantus labor non sit cassus.
Let not such toil be in vain.
Juste judex ultionis:
Just and avenging Judge,
Donum fac remissionis
Grant remission
Ante diem rationis.
Before the day of reckoning.
Tenor:
Ingemisco tamquam reus,
| groan like a guilty man,
Culpa rubet vultus meus;
| blush for my wrong-doing,
Supplicanti parce, Deus.
Spare a suppliant, God.
Qui Mariam absolvist,
Thou who didst absolve Mary
Et latronem exaudsti,
And hearken to the thief,
Mihi quogue spem dediisti.
To me also hast given hope.
Preces meae non sunt dignae,
My prayers are not worthy,
Sed tu, bonus, fac benigne,
But Thou in Thy merciful goodness grant
Ne perenni cremer igne.
That | burn not in everlasting fire.
Inter oves locum praesta,
Place me among Thy sheep
Et ab haedis me sequestra
And separate me from the goats,
Statuens in parte dextra.
Setting me on Thy right hand.
Bass and Chorus:
Confutatis maledictis,
When the wicked are confounded
Flammis acribus addictis,
And consigned to bitter flames,
Voca me cum benedictis.
Call me with the blessed.
Oro supplex et acclinis,
| pray in supplication on my knees,
Cor contritum quasi cinis:
My heart contrite as ashes.
Gere curam mei finis.
Take care of my end.
Chorus:
Dies irae, dies illa,
Day of wrath, that day
Solvet saeclum in favilla,
Teste David cum Sibylla.
Will dissolve the earth in ashes
As David and the Sibyl bear witness.
Solo Quartet and Chorus:
Lacrymosa dies illa,
Tearful that day
Qua resurget ex favilla,
When from the dust shall rise
Judicandus homo reus.
Sinful man to be judged.
Huic ergo parce, Deus.
Therefore spare him, God.
Pie Jesu Domine:
Merciful Jesu, Lord,
Dona eis requiem.
Grant them rest.
Amen.
Amen.
I1l. Offertorio
Quartet:
Domine Jesu Christe, Rex gloriae:
Lord Jesus Christ, King of glory,
Libera animas omnium fidelium
Deliver the souls of all the faithful dead
Defunctorum de poenis inferni
From the pain of hell
£t de profundo lacu;
And from the deep pit.
Libera eas de ore leonis;
Deliver them from the lion's mouth,
Ne absorbeat eas tartarus,
That hell may not swallow them up,
Ne cadant in obscurum.
That they not fall into darkness.
Sed signifer sanctus Michael
But may the holy standard-bearer, Michael, lead them into
Repraesentet eas in lucem sanctam.
the holy light;
Quam olim Abrahae promisisti
Which Thou didst promise of old to
£t semini ejus.
Abraham and his seed.
Hostias et preces tibi, Domine,
Lord Jesus Christ, King of glory,
Laudis offerimus.
Sacrifices and prayers we offer Thee,
Tu suscipe pro animabus illis,
Lord; receive them for those souls
Quarum hodie memoriam facimus.
Whom we commemorate this day.
Fac eas, Domine,
Let them, Lord,
De morte transire ad vitam,
Pass from death into life,
Quam olim Abrahae promisisti
Which Thou didst promise of old to
£t semini ejus.
Abraham and his seed.
Libera animas omnium fidelium
Deliver the souls of all the faithful dead
Defunctorum de poenis inferni;
From the pain of hell;
Fac eas de morte transire ad vitam.
May they pass from death into life.
IV. Sanctus
Double Chorus:
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 glory.
Hosanna in excelsis!
Hosanna in the highest.
Benedictus qui venit in nomine Domini.
Blessed is he who cometh in the name
Hosanna in excelsis!
Of the Lord. Hosanna in the highest.
V. Agnus Dei
Soprano, Mezzo-soprano and Chorus:
Agnus Dei, qui tollis peccata mundl,
Lamb of God, who takest away the sins
Dona eis requiem.
of the world, grant them rest.
Agnus Dej, qui tollis peccata mundl,
Lamb of God, who takest away the sins
Dona eis requiem sempiternam.
of the world, grant them everlasting rest.
VI. Lux aeterna
Mezzo-soprano, Tenor and Bass:
Lux aeterna luceat eis, Domine,
May eternal light shine upon them, Lord,
Cum sanctis tuis in aeternam;
With Thy saints for ever,
Quia pius es.
For Thou art merciful.
Requiem aeternam dona eis, Domine,
Grant them eternal rest, Lord,
Et lux perpetua luceat efs.
And may perpetual light shine upon them.
VII. Libera me
Soprano and Chorus:
Libera me, Domine, de morte aeterna
Deliver me, Lord, from eternal death,
In die illa tremenda,
On that fearful day
Quando coeli movend/ sunt
When the heavens are moved
Et terra: dum veneris
And the earth: when thou shalt come
Judlicare saeculum per [gnem.
To judge the world by fire.
Tremens factus sum ego et timeo,
| tremble, and | fear the judgment
Dum discussio venerit atque
And the wrath to come,
Ventura ira,
When the heavens and the earth
Quando coeli movend| sunt et terra.
Shall be moved.
Dies irae, dies illa calamitatis et
Day of wrath, day of terror, calamity and
Miseriae,; dies magna et amara valde.
Misery; that great and bitter day.
Requiem aeternam dona eis, Domine,
Grant them eternal rest, Lord,
Et lux perpetua luceat eis.
And may perpetual light shine upon them.
Libera me, Domine, de morte aeterna
Deliver me, Lord, from eternal death
In die illa tremenda;,
On that fearful day.
Quando coeli movend/ sunt
When the heavens are moved
Et terra: dum veneris
And the earth when thou shalt come
Judlicare saeculum per jgnem.
To judge the world by fire.
Libera me, Domine, de morte aeterna
Deliver me, Lord, from eternal death
In die illa tremenda.
On that fearful day.
Libera me.
Deliver me, Lord.
