Vivace Choru.s, featuring Guildford Shakespeare Company, present
A tribute to Shakespeare
in words and music
The Brandenburg
Sinfonia
Conductor:
Jeremy Backhouse
.42 GUILDFORD
(") SHAKESPEARE
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Saturday
12" Nov 2016
7.30 pm
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of the KGS...
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Vivace
Chorus
All the World's a Stage
A TRIBUTE TO SHAKESPEARE IN WORDS AND MUSIC
Fantasy Overture: Romeo and Juliet
Tchaikovsky
Macbeth: Patria oppressa
Verdi
Macbeth: Che faceste?
Verdi
Tristia Op.18
Berlioz
Serenade to Music
Vaughan Williams
Three Shakespeare Songs
Vaughan Williams
Henry V - Suite
Walton
arr. Malcolm Sargent
ACTORS
Sarah Gobran
Matt Pinches
Emily Tucker
Christopher York
Guildford Shakespeare Company
The Brandenburg Sinfonia
Conductor: Jeremy Backhouse
WILLIAM SHAKESPEARE
1564-1616
Co-Founder of Guildford Shakespeare Company, Matt
Pinches, considers why Shakespeare is still so important, 400
years after his death.
‘Life's but a walking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more: it is a tale
Told by an idiot, full of sound and fury,
Signifying nothing.”
This
year
celebrating
the
the
world
400th
has
been
Anniversary
of
William Shakespeare's death, a golden
opportunity to consider the legacy of a
glover's son from little Stratford-uponAvon.
The speaker of those words above is Macbeth, at the moment he
learns
of
his
beloved
wife's
death,
but
unlike
Macbeth,
Shakespeare's life certainly didn't ‘signify nothing.
Today, Shakespeare is the 2nd most quoted source in the Oxford
English Dictionary with over 33,000 entries; 24 of the planet Uranus'
moons are named after his characters, and two of his works, Hamlet
and Much Ado About Nothing, have been translated into the Star Trek
language, Klingon.
Shakespeare is a global, cultural icon. It was Germany that first
translated the works in the late 17700s and the nation adopted him as
‘ganz
unser
Shakespeare’
-
‘entirely
our
Shakespeare.
Black
plantation slaves in the Deep South would perform his plays; Wild
West frontier towns hosted travelling tragedians; 50%, that's 64
million, of the world's children study him.and as of last year, it is
Shakespeare that will allow you to officially cross any international
border: all UK passports now bear his face as a watermark.
But why? Why does he endure? Why is Shakespeare so important?
2
Vivace Chorus
In his own lifetime he was one
of
the
pre-eminent
theatre
makers and poets of his day. In
1623,
his
Johnson,
great
rival,
penned
Ben
a eulogy in
the First Folio (The Complete
Works) describing his friend as
‘the Soul of the Age..
His life's work is vast: 38 plays’,
154 sonnets, 3 narrative poems
and
around
1700
and
phrases
-
assassination,
frugal,
generous,
bump,
new words
majestic, lonely - catch a cold,
break
the
ice,
naked
truth,
leapfrog, foregone conclusion. In
fact
is
Shakespeare's vocabulary
worked
out
to
be
roughly
17,600 words.
The
titles
present
our
imaginations with the romantic
prospect of adventure: All's Well That Ends Well, The History of King
Henry V, All Is True, As You Like It..
The storylines are a wonderfully woven tapestry of peoples' lives,
involving
dramatic
moments
of
family
disintegration
and
re-
unification, mistaken identities, disguise, love letters, lost letters, ship
wrecks, battles, hauntings..
They transport us to the deserts of Egypt, the rich mercantile world
of Venice,
the
seediness
of the Viennese
criminal underworld,
windswept battlements of a Danish castle, the freedom of forests,
the loneliness of a dungeon..
Yet, for me, they are something more than all of that. For me, these
creations have endured because they say something about us. We
cry, laugh, envy, fear and champion his characters because they are
us. Every one of us can identify with something in Shakespeare: have
felt the pangs of first love like Romeo or Juliet, questioned what we
are doing like Hamlet, hidden our feelings like Viola, dreamed to be
Vivace Chorus
3
more than we are like Malvolio, and been tempted like Macbeth..and
if we have not experienced these things directly we have witnessed
them in others. He puts into the mouths of kings and queens the
same fears and desires that afflict lovers, innkeepers, soldiers,
parents, poets, gardeners..and therefore, us.
To borrow from Hamlet, they “hold the mirror up to nature”.
Tonight we are being treated to some of the most beautiful,
passionate and stirring music written. Whether it be for ballet, opera
or a film soundtrack, tonight's composers have been moved by the
stories Shakespeare crafted. His creations have inspired these artists
to tell their own stories of these great plays, re-interpreting them not
only for a different type of theatre audience, but indeed for an
entirely new generation each time.
For me at least, this is why Shakespeare is so important. His legacy
continues to endure, fascinate and inspire because at its heart, it is
about one universal thing which will never change: the human
condition.
Alexandre Dumas, author of The Three Musketeers, once said "After
God, Shakespeare created most", and | for one, whole-heartedly
agree.
‘currently attributed to him as author and co-author by RSC/Macmillan
Shakespeare
QoA
- O
IMPORTANT NOTICE:
In order to avoid any alarm in the
audience, concert-goers should be aware that during this
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. Thank you.
4
Vivace Chorus
Tchaikovsky : Fantasy Overture: Romeo and Juliet
Orchestra
Peter Ilych Tchaikovsky
leading
(1840-1893)
is especially famous as a
Russian composer of many well-known ballets, operas,
concertos and symphonies.
However, he also composed some
notable shorter orchestral works including the spectacular 1812
Overture and the Fantasy Overtures, Hamlet and Romeo and Juliet.
The Tchaikovsky Romeo and Juliet Fantasy Overture is a highly
impressive orchestral piece and is longer than most contemporary
overtures.
It was composed after much discussion with the Russian
composer, Balakirev, and took some years before it reached its final
version.,
At this
point it was already established as one of
Tchaikovsky's most vivid orchestral works, with its vividly depicted
scenes
and
Solemn
opening
characters
from
chords
Shakespeare's
represent
Friar
Romeo
Laurence,
and Juliet.
while
the
continuous feuds between the Montague and Capulet families are
suggested by an agitated theme and crashing symbols.
The fated
lovers, Romeo and Juliet, are characterised by a richly passionate
love theme which contrasts effectively with the
moving
music
representing their final, tragic death scene.
