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St
Martin
in
the
BRANDENBURG
CHORAL FESTIVAL
OF LONDON
SPRING SERIES
Mozart
Requiem
by candlelight
Adagio & Fugue in C minor
Marriage of Figaro Divertimento
Serenade in D ‘Serenata Notturna’
Vivace Chorus
Brandenburg Sinfonia
Conductor - Jeremy Backhouse
Thursday 12 January 2017
7pm
Welcome to the Brandenburg Choral Festival
A very warm welcome to the fourth concert of the eighth Brandenburg
Choral Festival of London Spring Series. We continue to bring a varied
and eclectic programme of concerts to some of London’s most iconic
venues, while showcasing many of the best choirs around. This Series we
are delighted to include such choral delights as Mozart Requiem, Allegri
Miserere and Vivaldi Gloria, as well as a jazz night in the atmospheric
Crypt of St Martin-in-the-Fields, and a Fringe night in a Bank.
Our Brandenburg Sunday Series at The Grange Wellington Hotel in
Victoria offers a relaxing late afternoon concert with the option of a
splendid afternoon tea and our first Come and Sing at Sea proved so
popular that this year there will be two Choral Cruises in association
with Voyages to Antiquity. In May we set sail to Rome and Nice and in
early Autumn to the Greek Islands.
There are full details of all the concerts and events in the Festival in the Festival brochure, available
tonight, and of course on our website too. You can also “like” us on Facebook, and “follow” us on
Twitter and Instagram — @brandenburgfest. Our Friends mailing list is free to join and the new
Brandenburg Loyalty Card is already proving popular.
It is always a great pleasure to welcome back our friends of the Vivace Chorus and their Musical
Director, Jeremy Backhouse. The measure of the quality of our joint music-making is simply how easy
it always feels. I will be joining in tonight — it is simply an opportunity not to be missed. I am sure you
will have a lovely time this evening and I look forward to seeing you at another concert soon.
This is the perfect opportunity to welcome Rupert Gough to the team as Associate Musical Director
and of course to thank our continuing Artistic Patron, Bob Chilcott, along with our headline sponsors,
Grange Hotels and Voyages to Antiquity. And just for a little look further ahead, I am delighted to
announce that Eric Whitacre will be joining us from this year’s Autumn Series as Artistic Patron.
After this concert you should have just enough time to pop downstairs for a quick glass in the crypt
before our second concert of the evening: another choir full of old friends, Skolia will be performing
the iconic Vespers setting of Rachaninov with their charismatic Director, Lizzie de Lacey. Please do join
us if you can.
Wishing you all a very Happy and Peaceful New Year.
Robert Porter
Brandenburg Artistic Director
PS.
Please do pick up a brochure for the Spring Series — we have loads of fantastic concerts lined up in
the coming months!
PES.
Brandenburg Ambassadors and Friend
s: Our Brandenburg Ambassadors are all volunte
ers
who give up some of their spare time to help
out at concerts, and [ am eternally grateful for
their
support. You may see them selling progra
saying ‘Hello’ when you arrive. As well as
events during the year and the chance to
mmes, manning the bar, signing up new
Friends, or simply
hearing concerts and rehearsals for free, there
meet like-minded people. If you would like
tion about becoming an Ambassador, please
email concert@brandenburg.org.uk.
are social
more informa-
Alternatively, you might like to become a Friend
of the Brandenburg. By signing up to our free
email
service you will receive details of all our activitie
s and events as well as special offers on tickets
and
priority booking. To sign up simply email
brandenadmin@brandenburg.org.uk or you
can use the
contact form on the website www.brandenbur
g.org.uk.
PPPS
Look through this programme carefully — there
is a deliberate mistake! The first person to email
me
the answer will win two tickets to a future
concert.
BRANDENBURG
CHORAL FESTIVAL
OF
LONDON
SPRING SERIES
2017
Artistic Director
Robert Porter
General Manager
Frances Birch
Artistic Patron
Bob Chilcott
Associate Music Director
Rupert Gough
Associate Conductor
Edward Reeve
Concert Manager
Jane Kersley
Marketing Manager
Marc Gascoigne
Editor
Tom Taylor
Fringe Director
Naveen Arles
Development Officer
Rosie Williams
Friends Chairman
Tim Rooke
Assistant Concert Manager
Carol Prigent
Administrators
Mervion Kirwood, Charlotte Way, Karin
Hayes
The Brandenburg Choral Festival is a collective of
dedicated to the promotion of high quality choral
Brandenburg Symphony Orchestra Lid, JK Managem
like-minded promoters
performance including:
ent, Fran Birch Music, ( Ixford Concert Producti
ons
Please note — for your comfort and enjoym
ent
Smoking and the consumption of food and
drink are not allowed in the church.