Future Vivace Chorus concerts include:
15th Nov
Vivace
Chorus
2014 Bach Mass in B minor at Guildford Cathedral.
7th March 2015 A programme of Mendelssohn, Delius and Stanford,
with Tasmin Little playing Mendelssohn’s Violin Concerto
at G Live, Guildford.
_
23rd May
2015 Todd’s The City Garden and Chilcott’s Salisbury Vespers
at Guildford Cathedral.
Claire Seaton
Kate Symonds-Joy
Soprano
Mezzo-soprano
Born in Wolverhampton, Claire
Kate Symonds-Joy graduated with a
Seaton studied at the Birmingham
First Class Music degree from
School of Music, at the Royal
Gonville and Caius College,
Academy of Music with Rae
Cambridge and a DipRAM from the
Woodland and Kenneth Bowen,
Royal Academy Opera course.
and subsequently with Linda EstherGrey. She joined Kent Opera during
her final year at the Academy, was awarded the Wessex
Glyndebourne Association Prize in 1998 and in 1999 made
her Glyndebourne Festival Opera debut singing the role of
Vitellia (La clemenza di Tito).
Further engagements at Glyndebourne included covering
the roles of Ellen (Peter Grimes) and the Countess (Le nozze
di Figaro), followed by contracts with Opera de Lyon and
Opera Europa. Claire’s work in the early music field
includes performances with The Tallis Scholars and the
Gabrieli Consort, with whom she made her BBC Proms
debut in Handel’s Dixit Dominus. She has also recorded the
soprano solos in Allegri’s Miserere for Regent Records.
Claire’s oratorio experience includes performances of
Verdi's Requiem, Brahms’ Requiem and Mozart's C Minor
Mass. Recent engagements have included Strauss’s Four
Last Songs in Sherborne Abbey and Mahler’s Symphony
No 8 at the Royal Albert Hall with the RPO. In addition to
the Allegri, Claire’s discography includes the role of The
Believer in Rutland Boughton’s Bethlehem for Naxos,
Brahms’ £in deutsches Requiem with Jeremy Backhouse
and the Vasari Singers for Guild, and the world premiere of
Jonathan Dove’s The Far Theatricals of Day with Nicholas
Cleobury.
She was the winner of the 2011
Thelma King Vocal Award and was awarded the Basil A
Turner Prize for her role Bianca in Britten’s 7he Rape of
Lucretia for BYO.
Operatic roles include Mrs Herring in Britten’s Albert
Herring
for Britten-Pears in Aldeburgh, Wild Girl in Delius’
A Village Romeo andJuliet for Wexford Festival Opera,
Britten Noye’s Fludde in the Thaxted Festival, Dorabella in
Mozart’s Cosi fan tutte for RAO, Koukouli in Chabrier’s
L ’Ftoile for Sir John Eliot Gardiner at the Opera Comique
Paris, the title role in Bizet's Carmen for Regents and
Kentish Opera, Medea in Cavalli’s Giasone for RAO
conducted by Jane Glover, Ino in Handel’s Semele for RAO
with Sir Charles Mackerras, and Florence Pike in Britten’s
Albert Herring for RAO directed by John Copley.
Concert work includes Rutter’s Feel the Spirit
at the
Barbican, Mahler’s 2nd Symphony in Cadogan Hall, a
recording of Giles Swayne’s Stabat Materfor NAXQOS,
Handel’s Messiah with Bordeaux Opera, Mozart's Requiem
in Snape Maltings and extracts as Carmen with Sir John Eliot
Gardiner and the Monteverdi Choir at LSO St Luke’s.
Recent recitals include the Wigmore Hall as part of the
Royal Academy Song Circle, Janacek's Diary of One who
Disappeared at Kings Place, Ravel’s Chansons madecasses
at the Purcell Room, Schumann Lieder with Malcolm
Martineau on the Britten-Pears Young Artist Programme,
Berio’s Sequenza /Il in the Norfolk and Norwich Festival
Generously supported tonight by Spotify.
and Berio Folk Songs with the Psappha Ensemble.
Daniel Joy
Tenor
Daniel studied music at Durham University
where he gained a first class music degree,
was awarded the Eve Myra Kisch Price Prize
\
for outstanding academic achievement and
was a choral scholar at Durham Cathedral, before studying
on the postgraduate vocal course at The Royal College of
Music, and recently graduated with distinction from the
opera course at Guildhall School of Music and Drama.
Daniel made his professional stage debut as Kozak in
Statkowski's Maria for Wexford Festival Opera. He has
returned to Wexford to perform The Poor Horn Player
(Delius' A Village Romeo and Juliet) and Gherardo (Gianni
Schicchi), and elsewhere the title role in Albert Herring at
GSMD, cover of various roles in Monteverdi's
Lincoronazione di Poppea for Glyndebourne Festival,
cover of Cassio (Otello) for Opera North,
Adolfo/Gobin/cover Prunier in Puccini’s La rondine for
Opera di Peroni/Go Opera, The Duke (Rjgoletto) and Goro
(Madama Butterfly) both for Opera Brava, cover of
Remendado (Carmen) for Scottish Opera and Alfred (Die
Fledermaus) for Kentish opera.
Recent concert performances include Finzi's Dies Natalis
(Britten Sinfonia), Handel's Messiah (Cadogan Hall), the
Evangelist in Bach's ¢ John Passion (St Martin-in-the-Fields),
Monteverdi's Vespers of 1670 (The English Cornet and
Sackbutt Ensemble), Haydn's Missa Sancti Nicolai
(European Union Chamber Orchestra), Finzi's /ntimations of
Immortality (West Road Concert Hall, Cambridge),
Evangelist and arias in Bach's Christmas Oratorio (Armonico
Consort) and Verdi’'s Requiem (Worcester Cathedral).
David Stout
Baritone
A former Head Chorister of Westminster
Abbey, David studied Zoology at Durham
University, sang with the choir of St. John’s
College, Cambridge University and studied
Opera at the GSMD with Rudolf Piernay.
