Mozart
‘Great’ Mass in
C minor, K.427
Howells Requiem
Barber Adagio
The Brandenburg Sinfonia
Conductor:
Jeremy Backhouse
-
S,
NS
7
y
1
a
0
d
2
r
h
u
c
t
r
a
""MaS
4
d
b
a
i
Guildford Cathedral
vivacechorus.org
Registered Charity No. 1026337
You're always part
of the KGS...
=
*RGS
“The range of musical opportunities is outstanding”
ISI Inspection
Of310)
AT
...and the KRGS will
always be a part of you
Vivace
Chorus
Mass in C Minor
WOLFGANG AMADEUS MOZART
Adagio for Strings
Requiem
Samuel Barber
Herbert Howells
Claire Seaton
Soprano
Lucy Goddard
Soprano
Roy Rashbrook
Tenor
Richard Walshe
Bass
The Brandenburg Sinfonia
Conductor: Jeremy Backhouse
PRE-CONCERT TALK
Before many Vivace Chorus concerts, we offer ticket holders a
free talk given by an acknowledged music expert who has a
special interest in the works being performed.
This
evening,
in
the
Chapter
House
at
6.30pm,
we
are
delighted to welcome back Roy Rashbrook, who is also the
tenor soloist in tonight's concert.
Roy sings in the world-famous choir of St Paul's Cathedral, in
The
King's
specialising
Consort
in
and
renaissance
in
The
and
Clerks,
a
vocal
contemporary
sextet
music.
He
combines their schedules with his work as a soloist, teacher
and conductor.
BRAVO!
All the World's a Stage - November 2016
"We thought it was amazing, the mix of wonderful music, brilliantly
performed Shakespeare and truly delightful singing made it a truly
memorable evening. Thank you.'
"We all very much enjoyed last night - the chorus, orchestra and actors
were all superb and the conductor held everything together so well. A
really lovely evening - | think the Bard would have approved!”
"We thoroughly enjoyed it; a most unusual programme, cleverly put
.
together and well performed by one and all. A night to remember
. indeed"”
;
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.
2
Vivace Chorus
Samuel Barber: Adagio for Strings
Orchestra
Samuel Barber (1910-1981) was born at
-
West Chester, Pennsylvania and was later
established as one of America's
major
-
twentieth century composers. In his early
years he became one of the first pupils at
_4
the
|
Curtis
Institute
Philadelphia
fellow
where
of
at
studied
with
Italian
composer
Gian
Barber
was
student,
he
Music
Carlo Menotti.
In
his
youth,
a
prolific
composer and at the age of 25 won both
the
American
Prix
de
Paris
and
the
Pulitzer travelling scholarship, which led
to him studying for the next 2 years at the American Academy of
Rome.
Barber's
Metropolitan
family
Opera,
also
included
Louise
Homer,
a
and
leading
a
singer
at
the
composer of songs,
Sidney Homer,
Although Samuel Barber did write two major operas, Vanessa and
Anthony and Cleopatra,
he
concentrated
chiefly on
composing
orchestral and chamber music works. He did, in fact, train as a singer
and although not many of his compositions were vocal, he achieved
orchestral and instrumental works of exceptional lyricism, especially
amongst his earlier works. His early reputation was built on his First
Symphony and the String
Quartet Op.
11,
and
it was the slow
movement from this String Quartet which later became the Adagio
for Strings that we hear tonight.
This work, a gloriously moving piece for strings which immediately
appealed to the famous conductor Arturo Toscanini, is assuredly
Samuel
Barber's
best
known
composition.
The
beauty
of
his
memorable melodious lines in this ten-minute piece retains one's
attention throughout. After a beautifully quiet opening the piece
builds to a majestic crescendo reaching a stunning break-off as it
reaches the highest point. After a dramatic silence, the work closes
quietly, reiterating the magical melody which cannot fail to appeal to
all listeners.
Vivace Chorus
3
Herbert Howells: Requiem
Soprano, Alto, Tenor, Baritone, Chorus, Orchestra
Herbert Howells (1892-1983) was born at
Lydney in Gloucestershire and was
connected with Gloucester Cathedral as
a student before moving to the Royal
College of Music in London. In 1934 he
took over from Gustav Holst as the
Director of Music at St. Paul's Girls'
School.
