Saturday
15th Nov 2014
7-.30 pm
Guildford Cathedral
vivacechorus.org
Royal Grammar School
‘Guildford
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L VeY R‘ ;S
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Bach
Mass in B minor
Alice Privett
Soprano
Alys Roberts
Soprano
Damian Ganclarski
Countertenor
Richard Dowling
Tenor
Samuel Queen
Baritone
Lancelot Nomura
Bass
Brandenburg Sinfonia
Conductor: Jeremy Backhouse
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
and singer himself, his talk promises to give a professional insight into
the works you will hear tonight.
The talk finishes at 7.10pm, allowing time to order refreshments for the
interval. Members of the audience who wish to attend the talk and do not
already have reserved seating can reserve their concert seats
beforehand in the appropriate unreserved areas of the Cathedral.
Fascinatin’ Rhythm, March 2014
\;z:_,t;f "May I say what a lovely evening it was yesterday.
8
What an excellent programme. Everybody was so good:
$ZNU°/ e the choir's singing was beautiful, the various
@/
orchestras played wonderful accompaniments, and your
own accompanist was first-class. The performances
couldn't be faulted.”
Come & Sing, January 2014
" ..how very much I enjoyed the day. It ran like clockwork and, as always,
the food was delicious. Apart from the music itself, which was a
wonderful choice, I particularly liked sitting and singing with new
friends, some from Vivace and some from other choirs. Congratulations—
T don't know how you do it all, but hope you will carry on doing it for a
long time!”
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
JOHANN SEBASTIAN BACH - MASS IN B MINOR, BWV 232
Johann Sebastian Bach (1685 — 1750) was born into a large German
family of musicians and received training at a very early age from his
father. However, sadly, by the time he had reached ten years of age,
both his parents had died and so he was taken into another section of
the Bach family, that of his brother and organist, Johann Christoph.
Organ music was to play an important role in Bach’s earlier musical
career as also were a number of his sacred cantatas. His private life, too,
kept him well occupied at the time. He had no less than twenty children,
first marrying his second cousin, Barbara Bach and then, after she died
in 1720, he married Anna Magdalena Wilcken, who was the daughter of
a court trumpeter and herself an accomplished professional musician.
Bach’s religious vocal/choral music formed a major part of his output.
Around 200 sacred cantatas are handed down to us (there may well
have been more) and these contain a wealth of superb music. He also
composed a number of secular cantatas — the famous aria ‘Sheep may
safely graze’ comes from one of these — but most important of all are the
four
choral masterpieces: St Matthew Passion, St John Passion,
Christmas Oratorio and Mass in B minor. These four works were all
conceived on a grand scale and each one has an opening chorus of
monumental and intricate proportions. The opening chorus in the
Mass in
B minor is especially memorable and, as with the opening choruses in
the other three works, the scale of the chorus immediately establishes
the fact that it represents the opening to a work of immense stature.
Bach’s Mass in B minor first appeared in 1733, but, as with the four
Lutheran masses which he composed, the text for the work only included
the Kyrie and Gloria. This work was composed at the Dresden Court
of
the King of Poland and Grand Elector of Saxony and when it appeared,
Bach made a request that he should be considered for the role of Court
Conductor. If he were to be elected as such, then he assured the King
that he would provide church music and orchestral music according to
whatever the sovereign should wish. Bach’s work at Leipzig had been
entirely devoted to church music, but now he felt that there was a chance
to branch out into the orchestral world and large-scale choral scene with
music which was not necessarily suitable for use in church services.
However, for a number of years this Mass (Kyrie and Gloria only)
remained virtually unused. It was too long for use in a church service
so,
in desperation, Bach adapted three movements of the Gloria setting
to
create Cantata No.191 and it was only during his final years (around
1747/8) that he decided to complete this setting of the mass by adding
the Credo (which he called Symbolum Nicenum), Sanctus and
Vivace Chorus
3
Agnus Dei. A number of the sections were adaptations of movements
from Bach’s cantatas. This, however, does not mean that anything in the
Mass in B minor is second rate, as the composer was re-using music of
outstanding quality and Bach’s skill at using some of his music a second
time was highly imaginative and totally satisfying. In fact Bach’s creation
of the Mass in B minor during his final years can be recognised as the
crowning glory of his musical output, because he so diligently created the
complete work by choosing and creating a musical masterpiece, some of
which was based on carefully selected shorter masterpieces from his
earlier years.
The style of the Mass in B minor falls under the category of cantata
mass. A wide variety of choruses are interspersed with arias and duets,
which is similar in form to the cantata. Both Mozart and Haydn wrote one
example each of a cantata mass.
Haydn's cantata mass was a
comparatively early work which sometimes appeared under the title of
St Cecilia Mass. This work is not performed as much as the last six
masses which Haydn wrote, but Mozart’s cantata mass is his incomplete
Great Mass in C minor— conceived on a grand scale and unique among
the composer’s compositions. It is also immensely popular now, almost
as popular as his Requiem — their popularity having rocketed after their
significant use in the film Amadeus.