His operatic roles include Dr. Falke Die Fledermaus, Ping
Turandot, Papageno Die Zauberfléte, and Schaunard
La boheme (Welsh National Opera); Pish-Tush 7he Mikado
and Monterone Rigoletto (English National Opera); Robin
Oakapple Ruddigore (Opera North); Baron Douphol
La traviata and Flemish Deputy Don Carlos (Royal Opera
House, Covent Garden); Angelotti 7osca, Roucher Andlrea
Chénier and Gratiano The Merchant of Venice (Bregenzer
Festspiele); Don Juan From the House of the Dead (Teatro
Massimo di Palermo); The Dark Fiddler A Village Romeo
andJuliet and Axel Oxenstierna Cristina, regina di Svezia
(Wexford Festival).
'
Sounds
great.
Baker & McKenzie wish
Vivace Chorus all the best
for a wonderful evening.
www.bakermckenzie.com
David’s concert repertoire includes recordings of 7he
Creation with New College, Oxford and also with Musica
Saeculorum; Lieder eines fahrenden Gesellen with
Baker & McKenzie International is a
Orchestra of the Swan. He has performed Beethoven 9
Swiss Verein with member law firms
Symphony
at the Three Choirs Festival; 7he Messiah and
the common terminology used in
Brahms Requiem (Hallé Orchestra); Sea Symphony (RPO),
St John Passion (King's Place), Belshazzar’s Feast (Royal
Festival Hall).
Future plans include Beethoven 9% Symphony
at the Royal
Festival Hall, Sancho Panca Don Quichotte (Grange Park
Opera), Aeneas Dido and Aeneas (English Concert at the
Bristol Old Vic), Figaro The Marriage of Figaro and Fritz
Kothner Die Meistersinger von Niirnberg (English National
Opera) and recordings with Sir Mark Elder and Maurizio
Benini for Opera Rara.
around the world. In accordance with
professional service organizations,
reference to a “partner” means
a person who is a partner, or
equivalent, in such a law firm.
Similarly, reference to an “office”
means an office of any such law firm.
Jeremy Backhouse
.
Szymanowski’s Stabat Mater, Mahler’s ‘Resurrection’
Conductor
Symphony (No. 2), Prokofiev’s Alexander Nevsky and /van
\
Jeremyis one of Britain’s
the Royal Albert Hall with the Royal Philharmonic
il
leading conductors of amateur
Orchestra, and Britten’s War Requiem.
choirs. He began his musical
He is totally committed to contemporary music and to the
career in Canterbury Cathedral
where he was Senior Chorister.
In 1980 he was appomted Music Editor at the RNIB, where
he was responsible for the transcription of print music into
Braille. He has worked for both EMI Classics and later
Boosey & Hawkes Music Publishers as a Literary Editor, but
now pursues his career as a freelance conductor.
Jeremy has been the sole conductor of the internationally-
renowned chamber choir Vasari Singers since its inception
in 1980. Since winning the prestigious Sainsbury’s Choir of
the Year competition in 1988, the Vasari Singers has
performed regularly on the South Bank and at major
concert venues in London, as well as in the many of the
cathedrals and abbeys of the UK. Jeremy and the Vasari
the Terrible, Mahler’s ‘Symphony of a Thousand” (No. 8) in
commissioning of new works. He and Vasari have
commissioned over 25 new works in their recent history,
from small anthems to works of the grandest scale. This
enthusiasm has spread to the Vivace Chorus who, in May
2009, commissioned and performed the premiere of Will
Todd's 7e Deum and have recently commissioned a 20minute work from Francis Pott, the choir’s accompanist.
Jeremy has also worked with a number of the country's
leading choirs, including the BBC Singers, the Philharmonia
Chorus, the London Choral Society and the Brighton
Festival Chorus. For six years, to the end of 2004, Jeremy
was the Music Director of the Wooburn Singers, following
Richard Hickox and Stephen Jackson.
Singers have broadcast frequently on BBC Radios 3 and 4,
In January 2009 Jeremy took up the post of Music Director
and have a discography of over 25 CDs on the EMI, Guild,
of the Salisbury Community Choir. His first
Signum and Naxos labels.
Recordings with the Vasari Singers have been nominated for
a Gramophone award (Howells and Frank Martin), received
two Gramophone Editor’s Choice awards (Marcel Dupré
choral works), a top recommendation on Radio 3’s
‘Building A Library” (Vaughan Williams Mass in G minor),
and two recent CDs (Gabriel Jackson’s Requiem and A
Winter’s Light, a disc of Christmas carols) both achieved
Top Ten status in the Specialist Classical Charts.
major engagement with them was the opening concert of
that year’s Salisbury International Arts Festival, in Salisbury
Cathedral, premiering a vast new work by Bob Chilcott
entitled the Salisbury Vespers. In 2013 the choir celebrated
its 21st Anniversary with a major concert in Salisbury
Cathedral in October, featuring the world premiere of a
specially-commissioned community work by Will Todd, 7he
City Garden, which in subsequent years they are touring to
Lincoln (2014), Guildford (2015) and elsewhere.
In January 1995, Jeremy was appointed Music Director of
Photo credits
the Vivace Chorus (then the Guildford Philharmonic Choir).
Jeremy Backhouse
Alongside the standard classical works, Jeremy has
Claire Seaton
Benjamin Ealovega
conducted the Vivace Chorus in some ambitious
Kate Symonds-Joy
Anthony Gould Davies
programmes, including Howells” Hymnus Paradisi and
Daniel Joy
Corinna Horsthemke
Sim Canetty-Clarke
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intimate surroundings provide the perfect concert
Artistic Director and Principal Conductor: Charles Dutoit
atmosphere. Completing the Orchestra’s London
Founded in 1946 by Sir Thomas Beecham, the Royal
Philharmonic Orchestra (RPO) has enjoyed more than sixtyfive years of success worldwide, giving first-class
performances of a wide range of musical repertoire with
artists of the highest calibre. Under the inspired leadership
of Artistic Director and Principal Conductor Charles Dutoit,
the Orchestra maintains and builds on a demanding
schedule of performances, tours, community and education
work, and recordings.