As a composer he was regarded as a
distinguished successor to such famous
English
composers
Williams,
Delius
as
and
Elgar, Vaughan
Holst,
producing
orchestral works, a piano concerto, a cello concerto, chamber music
and music for brass band.
However, he is probably best known for
his creation of outstanding choral settings of religious text including
tonight's Requiem.
In late 1935, Herbert Howells' world was shattered when his 9 yearold son, Michael, died of polio. It was commonly believed that the
Requiem was written in response to this tragedy, but in fact the core
of the work was written in 1932-33 for King's College Choir, although
it was never delivered to them. In the years following the tragedy,
Howells reworked much of the material for the Requiem and
incorporated substantial sections into his choral masterpiece,
Hymnus Paradisi, which was dedicated to his son's memory. The
Requiem remained unknown and unperformed until 1980, just 3
years before the composer's death.
The work uses the standard liturgical text, Requiem aeternam, for 2
of its 6 movements, whilst 2 others are settings of Psalms 21 and 23.
It is scored for a 4- and occasionally 8-part mixed chorus with 4
soloists. It can be performed entirely unaccompanied or, as tonight,
with an organ accompaniment in some of the movements.
4
Vivace Chorus
Requiem
1. Salvator mundi (O Saviour of the world)
Chorus
Salvator mundi provides a deeply moving opening for a four-part
chorus to the words ‘O Saviour of the world'; this then develops into
a double chorus to the words ‘Save us, help us' and the movement
ends with a magical pianissimo.
2. Psalm 23 (The Lord is my shepherd)
Soprano, Alto, Tenor, Chorus
The rhythmical Psalm 23 (The Lord is my shepherd) is opened by
three solo singers before the chorus take over quietly with 'Yea
though I walk in the valley of the shadow of death.
3. Requiem aeternam (1)
Chorus
The first setting of 'Requiem aeternam’ has a beautiful opening and
closing melody and is effective throughout with a double-chorus
singing pianissimo.
4. Psalm 121 (I will lift up mine eyes unto the hills)
Tenor, Baritone, Chorus
The 4th movement, a setting of Psalm 121, '/ will lift up mine eyes' for
full chorus, opens with a baritone soloist, and is closed by a tenor
soloist.
5. Requiem aeternam (2)
Chorus
The
second
setting
of
Requiem
aeternam
has
an
especially
memorable pianissimo opening, before building to an immensely
powerful fortissimo crescendo.
6. | heard a voice from heaven
Soprano, Tenor, Baritone, Chorus
The Requiem is then brought to a peaceful close with '/ heard a voice
from heaven', radiantly scored for soloists and chorus.
Vivace Chorus
5
|
Salvator mundi (O Saviour of the world)
O Saviour of the world,
who by thy Cross and thy precious Blood
hast redeemed us,
Save us and help us,
we humbly beseech thee, O Lord.
I
Psalm 23
1.
The Lord is my shepherd: therefore can | lack nothing.
2. He shall feed me in a green pasture:
and lead me forth beside the waters of comfort.
3. He shall convert my soul:
and bring me forth in the paths of righteousness for his
name's sake.
4. Yea, though | walk in the valley of the shadow of death,
I will fear no evil: thy rod and thy staff comfort me.
5. Thou shalt prepare a table before me against them that trouble me:
thou hast anointed my head with oil, and my cup shall be full.
6. But thy loving kindness and mercy shall follow me all the days
of my life:
and | will dwell in the house of the Lord for ever.
lll Requiem aeternam (1)
Requiem aeternam dona eis.
Eternal rest grant unto them.
Et lux perpetua luceat eis.
And let light perpetual shine upon them.
Requiem aeternam dona eis,
Eternal rest grant unto them,
Domine.
O Lord.
IV Psalm 121
1.
| will lift up mine eyes unto the hills:
from whence cometh my help.
2. My help cometh even from the Lord:
who hath made heaven and earth.