O s
AR o
1
Macbeth: Act 1 Scene 5
LADY MACBETH
The raven himself is hoarse
That croaks the fatal entrance of Duncan
Under my battlements. Come, you spirits
That tend on mortal thoughts, unsex me here,
And fill me from the crown to the toe top-full
Of direst cruelty! Make thick my blood;
Stop up the access and passage to remorse,
That no compunctious visitings of nature
Shake my fell purpose, nor keep peace between
The effect and it! Come to my woman's breasts,
And take my milk for gall, you murdering ministers,
Vivace Chorus
5
Wherever in your sightless substances
You wait on nature's mischief! Come, thick night,
And pall thee in the dunnest smoke of hell,
That my keen knife see not the wound it makes,
Nor heaven peep through the blanket of the dark,
To cry 'Hold, hold!
e
T KA
Verdi: Macbeth
Verdi's opera Macbeth is a melodrama in four acts based on the plot
of Shakespeare's tragedy.
Macbeth, the opera, was first performed
in 1847 at the Teatro della Pergola, Florence, where it was warmly
received.
Verdi himself was involved in this first production, guiding
soloists and chorus with their action on stage and directing lighting
and
set
designs.
As
in
the
Shakespeare
play, Verdi's
opera
concentrates on the two great dramatic roles of Macbeth and Lady
Macbeth, but there are two distinct differences - King Duncan's role
in
the
play has a
series
of speeches
in
scenes
before
he
is
murdered, whereas Verdi just gives him one silent walk across the
stage,
and
the witches
roles,
originally just
Hecate
and three
individuals, are sung and acted by a full size female chorus.
The
Witches' Chorus (Che faceste?) opens up the first act of the opera,
before Macbeth makes his first appearance. The Scottish Refugees'
Chorus (Patria oppressal) is sung at the beginning of Act IV, where, in
a deserted area near the English border,
Macduff stands apart from
the chorus, planning to avenge Macbeth's murder of his wife and
children.
Chorus of Scottish Refugees: Patria oppressa!
Chorus, Orchestra
Act 4 Scene 1
Patria oppressa! il dolce nome
Oppressed land of ours! You cannot
No, di madre aver non puoi,
have
Or che tutta
a figli tuoi
now that you have become a tomb
Sei conversa in un avel.
for your sons.
Dorfanelli e di piangenti
Chi lo sposo e chila prole
From orphans, from those who
mourn, some for husbands, some for
the
sweet
name
of
mother
children,
6
Vivace Chorus
Al venir del nuovo sole
at each new dawn a cry goes up
S'alza un grido e fere il Ciel.
to outrage Heaven.
A quel grido il Ciel risponde
Quasi voglia impietosito
To that cry Heaven replies
as if moved to pity,
Propagar per linfinito,
oppressed land, it would
Patria oppressa, il tuo dolor.
proclaim your grief forever.
Suona a morto ognor la squilla,
The bell tolls constantly for death
Ma nessuno audace e tanto
but no-one is so bold
Che pur doni un vano pianto
as to shed a vain tear
A chi soffre ed a chi muor.
for the suffering and dying
Witches' chorus: Che faceste? Dite su
Act 1 Scene 1
Sopranos, Altos, Orchestra
Che faceste? Dite su!
What have you been doing? Tell us!
Ho sgozzato un verro! E tu?
| have slit a boar's throat. And you?
M'e frullata nel pensier
I'm thinking of a steersman's wife
La mogliera di un nocchier:
who chased me to the devil,
Al dimon la mi caccio...
but her husband has set sail
Ma lo sposo che salpo
and I'll drown him with his ship.
Col suo legno affoghero.
| shall give you the north wind.
Un rovaio ti daro...
| shall raise the waves.
I marosi io levero...
| shall drag it across the shallows.
Un tamburo! Che sara?
A drum! What can it be?
Vien Macbetto. Eccolo qua!
Macbeth is coming. He is here.
Le sorelle vagabonde
The wandering sisters
van per l'aria, van sull'onde,
Sanno un circolo intrecciare
Che comprende e terra e mar.
Vivace Chorus
fly through the air, sail over the
waves,
they bind a circle through land and
sea.
7
Hamlet: Act 3 Scene 1
HAMLET
To be, or not to be: that is the question:
Whether 'tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles,
And by opposing end them? To die: to sleep;
To sleep: perchance to dream: ay, there's the rub;
When we have shuffled off this mortal coil,
Must give us pause: there's the respect
That makes calamity of so long life.
For who would bear the whips and scorns of time,
To grunt and sweat under a weary life,
But that the dread of something after death,
The undiscover'd country from whose bourn
No traveller returns?
Thus conscience does make cowards of us all;
And thus the native hue of resolution
Is sicklied o'er with the pale cast of thought,
And enterprises of great pith and moment
With this regard their currents turn awry,
And lose the name of action.
O
e
e
Hector
Berlioz
D
Berlioz: Tristia Opus 18
French
composer,
(1803-1869),
is
especially
renowned for such large scale choral works as his setting of the Te
Deum and the Grande Messe des Morts. However, he also composed
a number of smaller choral works including the moving Tristia, a
compilation of three pieces, essentially sorrowful in nature and
linked by the theme of death, but nevertheless well-contrasted in
character.
Composed at different times for different occasions, the
pieces were first published as a complete work in 1852.
8
Vivace Chorus
The Meéditation religieuse, a setting of a poem by Thomas Moore for
six-part chorus and orchestra, was composed when Berlioz was in
Rome in 1831. The text for Le mort d'Ophélie is a paraphrase of
Queen Gertrude's account of Ophelia's death from
Shakespeare's
Hamlet, here scored for women's chorus and orchestra.
Marche funebre, the third piece in Tristia, dates from c1844 and was
written to accompany the final death scene of Hamlet for a planned,
but unperformed, staging in Paris. Scored for chorus and orchestra,
this immensely powerful piece opens with slow, processional music
punctuated at intervals with Ah! from the chorus. As the agitation of
the music rises, a volley of musket shots marks the climax, after
which the mood changes, falling away into melancholy and finishing
with a magical ending for unaccompanied chorus.
Méditation réligieuse
Chorus, Orchestra
Ce monde entier n'est qu'une ombre
This whole world is nothing but a
fugitive;
fleeting shadow.
il n'est rien de vrai que le Ciel!
The only truth lies in Heaven!
L'eclat des ailes de la Gloire est faux
The brilliance of Glory's wings is false
et passager,
and ephemeral;
les fleurs de [Amour, de ['Espéerance,
The flowers of Love, Hope and
de la Beaute
Beauty
sépanouissent pour la tombe.
bloom only for the tomb.