Throughout its history, the Orchestra has been directed by a
number of distinguished conductors, including Rudolf
Kempe, Antal Dorati, André Previn, Vladimir Ashkenazy,
programme of concerts is a series of monumental
performances at the iconic Royal Albert Hall, ranging from
large-scale choral and orchestral works to themed evenings
of well-known repertoire.
The Orchestra offers a comprehensive regional touring
programme, with established residencies in Croydon,
Northampton, Lowestoft, Reading, Crawley, Ipswich, High
Wycombe, Scunthorpe, Aylesbury, Dartford, Guildford and
Cambridge. Internationally, the RPO is also in high demand,
undertaking several major tours each season; recent
locations include the USA, Canada, Russia, Azerbaijan,
Spain, Italy, Germany, Japan and China.
Yuri Temirkanov and Daniele Catti. Today the Orchestra
Last year marked the 20th anniversary of the Orchestra’s
enjoys the support of high-ranking conductors such as
vibrant community and education programme, RPO
Pinchas Zukerman and Grzegorz Nowak.
Central to the Royal Philharmonic Orchestra’s thriving
concert schedule is its prestigious annual series at
Southbank Centre’s Royal Festival Hall. At Cadogan Hall,
the Orchestra’s London home, the idyllic location and
resound. Since 1993, specially trained musicians have
worked alongside accomplished project leaders to deliver
numerous pioneering projects, enabling greater access to
and engagement with world-class music-making in the
wider community.
Frequently found in the recording studio, the Orchestra
The Orchestra launched its new app in October 2013: RPO
records extensively for film and television as well as for
Rewards is a loyalty ticket scheme that is available for free
many of the major commercial record companies.
download on the App Store and Google Play.
If you would like to join the Royal Philharmonic Orchestra’s FREE mailing list or for further information about concerts and
recordings, please take a look at our website: www.rpo.co.uk or call us on 020 7608 8800.
Royal Philharmonic Orchestra Management
Artistic Director and Principal Conductor
Charles Dutoit
Director of Press and Marketing
Managing Director
lan Maclay
Head of Community and Education
Ruth Currie
Finance Director
Michelle Johnson
Orchestra Managers
Jane Aebi,
Chris Evans
Concerts Director
Elizabeth Forbes
Concerts Manager
Elsa Tatevossian
Librarian
Development Director
Patrick Williams
Huw Davies
Stage Manager
Chris Ouzman
Kathy Balmain
ORCHESTRA
FIRST VIOLINS
Sali-Wyn Ryan
Naomi Watts
CLARINETS
OFFSTAGE
Duncan Riddell
Colin Callow
Tim Steggals
Tom Watmough
TRUMPETS
Tamas Andrés
Ikuko Sunamura
Katy Ayling
Cameron Todd
James Toll
Judith Templeman
Naoko Keatley
Robin Wilson
Suzie Watson
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Jarek Augustynia
Stuart Essenhigh
Ross Brown
Julie Ryan
Kay Chappell
VIOLAS
Anthony Protheroe
Fiona Bonds
David Gordon
Emma Harding
TROMBONES
Erik Chapman
Liz Varlow
Benjamin
Fraser Gordon
Matthew Gee
1
Chian Lim
Gilb
David Broughton
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sther Harling
Ianathan Hallett
John
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B ol Tarriones
FLUTES
Michael Cox
Samuel Jacobs
Kathryn Saunders
Joanna Marsh
Helen Keen
Brendan Thomas
Andrew Fletcher
CIMBASSO
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SECOND VIOLINS
Raquel Lopez Bolivar
PICCOLO
TRUMPETS
TIMPANI
Andrew Storey
Erzsebet Racz
(C:ELL(t)SI Webst
Helen Keen
Bo Fuglsang
Mike Allen
My Netty
Martin Owens
Miranda Allen
Charlotte Ansbergs
Jenny y Dear
Peter Graham
Sian Mclnally
Stephen Payne
Laura Holt
Clive H
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Becky Carrington
-
Roberto Sorrentino
mh Moll
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William Heggart
Hol
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R
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John
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Tim Watts
FRENCH HORNS
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Laurence Davies
David Price
Russell Gilbert
ik Eoetor
Cindy
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Geoffrey Silver
Shana Douglas
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Cunningham
Helen Storey
Adam Wright
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Miles Maguire
Shinko Hanaoka
Anna Mowat
Names in bold denote Principal (listed first) or Co-principal
BASS TROMBONE
Roger Argente
ANt UECaD
PERCUSSION
;
Stephen Quigley
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Keltbray Is proud to sponsor
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Keltbray is the UK’s leading specialist engineering, construction,
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Vivace Chorus is a flourishing
and adventurous choir based in
Guildford, Surrey.
The choir has come a long way
since it began 67 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, Vivace has thrived under the exceptional
leadership of this evening’s conductor, Jeremy Backhouse.
Jeremy’s passion for choral works and his sheer enthusiasm
for music-making are evident at every rehearsal and every
performance. He is supported by Francis Pott, who is not
just a very fine rehearsal accompanist but is also a composer
of international repute and an accomplished concert
pianist.
“The atmosphere at times was electric and could have been
cut with a knife.
A monumental undertaking performed
brilliantly.”
“The Requiem was beyond wonderful; the pause before the
applause at the end, when no one wanted to break the
spell, said it all.”
In addition to our own concerts, we also sing in various
charity concerts and, with our regular orchestra, the
Brandenburg Sinfonia, take part in the Brandenburg Choral
Festival each year in 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,
Our repertoire spans more unusual works such as
Prokofiev’s Alexander Nevsky as well as the great choral
masterpieces of Bach, Brahms, Handel, Haydn, Mozart and
Verdi, and the more intimate works of Fauré, Tavener,
Allegri and Lauridsen. We also actively promote the classics
of the future with our ‘Contemporary Choral Classics’ series,
commissioning new works when funds allow.