6
Vivace Chorus
3. He will not suffer thy foot to be moved:
and he that keepeth thee will not sleep.
4. Behold, he that keepeth Israel:
shall neither slumber nor sleep.
5. The Lord himself is thy keeper:
he is thy defence upon thy right hand;
6. So that the sun shall not burn thee by day,
neither the moon by night.
7. The Lord shall preserve thee from all evil:
yea, it is even he that shall keep thy soul.
8. The Lord shall preserve thy going out and thy coming in:
from this time forth and for evermore.
V Requiem aeternam (2)
Requiem aeternam dona eis.
Eternal rest grant unto them.
Et lux perpetua luceat eis.
And let light perpetual shine upon them.
Requiem aeternam dona eis,
Eternal rest grant unto them,
Domine.
O Lord.
VI I heard a voice from heaven
| heard a voice from heaven, saying unto me, "Write,
From henceforth blessed are the dead
which die in the Lord:
Even So saith the Spirit,
For they rest from their labours’
Interval
(20 minutes)
Vivace Chorus
7
Wolfgang Amadeus Mozart: Mass in C minor K427
Soprano 1, Soprano 2, Tenor, Bass, Chorus, Orchestra
Wolfgang Amadeus Mozart (1756-1791)
composed a number of masses for solo
singers, four-part chorus and orchestra,
but one of these was a mass on a grand
scale, featuring spectacular solo arias,
elaborate ensemble movements for four
soloists, together with magnificent 4-, 5and 8-part choruses with orchestral
accompaniment.
This work was the first major mass setting
to appear following J.S. Bach's famous
Mass in B minor, and even though it was
never completed, Mozart's ‘Great’ Mass in
C minor is one of the composer's most celebrated compositions. The
popularity of this monumental work was enhanced by sections of it
being featured, along with extracts from Mozart's much-loved
Requiem, in the film Amadeus. In this, the Italian composer, Antonio
Salieri, who spent most of his time living in Vienna, strongly featured
as Mozart's musical competitor, and there was a notable scene
where Salieri appeared totally overwhelmed as he listened to part of
the beautiful soprano solo from the mass's opening Kyrie.
Mozart's Mass in C minor, K427 was started in the summer of 1782
around the time of Mozart's marriage to Constanze, and it is believed
that it was composed to celebrate their marriage and also the birth
of their child, Raimund Leopold. Constanze must have had a fine
voice as she was expected to sing the leading soprano solo part -
and this she did at St. Peter's, Salzburg, in October 1783. This
performance may have been a great success but Mozart had not, in
fact, finished the score. A few of the movements, including the
Credo, Sanctus and Benedictus remained incomplete and the Agnus
Dei was completely missing, and stayed thus until his death, so that
most performances are of this unfinished version.
During Mozart's life he did transfer a large amount of the music to
his large-scale choral work Davide penitente, but as an incomplete
Mass setting it still makes an exceptionally fine composition.
8
Vivace Chorus
Mass in C minor K427
S¢I"oR,+
B@,o l
Kyrie (Soprano, Chorus)
Gloria in excelsis (Chorus)
Laudamus te (Soprano)
Gratias agimus tibi (Chorus)
Domine Deus (Soprano |, Soprano )
Qui tollis (Chorus)
Quoniam tu solus (Soprano |, Soprano Il, Tenor)
Jesu Christe (Chorus)
Cum Sancto Spiritu (Chorus)
Credo in unum Deum (Chorus)
Et incarnatus est (Soprano)
[ERY N
Sanctus (Chorus)
[IEY w
Benedictus (Soprano |, Soprano I, Tenor, Bass, Chorus)
1
Kyrie
The
opening movement commences with an intensely dark
orchestral introduction in C minor which is then effectively taken
over by the full chorus. The middle section (Christe eleison), a
glorious, soaring soprano solo, contrasts strikingly with the
preceding choral section, the dramatically sombre mood of which
returns to bring the movement to a close.
2 -9
Gloria
There is a change to bright C major for a brilliant choral outburst at
the start of the Gloria, followed by a dazzling aria (Laudamus te) with
rich orchestral accompaniment and elaborate coloratura phrases for
the solo soprano.
