BRANDENBURG
St
Martin
in
the
Fields
3
3
2
3
BRANDENBURG
CHORAL FESTIVAL
OF LONDON
by i a2
SPRING
SERIES
:
2018
Fauré
Requiem
by candlelight
Vivace Chorus
Brandenburg Sinfonia
Conductor - Jeremy Backhouse
LA
O
A
L)
Friday 9 February 2018
7pm
Welcome to the Brandenburg Choral Festival
A very warm welcome to the fifteenth concert of the ninth 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
maintains and increases both the quality and variety established over the
last few years and you can enjoy all the standard choral fare along with
some splendid new flavours. Watch out especially for Thea Musgrave’s
ninetieth birthday concert — tum ti tum tum tum tuuuuuuum!
Our Brandenburg Sunday Series at The Grange Wellington Hotel in
Victoria offers relaxing late afternoon concerts with the option of a
splendid afternoon tea; our first few Come and Sing at Sea events proved
so popular that this year — again in association with the wonderful
Voyages to Antiquity — we set sail to Rome and Nice in May.
There are full details of all the concerts and events in the Festival’s Spring Series 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 — @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 our old friends from Vivace Chorus. They sing in the Festival
regularly and always bring a freshness and enthusiasm to their concerts. The setting of the glorious
surroundings and acoustics of St Martin’s is just perfect for this programme. We are lucky to be able
to perform here regularly and our thanks go to Andrew, Caroline and their team for their continued
support.
In recent years we have established links with around 100 small and midsize charitable organisations
and many of the concerts in the Festival have been affiliated to at least one charity. If you know of a
charity which could also benefit from this type of opportunity, please put them in touch with us. Itis
our custom to make a retiring collection at the end of our concerts to boost the work of our partner
charities and so I am hoping that you will have been uplifted by the concert and will contribute
generously. Tonight we will be supporting two of our regular charities — The Holborn Community
Association and the Connection here at St Martin’s,
This is the perfect opportunity to welcome David Wordsworth to the team as Associate Musical
Director, and of course to thank our continuing Artistic Patron, Eric Whitacre for his continued
support, along with our headline sponsors, Grange Hotels and Voyages to Antiquity.
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: the wonderful Joyful Company of Singers with their director
Peter Broadbent are performing a lovely programme built around the iconic Allegri Miserere. Please
do join us if you can.
With my very best wishes,
Robert Porter
Brandenburg Artistic Director
PS. Please do pick up a brochure for the Spring Series — we have loads of fantastic concerts lined
up!
PPS. Brandenburg Ambassadors and Friends: Our Brandenburg Ambassadors are all
volunteers who give up some of their spare time to help out at concerts, and I am eternally grateful
for their support. You may see them selling programmes, manning the bar, signing up new Friends,
or simply saying ‘Hello” when you arrive. As well as hearing concerts and rehearsals for free, there
are social events during the year and the chance to meet like-minded people. If you would like more
information about becoming an Ambassador, please email concert@brandenburg.org.uk.
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 activities and events as well as special offers on tickets and
priority booking. To sign up simply email admin@brandenburg.org.uk or you can use the contact form
on the website www.brandenburg.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
Artistic Director
Robert Porter
Associate Music Director
David Wordsworth
Artistic Patron
Eric Whitacre
General Manager
Alison Hunt
Concert Manager
Jane Kersley
Marketing Manager
Marc Gascoigne
Associate Conductor
Edward Reeve
Fringe Director
Naveen Arles
Development Officer
Rosie Williams
Choir Manager
Sarah Evander
Press Manager
Claire Thornton
Assistant Concert Manager
Carol Prigent
Print and Design
Dick Jones
Administrators
Karin Hayes, Mervion Kirwood,
Friends Chairman
Tim Rooke
Alison Judah
Editor
Tom Taylor
1 he Brandenburg Choral Festival is a collective of like-minded promoters
dedicated to the promotion of ligh quality choral performance mcluding:
‘Brandenburg Symphony Oichestra Lid, JR Management, Oxford Concert Productions
Please note — for your comfort and enjoyment
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 recording are not permitted.