Particular successes have included a sell-out performance in
May 2011 of Mahler’s Symphony No. 8, the Symphony of
a Thousand’, here at the Royal Albert Hall, and a highly
acclaimed performance in November 2012 of Britten’s
War Requiem, which prompted the following comments
from members of the audience:
giving concerts there and in Heidelberg and Freiburg. We
are off on our travels again this summer, this time to ltaly,
where we will give three concerts, in Verona, Mantua and
Venice.
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
President:
Sir David Willcocks CBE MC
Music Director:
Jeremy Backhouse
Accompanist:
Francis Pott
Chairman:
James Garrow
Lists of singers and instrumentalists in this programme were correct at time of going to press.
Vivace Chorus
Soprano 1
Valerie Thompson
Andrea Dombrowe
Jon Scott
Christine Wilks
Celia Embleton
John Thornely
Frances Worpe
Elizabeth Evans
Pam Alexander
Valerie Garrow
Bass 1
Polly Andrews
Alto 1
Jo Glover
Phil Beastall
Helen Beevers
Penny Baxter
Margaret Grisewood
John Britten
Joanna Bolam
Monika Boothby
Carol Hobbs
Richard Broughton
Mary Broughton
Jane Brooks
Beth Jones
Simon Browning
Elaine Chapman
Margaret Dentskevich
Margaret Mann
Michael Dudley
Rachel Edmondson
Liz Durning
Pamela Murrell
Derek Fisher
Calli Hayes
Kate Emerson
Jacqueline Norman
Michael Golden
Brian John
Rebecca Kerby
Valentina Faedi
Beryl Northam
Mo Kfouri
Atalia Fuller
Sheila Rowell
Jeremy Johnson
Ruta Mikasauskaite
Anne Jackson
Prue Smith
Jon Long
Alex Nash
Jean Leston
Jo Stokes
Malcolm Munt
Susan Norton
Judith Lewy
Rosey Storey
Chris Newbery
Robin Onslow
Lois McCabe
Pamela Usher
Adrian Oxborrow
Margaret Parry
Clare McKinlay
Anne Whitley
Peter Pearce
Kate Rayner
Kay McManus
Anna Williams
Chris Peters
Gillian Rix
Christine Medlow
June Windle
Robin Privett
Carol Terry
Catherine Middleton
Elisabeth Yates
David Ross
Joan Thomas
Rosalind Milton
Hilary Vaill
Mary Moon
1
Tenor
Penny Muray
Bob Bromham
Bob Cowell
Philip Stanford
Kieron Walsh
Soprano 2
Gill Perkins
Jacqueline Alderton
Linda Ross
Barnie Darby
Roger Barrett
Anna Arthur
Lesley Scordellis
Owen Gibbons
Alan Batterbury
Grace Beckett
Catherine Shacklady
Nick Manning
Norman Carpenter
Ginny Heffernan
Carol Sheppard
Martin Price
Geoffrey Forster
Marianne lllsley
Ann Smith
Chris Robinson
James Garrow
Krystyna Marsden
Marjory Stewart
John Trigg
Stuart Gooch
Rachael Moore
Hilary Trigg
Debbie Morton
Maggie Woolcock
Tenor 2
Michael Jeffery
Alison Newbery
Bass 2
Nick Gough
John Bawden
Eric Kennedy
Alison Palmer
Alto 2
Peter Butterworth
Neil Martin
Gillian Palmer
Valerie Adam
Tony Chantler
Roger Penny
Kate Peters
Geraldine Allen
Geoff Johns
Clive Perry
Isobel Rooth
Evelyn Beastall
Stephen Linton
Michael Taylor
Paula Sutton
Sylvia Chantler
Peter Norman
Barbara Tansey
Mary Clayton
London Philharmonic Choir
Liszt's A Faust Symphony and Beethoven's Missa Solemnis.
Founded in 1947, the London Philharmonic Choir is widely
Brabbins.
regarded as one of Britain's finest choirs, consistently
meeting with great critical acclaim. It has performed under
leading international conductors for more than 65 years and
made numerous recordings for CD, radio and television. It
makes many appearances at the Royal Albert Hall each
year, including Raymond Gubbay’s Classical Spectacular
Last year, it performed Elgar's 7he Apostles with Sir Mark
Elder and Howells's Hymnus Paradisi under Martyn
A well-travelled choir, it has visited numerous European
countries and performed in Kuala Lumpur, Hong Kong and
Perth, Australia. Most recently, members of the choir
performed Weill's 7The Threepenny Opera in Paris, with a
repeat performance in London. In 2012, it appeared at the
and Christmas concerts.
Touquet International Music Masters Festival in France, and
Enjoying a close relationship with the London Philharmonic
Mozart's Requiem.
Orchestra, the Choir frequently joins it for concerts in the
UK and abroad. In 2012/13, concerts with the LPO
included Rachmaninov's The Bells, Haydn's Nelson Mass,
Schoenberg's A Survivor from Warsaw, Brahms's Ein
deutsches Requiem and Elgar's The Dream of Gerontius.
the Choir will be returning again in May 2014 to perform
The Choir prides itself on achieving first-class performances
from its members, who are volunteers from all walks of life.
For more information, including details about how to join,
please visit www.lpc.org.uk
As part of the Southbank Centre's ‘The Rest is Noise’
festival, the Choir performed Part's Magnificat and Berlin
Mass, Shostakovich's Symphony No. 13 (Babi Yar), Poulenc's
Stabat Mater, Britten's War Requiem, Stravinsky's Symphony
of Psalms, Orff's Carmina Burana, Tippett's A Child of Our
London Philharmonic Choir
Patron:
HRH Princess Alexandra
President:
Sir Roger Norrington
7ime and John Adams' £/ Nirno.
Artistic director:
Neville Creed
Accompanist:
Jonathan Beatty
So far in 2014, it has performed Julian Anderson's Afleluia —
Chairman:
Andrew Mackie
Choir manager:
Tessa Bartley
which it premiered at the reopening of the Royal Festival
Hall in 2007 — and Beethoven's Symphony No.9 under
Vladimir Jurowski, repeating the latter the following day at
the Théatre des Champs-Elysées, Paris.