Patrons are kindly requested to switch off mobile
phones and alarms on digital watches.
Flash photography, audio and video recordi
ng are not permitted.
Please try to refrain from coughing; a handke
rchief placed over the mouth while coughi
greatly in limiting the noise. Thank you.
ng assists
Once the concert starts entry will only be permitt
ed between pieces.
The Crypt Gallery and Café in the Crypt
can be hired for private functions. Phone 020
7839 4342
PROGRAMME
Wolfgang Amadeus Mozart (1756-1791)
Adagio and Fugue in C minor, K546
Divertimento, K492, from The Marriage of Figaro
1. Al deso di chi t’adora (Act 4, Scene 10)
I1. Vo che sapete (Act 2, Scene 3)
I11. Non piu andrai (Act 1, Scene 8)
Serenade No.6 in D Major, K239, ‘Serenata notturna’
I. Marcia — Maestoso
II. Menuetto and Trio
II1. Rondo — Allegretto
INTERVAL
Wolfgang Amadeus Mozart (1756-1791)
completed by
Franz Xavier Siissmayr (1766-1803)
Requiem in D minor, K626
L. Introitus
Requiem eternam (choir and soprano solo)
I1. Kyrie Eleison (choir)
III. Sequentia
Dies Irae (choir)
Tuba mirum (soprano, contralto, tenor and bass solo)
Rex tremendae, majestatis (choir)
Recordare, Jesu pie (soprano, contralto, tenor and bass solo)
Confutatis maledictis (choir)
Lacrimosa dies illa (choir)
IV. Offertorium
Domine Jesu Christi (choir with solo quartet)
Hostias et preces (choir)
V. Sanctus
Sanctus Dominus Deus Sabaoth (choir)
Benedictus (solo quartet, then choir)
VI. Agnus Dei (choir)
VII. Communio
Lux eterna (soprano solo and choir)
PROGRAMME NOTES
Wolfgang Amadeus Mozart (1756-1791)
— Adagio and Fugue in C minor, K546
The C minor Fugue was first composed in December 1783 for two pianos (K426) then rearranged
for strings, with an introductory Adagio, in June 1788 — the prolific summer during which Mozart
also penned his last three symphonies. The Adagio alternates a dotted rhythm reminiscent of a
French overture with a more lyrical passage. A French overture normally begins a more extended
multi-movement work; in this case, its use serves to establish a period flavour and a sense of
occasion. The theme of the Fugue is strongly rhythmic, with little of Mozart’s melodic charm
— and yet it has the uniquely Mozartean quality of suggesting a character through gesture and
nuance.
Wolfgang Amadeus Mozart (1756-1791) — Divertimento, K492, from The Marriage
of Figaro
It was common throughout the Classical period to arrange excerpts from the most popular current
productions in the opera house for small wind band, or ‘Harmonie’, for use as background music
for grand dinners and other functions. In fact, Mozart himself includes an accompanying wind
band (playing quotations from Figaro) in the banquet scene of Don Giovanni.
This divertimento is a special arrangement of three arias from The Marriage of Figaro for two
bassett horns (not horns at all but more like tenor clarinets), bassoon and double bass:
Al deso di chi adora (Act 4, Scene 10)
Vo che sapete (Act 2, Scene 3)
Non piu andrai (Act 1, Scene 8)
Wolfgang Amadeus Mozart (1756-1791) — Serenade No. 6 in D Major, K239, ‘Serenata
notturna’
‘Serenata notturna’ is the title Leopold Mozart wrote at the top of his son’s score, dated January
1776. In many ways this full title is rather superfluous, since a serenade is anyway a performance
given at night. In Mozart’s time, they were instrumental pieces as well as vocal ones, providing
festive music for all kinds of outdoor social occasions. Mozart composed works he labeled
serenade, divertimento, cassation, or notturno — although the title of his last serenade, ‘Eine
kleine Nachtmusik’ (A little night music), says it all.