The solemn five-part chorus (Gratias agimus tibi) follows and leads
into a dazzling duet for two sopranos (Domine Deus) accompanied
by strings, A highly effective final section includes virtuosic vocal
leaps passed between the two soloists.
Vivace Chorus
9
The powerful, Bach-inspired Qui tollis, scored for double chorus and
jagged dramatic accompaniment, is on a uniquely grand scale in
this work, and
includes astonishing changes from fortissimo to
pianissimo.
A richly flowing allegro trio for two sopranos and tenor (Quoniam tu
solus) is followed by a powerful, short adagio (Jesu Christe), before
the final Cum Sancto Spiritu, arguably the most impressive choral
fugue Mozart composed.
10 -11
Credo
The two movements which comprise the Credo start with a brilliantly
lively Allegro maestoso five-part chorus (Credo in unum Deum) which
is followed by one of Mozart's greatest arias (Et incarnatus est), in
which the soprano soloist is accompanied by a flute solo and
orchestra. The piece demands an astonishing vocal range and
dexterity from the soprano, at one point including an almost twooctave leap. A virtuouso cadenza for voice and flute brings this
dazzling aria to a close.
12 - 13 Sanctus
The stately double chorus, Sanctus, leads the singers into the same
double form for an exhilarating Osanna, full of joyful and brilliant
runs. An especially expressive setting of the Benedictus for all four
solo singers leads to a reprise of the Osanna by the chorus, which
brings this glorious mass to a jubilant end.
Printed music for this evening's concert has been obtained from
Surrey Performing Arts Library
Oxford University Press
We are most grateful to these organisations.
10
Vivace Chorus
Claire Seaton - Soprano
Born in Wolverhampton, Claire studied
at the Birmingham School of Music, at
the Royal Academy of Music with Rae
Woodland
and
subsequently
Kenneth
with
Bowen,
Linda
and
Esther-Grey.
She joined Kent Opera during her final
year at the Academy, was awarded the
Wessex
Glyndebourne
Prize in 1998 and
Glyndebourne
in
Association
1999
Festival
made
Opera
her
debut
singing the role of Vitellia (La Clemenza
di
Tito).
Further
Glyndebourne
engagements
included
covering
at
the
roles of Ellen Orford (Peter Grimes) and the Countess (Le Nozze di
Figaro),
followed
by contracts with
Opera
de
Lyon
and
Opera
Europa.
One of the country's most adaptable sopranos, Claire also enjoys
remarkable success in the early music field where she has worked
with ensembles such as The Tallis Scholars and the Gabrieli
Consort, with whom she made her BBC Proms debut in Handel's
Dixit Dominus and is known for her performances of the soprano
solosin Allegri's Miserere.
Claire's
oratorio
experience
is
extremely
broad
and
she
is
particularly renowned for her performances of Verdi's Requiem,
Brahms' Requiem and Mozart's C minor Mass. Her recent repertoire
has ranged from regularly performed favourites such as Verdi's
Requiem and Mozart's Requiem to less common works such as
Symanowski's Stabat Mater and Elgar's The Light of Life.
In addition to recording the Allegri, Claire's discography includes the
role of The Believer in Rutland Boughton's Bethlehem for Naxos,
Brahms' Requiem with Jeremy Backhouse and the Vasari Singers for
Guild, and the world premiere of Jonathan Dove's The Far Theatricals
of Day with
Nicholas
Cleobury.
Claire
has
also
recorded
the
Pergolesi Stabat Mater with the counter tenor Andrew Watts.
Claire recently created the role of Matriarch for the world premiere
of Paul Mealor's cantata The Farthest Shore with the BBC Singers,
broadcast live on Radio 3 from St David's Cathedral.