The Choir appears regularly at the BBC Proms at the Royal
Albert Hall, and performances have included the UK
premiéres of Mark-Anthony Turnage's A Relic of
Memory
and Goldie's Sine Tempore in the Evolution! Prom.
The Choir performed at the Doctor Who Proms in 2008,
2010 and 2013, and in 2011 appeared in Verdi's Requiem,
London Philharmonic Choir
Harriet Crawford
Alto 2
David Hodgson
Victoria Denard
Jenny Adam
Rylan Holey
Soprano 1
Sally Donegani
Deirdre Ashton
Yaron Hollander
Pippa Alderson
Philippa Drinkwater
Phye Bell
Aidan Jones
Sarah Bindon
Emma Hancox
Yvonne Cohen
John Luff
Laura Buntine
Georgina Kaim
Liz Cole
Richard Miller
Whitney Burdge
Suzannah Lipmann
Carmel Edmonds
Ashley Morrison
Alana Clark
Rosalind Mann
Marjana Jovanovic Morrison
Will Parsons
Sally Cottam
Victoria Mattinson
Andrea Lane
David Regan
Emma Craven
Marj McDaid
Ayla Mansur
John Salmon
Sarah Deane-Cutler
Carmel Oliver
Miranda Ommanney
Daniel Snowman
Lucy Doig
Kathryn Quinton
Carolyn Saunders
Peter Sollich
Antonia Davison
Rebecca Schendel
Catherine Travers
Trevor Watson
Claudie Gheno
Victoria Smith
Susi Underwood
James Wilson
Rachel Gibbon
Jenny Torniainen
Jenny Watson
John Wood
Jane Hanson
Julia Warner
Catrin Harrison
1
Tenor
Bass 2
Sally Harrison
Alto 1
David Aldred
Gordon Buky-Webster
Veronica Jackson
Andrei Caracoti
Nicholas Arratoon
Bill Cumber
Mai Kikkawa
Noel Chow
Frederick Fisher
Marcus Daniels
Jenni Kilvert
Helen Clough
Patrick Hughes
Paul Fincham
Judith Kistner
Lynn Eaton
Luke Phillips
lan Frost
Clare Lovett
Pauline Finney
Owen Toller
Paul Gittens
Janey Maxwell
Regina Frank
Bradley Warburton
Nigel Grieve
Alexandra May
Kathryn Gilfoy
Travis Winstanley
Adi McCrea
Henrietta Hammonds
Katie Milton
Lisa MacDonald
Tenor 2
Stephen Hines
Mariana Nina
Michelle Marple
Scott Addison
Martin Hudson
Linda Park
Rachel Murray
Christopher Beynon
Aaron lsaac
Lydia Pearson
John Nolan
Stephen Hodges
Steve Kirby
Danielle Reece-Creenhalgh
Angela Pascoe
Hyun Jin Jeong
Anthony McDonald
Louisa Sullivan
Dorothea Stawenow
Tony Masters
Johan Pieters
Susan Thomas
Muriel Swijghuisen
Sam Roots
Fraser Riddell
Reigersberg
Tony Wren
Ed Smith
Soprano 2
Mayuko Tanno
Lisa Bartley
Suzanne Weaver
Nicholas Hennell-Foley
Mark Hillier
James Torniainen
Bass 1
Tessa Bartley
Peter Blamire
Paula Chessell
Benjamin Fingerhut
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Twickenham Choral Society
founded in 1921, draws its
/ membership from a wide area of
west London. It has a proud tradition
of performing a broad and
enterprising repertoire from every
age — Monteverdi, through Bach, Mozart, Brahms and Verdi
to more modern composers such as Janacek, Britten,
Schonberg and Tippett. The choir also regularly performs
works by living composers including Naji Hakim, Arvo Padrt,
Robin Holloway, Morten Lauridsen and Eric Whitacre. It is
conductor Christopher Herrick’s fortieth season with the
choir, and he continues to develop the sound and expand
the repertoire of its members, aided by talented
in the Brandenburg Choral Festival at St Martin-in-the-
Fields.
This season, TCS made its debut at St John’s, Smith Square,
in the premiere of lain Farrington’s brilliant arrangement of
the first movement of Mahler’s 8th Symphony. We shall
revisit Farrington’s 7he Burning Heavens in December
2014, remembering the Great War with this glorious work
based on Siegfried Sassoon poems.
TCS last performed Verdi’s Requiem at the Rose Theatre,
Kingston in 2012 and, in 1991, Christopher Herrick
conducted massed choirs including TCS in a performance at
the Royal Albert Hall.
For details of forthcoming concerts, please see the website,
accompanist, Freddie Brown.