Please try to refrain from coughing; a handkerchief placed over the mouth while coughing assists
greatly in limiting the noise. Thank you.
Once the concert starts entry will only be permitted between pieces.
The Crypt Gallery and Café in the Crypt can be hired for private functions. Phone 020 7839 4342
PROGRAMME
Gustav Holst | St Paul’s Suite
L. Jig
I1. Ostinato
1I1. Intermezzo
IV. The Dargason
Wolfgang Amadeus Mozart | Adagio and Fugue in C minor
Edvard Grieg | Holberg Suite
1. Praeludium
I1. Sarabande
II1. Gavotte
IV. Air
V. Rigaudon
INTERVAL
Gabriel Fauré | Requiem
L. Introitus et Kyrie
I1. Offertorium
II1. Sanctus
IV. Pue Jesu
V. Agnus Der
V1. Libera me
VIL. In paradisum
PROGRAMME NOTES, TEXTS AND TRANSLATIONS
Gustav Holst (1874-1934) | St Paul’s Suite, op. 29 no. 2
Around 1904 Holst was appointed Musical Director at St Paul’s Girls’ School, Hammersmith, his
biggest teaching post and one which he greatly enjoyed, remaining there until his death. When
a music wing was added onto the St Paul’s Girls’ School, a sound-proof teaching room was built
for Holst. For the nearly twenty years of his remaining lifetime, this was where he wrote nearly all
of his music. The St Paul’s Suite for the school orchestra is the first composition he wrote there.
Originally written for strings, Holst added wind parts to include an entire orchestra if necessary.
The first movement begins with a robust Jig’ in alternating 6/8 and 9/8 time. Holst introduces
a contrasting theme, then skillfully develops and blends the two themes. The ‘Ostinato,” marked
Presto, opens with a figure played by the second violins which continues throughout the movement,
then a solo viola introduces the principal theme. In the ‘Intermezzo’ a solo violin introduces
the principal theme over pizzicato chords, then the solo viola joins the violin in a duet. After an
animated section the original melody is again heard, now performed by a quartet of soloists.
Finally the folksong ‘Dargason’ is introduced very softly, then cellos enter playing the beautiful
‘Greensleeves’ and the two folksongs are played together to end the suite. — Jane Erb
Wolfgang Amadeus Mozart (1756-1791)
| Adagio and Fugue in C minor, K 546
The C minor Fugue was first composed in December 1783 for two pianos (K 426) 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.
Edvard Grieg (1843-1907) | Holberg Suite, op. 40
From Holberg’s Time. Suite in the Olden Style, op. 40, was written for the bicentenary year of Ludvig
Holberg’s birth. Ludvig Holberg (1684—1754) was born in Bergen, and became Professor in
Metaphysics, Latin, Literature and History, at the University in Copenhagen. But he is most
famous, both today and during Grieg’s time, for writing comedy, and he is recognized as one of
the most important personalities in the Danish-Norwegian joint literature. The Suite was finished
in August 1884, and the 7" of December it was performed for the very first time in Bergen. Grieg
chose the French baroque dance suite as the music base. But he has put his own personal stamp on
the separate movements, so there isn’t the slightest amount of doubt that this is Grieg, in French
seventeenth-century costume.
Gabriel Faureé (1845-1924) | Requiem
Gabriel Fauré’s setting of the Requiem Mass was the most important of his sacred works. It was
composed while he was the choirmaster at the Madeleine in Paris and, although it was started at
a time when he lost both his father and his mother, in Fauré’s own words, ‘I wrote this work for
the pleasure of it’, rather than in memory of a specific person. Today, this setting of the Requiem
is Fauré’s best known and most performed composition — a work which rapidly gained its
popularity after World War II. Compared to the massive Requiems of Berlioz and Verdi, it makes
its effect not through violent representation of the terrors of judgement in the Dies irae sequence,
but through a sense of calm and tranquillity. There are a few dramatic moments and these make
a telling effect amongst the generally peaceful mood of the music. Fauré does, in fact, omit the
large-scale Dies irae section and we only get a short glimpse of it in the Libera me movement.