—
Neither of these works is on the same scale as Bach’s Mass in B minor
to
able
been
had
it is possible that Mozart's might have been if he
complete it. Bach created a work which offered fifteen choruses of
enormous variety, all suitable to the text, six incomparable arias for solo
voices and three sublime duets for solo voices — and most of the solo
items require virtuoso playing from solo obbligato* instruments.
(*for a glossary of some of the terms used, see page 12)
Missa
Kyrie
1.
2.
3.
Kyrie eleison (Chorus)
Christe eleison (Duet — Soprano | and Il)
Kyrie eleison (Chorus)
Gloria
OAN
Gloria in excelsis (Chorus)
Et in terra pax (Chorus)
Laudamus te (Aria — Soprano Il)
Gratias agimus tibi (Chorus)
Domine Deus (Duet — Soprano | and Tenor)
Vivace Chorus
9.
Qui tollis peccata mundi (Chorus)
Qui sedes ad dextram Patris (Aria — Alto)
10.
11.
Quoniam tu solus sanctus (Aria — Bass)
Cum Sancto Spiritu (Chorus)
12.
INTERVAL (20 minutes)
Symbolum Nicenum (Credo)
iBRl
Credo in unum Deum (Chorus)
Patrem omnipotentem (Chorus)
Et in unum Dominum (Duet — Soprano | and Alto)
Et incarnatus est (Chorus)
Crucifixus (Chorus)
Et resurrexit (Chorus)
Et in Spiritum sanctum Dominum (Aria — Bass)
Confiteor (Chorus)
Et expecto (Chorus)
Sanctus
1.
Sanctus (Chorus)
Osanna, Benedictus, Agnus Dei, Dona nobis pacem
1.
2.
3.
Osanna in excelsis (Chorus)
Benedictus (Aria — Tenor)
4.
Osanna in excelsis (Chorus)
Agnus Dei (Aria — Alto)
5.
Dona nobis pacem (Chorus)
Kyrie
1.
Kyrie eleison
Many of the choruses in the Mass in B minor are in five
soprano
I,
alto,
tenor,
bass)
and this
parts (soprano |,
magnificent five-part opening
chorus commences with a majestic four-bar adagio for
full chorus and
orchestra before the orchestra alone commences an
immense fugue of a
solemn and impressive grandeur. The tenors come
in first after the
orchestral introduction, followed shortly by the three
upper voices, and
they are later followed by the basses who announce
the fugue theme
highly effectively starting on a low B. Half way through
this movement
there is an orchestral interlude and then it is the basses
who commence
the fugue again and the music gradually builds up
to a powerful climax
and finishes on a blazing B major chord.
Vivace Chorus
5
2.
Christe eleison
Unison violins and continuo accompany two solo sopranos in a gently
flowing duet, which provides an ideal contrast to the two Kyrie fugues
which surround this movement.
3.
Kyrie eleison
Like the opening movement, this one is also fugal, but this time the
chorus is in four parts and the orchestra doubles the voice parts rather
than having independent lines of its own.
Gloria
4.
5.
Gloria in excelsis
Etin terra pax
Trumpets and drums feature strongly in the orchestra providing a brilliant
and joyful sound for the Gloria. — a five-part chorus, boldly announced by
the altos — and the overall exhilarating effect is maintained until the
change in the text to Et in terra pax (Peace on earth and good will to all
men), which starts with an immediate hushed entry from the chorus
presenting a slower melody, which builds up to a great climax as the
movement comes to an end.
6.
Laudamus te
A delightful aria for soprano with violin obbligato and strings. As in many
of Bach’s arias, this is a duet for one solo voice and one solo instrument.
The two soloists interweave to magical effect and provide a suitable
contrast to the two strong choruses which surround the piece.
7.
Gratias agimus tibi
This powerful fugal chorus, in four parts with full orchestra, opens quietly
with the basses and gradually builds up to a massive climax. This
movement was adapted from Cantata No. 29.
8.
Domine Deus
A radiant duet for soprano and tenor with flute obbligato. The opening
section is set in the bright key of G major, but the mood changes with a
minor key at the words Domine Deus, Agnus Dei and this section leads
straight into the next chorus without a break.
9.
Qui tollis peccata mundi
An intensely moving chorus in four parts. The key is B minor and the four
choral parts come in one after the other with a deeply effective
Vivace Chorus
6
descending phrase. This exceptional piece was taken
from
No.46.
10.
Cantata
Qui sedes ad dextram Patris
A fine aria for alto with oboe d’amore obbligato. The first
four notes of the
aria give a strong effect as the start of this aria’s melody
and when the
singer starts, the instrumental soloist provides a telling
effect echoing this
positive four-note figure whenever it appears.
11.
Quoniam tu solus sanctus
The solo bass makes his first appearance in this aria,
strong build-up as it leads directly into the final chorus
which acts as a
of the Gloria. The
obbligato instrument here is the horn and accompanimen
t is provided by
two bassoons and continuo.
12.
Cum Sancto Spiritu
A thrilling five-part chorus launched by sopranos and
tenors. The key is
suitably bright (D major) and there is a central fugal section
with dazzling
vocal runs. The tenors set this off, followed by
altos, sopranos and
basses and the movement works up to a stirring climax
for the final
Amen.