Twickenham Choral Society has the privilege of working
with top-ranking professional soloists, and orchestras such
Twickenham Choral Society
as the Brandenburg Sinfonia. Michael Cox, principal flautist
President:
Tristan Fry
of the BBC Symphony Orchestra, will play solo flute pieces
Chairman:
Chris Britton
at the summer concert of 20th century song. Concerts are
Conductor:
Christopher Herrick
staged three times a year in local venues and TCS takes part
Assistant Conductor:
Freddie Brown
Gale Davies
Alto 2
Carol Caporn
Rosemary Fulljames
Gillian Beauchamp
Sarah Cheshire
Julie Hall
Barbara Cook
Tenor 1
Nancy Lee
Julia Coomes
Margaret Hamilton
Maggie Crisell
Tony Alderton
Soprano 1
Soprano 2
Kathryn Doley
Catherine Gash
Elaine Thawley
Katrina Lidbetter
Sarah Herrick
Evelyn Houseman
Monica Darnbrough
Mark Damerell
Julia Primarolo
Mary Jewkes
Emma Jay
Mary Egan
Colin Flood
Andy Godfrey
Dinah Shoults
Wendy Johnson
Catherine McManus
Margaret Garnham
Adrienne Tallents
Victoria Nurse
Deborah Meyer
Ann Gray
Clive Hall
Sarah Taylor
Mary Somerville
Jane Newman
Erica Hamnett
Andy Pitcairn
Bronwen Thompson
Becky Thurtell
Barbara Orr
Bessie White
Penelope Skinner
Susan Jacobs
Rosemary Jeffery
Chris Waine
Beatrice Tilt
Jo Underdown
Catharine Larcombe,
Tenor 2
Emily Toon
Alison Williams
Alto 1
Lindsey Waine
Susan McCarty
David Amos
Candy Williamson
Lisa Colclough
Liz Walton
Alicia Ooi
Chris Britton
Elizabeth Woodgyer
Helen Coulson
Natasha Woollard
Anne Stephens
Michael Gilbert
Simon Lambourn
David Underdown
Keith Long
Peter Midgley
Malcolm Todd
Bass 1
Mark Underwood
Robert Bell
Bob Vickers
Chris Bennett
Richard Welton
David Bostock
lan Williamson
Brian Elliott
Richard Grafen
Martin Harting
Tim Lidbetter
John Saunders
John Tatam
Bass 2
Tony Caporn
Paul Hehir
Adrian Hunter
Day, full & weekly boarding | GSA School 900 girls 4-18 years | Founded 1885
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Wimbledon
Choral Society is a wellCHORAL SOCIETY
established and flourishing
auditioned amateur choir
and although Wimbledon
based, since the demolition of the local Town Hall in 1988,
the choir has been forced to perform mostly outside its
home in the Borough of Merton. Far from this triggering its
demise, the choir seized the opportunity to broaden its
horizons and now performs in all the major London concert
venues and elsewhere, supported by professional orchestras
and soloists.
In addition to their three main concerts each year, the choir
undertakes numerous other engagements with varying
numbers of singers. These range from corporate Christmas
music entertainment, festival appearances, providing choirs
‘Saturday night's concert was the best | have ever heard
from the Wimbledon Choral Society and [New Queen'’s
Hall] Orchestra. The combination of the choir’s excellence
and the colour and fibre of the NQHO's instruments and
players revealed Verdi's great work as can rarely have
happened in sixty or seventy years. | can promise you that
there was no wishful thinking in overhearing the many
spontaneous comments on the artistic and spiritual integrity
of the evening: one which like all great musical occasions
must have left the audience changed and very different
from the complacency of their arrival two hours earlier."
Wimbledon Choral Society
President
lan Partridge CBE
Musical Director
Neil Ferris
Accompanist
Michael Higgins
Chairman
Neil Dennis
for weddings and various promotional and civic events.
Amongst the more high profile achievements by the Society
are its recording of the Football World Cup theme music for
CHORAL SOCIETY
BBC Television and ensuing TV appearances, as well as prematch entertainments for the Rugby League Finals at
Wembley. It regularly forms the main choir at the Royal
British Legion’s annual Festival of Remembrance at the
Royal Albert Hall. On 30t March 2015, almost 100 years to
CELEBRATING
100
YEARS
the day since the inaugural concert of the Wimbledon &
)'
The following are a small sample of the unsolicited
accolades received by the choir:
SINGING
N
District Choral Society, the choir will perform its centenary
concert in the Royal Festival Hall.
OF
B
BRAHMS REQUIEM
SAINT-SAENS ORGAN
‘What a joy to see the Cathedral packed and to witness
such a superb performance. The absence of any coughing
SYMPHONY
from the audience between movements said it all. We were
absolutely spellbound from the hypnotic opening to the
ROYAL FESTIVAL HALL
regular walls ofsound that hit us during the many climaxes
throughout the piece."”
30TH MARCH 2015
www.wimbledon-choral.org.uk
.
h
Wimbledon Choral
Carole Boothman
Charlotte Ennis
Jean Pinchin
Geoffrey Newman
Society
Jane Bradbury
Sarah Harris
Jenny Reid
Damien O'Malley
Sue Bridgford
Sally Hopkins
Sian Richards
Robert Owen
Soprano 1
Sheelagh Brown
Alison Hughes
Tilly Richardson
Richard Simon
Fiona Best
Deborah Crosby
Noriko Inman
Laura Stewart
Emily Blaxland
Harriet Dale
Janet Jones
Cathy Bolton
Avril Draudt
Lynn Jordan
1
Tenor
Caren Buchanan
Helen Edwards
Jill Kibler
Peter Burton
Kathryn Clapp
Christine Evans
Amanda Moore
Christian Dingwall
Bass 2
Sian Coekin
Janis Guthrie
Jenny Morgan
Julian Harvey
John Bright
Lynn Conolly
Amanda Hamlyn
Gail Moss
Steffen Loevholen
Alan Brough
Annette Cowley
Isobel Hammond
Mukaka Mulenga
David Lewitt
Paul Chambers
Geraldine Ellis
Sarah Hendry
Liz Neale
Pete Townsend
Jeremy Collis
June Gilmore
Maggie Hicks
Helen Orchard
Martyn Wake
Bill Cox
Emma Harry
Alice Hine
Izas Ozerin
Simon Wood
Penny Homer
Stephanie Hitchens
Michelle Pelly
Jane Jeffreys
Kate Homan
Rosanna Salbashian
Tenor 2
Neil Dennis
Therese Kennedy
Nicola Hutton
Isla Smith
John Aveson
Joe Driver
Pat Keep
Marion Stewart
Anthony Booth
Peter Giriffiths
Laing
Robert Tate
Jeremy Tayler
Peter West
Peter Cunliffe
John Davey
Hilary Leacock
Jessica Kohler
Joan Tagg
Alex Economides
Colin Lambert
Ann Mortlock
Alison Martin
Diana Tsung
Weihao Fu
Geoffrey Park
Angela Wake
Ide O'Sullivan
Jane Maybury
Mary Padden
Tracey McClelland
Nick Hitchens
Alexander Peake
Malcolm Kyte
Julian Radowicz
Deborah Raymond
Sophie Rice
Alto 2
Michael Mackintosh
Nathaniel Rodwell
Marion Renault
Heather Roberts
Sonia Ross McCall
Corina Benedicto
Tony Marshall
Ben Turner
Colleen Spalding
Anne Blanchard
Matthew Sterlini
Sarah Skan
Liz Webber
Birgitta Bruening
Art Wangcharoensab
Jan Smith
Linda West
Maureen Carter
Ashley Spalding
Fiona Wickens
Naomi Frater
Bass 1
Salendar Tay Ashcroft
Janet Gout
Dominic Beecher
Elaine Walker
Alto 1
Carolyn Harrison
Roger Brown
Becky Wheaton
Shanika Anzsar
Sarah Henderson
Edward Clare
Kizzy Wilburne
Kate Arnold
Rosemary Hills
John Gale
Laura Carruth
Vicky Isaacs
Tim George
Jenny Cocking
Elizabeth Jerden
Desmond Hancock
Soprano 2
Brigid Aglen
Mary Coggins
Su Lambert
John Hewitt
Jill Atcheson
Yvonne Connolly
Sarah Morrison
Peter Hickson
Sue Baxter
Christine Denwood
Isobel Penny
Stephen Jack
This charity provides ongoing help to a composer who is a good
friend of amateur and professional musicians in the UK and
around the world — Will Todd. Will lives in Guildford, and is a
well-known choral composer. He was commissioned to write a
piece for the Queen’s Diamond Jubilee service at St. Paul’s
Cathedral in 2012, and his first major choral work, Mass in Blue,
is a fixture in the repertoire of hundreds of choirs.