Il n'est rien de brillant que le Ciel!
There is no brilliance but in Heaven!
Pauvres voyageurs d'un jour orageux,
Hapless wanderers in the storm,
le flambeau du Genie, celui de la
The torches of truth and imagination
Raison,
:
ne font que nous montrer les dangers €TMV only to show us the perils of
de la route.
QEF Bbiiney
Il n'est rien de calme que le Ciel !
Only in Heaven can we find Peace.
Vivace Chorus
9
La Mort d'Ophélie (The death of Ophelia)
Sopranos, Altos, Orchestra
Aupres d'un torrent, Ophélie,
Beside a rushing brook, Ophelia,
Cueillait, tout en suivant le bord
Gathered along the river's bank,
Dans sa douce et tendre folie,
In her sweet and gentle despair,
Des pervenches, des boutons d'or,
Periwinkles, buttercups,
Des iris aux couleurs d'opale,
Irises the colour of opals,
Et de ces fleurs d'un rose pale
And flowers of palest pink
Qu'on appelle des doigts de mort.
That are called dead men's fingers
Ah!
Ah!
Puis,
elevant
blanches
SUr:
. 1SeS
mains
Les riants tresors du matin,
Then, holding up in her pure white
hands
The cheerful treasures of morning,
Elle les suspendait aux branches,
She hung them on the branches,
Aux branches d'un saule voisin.
The branches of a nearby willow.
Mais trop faible le rameau plie,
But, too frail, the branch bowed,
Se brise, et la pauvre Ophelie
Then broke, and poor Ophelia, the
Tombe, sa guirlande a la main.
garland still in her hand, fell.
Quelques instants sa robe enflee
For a while, her dress spread out
La tint encor sur le courant
And held her in the current
Et, comme une voile gonflee,
So that, like a billowing sail,
Elle flottait toujours chantant,
She floated, always singing,
Chantant quelque vieille ballade,
Singing some old song,
Chantant ainsi qu'une naiade
Singing like a Naiad
Néee au milieu de ce torrent.
Born in the depths of a stream.
Mais cette étrange melodie
But this strange melody quickly
faded,
Passa, rapide comme un son.
Par les flots la robe alourdie
Bientot dans ['abime profond
Entraina la pauvre insensée,
Laissant a peine commencée
Sa meélodieuse chanson.
Ah!
Fleeting as a whisper of sound
Her dress now heavy with water,
soon drew the poor, troubled maid
Into the depths,
Leaving barely begun her melodious
song.
Ah!
Vivace Chorus
HAMLET: Act 5 Scene 2
PRINCE FORTINBRAS
Let four captains
Bear Hamlet, like a soldier, to the stage;
For he was likely, had he been put on,
To have proved most royally: and, for his passage,
The soldiers' music and the rites of war
Speak loudly for him.
Take up the bodies: such a sight as this
Becomes the field, but here shows much amiss.
Go, bid the soldiers shoot
Marche funebre d'Hamlet (Funeral March of Hamlet)
Chorus, Orchestra
e
S
e
Interval
(20 minutes)
Vivace Chorus
THE COMEDY OF ERRORS: Act 3 Scene 2
ANTIPHOLUS
Why, how now, Dromio! Where runn’st thou so fast?
DROMIO OF SYRACUSE
Do you know me, sir? am | Dromio? am | your man? am |
myself?
ANTIPHOLUS
Thou art Dromio, thou art my man, thou art thyself.
DROMIO OF SYRACUSE
| am an ass, | am a woman's man and besides myself.
ANTIPHOLUS
What woman's man? and how besides thyself?
DROMIO OF SYRACUSE
Marry, sir, besides myself, | am due to a woman; one that claims
me, one that haunts me, one that will have me.
ANTIPHOLUS
What is she?
DROMIO OF SYRACUSE
A very reverent body; ay, such a one as a man may not speak of
without he say 'Sir-reverence. | have but lean luck in the match,
and yet is she a wondrous fat marriage.
ANTIPHOLUS
How dost thou mean a fat marriage?
DROMIO OF SYRACUSE
Marry, sir, she's the kitchen wench and all grease; and | know
not what use to put her to but to make a lamp of her and run
from her by her own light.
ANTIPHOLUS
What complexion is she of?
DROMIO OF SYRACUSE
Swart, like my shoe, but her face nothing half so clean kept: for
why, she sweats; a man may go over shoes in the grime of it.
ANTIPHOLUS
What's her name?
DROMIO OF SYRACUSE
Nell, sir; but her name and three quarters, that's an elland three
quarters, will not measure her from hip to hip.
ANTIPHOLUS
Then she bears some breadth?
12
Vivace Chorus
DROMIO OF SYRACUSE
No longer from head to foot than from hip to hip: she is
spherical, like a globe; | could find out countries in her.
ANTIPHOLUS
In what part of her body stands Ireland?
DROMIO OF SYRACUSE
Marry, in her buttocks: | found it out by the bogs.
ANTIPHOLUS
Where Scotland?
DROMIO OF SYRACUSE
| found it by the barrenness; hard in the palm of the hand.
ANTIPHOLUS
Where England?
DROMIO OF SYRACUSE
| looked for the chalky cliffs, but | could find no whiteness in
them; but | guess it stood in her chin, by the salt rheum that ran
between France and it.
ANTIPHOLUS
Where Spain?
DROMIO OF SYRACUSE
Faith, | saw it not; but | felt it hot in her breath.
ANTIPHOLUS
Where America, the Indies?
DROMIO OF SYRACUSE
Oh, sir, upon her nose all o'er embellished with rubies,
carbuncles, sapphires, declining their rich aspect to the hot
breath of Spain; who sent whole armadoes of caracks to be
ballast at her nose.
ANTIPHOLUS
Where stood Belgia, the Netherlands?
DROMIO OF SYRACUSE
Oh, sir, | did not look so low.
ANTIPHOLUS
Go hie thee presently, post to the road:
If every one knows us and we know none,
Tis time, | think, to trudge, pack and be gone.
DROMIO OF SYRACUSE
As from a bear a man would run for life,
So fly | from her that would be my wife.
Vivace Chorus
13
VAUGHAN WILLIAMS: Serenade to Music
(The Merchant of Venice, Act 5, Scene 1)
Chorus, Orchestra
Jessica and Lorenzo's scene from Shakespeare's The Merchant of
Venice (Act V, Scene 1) was used for one of the most beautiful pieces
of music ever composed
- Vaughan Williams' Serenade to Music.