L. Introitus et Kyrie
The opening section of the first movement is basically pianissimo for the chorus with a central
build-up to forte for the words Et lux perpetua. This is followed by lyrical sections for the tenors
followed by the sopranos, which lead to powerful moments starting with Exaud: orationem meam,
before a beautiful Kyrie eleison setting which then returns to a pianissimo ending.
I1. Offertorium
Choral altos and tenors set the subdued mood for the Offertorium. The basses then join them before
the solo baritone sings the highly expressive middle section, Hostias. The movement ends with the
full chorus returning to music which recalls the opening section.
II1. Sanctus
There is a magical accompaniment for the Sanctus where each vocal phrase is led by sopranos and
then taken up by the tenors and basses. The mood for this movement is basically piano — there
is, however, a short build-up to a joyful Hosanna and then a gradual return to pianissimo allowing
the magical accompaniment to bring the Sanctus to a conclusion.
IV. Pie Jesu
The central movement in Fauré’s Requiem is a famous solo aria, sung either by a soprano or a
boy treble. There is a distinctive opening phrase, Pie Jesu Domine, and this returns after a beautiful
middle section commencing with the words Dona eis Domine.
V. Agnus De:
Agnus Dei is a highly effective movement. After a distinctive instrumental introduction, the tenors
lead into two full choral sections and the movement ends with a return to the words and music of
the first movement, Requiem aeternam.
V1. Libera me
The beauty of Fauré’s music is retained in the 6th movement with superb dramatic contrast when
the words Dies illa, Dies irae appear. The movement commences with a richly conceived melody for
the baritone soloist. This melody is taken up again after the powerful central section and is sung
by the full choir in unison, before the baritone soloist leads into the final dolce phrases of Libera me.
VIL. In paradisum
As with the Sanctus, the final movement is established with a radiant instrumental accompaniment
followed by memorable phrases from the sopranos. The other voices join in later with rich
harmonies and the full chorus and instrumentalists bring this miraculous setting of the Requiem to
a uniquely tranquil ending;
L. Introitus and Kyrie
Requiem @ternam dona eis, Domine,
Rest eternal grant them, O Lord,
et lux perpetua luceat eis.
and let perpetual light shine on them.
Te decet hymnus, Deus, in Sion,
To thee praise is due, O God, in Zion,
et tibi reddetur votum in Jerusalem.
and to thee vows are recited in Jerusalem.
Exaudi orationem meam;
O Lord, Hear my prayer;
ad te omnis caro veniet
unto thee all flesh shall come.
Kyrie eleison.
Lord, have mercy.
Christe eleison.
Christ, have mercy.
Kyrie eleison
Lord, have mercy
IL. Offertorium
Domine Jesu Christe, Rex glori,
Lord Jesus Christ, King of Glory,
libera animas defunctorum
deliver the souls of the dead
de poenis inferni,
from punishment in the inferno,
et de profundo lacu.
and from the infernal lake.
Libera eas de ore leonis,
Deliver them from the mouth of the lion,
ne absorbeat eas tartarus,
lest the abyss swallow them up,
ne cadant in obscurum.
lest they fall into the darkness.
Hostias et preces tibi,
Sacrifices and prayers to thee,
Domine, laudis offerimus.
O Lord, we offer with praise.
Tu suscipe pro animabus illis
O receive them for the souls of those
quarum hodie memoriam facimus.
whom today we commemorate.
Fac eas, Domine,
Make them, O Lord,
de morte transire ad vitam,
to pass from death to life,
quam olim Abraha promisisti,
as thou of old hast promised Abraham
et semini eius.
and his seed.
Amen
Amen
II1. Sanctus
Sanctus, Sanctus, Sanctus,
Holy, Holy, Holy,
Dominus Deus Sabaoth.
Lord God of hosts.
Pleni sunt ceeli et terra
The heavens and earth are filled
gloria tua.
with thy glory.
Hosanna in excelsis.