We don’t know what kind of event Mozart had in mind when he wrote this serenade in D major. Its
scoring for strings alone with timpani and its division into just three movements (when a leisurely
sequence of up to eight was more common) set it apart from the rest. Mozart gains added richness
and complexity by subdividing his strings into a large ensemble and a solo quartet that slips in and
out of the spotlight, and, in the trio, has the floor to itself.
Wolfgang Amadeus Mozart (1756-1791) completed by Franz Xavier Siissmayr
(1766-1803) — Requiem in D minor, K626
Mozart was commissioned to write the Requiem Mass by a wealthy nobleman, Count Walsegg, in
memory of his wife who had died at the age of twenty. Work on the Requiem proceeded slowly
as Mozart was in the process of completing his two final operas La Clemenza di Tito and The Magic
Flute. By the time he came to concentrate on the Requiem, he was suffering from his final illness
and his growing weakness made it impossible for him to complete the work.
Indeed, by the time he died, only the first two movements were completely finished. The
movements Dies Irae to Hostias were drafted out, but there were no notes for the final four
sections. Constanze, Mozart’s wife, was afraid that she would have to return the payment already
made by Count Walsegg and so asked Mozart’s pupil Franz Stissmayer to complete the Requiem.
Siissmayer had spent the whole of Mozart’s final months with him, working on the Requiem so it
is likely that the whole piece closely resembles Mozart’s intentions.
The generally dark and passionate character of the work is accounted for by the predominance
of minor keys and the rich texture of the orchestration: Mozart did not use french horns or
the upper woodwind, using bassett horns, bassoons, trumpets, trombones and timpani, with the
strings playing frequently in the lower registers. Another major factor is Mozart’s bold harmonic
language which leads the listener through the despair of death to the joy of eternal life.
BIOGRAPHIES
Vivace Chorus
Vivace Chorus is a flourishing and adventurous choir
based 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 exactly
70 years ago, 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, supported by pianist and composer
Francis Pott as rehearsal accompanist.
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 like to take our
music-making overseas and have toured to France, Italy,
Germany and, in 2016, to Austria, where we sang in
Salzburg and Vienna.
Particular successes in recent years have included a sell-out performance of Mahler’s Symphony
No. 8, the ‘Symphony of a Thousand’, at the Royal Albert Hall, a highly acclaimed performance
in of Britten’s War Requiem, and another Royal Albert Hall success in May 2014, when we
performed Verdi’s Requiem.
To launch this, our 70th anniversary season, we collaborated with the Guildford Shakespeare
Company for a unique and thrilling evening of music and drama in celebration of the Bard.
Continuing with a concert of Mozart and Howells in May, we bring the season to a.climax with
a performance of the glorious Brahms Requiem in the Royal Festival Hall with the Philharmonia
Orchestra. At the same concert, we shall be performing the world premiere of Francis Pott’s
Cantus Maris, especially commissioned by Vivace for our 70th birthday.
In addition to our own concerts, we also sing in various charity concerts and are delighted to take
part each year, as tonight, in the Brandenburg Choral Festival here in St Martin-in-the-Fields.
Sopranos
Selam Adamu, Jacqueline Alderton, Rachel Edmondson, Hannah Gregory, Ginny Heffernan,
Isobel Humphreys, Rebecca Kerby, Krystyna Marsden, Annika Mathews, Kate Peters, Gillian
Rix, Joan Thomas, Valerie Thompson, Hilary Vaill, Christine Wilks, Frances Worpe
Altos
Barbara Barklem, Monika Boothby, Jane Brooks, Valerie Garrow, Christine Medlow, Gill Perkins, Lesley Scordellis, Carol Sheppard, Prue Smith, Rosey Storey, Pamela Usher, Anne Whitley
June Windle
Tenors
Bob Bromham, Bob Cowell, Rosie Jeffery, Nick Manning, Martin Price, Chris Robinson,
John Trigg
Basses
Peter Andrews, Richard Broughton, Geoffrey Forster, James Garrow, Nick Gough, Jeremy
Johnson, Neil Martin, Malcolm Munt, Peter Pearce, Chris Peters, David Robson, David Ross,
Philip Stanford, Michael Taylor
Brandenburg Sinfonia
— =—"o
One major event in the year is the Spring Choral Festival at St Martin-in-the-Fields when the
Brandenburg Sinfonia, along with its sister orchestra the Brandenburg Baroque Soloists, is able to
invite a large number of partner choirs to join in a celebration of all the major choral repertoire
— all, of course, in the magnificent setting and acoustic of St Martin-in-the-Fields. The orchestras
also perform regularly as the resident orchestras in the Thaxted Festival.