Vivace Chorus
11
w
Tickets £20 available from the Guildford Tourist
Information Centre, 155 High Street GU1 3A)
Telephone 01483 444334 www.visitguildford.com
Wordcraft
for design, print and promotional
services call us on:
01483 560735
Based in Guildford - Active Everywhe
re
-..supporting the arts..helping commu
nity...
rhw
solicitors
_: Corporate Law
Wills, Powers of Attorney & Probate
Divorce & Family Law
Dental, Vets & Care Home Sector
#l
Residential & Commercial Property
rhw solicitors - 180 years serving Surr
ey & beyond
call: 01483 302000
email: guildford@rhw.co.uk
www.rhw.co.uk
rhw are next to
Guildford Train Station
Ranger House, Walnut Tree Close, Guil
dford, GU1 4UL
"Your help and guidance were invaluable
.......
--.....as for your service, impeccable"
Lucy Goddard - Mezzo-soprano
Lucy has performed as a soloist with
groups such as the Academy of Ancient
Music and Solomon's Knot, in venues
including
the
Cadogan
Hall
and
St
John's, Smith Square.
Recent stage appearances include
Hansel in Humperdinck's Hansel und
Gretel,
Meg
Page
in Verdi's
Falstaff,
Annio in Mozart's La clemenza di Tito,
Dorabella in Cosi fan tutte, and Zerlina in
Don Giovanni.
In 2015 she was the
mezzo
soloist
in
David
Lang's
Little
Match Girl Passion with Cryptic Theatre
at King's Place and on tour throughout the UK, and in 2014 she
performed in Erratica's Triptych at the Print Room in Notting Hill and
in Wilton's Music Hall.
In addition to her opera and consort work, Lucy is a keen interpreter
of contemporary music and is a member of EXAUDI vocal ensemble,
with whom she has performed at the major UK festivals and venues,
including Spitalfields, Aldeburgh and Huddersfield Contemporary
Music Festivals, Southbank Centre and Wigmore Hall, with
ensembles including the London Sinfonietta, BCMG, Talea
Ensemble and Ensemble Modern.
With EXAUDI she regularly gives live radio broadcasts and has held
residencies and given workshops at IRCAM, Royaumont and
Aldeburgh. Future engagements include a Wigmore recital with
EXAUDI, solos at the St Endellion Festival, and further concerts and
European tours with the Dunedin Consort, The King's Consort,
Monteverdi Choir and Academy of Ancient Music.
Lucy graduated with distinction for her Master's at the Royal
Academy of Music in 2011.
She previously read Languages at
Cambridge University, and spent a year studying violin at the Scuola
di Musica di Fiesole.
Vivace Chorus
-
Roy Rashbrook - Tenor
Roy Rashbrook was educated at Dauntsey's
School,
going
Goldsmith's
on
to
College
study
and
music
singing
at
at
the
Guildhall School of Music and Drama. After a
brief but rewarding flirtation with a career in
teaching, Roy became a professional singer
in 1998, joining the world famous choir of St.
Paul's Cathedral the following year. Roy also
sings
regularly with
such
groups as The
King's Consort and The Clerks, combining
their
various
recording
performing,
schedules
with
touring
his
work
and
as
a
soloist, singing teacher and conductor.
He has conducted several choirs and ensembles,
including the
Goldsmiths' Chorus, The University of London Union Chorus, The
Hanover Singers and
Candlelight Opera.
He
is a
regular guest
conductor of The Waverley Singers and directs 3 choirs of his own:
Hart Voices, The Chantry Singers and Cantorum Nicolai, a newly
formed choir of upper voices. He also gives occasional lectures on
music and is in the process of producing a new edition of Vivaldi's
opera Il Farnace for performances in the USA later this year.
Roy
has
sung
as
a
soloist with
a
number of Britain's
leading
orchestras including the City of London Sinfonia, the Orchestra of
the Age of Enlightenment and the London Mozart Players. He has
appeared on many CD recordings, film soundtracks and radio and
television broadcasts, both at home and abroad.
Recent conducting
work
includes
performances
of the Victoria
Requiem, Charpentier's Missa Assumpta est Maria, and Ramirez's
Misa Criolla. Forthcoming concerts include Handel's Dixit Dominus,
Bach's Cantata Christ lag in Todesbanden, Haydn's Nelson Mass and
Mozart's Vesperae solennes de confessore.