Symbolum Nicenum (Credo)
1
2
Credo in unum Deum
Patrem omnipotentem
The Credo opens with two choruses. The first is in
five parts and is
based on a plainsong melody. The accompaniment is for
only a few
players here, but the full orchestra appears in the four-par
t chorus which
follows. This chorus also starts with the word Credo for
the three upper
voices, but the basses move straight into the main melody
with the words
Patrem omnipotentem.
3.
Etin unum Dominum
A lyrical duet for soprano and alto, where the voices are
highly effective
as they state each line of the text one after the other
before taking on
their own individual musical lines in duet. The key is G
major and the two
solo voices are accompanied by two oboes d’amore
and strings.. This
duet originally included the text for Et incarnatus est,
but later on Bach
removed this text from the duet and created the next
chorus.
Vivace Chorus
7
4.
5.
6.
Etincarnatus est
Crucifixus
Etresurrexit
These three choruses create a truly magical transition from the
Crucifixion to the Resurrection. Et incarnatus est has intensely moving
descending phrases in the key of B minor for both chorus (five-part) and
orchestra, and the same mood is retained in the Crucifixus which follows.
This is a four-part chorus with a throbbing instrumental line, all in the key
of E minor. As the music reaches the end, at the words et sepultus est,
the vocal lines gradually penetrate lower depths and come to rest quietly
on a chord of D major. After a suitable pause the et resurrexit bursts forth
with five-part chorus and full orchestra including trumpets and drums.
7.
Etin Spiritum sanctum Dominum
This aria for solo bass makes an ideal contrast to the two resplendent
choruses which surround it. The accompaniment is for two oboes
d’amore and continuo and the triple time gives the piece a waltz-like
quality, allowing both voice and instruments to flow gently along before
the next large-scale chorus takes over.
8.
9.
Confiteor
Etexpecto
This superb five-part chorus is in three totally different sections and gives
the Credo a triumphant finish. The opening section gradually slows down
at the transition to the words et expecto resurrectionem where Bach has
moved into an adagio. This has a wonderful and mysterious effect as the
chorus move through various keys before launching into the brilliant,
vivacious Et expecto with full orchestra including trumpets and drums.
Sanctus
The six-part Sanctus, with full orchestra, is without doubt one of Bach’s
most brilliant choruses. The sense of power created by the singers and
players results in a unique experience for the listener — extended triplets
for the upper voices and strong octave leaps for the basses create an
effect which could not be matched anywhere in music. The glorious
sound of the Sanctus is then suitably contrasted at the words Pleni sunt
coeli, an elaborate fugue which starts quietly and builds up to a
resounding climax, prefacing the next chorus.
8
Vivace Chorus
Osanna, Benedictus, Agnus Dei, Dona nobis pacem
1.
Osanna in excelsis
2.
Benedictus
3.
Osanna in excelsis
The jubilant Osanna chorus is for double choir (eight parts).
It originally
appeared in a secular cantata, but proved to be perfect
as a joyful
Osanna in the Mass in B minor. It is also great that one hears
the piece
twice, both before and after the well contrasted tenor aria, which
offers a
peaceful setting of the Benedictus text. This aria is in B minor
and is
accompanied by an obbligato instrument (usually flute) and
continuo.
4.
Agnus Dei
This beautiful aria for alto is in the key of G minor and is accompa
nied by
violins playing in unison. It is, in fact, a reworking by Bach of the
central
aria in his Cantata No. 11 (Ascension Oratorio) and is a perfect
setting of
the poignant text.
5.
Dona nobis pacem
The final chorus ‘Grant us peace’ is virtually identical to the
music of the
earlier chorus, No.7 Gratias, and with its magnificent buildup
from a
hushed bass entry to a blazing climax for full chorus and orchestra
, there
could not be a better finale to this great musical masterpiece.
John Parry
Missa
Kyrie
1. Kyrie eleison (Chorus)
Lord, have mercy.
2. Christe eleison (Soprano | and Il duet) Christ, have mercy.
3. Kyrie eleison (Chorus)
Lord, have mercy.
Gloria
4. Gloria in excelsis Deo (Chorus)
5. Et in terra pax hominibus
bonae voluntatis.(Chorus)
Glory be to God on high
and on earth peace to men
of good wiill.
6. Laudamus te (Soprano Il solo)
Laudamus te, benedicimus te, adoramus
te, glorificamus te.
We praise Thee, we bless Thee,
we worship Thee.
7. Gratias agimus tibi (Chorus)
Gratias agimus tibi
propter magnam gloriam tuam.
Vivace Chorus
We give thanks to Thee
for Thy great glory.
9
8. Domine Deus (Soprano | and Tenor duet)
Domine Deus, Rex coelestis,
Deus Pater omnipotens.
Domine Fili unigenite,
Jesu Christe;
Domine Deus, Agnus Dei,
Filius Patris.
9. Qui tollis peccata mundi (Chorus)
O Lord God, heavenly King,
God The Father Almighty.
O Lord the only begotten Son,
Jesus Christ;
O Lord God, Lamb of God,
Son of the Father.,
Qui tollis peccata mundi,
Thou that takest away the sins of
Qui tollis peccata mundi,
Thou that takest away the sins of
miserere nobis.