Will’s daughter has a condition that requires a lot of support and,
when he visited a Vivace rehearsal to talk about the charity, he
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was clear that his family owed a great deal to the work that’s done
there, and the people who deliver it, so it made absolute sense to
raise money for them.
l’fi*’
How did it go?
The team started from Paris on Friday 25th April, leaving from the
Rai hlmu/t
CHILDREN'S
CHARITY
Boulevard des Italiens, near the Opéra, which is the street where
Verdi stayed when he began composing the Requiem. Sadly, the
hotel is no longer there, but it was as close as they could get!
After starting the ride with beautiful sunshine in France, the
cyclists battled with rain all the way from Gisors to the Royal
Some of tonight’s singers were at the Royal Albert Hall only a few
Albert Hall, but the weather didn’t dampen their spirits at all.
weeks ago in very different uniform. A group of 11 cycled from
Their planning was spot-on and, despite plenty of punctures and
Paris to London over four days to promote the concert, but also to
a couple of falls, they reached each day’s end point pretty much
raise a significant amount of money for Surrey-based charity,
to time. They particularly enjoyed their entry to Guildford on
Rainbow Trust.
Where did that idea come from?
Vivace Chorus tenor, Owen Gibbons, works for the WWF, so is
Sunday 27th, where they were greeted by a huge crowd, a
fanfare from the Surrey Advanced Brass ensemble and a welcome
from Anne Milton MP and Rowan Todd - the ride’s mascot.
no stranger to fundraising. It was his idea to ride from the hotel
A night in their own beds was followed by a triumphant ride up to
where Verdi began composing his Requiem to the Royal Albert
the Royal Albert Hall, where more fans awaited, and the group
Hall, where Verdi himself conducted the first British performance.
handed a cheque to the Rainbow Trust for nearly £9,000 — an
Having had the idea, Owen just needed to recruit some
amazing sum but they would love to make it to £10,000 in the
enthusiastic cyclists, plan a route, organise a back-up driver,
end. The Singing Cyclists’ donation page is still open, so if you
manage the training process and keep everyone’s enthusiasm
would like to contribute, please go to
levels up in the rain, on the hardest of Surrey’s hills.
http://uk.virginmoneygiving.com/team/Vivace-Singing-Cyclists.
Why raise money for charity?
It has been a magnificent challenge, a great cross-choir team-
It’s all very well cycling over 200 miles to raise the profile of our
building event and has raised valuable funds for a deserving
concert, but this was too good an opportunity to miss as far as
cause. What more could we ask for? Ten members of the team
fundraising goes. The group decided very quickly to support
are singing tonight, so give them an extra cheer at the end!
Rainbow Trust — a charity based in Leatherhead that supports
families whose children have life-threatening or terminal illness.
2 The Singing Cyclists
would like to thank everyone
B o has helped, supported,
Bl encouraged, donated and given
Sl their time to make the ride a
success.
Singing Cyclists |, particular we would like to
thank Sue Clutterbuck from
London’s disadvantaged
Travel Counsellors (0845 058 7924), who arranged
our travel, hotel and most importantly, our food!
children and young people
We'd also like to thank Evans and Giant, the specialist
by supporting Tom’s Trust
cycle stores in Guildford, for their help and advice
Find out how we help young people and
along the way.
support our work by visiting our website
www.tomstrust.com
Be
Born friends celebrates the special friendship of brothers
and sisters. It’s about showing how important your sibling is
to you. And it’s about raising awareness of the importance
of supporting siblings when a child has a life threatening or
terminal illness.
Sabrina, a Rainbow Trust Family Support Worker helped Mitchell’'s mum look
after both boys during long hospital appointments to treat Mitchell’s eye
cancer. Sabrina also takes both boys out and have fun together, as brothers.
er to bits. They
d and run
t+h
Dongte now to make sure that siblings are never the forgotten ones.
Go to Yainbowtrust.org.ok/Bornkriends
or search #Borntriends
AT ROK WE APPRECIATE THE THRILL OF LIVE
PERFORMANCE, AND THE PLEASURE OF A
FINELY BALANCED INSTRUMENT.
Espresso. Latte. Cappuccino.
Our manual coffee maker turns making coffee into a
hands-on experience, savoured and applauded with
awards from around the world.
R
O
K
Verdi's
Requiem
18th May
2014
PERFORMER
Enter
m
Via
PASS
Door
1
from 8.30am
26