He lives with his wife and daughter in Woking, Surrey, where he
spends such spare time as he can with his hobbies of enthusing
about old vinyl, landscape photography, cycling, hiking, learning
Hungarian and ignoring the cupboard which contains his unsorted
tax receipts for two years ago.
Vivace Chorus
15
Richard was awarded a scholarship to
the Royal Academy of Music in 2010,
and graduated in 2014 with first class
honours. He completed a Master of Arts
degree at the RAM with distinction in
2016 and is currently continuing his
studies
with
Royal Academy Opera
where he will be under the tutelage of
Mark Wildman and lain Ledingham.
In June 2016 Richard debuted for Opera
Holland
:
"
|
’
Park,
performing
the
role of
Colline in Puccini's La Boheme as part of
the
Christine
Collins
Young
Artist
Programme. For Royal Academy Opera Richard has performed the
roles of Melisso (Alcina), Figaro (Le nozze di Figaro) and Amantio di
Nicolao (Gianni Schicchi). In September 2016, Richard was awarded
first prize in the Richard Lewis/Jean Shanks singing competition. He
will also be appearing in the semi-finals of the ROSL annual singing
competition and the National Mozart Competition in 2017.
As an oratorio soloist Richard has had a variety of performance
opportunities including Brahms' Requiem, Handel's Messiah, Bach's
Cantata BWV 203 Amore traditore', Pilate and Christus in Bach's St
Passion, Zebul in Handel's Jephtha and Beethoven's 9th
John
Symphony.
Future performances include: Mozart's Requiem at St Martin-in-the-
Fields, St Matthew Passion at Dorking Halls and the roles of Nick
Shadow (The Rake's Progress) and Guglielmo (Cosi fan tutte) in the
Royal Academy's Opera Scenes.
Richard is grateful for the support and solo opportunities provided
by a Help Musicians UK Tutton Award and the Josephine Baker
Trust.
The Vivace Chorus gratefully acknowledges the sponsorship of
|
16
Richard Walshe by the Josephine Baker Trust.
{
i
Vivace Chorus
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
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. A recent recording of Rachmaninov's
All-Night Vigil'is due for release in October 2017.
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). A
commission for a major new work from Alexander L'Estrange is
planned for November 2018.
Vivace Chorus
17
rg 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 a
major concert series at both St Martin-in-the-Fields and the Crystal
Palace Bowl.
A large number of artists of international standing have worked with
the orchestra including Emanuel Hurwitz, Lesley Garrett, John
Georgiadis, John Wallace, Michael Thompson and Gordon Hunt. Its
repertoire ranges from Bach to Lloyd Webber and its members give
around 100 performances of orchestral, chamber, choral and
operatic music during the year.
Violin 1
Viola
Bassoon
Mihkel Kerem
Matthew Quenby
Adam Mackenzie
John Mills
Jon Thorne
Rosie Cow
Ciaran McCabe
Kate Musker
Biarn
Sara Wolstenholme
Toby Deller
Martin Grainger
Katerina Nazarova
Cello
Hugh Sisley
Ar.ma Ha'rphar.n
Adrian Bradbury
Ali McKenzie
Trumpet
Enico Alvares
Harriet Wiltshire
Neil Brough
Sarah Westley
Heidi Bennett
Richard Milone
Bass
Samantha Wickramasinghe Andrew Davies
Trombone
Susan White
Milena Simovic
Violin 2
Edward Webb
Jan Zahourek
John Dickinson
Libby Croad
Elute
lan Mullin
Christiane Eidsten-Dahl
Emma-Juliet BOYd
Dougal Prophet
Timpani
Tristan Fry
Oboe
b
Richard Simpson
Organ
Rachel Broadbent
Rupert Jeffcoat
e
About Vivace Chorus
Jeremy Backhouse
Music Director
Francis Pott
Accompanist
James Garrow
Chairman
Vivace Chorus is a flourishing, ambitious and adventurous choir
based in Guildford, Surrey which aims 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.
We are delighted to be returning to London in 2017 with our 70th
birthday celebration concert in the Royal Festival Hall.