Suscipe deprecationem nostram.
the world, have mercy upon us.
the world, Receive our prayer.
10. Qui sedes ad dexteram Patris (Alto solo)
Qui sedes ad dexteram Patris,
miserere nobis.
11. Quoniam tu solus sanctus (Bass solo)
Quoniam tu solus sanctus.
Tu solus Dominus.
Tu solus altissimus,
Jesu Christe.
12. Cum sancto Spiritu (Chorus)
Cum sancto Spiritu
in gloria Dei Patris. Amen.
Thou that sittest at the right hand
of the Father, have mercy upon us.
For Thou alone art holy.
Thou alone art the Lord.
Thou alone art most high,
O Jesus Christ.
With the Holy Spirit,
in the glory of God the Father.
Amen.
Symbolum Nicenum (Credo)
1. Credo (Chorus)
Credo in unum Deum.
2. Patrem omnipotentem (Chorus)
Patrem omnipotentem
factorem coeli et terrae,
visibilium omnium et invisibilium.
| believe in one God.
The Father almighty,
maker of heaven and earth,
and qglall things visible and
invisible.
3. Et in unum Dominum (Soprano 1, Alto duet)
And in one Lord Jesus Christ, the
Et in unum Dominum Jesum Christum,
only begotten Son of God,
Filium Dei unigenitum,
Begotten of the Father before all
~
saecula.
omnia
ante
Et ex Patre natum
Deum de Deo,
lumen de lumine,
Deum verum de Deo vero.
Genitum, non factum,
consubstantialem Patri:
per quem omnia facta sunt.
10
worlds.
God of God, light of light,
Very God of very God.
Begotten, not made, being of one
substance with the Father:
by whom all things were made.
Vivace Chorus
Qui propter nos homines
et propter nostram salutem
descendit de coelis.
Who for us men
and for our salvation
came down from heaven.
4. Et incarnatus est (Chorus)
Et incarnatus est de Spiritu Sancto
ex Maria Virgine:
et homo factus est.
And was incarnate by the Holy
Ghost, of the Virgin Mary:
and was made man.
5. Crucifixus (Chorus)
Crucifixus etiam pro nobis
sub Pontio Pilato:
passus, et sepultus est.
And was crucified also for us
under Pontius Pilate:
suffered, and was buried.
6. Et resurrexit (Chorus)
Et resurrexit tertia die,
secundum scripturas.
Et ascendit in coelum:
And the third day He rose again
according to the scriptures.
sedet ad dexteram Patris.
And ascended into heaven, and
sitteth at the right hand of the
Et iterum venturus est
And He shall come again
cum gloria judicare vivos et mortuos:
with glory to judge the living and
the dead: His kingdom shall have
Father.
Cujus regni non erit finis.
no end.
7. Et in Spiritum sanctum Dominum (Bass solo)
Et in Spiritum sanctum Dominum,
et vivificantem:
Qui locutus est per Prophetas.
Et unam sanctam catholicam et
apostolicam Ecclesiam.
8. Confiteor unum baptisma
in remissionem peccatorum.
9. Et expecto resurrectionem
mortuorum et vitam venturi saeculi.
Amen.
And (I believe in) the Holy Ghost,
the Lord and giver of life:
Who spake by the Prophets.
And in one holy catholic and
apostolic Church.
| acknowledge one baptism
for the remission of sins.
And | look for the resurrection of
the dead and the life of the world
to come. Amen.
Sanctus (Chorus)
Sanctus, sanctus, sanctus,
Dominus Deus Sabaoth.
Holy, holy, holy,
Lord God of Hosts.
Pleni sunt coeli et terra gloria tua.
Hosanna in excelsis.
Heaven and Earth are full of Thy
glory. Hosanna in the highest.
Osanna, Benedictus, Agnus Dei, Dona nobis pacem
1. & 3. Osanna (Chorus)
Osanna in excelsis.
Vivace Chorus
Glory be to Thee, O Lord most high.
11
2. Benedictus (Tenor solo)
Benedictus qui venit
in nomine Domini.
Hosanna in excelsis.
Blessed is He who cbmeth
in the name of the Lord.
Hosanna in the highest.
4. Agnus Dei (Alto solo)
Agnus Dei, qui tollis peccata mundi,
Lamb of God, that takest away the
miserere nobis.
sins of the world, have mercy upon
5. Dona nobis pacem (Chorus)
Grant us peace.
us.
Glossary
Adagio: (from the Iltalian for ‘at ease’): amovement, passage
or composition marked to be performed in slow time.
Continuo: an accompanying, usually bass, part typically played on a
keyboard instrument often supported by other instruments such as cello
or bassoon.
Fugue: a musical composition in which a short melody or phrase is
introduced by one part and successively taken up by others and
developed by interweaving the voice parts.
Obbligato: (literally, obligatory): an elaborate, especially melodic part
accompanying a solo or principal melody, usually played by a single
instrument, that should not be omitted in performance.
Oboe d’amore: (literally, oboe of love): a type of oboe pitched a minor
third lower than the oboe itself, used chiefly in the performance of music
from the 17" and early 18" centuries.