This unique work was created in 1938 to celebrate the golden
jubilee as a conductor for Sir Henry Wood, the founder of the annual
series of Prom Concerts in the Royal Albert Hall
Wood first
introduced it to the Proms in 1941 and since then it has been heard
many times at the Prom:s.
The work was first performed by 16 of Britain's best known solo
singers - Isobel Baillie's singing of the opening and closing first and
last solo soprano phrases was totally ethereal - and at 2016's Last
Night there was a stunning performance of the work sung by 16
talented young
singers.
The Serenade to Music can
performed by four solo singers with chorus and orchestra,
and orchestra alone, or as a purely orchestral piece.
also
be
chorus
This evening
we shall hear the work performed by chorus and orchestra - a
version which undoubtedly captures the full magical quality of this
marvellous piece.
Vaughan Williams: Serenade to Music
How sweet the moonlight sleeps upon this bank!
Here will we sit and let the sounds of music
Creep in our ears: soft stillness and the night
Become the touches of sweet harmony.
Look how the floor of heaven
Is thick inlaid with patines of bright gold:
There's not the smallest orb that thou behold'st
But in his motion like an angel sings,
Still quiring to the young-eyed cherubins;
Such harmony is in immortal souls;
But, whilst this muddy vesture of decay
Doth grossly close it in, we cannot hear it.
Come, ho! and wake Diana with a hymn:
With sweetest touches pierce your mistress' ear,
14
Vivace Chorus
And draw her home with music.
| am never merry when | hear sweet music.
The reason is, your spirits are attentive :
The man that hath no music in himself,
Nor is not mov'd with concord of sweet sounds,
Is fit for treasons, stratagems and spoils;
The motions of his spirit are dull as night
And his affections dark as Erebus:
Let no such man be trusted.
Music! hark!
It is your music of the house.
Methinks it sounds much sweeter than by day.
Silence bestows that virtue on it.
How many things by season season'd are
To their right praise and true perfection!
Peace, ho! the moon sleeps with Endymion
And would not be awak'd. Soft stillness and the night
Become the touches of sweet harmony.
o
s AN
s
The Tempest: Act 5 Scene 1
PROSPERO
Ye elves of hills, brooks, standing lakes and groves,
And ye that on the sands with printless foot
Do chase the ebbing Neptune and do fly him
When he comes back; you demi-puppets that
By moonshine do the green sour ringlets make,
Whereof the ewe not bites; and you whose pastime
Is to make midnight mushrooms, that rejoice
To hear the solemn curfew; by whose aid,
Weak masters though ye be, | have bedimm'd
The noontide sun, call'd forth the mutinous winds,
And 'twixt the green sea and the azured vault
Vivace Chorus
Set roaring war. To the dread rattling thunder
Have | given fire and rifted Jove's stout oak
With his own bolt; the strong-based promontory
Have | made shake and by the spurs pluck'd up
The pine and cedar; graves at my command
Have waked their sleepers, oped, and let ‘'em forth
By my so potent art. But this rough magic
| here abjure, and, when | have required
Some heavenly music, which even now | do,
To work mine end upon their senses that
This airy charm is for, I'll break my staff,
Bury it certain fathoms in the earth,
And deeper than did ever plummet sound
I'll drown my book.
s
. oo s
VAUGHAN WILLIAMS: Shakespeare Songs
Ralph Vaughan Williams (1872-1958) was born in Down Ampney,
Gloucestershire. Following his father's tragic death 3 years later, the
young Ralph grew up at his mother's family home at Leith Hill Place
in Surrey, spending most of his life in the Dorking area and London.
Whilst at Charterhouse (1887-90) he started to learn the violin, but
then moved to the viola which he played in the school orchestra.
Vaughan Williams composed many notable orchestral, instrumental
and choral works, but had a particular flair for song-writing. His Three
Shakespeare Songs, specially composed for The British Federation
of Music Festivals ‘National Competitive Festival' in 1951, were
submitted with the instruction ‘Please do what you like with them”.
Sung by an unaccompanied chorus of mixed voices, they were an
immediate success. Full Fathom Five is a setting of Ariel's Song from
Act | of The Tempest. The deeply moving second song uses part of a
speech by Prospero in Act IV of the same play and the lively third
song is a delightful setting of one of the fairy's speeches from Act 2
of A Midsummer Night's Dream.
16
Vivace Chorus
Full Fathom Five
Chorus
The Tempest: Act 1 Scene 2
Full fathom five thy father lies;
Of his bones are coral made;
Those are pearls that were his eyes;
Nothing of him that doth fade
But doth suffer a sea-change
Into something rich and strange.
Sea-nymphs hourly ring his knell: Ding-dong.
Hark! now | hear them,
Ding-dong, bell.
The Cloud-Capp'd Towers
Chorus
The Tempest: Act 4 Scene 1
The cloud-capp'd towers, the gorgeous palaces,
The solemn temples, the great globe itself,
Yea, all which it inherit, shall dissolve,
And, like this insubstantial pageant faded,
Leave not a rack behind.
We are such stuff
As dreams are made on; and our little life Is rounded with a sleep..
OKer Hill, Over Dale
Chorus
A Midsummer Night's Dream: Act 2 Scene 1
Over hill, over dale,
Thorough bush, thorough brier,
Over park, over pale,
Thorough flood, thorough fire,
| do wander every where,
Swifter than the moon's sphere;
And | serve the fairy queen,
To dew her orbs upon the green.
The cowslips tall her pensioners be:
In their gold coats spots you see;
Those be rubies, fairy favours,
In those freckles live their savours:
| must go and seek some dewdrops here,
And hang a pearl in every cowslip's ear.
Vivace Chorus
17
Henry V: Act 1 Prologue
O for a Muse of fire, that would ascend
The brightest heaven of invention,
A kingdom for a stage, princes to act
And monarchs to behold the swelling scene!
Then should the warlike Harry, like himself,
Assume the port of Mars; and at his heels,
Leash'd in like hounds, should famine, sword and fire
Crouch for employment. But pardon, and gentles all,
The flat unraised spirits that have dared
On this unworthy scaffold to bring forth
So great an object: can this cockpit hold
The vasty fields of France? or may we cram
Within this wooden O the very casques
That did affright the air at Agincourt?
O, pardon! since a crooked figure may
Attest in little place a million;
And let us, ciphers to this great accompt,
On your imaginary forces work.