A large number of artists of international standing have worked with the orchestra including
Richard Bonynge, James Bowman, Sir James Galway, Lesley Garrett, John Georgiadis, Gordon
Hunt, Emma Johnson, Emma Kirkby, Yvonne Kenny and John Wallace. Its repertoire ranges
from Bach to Lloyd Webber and its members give over one hundred performances of orchestral,
chamber choral and operatic music during the year.
‘What made it actually rather enjoyable was the playing of the chamber orchestra which was
consistently well shaded and nuanced.” — Daily Telegraph
‘Played with a verve and sparkle.” — The Times
Violin 1
Viola
Bassett Horn
Trumpet
Heidi Bennett
John Mills
Jon Thorne
Peter Sparks
Ciaran McCabe
Francis Kefford
Sarah Watts
s
Cello
Bassoon
Susan White
Bob Porter
Timpani
Tristan Fry
Katarina Nazarova
Violin 2
Charis Jenson
Ed Webb
Adrian Bradbury
Bass
Adam Mackenzie
Trombone
Jan Zahourek
Jeremy Backhouse — Conductor
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 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).
Jassy Husk — Soprano
Jassy Husk is an award-winning, Australian-born soprano.
She was born in Tasmania and spent part of her childhood
in Tanzania before moving to the UK, via spells in Japan
and Germany. To date, her international career has focused
mainly on work in Germany, the UK, Australia and China.
Jassy has an exceptional music education that began with
a scholarship at the Royal College of Music in London,
including being the youngest postgraduate the College
had ever accepted. This was followed by a position as a
Young Artist on English National Opera’s Opera Works
programme, including being selected to cover the role of
Telaire in ENO’s Oliver Award-winning production of
§
Rameau’s Castor and Pollux at the London Coliseum. Finally 3
in 2014, Jassy was selected by Dennis O’Neill, CBE, as one
|
of a handful of singers for the Wales International Academy
of Voice, graduating with a Masters with distinction.
Jassy has competed in a host of internationally-acclaimed competitions, winning many awards.
Highlights include performing at the Sydney Opera House in the final of the McDonald’s
Operatic Aria, and in the NYIOP International Opera Auditions in Berlin. Jassy has won awards
for English Opera and Song, Lieder, and the D] Mazda Operatic Aria award three years running,
Recent performance highlights include performing alongside Yvonne Howard and Mark
Llewellyn Evans at the inaugural Opera Sark Festival; premiering The Bushranger’s Lover in
Australia in November 2014; travelling to China to perform a gala concert tour across ten cities
and performing as Tosca in Puccini’s Zosca at the inaugural Chiswick House Summer Sessions.
Jassy’s forthcoming engagements in 2017 include performances with the Wales International
Academy of Voice; a return to perform at Opera Sark and a return to Chiswick House to perform
as Mimi in La Bohéme.
Amy Lyddon — Mezzo-soprano
A ‘warmly expressive’ (The Guardian) and ‘exquisite’ singer
(BBC Radio 3), Amy Lyddon studied at the Royal College
of Music, as an RCM Award Holder and H R Taylor Trust
Scholar, under the tutelage of Rosa Mannion. A former
chorister at Bath Abbey, Amy read Linguistics with French
and Spanish at Trinity College, Cambridge, where she was a
Choral Scholar, and graduated with first-class honours.
Previous concert engagements have included Bach’s St
Matthew Passion for the Academy of Ancient Music and
also for Florilegium, Handel’s Messiah for the Oxford
Philharmonic Orchestra, Vivaldi’s Gloria and Mozart’s
Requiem with the London Mozart Players, and Bach’s
Magnificat for Oxford Baroque at St John’s Smith Square.
Amy is alto soloist on the Gramophone Award-winning
recording of Howells’ Requiem by Trinity College Choir and features in the Gramophone
Award-winning two per part recording of Mozart’s Requiem with The Dunedin Consort, with
whom she recently performed at the Wigmore Hall.