Symbolum Nicenum: the Nicene Creed, known also simply as ‘the
Creed.'.
~
Verdi Requiem, Royal Albert Hall, May 2014
\gj What the soloists had to say:
'}"\
S
%L/ @/
“ .the choral singing was as good as it gets ... choral
masses were so huge and yet so amazingly disciplined..."”
" .this was the best Verdi Requiem I have ever sung in..."
"“The choirs were all phenomenal. I could hear everything and it did sound like
one big choir that had been singing together for ages. A fabulous, and again,
rare, range of dynamics and, glory of glories, a Sanctus fugue that didn‘t fall
apart! Bravo!”
12
Vivace Chorus
Vivace Chorus
13
Alice Privett graduated with honours
from Guildhall School of Music &
Drama in 2011, the MA course at the
Royal Academy of Music in 2012, and
the opera course in 2014. She now
continues her studies with Elizabeth
Ritchie.
Operatic
roles
include
Poppea
in
L'incoronazione di Poppea, Papagena
(Longborough Festival Opera) and
. Pamina (Longborough Festival Opera
L on tour/Barefoot Young Artists) in The
e
W%
! Magic Flute, Ginevra in Ariodante
(Royal Academy Opera) cover Gretel
(Garsington Opera), Carolina in The
Secret Marriage (British Youth Opera), Gretel (West Green Opera),
Nerone in L'incoronazione di Poppea (Aldeburgh Festival) and Nedda in
i Pagliacci (Woodhouse Opera).
Oratorio experience includes the Messiah at St Martin-in-the-Fields and
Kings Place, Child of our Time in Guildford and Israel in Egypt with the
Huddersfield Choral Society.
Alice was the winner of the Schumann Lieder Prize (Royal Academy of
Music, 2012) and the Susan Longfield competition (Guildhall School of
Music & Drama, 2010), and is a keen recitalist, having recently
performed solo recitals of Schoenberg and Berg (Kings Place, London)
and Birtwhistle (BBC Proms).
Next year she looks forward to singing Gretel with the Pimlott
Foundation, as well as numerous oratorios around the country. She is
very pleased to be asked back to perform with the Vivace Chorus.
Vivace Chorus is grateful to the
The Josephine Baker Trust
for the sponsorship of all this evening’s soloists.
14
Vivace Chorus
Welsh soprano Alys Roberts is currently
in her second year of the MA preparatory
| opera pathway programme at the Royal
y
| Academy of Music under the tutelage of
Elizabeth Ritchie and lain Ledingham.
Alys was a Vice-Chancellor's scholar for
music at Durham University, graduating
last year with a first in English Literature.
At the Academy, she has sung Gretel in
Humperdinck’s Hansel und Gretel, Yvette
# in Puccini’'s La Rondine and Frasquita in
Bizet's Carmen in Royal Academy Opera
| Scenes. Alys is a Bach Kohn Scholar for
the RAM/Kohn Foundation Bach Cantata
| Series and is kindly supported by the
Eirwen Griffiths Jones memorial award,
the Josephine Baker Trust and the Arts
Council of Wales.
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Vivace Chorus
15
Damian Ganclarski — Countertenor
Polish
countertenor
Damian
Ganclarski studied at the Academy of
Music in Lodz, under the guidance of
Professor
Urszula
Kryger.
Since
September 2013, Damian has been
under the tutelage of world-renowned
countertenor Michael Chance and of
coaches lan Partridge and James
Baillieu at the Royal Academy of
Music in London. He was selected as
a winner of a bursary from the
International
Opera
Awards
Foundation.
As
a
result
of
a
competitive audition Damian was also
selected to participate in the Josphine
Baker Trust scheme. He is also kindly supported by Nicholas Berwin
Charitable Trust. He has been honoured to take masterclasses with
professors such as Teresa Berganza, Ingrid Kremling, Maciej Pikulski,
Ewa Podles, Udo Reinemann and Teresa Zylis-Gara.
In 2009 Damian won the first place in the Polish Songs Competition in
Warsaw. After winning the Warsaw competition, the young countertenor
started to perform regularly in many prestigious concerts and festivals in
Poland, such as Wroctaw’s Academy of Music, Association of Polish
Music Artists, £6dz Association of Old Music, International Bach Festival
and Festival Carousel of Culture. He has performed on renowned stages
with Polish orchestras. Furthermore, he had the honour to perform in
Turkey with the Presidential Symphony Orchestra in Ankara (Handel and
Mozart arias and Orff's Carmina Burana) and the Antalya Symphony
Orchestra (Handel and Mozart arias).
In 2009 Damian made his debut in the Grand Theatre in £6dz in
Handel's Giulio Cesare in Egitto under the guidance of Paul Esswood.
The young vocalist gained the acclaim of the audience and critics. He is
especially interested in oratorio and opera from the Baroque to the
contemporary period and songs from the Romantic era to the 21
century.
16
Vivace Chorus
"
Richard is currently studying on the
Royal Academy of Music’'s Opera
- Course. In his time at the Royal
- Academy
of
Music
Richard
performed the role of Le Prince in
Massenet’s Cendrillon. He has also
performed a number of small roles
- and chorus for Garsington Opera.