S
A
e
0
WILLIAM WALTON: Henry V Suite
(arr. Malcolm Sargent)
The celebrated English composer, William Walton (1902-1983)
composed musical scores for a number of well known films, such as
the 1936 Paul Czinner film of As You Like It. Walton's music for this
film impressed Laurence Olivier enormously, so when he planned a
film for Shakespeare's Henry V in 1943, he was determined that
Walton would provide the music for this film too. This resulted in
one of the finest film scores ever composed and was comparable
with the highly praised film music by other British composers such
as Vaughan Williams and Bliss.
The musical Suite from the film Henry V was first arranged by Sir
Malcolm Sargent in 1945 and this features movements for chorus
and orchestra and also for orchestra alone. The well varied music
represents many of the characters from the play, such as Henry,
18
Vivace Chorus
It's how you fill the spaces
that's important
Virtuosi in Executive Search
Saxton Bampfylde are delighted to support the
Vivace Chorus Concert - ‘All the World's a Stage'
We wish everyone a very enjoyable evening.
Saxton Bampfylde, 9 Savoy Street, London WC2E 7EG 020 7227 0800
www.saxbam.com
Guigiore
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Falstaff, Pistol and Mistress Quickly, and the final movement which
comes after three orchestral pieces, features an especially stirring
Agincourt Song set for full chorus and orchestra.
Prelude: The Globe
Chorus, Orchestra
Henry V: Act 2 Prologue
Now all the youth of England are on fire,
And silken dalliance in the wardrobe lies:
Now thrive the armourers, and honour's thought
Reigns solely in the breast of every man:
For now sits Expectation in the air,
And hides a sword from hilts unto the point
With crowns imperial, crowns and coronets,
Promised to Harry and his followers.
The king is set from London; and the scene
Is now transported, gentles, to Southampton.
\/
0‘0
The death of Falstaff
Orchestra
*
D)
Henry V: Act 3 Scene 1
Once more unto the breach, dear friends, once more;
Or close the wall up with our English dead.
In peace there's nothing so becomes a man
As modest stillness and humility:
But when the blast of war blows in our ears,
Then imitate the action of the tiger,;
Stiffen the sinews, summon up the blood,
Disguise fair nature with hard-favour'd rage;
Then lend the eye a terrible aspect;
Now set the teeth and stretch the nostril wide,
Hold hard the breath and bend up every spirit
To his full height. On, on, you noblest English.
Whose blood is fet from fathers of war-proof!
Vivace Chorus
23
Dishonour not your mothers; now attest
That those whom you call'd fathers did beget you.
Be copy now to men of grosser blood,
And teach them how to war. And you, good yeoman,
Whose limbs were made in England, show us here
The mettle of your pasture; let us swear
That you are worth your breeding; which | doubt not;
For there is none of you so mean and base,
That hath not noble lustre in your eyes.
| see you stand like greyhounds in the slips,
Straining upon the start. The game's afoot:
Follow your spirit, and upon this charge
Cry 'God for Harry, England, and Saint George!'
R/
0‘0
Touch her soft lips and part
Orchestra
0
Henry V: Act 4 Scene 3
O, do not wish one more!
Rather proclaim it, through my host,
That he which hath no stomach to this fight,
Let him depart; his passport shall be made
And crowns for convoy put into his purse:
We would not die in that man's company
That fears his fellowship to die with us.
This day is called the feast of Crispian:
He that outlives this day, and comes safe home,
Will stand a tip-toe when the day is named,
And rouse him at the name of Crispian.
He that shall live this day, and see old age,
Will yearly on the vigil feast his neighbours,
And say "To-morrow is Saint Crispian:’
Then will he strip his sleeve and show his scars.
And say 'These wounds | had on Crispin's day.
Old men forget: yet all shall be forgot,
Vivace Chorus
But he'll remember with advantages
What feats he did that day: then shall our names.
Familiar in his mouth as household words
Harry the king, Bedford and Exeter,
Warwick and Talbot, Salisbury and Gloucester,
Be in their flowing cups freshly remember'd.
This story shall the good man teach his son;
And Crispin Crispian shall ne'er go by,
ePR
From this day to the ending of the world,
But we in it shall be remember'd;
We few, we happy few, we band of brothers;
For he to-day that sheds his blood with me
Shall be my brother; be he ne'er so vile,
This day shall gentle his condition:
And gentlemen in England now a-bed
Shall think themselves accursed they were not here,
And hold their manhoods cheap whiles any speaks
That fought with us upon Saint Crispin's day.
L/
0.0
Agincourt Song
Chorus, Orchestra
Deo gratias Anglia,
Redde pro victoria
Our King went forth to Normandy
with grace and might of chivalry,
there God for him wrought marv'lously.
Wherefore England may call and cry
Deo gratias Anglia, Deo gratias Anglia,
Redde pro victoria.
Almighty God O keep our King
His people and all those well willing
and give them grace without ending,
Then may we call and safely sing
Deo gratias, Deo gratias Anglia
Redde pro victoria
Amen,
Vivace Chorus
End
---------------------------------------------------------------------------------------------------------------------
Win GLive Vouchers worth £50!
Thank you for coming to tonight's concert - we're delighted
that you have chosen to spend the evening with us!
For a chance to win £50 worth of GLive Vouchers, simply
visit vivacechorus.org and sign up for our newsletter using the
form on the home page.
Alternatively send an email with the subject 'GLive Draw’ and
your full name to programmes@vivacechorus.org.
The winning entry will be drawn on 19th November
and we'll contact you by email soon after if you're the
lucky winner!
We promise not to bombard you with emails or pass or sell your
details onto any third party and you're free to unsubscribe
at any time.
Printed music for this evening's concert has been obtained from:
Surrey Performing Arts Library
Oxford University Press
Concord Music Hire Library
Breitkopf through MDS Ltd. Hire & Copyright Administration
We are most grateful to these organisations.
26
VivaceChorus
Guildford Shakespeare Company
B__
Brian Blessed as King Lear, Guildford Shakespeare Company
"A Beacon for the Arts" Brian Blessed OBE, GSC Honorary Patron.
Guildford Shakespeare Company is a professional, award-winning
theatre company and registered charity, established in 2006 by two
actor-managers, Sarah Gobran and Matt Pinches.
Their
premise
was
to
create
a
theatre
company
whose
site-
responsive approach would place the audience right at the heart of
the action, immersing them in the world of the play, thus making
theatre, and in particular Shakespeare, accessible and immediate to
the widest possible audience.
This year the company has been celebrating its 10th Anniversary.