In summer 2017, Amy will sing the role of Pastuchyna/ Jeniifa for Grange Park Opera. Previous
operatic roles include Nancy/Albert Herring at Opera Holland Park and on UK tour for Shadwell
Opera, Nicklausse (cover)/The Tales of Hoffmann for English Touring Opera, Gertrud/Hdnsel
und Gretel and Mrs Herring/Albert Herring for the Royal College of Music International Opera
School, Hermia/A Midsummer Night’s Dream, Angelo Custode/Rappresentatione di anima et di corpo,
Cherubino/ Le nozze di Figaro for CUOS, and Octavian/Der Rosenkavalier, Dorabella/ Cosi fan tutte,
Isolier/Le Comte Ory and Idamante/ Idomeneo for RCM Opera Scenes.
Recent song engagements have included a performance of Brahms’ Licbeslieder-Walzer at the RCM
in collaboration with the Wigmore Hall and Ravel’s Trois poémes de Stéphane Mallarmé with chamber
orchestra. In recital, she has performed on the Oxford Lieder Festival Master Course, for the
Ryedale Festival, the Incorporated Association of Organists and Bath Abbey Recital Series. Amy
is very grateful for previous support from The Kathleen Trust, The Mario Lanza Educational
Foundation, and The Josephine Baker Trust.
Steven Swindells — Tenor
Steven
Swindells,
Birmingham
tenor,
first
trained
as
Conservatoire and taught as
a
pianist
at
a classroom
music teacher before being accepted into the vocal faculty
at the Royal College of Music. He is an RCM Award
Holder supported by an HR Taylor Trust Award studying |
on the Master of Performance course. As a pianist and
accompanist, Steven recorded with the Vellen Ensemble,
¥
performed on BBC Radio WM and regularly gave recitals
in the West Midlands until fully committing to pursuing a
career as a tenor in 2015 when, after a consultation lesson,
he accepted the RCM’s offer to study on the Graduate
Diploma course.
*
Recent performances include Handel’s Messiah with Central England Camerata, Don Ottavio
in Don Giovanni with Ludlow Opera, Tenor Quartet in Malcolm Williamson’s English Eccentrics
with British Youth Opera, Cyril in Gilbert & Sullivan’s Princess Ida and Jaquino in Beethoven’s
Fidelio for the RCM’s Opera Scenes. Alongside his opera and concert work, Steven is regularly
engaged by London churches including St. Columba’s Pont Street; St Mary’s Battersea and St
John’s Islington. 2016-17 sees Steven perform as Ferrando in Cosifan tutte in RCM Spring opera
scenes, soloist for Mozart’s Requiem with Central England Camerata, Rossini’s Petite messe solennelle
as well as continuing work chorally with the Philharmonia Chorus in the UK and abroad.
Matthew Buswell — Bass-baritone
Matt trained at the Royal College of Music studying with
Russell Smythe and latterly, Dinah Harris. Matt received a
§
Masters in Performance Degree, with distinction, as well as
a first-class Bachelor of Music Degree, with honours, during
his time at the RCM. While at the RCM Matt was a Robin
Ritzema Scholar as well as being generously supported by
§
an Audrey Sacher Award, a Douglas and Hilda Simmonds
Award,
Help
Musicians UK (formerly MBF)
and
the
Josephine Baker Trust.
Operatic performances include
Cadmus and Somnus/
Semele (London Early Opera), Il Sonno/Arianna in Creta and
Licaone/ Giove in Argo (Royal College of Music International
Opera School and
London Handel
Festival), Wilfred/
The Yeomen of the Guard (Portsmouth Guildhall), Calmon/
—
‘
The Little Green Swallow, J.Dove (British Youth Opera), Sarastro/Die Zauberflote(RCMIOS) and
Superintendent Budd/Albert Herring (RCMIOS).
Solo concert performances include Verlaine/ fourneying Boys (Royal College of Music/lain
Burnside), Raphael and Adam/ The Creation (Guildford Cathedral/Brandenburg Sinfonia), Mozart
Requiem (St Martin-in-the-Fields), Beethoven Mass in C (St John’s Smith Square), Beethoven
Symphony No.9 (Portsmouth University), Christus St Matthew Passion (Highgate Choral Society)
and Brahms German Requiem (St Martin-in-the-Fields/Brandenburg Choral Festival).
Matt has participated in masterclasses with Roderick Williams, Brindley Sherratt, Jonathan
Lemalu (RCM) and Sir John Tomlinson (Ludlow English Song Weekend and RCM).
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