~
Richard is an experienced oratorio
artist. He regularly appears as a
soloist for the Royal Academy of
Music’'s acclaimed Bach Cantata
Series. Other notable engagements
include
Finzi's
Dies
Natalis
in
Brentwood Cathedral, Britten’s Ballad
of Heroes in the Bridgewater Hall and
Janacek’s
Otée nas in
Gorton
Monastery.
Richard has sung in concert performances of Rameau’'s operas
Pygmalion, Anacréon and Zais with the Choir of the Enlightenment and
has sung with the Gabrieli Consort.
Richard is also a keen recitalist and has previously performed Warlock’s
The Curlew with Academy Song Circle. He has a particular affinity for the
music of Britten, and won the song prize in last year's Hampshire Singing
Competition for his rendition of Britten’s Canticle I.
Richard gained a PhD in the field of crystallisation in Manchester, while
simultaneously a Lay Clerk at Manchester Cathedral, a member of the
BBC Daily Service Singers and a freelance soloist.
Vivace Chorus
17
Samuel Queen - Baritone
Samuel Queen graduated in 2014 from
the Royal Academy Opera Course,
where he won prizes for opera, Lieder
and English song and was supported
by the Sickle Foundation and the John
Baker Opera Award. Before that he
read English at Cambridge University,
where he was awarded the Sir Rudolph
Peters Prize for Music.
His operatic roles include the Mozart
baritone
Davies's
:
roles,
The
Blazes
in
Lighthouse
Maxwell
(Royal
Academy Opera), Le Fauteuil in Ravel's
L’enfant
et
les
sortileges
(BBC Symphony Orchestra/Denéve),
Schaunard and Zaretsky/Captain in
Eugene
Onegin
(Royal
Academy
1
Opera). Sam appeared as Mr Gedge in the Britten-Pears Young Artist
production of Albert Herring in Aldeburgh and as a soloist in the world
premiere of Stockhausen’s Mittwoch aus Licht with Birmingham Opera
Group in 2012.
Equally
at
home
in
concerts
and
song
recitals,
Sam
made
his
Wigmore Hall debut in 2014, singing Lieder by Schumann and Schubert.
Concert experience includes many of the major oratorios, and he is
becoming known for his performances of Christus in Bach’s Passions,
and the Requiems of Fauré, Brahms and Duruflé. Forthcoming
appearances include the CPE Bach and JS Bach Magnificats, Haydn
Masses and the JS Bach Mass in B Minor.
He is particularly grateful to the Sickle Foundation and the Josephine
Baker Trust for their continued support.
Some of the printed music for this evening's concert has been hired from
Surrey County Council Performing Arts Library
18
Vivace Chorus
Lancelot Nomura — Bass
Bass-baritone Lancelot currently studies on
the Opera Course at the Royal Academy of
Music with Janice Chapman and Ingrid
Surgenor. He was recently awarded the
Opera Prize at the National Mozart
Singing Competition
and
other
recent
operatic highlights include performing
in Billy Budd with the Glyndebourne
Festival Chorus, and playing the roles of
Collatinus in Britten's The Rape of Lucretia
(Royal
Academy
Opera),
Zuniga
in
Bizet's Carmen (Woodhouse Opera), and
Le Roi in Massenet's Cendrillon (Royal
Academy Opera).
In the summer 2014 season he played the role of Leporello in
Mozart's Don Giovanni (Westminster Opera), and he was also invited to
join the Georg Solti Accademia and the Opéra Les Azuriales Young
Artist Programme.
Lancelot went to Rugby School where he held a music scholarship as a
cellist, following which he completed his undergraduate studies at Oxford
University, where he was a Scholar at Christ Church College. After
graduating he began a career in investment banking with J.P. Morgan.
Lancelot is also in demand as an oratorio and concert soloist of which
recent and future highlights include performances of the Verdi Requiem,
the Mozart Requiem, Bach’s St John Passion, and Handel's Messiah, as
well as a successful solo recital series, including performances in
London, Oxford and Tokyo (being of half Japanese heritage).
This evening's concert is being held in Guildford Cathedral
by kind permission of the Dean and Chapter
Vivace Chorus
18
Jeremy is
one of
Britain’s
leading
conductors of amateur choirs. He began
® his
musical
career
in
Canterbury
. Cathedral where he was Senior Chorister.
~ In 1980 he was appointed 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
Photography: Ash Mills
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 many
of the cathedrals and abbeys of the UK. Jeremy and the Vasari Singers
have broadcast frequently on BBC Radios 3 and 4, and have a
discography of over 25 CDs on the EMI, Guild, 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.
In January 1995, Jeremy was appointed Music Director of the Vivace
Chorus (then the Guildford Philharmonic Choir). Alongside the standard
classical works, Jeremy has conducted the Vivace Chorus in some
ambitious programmes, including Howells’ Hymnus Paradisi and
Szymanowski's Stabat Mater, Mahler’'s ‘Resurrection’ Symphony (No. 2),
Prokofiev’'s Alexander Nevsky and Ivan the Terrible, Mahler’s ‘Symphony
of a Thousand’ (No. 8) and Verdi’s Requiem in the Royal Albert Hall with
the Royal Philharmonic Orchestra, and Britten’'s War Requiem.