Over the last decade it has produced 31 shows, with over 71,000
people engaging with a GSC event. In 2015, 6,200 attended King
Lear starring Brian Blessed OBE in Holy Trinity Church. Brian is now
GSC's Honorary Patron.
Vivace Chorus
27
But it's not just Shakespeare. In 2015 GSC produced two interactive,
promenade productions of The Wind in the Willows and Alice in
Wonderland. The Canterbury Tales in 2014 was the company's first
devised project and last month a brand new adaptation of Grimms'
Fairy Tales was staged in an antique Flemish Spiegeltent - a first for
|
Guildford.
Working in diverse non-theatre venues (such as St Mary's Church,
Watts Gallery and Guildford Museum), GSC has introduced
thousands of new audiences to community spaces, encouraging
them to engage with their heritage as well as the plays.
GSC is run by five full-time staff members, and last year created 87
jobs for professional artists.
The company also has a thriving education department running 10
weekly drama clubs and 4 holiday schools. In the last academic year
GSC delivered 1 in-school workshop every 3 days across the South
East. This year its first schools' tour of Macbeth, in partnership with
the charity Delight, visited 880 children in disadvantaged schools
across surrey.
Over the next ten years GSC is committed to becoming one of the
most respected and recognised theatre companies in the South
East; a model of performance and production excellence, and the
leading company for Shakespeare education in the region.
To do this, the company needs to establish a permanent home - a
base which will enable a more holistic approach to making theatre,
ensuring they consolidate their strengths to remain Guildfordcentric, broaden cultural engagement and nurture the audiences
and artists of tomorrow.
Phase 1 of the New Beginnings Campaign which has been running
throughout 2016 has so far raised over £32,000 in audience
donations. Phase 2 of the campaign begins in 2017 as the company
begins to identify potential sites, investors and funding bodies.
To find out more about Phase 2, the New Beginnings Campaign and
all the work GSC does visit the GSC website, www.guildfordshakespeare-company.co.uk or find us on Twitter @GuildfordBard.
28
Vivace Chorus
Trained: Bretton Hall
Co-Founder of GSC,
appearing
in
30
productions.
For GSC: Over the last 10 years Matt has
had
the
fabulous
privilege
parts,
of
playing
including:
many
Benedick
(Much Ado About Nothing 2016,
2011,
2006), Mr Toad (The Wind in the Willows),
Camillo (The Winter's Tale), Edgar (King
Lear),
Malvolio
(Twelfth
Night
2014,
2007), Cassio (Othello), Touchstone (As
You Like It 2013, 2008), Bottom (A Midsummer Night's Dream 2012,
2007), and Laertes (Hamlet).
Other theatre
George's
includes:
Marvelous
Spring Awakening
Medicine
(Bath
(Birmingham
Theatre
Stage),
Royal);
pantos
at
Manchester Library, Newbury Corn Exchange, Chipping Norton, and
Queens Barnstaple; Vienna's English Theatre; New Wolsey Theatre
lpswich; Southampton
Nuffield. Matt is also a guest lecturer at
Guildford Institute.
Sarah Gobran
:
Trained: GSA
Co-Founder and Joint Producer for GSC.
For GSC:
To date Sarah
has
played
Beatrice, Adriana, Hermione, Katherina,
Regan,
Maria,
Gwendolyn,
Titania,
Nerissa,
Mistress
Ford,
Lady Capulet,
Luciana, Silvia, Phebe, the Princess of
France as well as a fine line in woodland
and farmyard animals including a fox, a
shrew and a sheep. Sarah set up and
ran the Education Department of GSC
Vivace Chorus
29
before handing it over to Head of Education, Ant Stones, in 2014.
Other theatre credits include: Peter Pan (Proteus Theatre); Sugar
Daddies (Stephen Joseph Theatre/Yvonne Arnaud Theatre);, Far
From the Madding Crowd (The Phoenix Theatre); Gullivers Travels
(Sutton Theatres), Desires of Frankenstein (Regent's Park Open Air
Theatre);, Just William (Charles Cryer Theatre).
Christopher York
Training: Mountview Academy
For
GSC:.
Alice
in
Wonderland,
The
Taming of the Shrew, The Wind in the
Willows, Othello.
Other
Macbeth,
theatre
includes:.
Hamlet,
Henry V (Creation
Theatre),
Richard Ill, The Talented Mr Ripley, Joan
of
Arc,
Romeo
& Juliet
Diorama), Dog
Theatre/New
(Faction
Country
(Jack Studio), The Tempest (The Minack),
Hamlet (Riverside Studios), That Dead
Girl, Sellotape Sisters (Story Project), Blue Remembered Hills (New
Diorama), The Boy Who Never Learnt to Fly (The Arcola), Very
Pleasant Sensations (The Cockpit), Lorca is Dead (York Theatre
Royal), Line (Stephen Joseph Theatre), Rola Cola (Southwark
Playhouse), Antigone, The Odyssey, A Midsummer Night's Dream (Belt
Up Theatre).
Radio: One Winter's Afternoon (BBC Radio 3), Lady MacBeth of
Mtsensk (BBC Radio 4)
GUILDFORD
SHAKESPEARE
ComPANY
30
Vivace Chorus
Emily Tucker
Training: Drama Centre London
For GSC: King Lear, Twelfth Night,
Henry V.
Other theatre credits include:
The Trials
of Oscar Wilde, Twelfth Night (Reading
Between
the
Lines),
Suddenly
Last
Summer, Lady of the Lake, Fallen Angels
(Theatre by the Lake);
Fortune's Fool
(Old Vic Theatre), The Man Who Pays the
Piper,
The
Stepmother
Theatre); As You Like It,
Night's
Dream
(Iris
Theatre),
A
Warsaw
(Orange
Tree
A Midsummer
Melody (Arcola);
Shiver
(National Theatre Studio/Theatre6); The Importance of Being Earnest
(Courtyard Theatre).
Film
credits
include:
Heretiks,
The
Seasoning
House
(Sterling
Pictures),
Lady Macbeth (Artyfarty Ltd), Hush (Shire Productions);
Help!
Trapped
I'm
in
a
Movie
(Capiche
Productions),
Senet
(11LittleFilms).
TV credits include: The Cut (Channel 4).
Radio
credits
include:
Doctor
Who:
The
Mask
of
Tragedy,
Countermeasures (Big Finish Productions).
BRAVO!
Chantez! May 2016
“.First Vivace concert for my guests and they were raving about it!. "
*.One of my guests was moved to tears in the first half and my g year old
thought the whole concert was amazing.."