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,
Vivace Chorus
19
but
is
also
a
composer
international
repute
and
accomplished concert pianist.
of
an
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 music-making overseas and have toured to
France, Italy, Germany and Austria. This year, we are touring closer
to home, with a weekend's singing at Tewkesbury Abbey and
Gloucester Cathedral.
We're a friendly and sociable choir that enjoys singing traditional
choral classics alongside the challenge of contemporary and newlycommissioned music. We are always very happy to welcome new
members, so if you would like to try us out, do come along to any of
our regular rehearsals on Monday evenings at 7.15 in the Millmead
Centre, Millmead, Guildford.
Just 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.
Vivace Chorus Singers
FIRST SOPRANO
Grace Beckett
Liz Hampshire
FIRST BASS
Pam Alexander
Monika Boothby
Pauline Higgins
John Bawden®
Jane Brooks
Barbara Hilder
Phil Beastall
Amanda Burn
Amelia Atkinson
Frances Bamber
Helen Beevers®
Joanna Bolam
Mary Broughton
Suzanne Cahalane
Rachel Edmondson
Rebecca Kerby
Mo Kfouri
Alex Nash
Emily Nash
Susan Norton
Robin Onslow
Margaret Parry
Christine Lavender
David Brassington
Kate Emerson
Roz Marshall
Richard Broughton
Valentina Faedi
Catherine Middleton Michael Dudley
Dorothy Ford
Val Morcom
Derek Fisher
Sheila Hodson
Pamela Murrell
Brian John
Jean Leston
Sonja Nagle
Jeremy Johnson
Lois McCabe
Jacqueline Norman
Jon Long
Penny McLaren
Sheila Rowell
Malcolm Munt
Kay McManus
Prue Smith
Chris Newbery
Christine Medlow
Rosey Storey
Peter Pearce
Rosalind Milton
Pamela Usher
Chris Peters
Mary Moon
Anne Whitley
Robin Privett
Lilly Nicholson
Elisabeth Yates
David Ross
Gillian Rix
Gill Perkins®
Joan Thomas
Linda Ross
FIRST TENOR
Hilary Vaill
Lesley Scordellis
Mike Bishop
SECOND BASS
Catherine Shacklady
Bob Bromham
Peter Andrews
SECOND SOPRANO
Carol Sheppard
Bob Cowell
Norman Carpenter
Jacqueline Alderton
Marjory Stewart
Rosie Jeffery
Geoffrey Forster
Anna Arthur
Jo Stokes
Nick Manning
James Garrow
Ginny Heffernan
Nicola Telcik
Martin Price
Stuart Gooch
Krystyna Marsden
Hilary Trigg
Chris Robinson
Nick Gough
Annika Mathews
Maggie Woolcock
John Trigg
SECOND ALTO
SECOND TENOR
John Parry
Geraldine Allen
Ewan Bramhall
Roger Penny
Evelyn Beastall
Peter Butterworth
David Robson
Sylvia Chantler
Tony Chantler
Michael Taylor
Mary Clayton
Geoff Johns
Richard Wood
Sheila Cooper
Stephen Linton
Isabel Mealor
Michelle Mumford
Alison Palmer
Kate Peters
Paula Sutton
Barbara Tansey
Christine Wilks
Frances Worpe
Philip Stanford
Eric Kennedy
Neil Martin
Andrea Dombrowe
Peter Norman
Elizabeth Evans
Adrian Oxborrow
FIRST ALTO
Sheena Ewen
Arnfinn Overas
Barbara Barklem
Valerie Garrow
Jon Scott*
* Soloists in the Howells Requiem
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 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
John McLean OBE & Janet McLean
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, the Royal Albert
Hall and the Royal Festival Hall. For an annual donation, patrons can have
unlimited tickets at a 10% discount. If you are interested, please contact
Joan Thomas on 01483 893178 or email: patrons@vivacechorus.org.
22
Vivace Chorus
Review of 'All the World's a Stage' or No holds '‘Bard'
G Live, November 2016
The Vivace Chorus and The Brandenburg Sinfonia, directed
by
Jeremy Backhouse, joined forces with members of the Guildford
Shakespeare Company to present an evening of Shakespearian
delight at GLive on Saturday evening.