He is totally committed to contemporary music and to the 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.
20
Vivace Chorus
This enthusiasm has spread to the Vivace Chorus who, in May 2009,
commissioned and performed the premiere of Will Todd's Te Deum and
have recently commissioned a 20-minute 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.
In January 2009 Jeremy took up the post of Music Director of the
Salisbury Community Choir. His first 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 21%' Anniversary
with a major concert in Salisbury Cathedral in October, featuring the
world premiere of a specially-commissioned community work by Will
Todd, The City Garden, which in subsequent years they are touring to
Lincoln (2014), Guildford (2015) and Exeter (2016).
J
i@
;b
Verdi Requiem, Royal Albert Hall, May 2014
"My heartfelt congratulations on a mesmerising performance
of Verdi's Requiem. It was one of the most thrilling concerts
that I have ever attended. The combination of precision and
tenderness in the singing of the mass choirs was a wonderful
part of the whole, and the two female soloists were particularly brilliant. *
“T've heard the Requiem quite a number of times but on Sunday it was like
hearing it for the first time. Truly superb.”
‘Little did I expect to be witness to a unique performance. From the first,
almost silent cellos to the final ‘Libera me' there was a tangible atmosphere
throughout the audience. When the final chord died away no one wanted to
break the magic of that atmosphere and silence hung in the air for some while.
Eventually we responded in the traditional way with thunderous applause for a
magnificent performance.”
“This was not just a concert but an emotional experience in sound. Thank you
Vivace.”
“What a wonderful concert! When the choir started singing, all the hairs on
the back of my neck started to tingle! A fantastic evening.”
Vivace Chorus
21
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. lts repertoire
ranges from Bach to Lloyd Webber and its members give around 100
performances of orchestral, chamber, choral and operatic music during
the year. The orchestras for a number of touring companies are formed
from members of the Brandenburg Sinfonia including First Act Opera,
London City Opera, Opera Holland Park, London Opera Players and
Central Festival Opera.
Violin 1
Viola
Flute
Horn
Susie Candlin
Matthew Quenby
Sarah Bennington
Martin Grainger
James Dickenson
Rajah Halder
Triona Milne
Toby Deller
Kimberley Boyle
Viadimir Naumov
Maja
Oboe
Sophie Ryan
Wegrzynowska
Victoria Barnes
Trumpet
Jon Clarke
Alison Alty
Robin Totterdell
llid Jones
Heidi Bennett
Cello
Violin 2
lan Ward
Bassoon
Timpani
Elizabeth van Ments
Harriet Wiltshire
Connie Tanner
Tim Evans
James Widden
g:illean'?a?:i:s%aleradfl
Reinaud Ford
Julia Morneweg
Rosie Cow
Bass
Andrew Davis
Jan Zahourek
22
Harpsichord
Petra Haj
Organ
Malcolm Hicks
Vivace Chorus
rh
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solicitors
rhw - legal advice for | :
personal and business
<
matters
We are based in Ranger House next
to Guildford Mainline Station.
Le\cel
Practice »anagemem Standard
Law Society
e-mail: guildford@rhw.co.uk
Ph: 01483 302000
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23
Vivace Chorus
Music Director: Jeremy Backhouse
Accompanist: Francis Pott
Chairman: James Garrow
Vivace Chorus is a flourishing and adventurous choir based here in
Guildford, Surrey. We have 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 some 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.
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’, at the
Royal Albert Hall, a highly acclaimed performance in November 2012 of
Britten’s War Requiem, and another Royal Albert Hall success in May
this year, when we performed the Verdi Requiem.
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
24
Vivace Chorus
-
4
A&
=
.
Rehearsing in the Royal Albert Hall
o
W
Photography: Ash Mills
Strasbourg, giving concerts there and in Heidelberg and Freiburg. This
summer, we spent a wonderful few days in ltaly, where we gave three
concerts, in Verona, Mantua and Venice.
If that whets your appetite, do come
?
and join us! 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.
~
Verdi Reguiem, Royal Albert Hall, May 2014
%!ij “...the magic of the performance was the ppp and even
s
o
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@/
Vivace Chorus
perhaps pppp passages when the 500 singers sang so
quietly giving Claire the chance to float her beautiful
entries over our pleading prayerful singing.”