‘I thought there was a wonderful sense of intimacy and concentration
achieved, even in that big space. Lovely vocal and instrumental soloists
who really gripped the audience, and chorus very responsive to Jeremy's
subtle directions”
Vivace Chorus
31
Jeremy
is
one
of
Britain's
leading
conductors of amateur choirs.
He
began his musical career in Canterbury
Cathedral
where
Chorister. In 1980
he
was
Senior
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 internationallyrenowned 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 at
concert venues and cathedrals throughout the UK and abroad.
Jeremy and Vasari have broadcast frequently on BBC Radio and
Classic FM, and have a discography of over 25 CDs on the EMI,
Guild, Signum and Naxos labels; they have recently launched their
own VasariMedia label with a recording of Jonathan Rathbone's
Under the shadow of His wing, which they premiered in 2014.
In January 1995, Jeremy was appointed Music Director of the Vivace
Chorus. 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.
In January 2009, Jeremy took up the post of Music Director of the
Salisbury Community Choir. 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, The City Garden, which they
subsequently toured to Lincoln (2014) and Guildford (2015).
32
Vivace Chorus
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 a
major concert series at both St Martin-in-the-Fields and the Crystal
Palace Bowl
Violin1
Mihkel Kerem
Bass
David Ayre
Richard Milone
Jan Zahourek
5<ate (Llole
ens
Lynen
John Dickinson
Anna Harpham
Milena Simovic
Barbara Dziewiecka
1
\Sllolm zth
bl
Wickramadinghe
=5
Edward Webb
Francesca Moore-Bridger
Hugh Sisley
ute
K
lan Mullin
caERh
Piccolo
Jon Clarke
Kimberley Boyle
CHloe Vincsid
Trumpet
_(,:h:.iis Cotter
o
Oboe
Harris
Lydia Griffiths
Trombone:
cor Anglais
Emma-Juliette Hodgson
Eleanor Parry-Dickinson b ol
Willemijn Steenbakkers
Horn
Martin Grainger
Susan White
Katie Bennington
Dougall Prophet
Viola
Clarinet
George Sleightholme
James Maltby
Tuba
Nick Etheridge
Jon Thorne
Marie de Bry
Bass Clarinet
Sarah Watts
Vicky Lester
Toby Deller
o
Timpani
Cello
Adrian Bradbury
Elizabeth Tri
Rosie Burton
Tristan Fry
Felicity Broome-Skelton
Hannah Simons
:
Matthew Quenby
99
Harp
Percussion
Ben Rogerson
Contra Bassoon
Ali McKenzie
Sarah Westley
Tim Evans
Tom Hardy
Joe Mathers
Vivace Chorus
33
The Sealed Knot
)
THE SEALED
KNOT
=
Back in 1968 Brigadier Peter Young and a group of friends, following
a garden party in cavalier costume to publicise the launch of Peter
Young's book on the Battle of Edgehill, came up with the idea of
forming a period army - an idea that soon took off and within two
years there were more than one thousand members of this Royalist
Army. Now, in our 41st year, with the early addition of the army of
Parliament and later the Army of Ireland and Scotland, our
membership has grown to make us the biggest society in Europe.
The aims of the Society are not to glorify war, but to honour those
that died in the many battles of the English Civil War, and to educate
the public about those wars, and also about the lives and times of
people in that period.
The name of the Society derives from a group, which, during the
Protectorate, plotted for the restoration of the monarchy. Here the
similarity ends as the present society is NOT politically motivated
and has no political affiliation or ambitions whatsoever.
In this evening's concert, the Sealed Knot will be providing
musketeers for the final movement of Tristia, and side-drummers for
Walton's Henry V orchestral suite.
34
Vivace Chorus
About Vivace Chorus
Jeremy Backhouse
Music Director
Francis Pott
Accompanist
James Garrow
Chairman
Vivace Chorus
is a flourishing
and adventurous choir based
in
Guildford, Surrey. Our aim is to have fun, making and sharing great
choral music.
The choir has come a long way since it began in 1946 as the
Guildford Philharmonic Choir and now has an enviable reputation for
performing first-class concerts across a wide range of musical
repertoire. Particular successes include 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 2014 when we performed the Verdi Requiem.
Since 1995, Vivace has thrived under the exceptional leadership of
this evening's conductor, Jeremy Backhouse. Jeremy's passion for
choral works
Vivace Chorus
and
his
sheer
enthusiasm
for
music-making
are
35
evident at every rehearsal and
every
performance.
He
s
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.
In addition to our own concerts in
Guildford and London, 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 like to take our musicmaking overseas and have toured to France, Italy, Germany and,
most recently, to Austria where we performed in Salzburg and
Vienna.
We're a friendly and sociable choir that enjoys singing traditional
choral classics alongside the challenge of contemporary and newlycommissioned music. If that whets your appetite, do come and join
us! We rehearse on Monday evenings in the Millmead Centre,
Millmead, Guildford.
Contact our membership secretary Jane
Brooks at membership@vivacechorus.org and for more information,
visit our website, vivacechorus.org, and follow us on Facebook and
Twitter - @VivaceChorus.
Review for Chantez! concert, May 2016 at G Live
Saturday saw G Live transported across the channel for a night
immersed in the elegance of French classical music. Conductor
Jeremy
Backhouse
opened
the
concert
with
Jules
Massenet's
Chansons des bois dAmaranthe, and after a shaky start Vivace
Chorus’ confidence blossomed and they settled into the lively pace
of Oiseau des bois. Some of the songs were slightly lost in bitty
contrapuntal lines, but Backhouse brought it back with a joyful
Chantez!
Gabriel Fauré's Madrigal followed, with beautiful breadth of tone
from the basses and altos. The Brandenburg Sinfonia shone in the
Pavane, drawing out the famous melody with exquisite musicality.
The professional ensemble's solo piece, Ravel's Pavane pour une
infant défunte, was heart-wrenching: the music felt like it was in
flight, soaring over the heads of the audience. It was matched only
by Vivace Chorus' stunning rendition of Fauré's Cantique de Jean
Racine. Choir and ensemble were in perfect harmony, showing off
their impressive dynamic control whilst giving the music space to
breathe. The chorus pulled off César Franck's Panis Angelicus with
aplomb; their enjoyment for the music was obvious, and the solo
cello added melodious depth.