The works of Shakespeare have influenced composers from his own
time until the present day and this concert brought us a wellselected programme of orchestral and choral pieces interspersed
with excerpts from the plays which inspired them.
We were introduced to the actors in a short scene from Romeo and
Juliet. Tchaikovsky's overture Romeo and Juliet suffered a little from
the wide spread of the orchestra but the tutti sections, especially
the ‘love theme' were rich and cohesive. The orchestra played with
tremendous verve and great sensitivity throughout the evening but
especially in Walton's Henry VV Symphonic Suite.
The Vivace Chorus showed us just how well they adapt to a wide
variety of music. They began with a soulful chorus of refugees from
Verdi's Macbeth and followed it with the Witches' Chorus from the
same opera; a switch from plangent sorrow to cackling witchery!
They showed us their fun side in the first and last of Vaughan
Williams' Shakespeare Songs, and in contrast, a quietly serious
second song, The cloud-capp'd towers.
Berlioz' Tristia was composed with Hamlet in mind, and was
introduced by “To be or not to be", strongly portrayed, as were all the
acted excerpts. This was beautifully sung with a perfect balance
between orchestra and chorus.
We enjoyed some light relief in an excerpt from The Comedy of
Errors followed by Vaughan Williams' Serenade to Music.
The
opening orchestral section was exquisitely played and the choral
sound had a truly ethereal texture.
The concert ended with Walton's film score for Henry V arranged as
a suite by Sir Malcolm Sargent. Each of the five movements has its
own character and these were skilfully portrayed by chorus and
orchestra, accentuated by fiery speeches from the play and
culminating in the rousing Agincourt Song; a fitting end to a splendid
tribute to Shakespeare.
Gillian Brierley
Vivace Chorus
23
Vivace Chorus dates for your diary
Brahms Ein deutsches Requiem
Monday 1st May 2017 7.30pm
Royal Festival Hall, London
OYALFESTIVALHALL
We're delighted to be closing our 70th season with one of the most-
loved 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.
...................................................................................
Tickets for this memorable event are available now from the
Southbank Box Office on 020 7960 4200 (£2.75 booking fee applies)
or online at www.southbankcentre.co.uk
Bruckner and Mahler
Saturday 11th November
Guildford Cathedral
We return to Guildford Cathedral for Bruckner's wonderful Mass in E
minor, characterised by its beauty, simplicity and restraint. By
contrast, Mahler's hugely popular 2nd Symphony, ‘Resurrection’
written for a large orchestra, sweeps the audience up in creativity
and soundscape, bringing the choir in as barely a whisper towards
the end of the work before building to a stunning finale.
Further details at vivacechorus.org
Printed by WORDCRAFT
115 Merrow Woods, Guildford, Surrey GU1 2LJ. Tel : 01483 560735
Vivace Chorus is a Registered Charity No. 1026337
24
Vivace Chorus
Do you know
‘What’s On’ in local
arts and
entertainment?
The ArtsEGG.uk
website will keep
you up-to-date.
Visit ArtsEGG.uk @\?)
regularly to be
sure not to
miss out!
Xy
\\)
&,
&)
~
FOLLOW ArtsEGG.
uk poats on Twizter:
FATIECT
L
A
0 e Joesed
W
Mok waras 5 cheh o
WM
NN
w
ArtsEGG.uk
populated by
arts providers for
all lovers of the arts
T No.2
phony
‘Resurrection’
r
in E mino
Bruckner rgMasinss
fonia
The Brandenbu emy Backhouse
Conductor: Jer
philharmgrs
Ein deutsches Requi.em
Cantus Maris
World premiere]
—
Orchestra
vivace Chorus
Chorus
The Londonemy
use
Conductor: Jer Backho
CENTRE
Chorus
i
PSOM
{AMBER
(8]
Front Nave Reserved Guildford Cathedral
Row
i
1
Seat
Staqg Hill GUILDFORD GU2 7UP
Mozart/Howells - Vivace Chorus
04 March 2017 19:30
Transaction: 488256 Ticket: 46310
£26.00
Adult