Singer, Twickenham Choral Society
25
Vivace Chorus Singers
FIRST SOPRANO
Pam Alexander
Helen Beevers
Bernadine Blease
Mary Broughton
Elaine Chapman
Rachel Edmondson
Rebecca Kerby
Mo Kfouri
Alex Nash
Emily Nash
Susan Norton
Robin Onslow
Margaret Parry
Gillian Rix
Angeline Romano
Sarah Smithies
Carol Terry
Hilary Vaill
SECOND
SOPRANO
Jacqueline Alderton
Anna Arthur
Ginny Heffernan
Averell Kingston
Krystyna Marsden
Isabel Mealor
Alison Newbery
Alison Palmer
Gillian Palmer
Kate Peters
Paula Sutton
Barbara Tansey
Joan Thomas
Valerie Thompson
Christine Wilks
Frances Worpe
26
FIRST ALTO
Barbara Barklem
Penny Baxter
Grace Beckett
Monika Boothby
Valerie Garrow
FIRST BASS
Margaret
John Bawden
Phil Beastall
Jane Brooks
Sheila Cooper
Barbara Hilder
Carol Hobbs
Beth Jones
Margaret Mann
Margaret
Dentskevich
Liz Durning
Kate Emerson
Atalia Fuller
Sheila Hodson
Jean Leston
Judith Lewy
Lois McCabe
Clare McKinlay
Kay McManus
Christine Medlow
Rosalind Milton
Mary Moon
Penny Muray
Charlotte Perkins
Gill Perkins
Linda Ross
Lesley Scordellis
Catherine
Shacklady
Carol Sheppard
Ann Smith
Marjory Stewart
Nicola Telcik
Hilary Trigg
Maggie Woolcock
SECOND ALTO
Geraldine Allen
Evelyn Beastall
Sylvia Chantler
Mary Clayton
Andrea Dombrowe
Elizabeth Evans
Sheena Ewen
Grisewood
Liz Hampshire
Pauline Higgins
Catherine
Middleton
Val Morcom
Pamela Murrell
Jacqueline
Norman
Beryl Northam
Prue Smith
Jo Stokes
Pamela Usher
Anne Whitley
June Windle
Elisabeth Yates
FIRST TENOR
Mike Bishop
Bob Bromham
Bob Cowell
Owen Gibbons
Tim Hardyment
Nick Manning
Martin Price
Chris Robinson
John Trigg
SECOND TENOR
Peter Butterworth
Tony Chantler
Geoff Johns
Stephen Linton
John Britten
Richard Broughton
Michael Dudley
Derek Fisher
Michael Golden
Brian John
Jeremy Johnson
Jon Long
Malcolm Munt
Chris Newbery
Peter Pearce
Chris Peters
Robin Privett
David Ross
Philip Stanford
Kieron Walsh
John Yeomans
SECOND BASS
Peter Andrews
Alan Batterbury
Norman Carpenter
Geoffrey Forster
James Garrow
Stuart Gooch
Nick Gough
Michael Jeffery
Eric Kennedy
Neil Martin
Adrian Oxborrow
John Parry
Roger Penny
Clive Perry
Michael Taylor
Richard Wood
Peter Norman
Jon Scott
John Thornely
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
Mrs Pamela Leggatt
Dr Roger Barrett
Mr Lionel Moon
Mr & Mrs Peter B P Bevan
John & Janet McLean
John & Barbara Britten
Ron & Christine Medlow
Richard & Mary Broughton
Dr Roger Muray
Mr & Mrs G Dombrowe
Mr & Mrs John Parry
Mr & Mrs Joseph Durning
Dr & Mrs M G M Smith
Susan and Cecil Hinton
Idris Thomas
Mrs Carol Hobbs
Mrs Pamela Usher
Mrs Rita Horton
Bill & June Windle
Mr Laurie James
Gold Patrons:
Robin & Jill Broadley
Mr & Mrs Maxwell S New
Roger & Sharon Brockway
Mrs Jean Radley
Jane Kenney
Sheila Rowell
Mr Geoffrey Johns
Brenda & Brian Reed
Dr Stephen Linton
Prue & Derek Smith
Silver Patrons:
Mrs Iris Bennett
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 14 December 2014 7pm Holy Trinity Church, Guildford
A programme of carols old and new, supporting the Mayor of Guildford's
Christmas Charity.
Vivaldi Gloria by Candlelight
Thursday 15 January 2015 7.00pm St Martin-in-the-Fields, London
Jeremy
Backhouse conducts Vivace Chorus and the Brandenburg
Sinfonia, in Vivaldi's well-loved Gloria, together with Bach’'s Violin
Concerto in E minor and Brandenburg Concerto no. 3.
Vivace Chorus ‘Come and Sing’
Saturday 24 January 2015 10.00am — 4.30pm Normandy Village Hall
Join Jeremy and the choir for a day learning and singing Mozart’s
Solemn Vespers and Mass in C Minor.
G Live with Tasmin Little
Saturday 7 March 2015 7:30pm G Live, Guildford
Mendelssohn’s much-loved Violin Concerto and the Hebrides Overture,
together
with
the
choral
works
Mendelssohn’s
Hear
my
Prayer,
Delius’s Sea Drift and Stanford’s Songs of the Fleet.
A Concert
for Rowan
Saturday 23 May 2015 7.30pm Guildford Cathedral
A collaboration between Vivace Chorus and Salisbury Community Choir,
also featuring the Vasari Singers, to give a performance of Guildford
composer Will Todd’s The City Garden and Chilcott’s Salisbury Vespers,
in aid of Rainbow Trust, a charity which provides emotional and practical
support for families who have a seriously ill child.
Further details at vivacechorus.org
or from info@vivacechorus.org
Printed by WORDCRAFT
115 Merrow Woods, Guildford, Surrey GU1 2LJ
Tel: 01483 560735
Vivace Chorus
28
Registered Charity No. 1026337
Vivace Chorus
JULIA LAMPARD
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NEw STYLE?i NEW COLO
NEW STYLISTS!
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