From the opening Kyrie of Fauré's Requiem the choir outdid the
orchestra:
they were
more
delicate
and
more
precise,
with
a
beautifully sustained sound. The climax of the Sanctus was jubilant,
although the quieter sections of the movement were marred by the
solo violin, whose exaggerated rubato and thin tone was off-putting.
Soprano Jocelyn Somerville's pure, lyrical voice was perfect for the
Pie Jesu, and provided contrast to the menacing choral intensity of
the Agnus Dei.
Baritone
Matthew Wood's warm,
effortless tone
enveloped the audience in Libera Me, and the work finished on a
reverent In Paradisum.
Despite all the ups and downs that accompany an amateur
performance, tonight's concert was a true expression of musical
maturity. The performers executed their repertoire with an
intelligence that brought the music to life. Vivace Chorus have the
most important ingredient for music-making: passion, and tonight
they shared that with us all.
Charlotte Perkins, Bristol 24/7's Young Classical Reviewer
Vivace Chorus
37
Vivace Chorus Singers
FIRST SOPRANO
FIRST ALTO
Sheila Cooper
Simon Dillon
Selam Adamu
Emma Baker
Andrea Dombrowe
Geoff Johns
Amelia Atkinson
Barbara Barklem
Elizabeth Evans
Stephen Linton
Frances Bamber
Monika Boothby
Sheena Ewen
Peter Norman
Helen Beevers
Jane Brooks
Valerie Garrow
Adrian Oxborrow
Joanna Bolam
Amanda Burn
Margaret Grisewood
Jon Scott
Mary Broughton
Kate Emerson
Liz Hampshire
Suzanne Cahalane
Sheila Hodson
Barbara Hilder
FIRST BASS
Hannah Gregory
Christine Lavender
Beth Jones
John Bawden
Rebecca Kerby
Jean Leston
Roz Marshall
Phil Beastall
Mo Kfouri
Judith Lewy
Catherine Middleton
Richard Broughton
Alex Nash
Lois McCabe
Val Morcom
Michael Dudley
Emily Nash
Penny McLaren
Pamela Murrell
Brian John
Susan Norton
Kay McManus
Jacqueline Norman
Jeremy Johnson
Robin Onslow
Christine Medlow
Beryl Northam
Jon Long
Sarah Smithies
Rosalind Milton
Sheila Rowell
Malcolm Munt
Joan Thomas
Mary Moon
Prue Smith
Chris Newbery
Hilary Vaill
Lilly Nicholson
Rosey Storey
Chris Peters
Gill Perkins
Pamela Usher
Robin Privett
Linda Ross
Anne Whitley
Allan Rose
Jacqueline Alderton
Lesley Scordellis
June Windle
David Ross
JoJo Hart
Catherine Shacklady Elisabeth Yates
SECOND SOPRANO
Philip Stanford
Isobel Humphreys
Carol Sheppard
Isabel Mealor
Ann Smith
FIRST TENOR
SECOND BASS
Alison Newbery
Marjory Stewart
Bob Bromham
Peter Andrews
Alison Palmer
Jo Stokes
Bob Cowell
Norman Carpenter
Kate Peters
Hilary Trigg
Rosie Jeffery
Geoffrey Forster
Katrina Strathearn
Maggie Woolcock
Nick Manning
James Garrow
Martin Price
Nick Gough
Valerie Thompson
SECOND ALTO
Chris Robinson
Eric Kennedy
Christine Wilks
Valerie Adam
John Trigg
Neil Martin
Frances Worpe
Geraldine Allen
Paula Sutton
Roger Penny
Evelyn Beastall
SECOND TENOR
Michael Taylor
Sylvia Chantler
Ewan Bramhall
Richard Wood
Mary Clayton
Tony Chantler
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
Mr John Britten
Life Patron
Mrs Joy Hunter MBE
Premier Patrons
Robin & Penny Privett
Platinum Patrons
Mr & Mrs Stephen Arthur
John MclLean OBE & Janet McLean
Mr & Mrs Peter B P Bevan
Ron & Christine Medlow
Richard & Mary Broughton
Mr Lionel Moon
Mr & Mrs G Dombrowe
Dr Roger Muray
Mr & Mrs Joseph Durning
Mr & Mrs John Parry
Celia & Michael Embleton
Idris & Joan Thomas
Susan & Cecil Hinton
Mr Tony Thompson
Mrs Carol Hobbs
Mrs Pamela Usher
Mr Michael Jeffery
Bill & June Windle
Gold Patrons
Robin & Jill Broadley
Dr Stephen Linton
Roger & Sharon Brockway
Brenda & Brian Reed
Jane Kenney
Sheila Rowell
Mr Geoffrey Johns
Prue & Derek Smith
Silver Patrons
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
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Vivace Chorus dates for your diary
The Mayor of Guildford's Carol Concert
Holy Trinity Church, Guildford
Sunday 11th December 2016
Come and join us at our regular Christmas celebration in the newlyrestored Holy Trinity Church, in support of the Mayor of Guildford's
selected charity. Our seasonal mix of favourite carols and beautiful
Christmas music, as well as delicious mince pies and mulled wine
will definitely help to put you in the Christmas spirit.
Come and Sing 2017 - Bruckner and Mahler
Saturday 28th January 2017 10.30am
Normandy Village Hall
Come and join Jeremy and the Vivace Chorus for a day of practising
and singing the glorious Bruckner Mass in E Minor and Mahler's 2nd
Symphony. This is always a very popular event where, apart from
sharing in the fun of music-making, you will the opportunity to make
new friends and of course, enjoy the famed Vivace lunch!
Brahms Ein deutsches Requiem
Monday 1st May 2017 7.30pm
Royal Festival Hall, London
We're delighted to be closing our 70th season with one of the mostloved works in choral music, the wonderful Brahms Requiem,
together with the world premiere of our latest commission - Cantus
Maris by renowned British composer Francis Pott. Joining us will be
the prestigious Philharmonia Orchestra and members of the London
Chorus. Join us on the South Bank for a concert to remember.
Further details at vivacechorus.org
Printed by WORDCRAFT
15 Merrow Woods, Guildford, Surrey GU1 2LJ. Tel : 01483 560735
Vivace Chorus is a Registered Charity No. 1026337
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VivaceChorus
PRIORITY BOOKING FROM 21 NOVEMBER | GENERAL BOOKING FROM 28 NOVEMBER
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GUILDFORD SHAKES
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Directed by GEMMA FAIRLIE
4-25 FEBRUARY 2017
HOLY TRINITY CHURCH, GUILDFORD HIGH STREET
Box Office 01483 304384 | www.guildford-shakespeare-company.co.uk
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