Hosanna in the highest.
IV. Pie Jesu
Pie Jesu Domine,
Merciful Lord Jesus,
dona eis requiem,
grant them rest,
requiem sempiternam.
rest everlasting.
V. Agnus Der
Agnus Dei,
Lamb of God,
qui tollis peccata mundi,
who taketh away the sins of the world,
dona eis requiem,
Grant them rest,
requiem sempiternam.
rest everlasting.
Lux @terna luceat eis, Domine,
Let light eternal shine on them, O Lord,
cum sanctis tuis in @ternum,
with thy saints forever,
quia pius es.
for thou art merciful.
Requiem @ternam, dona eis, Domine,
Rest eternal grant them, O Lord,
et lux perpetua luceat eis.
and let perpetual light shine on them.
V1. Libera me
Libera me, Domine,
Deliver me, O Lord,
de morte aterna,
from eternal death,
in die illa tremenda
on that fearful day
quando cceli movendi sunt et terra,
when the heavens are moved and the earth
dum veneris judicare
when thou shalt come to judge
seculum per ignem
the world through fire.
Tremens factus sum ego, et timeo
I am made to tremble, and I fear,
dum discussio venerit,
when the desolation shall come,
atque ventura ira.
and also the coming wrath.
Dies illa, dies ira,
That day, the day of wrath,
calamitatis et miseria,
calamity, and misery,
dies magna et amara valde.
that terrible and exceedingly bitter day.
Requiem @ternam, dona eis, Domine,
Rest eternal grant them, O Lord,
et lux perpetua luceat eis.
and let perpetual light shine on them.
Libera me, Domine.
Deliver me, O Lord.
VIL. In paradisum
In paradisum deducant te angeli,
May the angels lead you into paradise,
in tuo adventu
may the martyrs receive you
suscipiant te martyres,
in your coming,
et perducant te
and may they guide you
in civitatem sanctam Jerusalem.
into the holy city, Jerusalem.
Chorus angelorum te suscipiat,
May the chorus of angels receive you
et cum Lazaro quondam paupere
and with Lazarus once poor
aternam habeas requiem.Lux aeterna luceat
may you have eternal rest. May eternal light
eis, Domine,
shine on them, O Lord.
Clum sanctis tuils in acternum,
With Thy saints for ever,
Quia pius es.
Because Thou art merciful.
Requiem aeternam dona eis, Domine,
Grant the dead eternal rest, O Lord,
Et lux perpetua luceat eis,
And may perpetual light shine on them,
Cum sanctis tuis in aecternum,
With Thy saints for ever,
Quia pius es.
Because Thou art merciful.
BIOGRAPHIES
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.
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 Reguiem. In 2017, we celebrated the choir’s 70" anniversary with Brahms’
Requiem and the premicére of Francis Potts’ Cantus Maris with the Philharmonia Orchestra at the
Royal Festival Hall, and a sell-out concert featuring Mahler’s glorious Symphony no. 2 ‘Resurrection’
at Guildford Cathedral.
We also like to take our music-making overseas and have toured to France, Italy, Germany and
Austria. After a ‘home tour’ in the Cotswolds last summer, we are now preparing for a tour of the
Baltic States in June 2018.
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.
Brandenburg Sinfonia
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 Halls, Royal Albert Hall, Queen Elizabeth Hall, Fairfield Halls and St
John’s Smith Square. As well as its renowned work in the UK, the Brandenburg Sinfonia is also
in great demand abroad and has, in recent years, visited France, USA, Bermuda, the Channel
Islands, Barbados, Cyprus, Malta and St Petersburg. The varied range of activities undertaken
by the orchestra include a major concert series at St Martin-in-the-Fields and a major Classical
Music cruise on the QE2. The orchestra also performs regularly as the resident orchestra at 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. One of the recent
highlights was an International Opera Gala conducted by Richard Bonynge in the presence
of HRH Prince Charles. The orchestra’s 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. The orchestras for a number of touring companies are formed from members
of the Brandenburg Sinfonia including Central Festival Opera, First Act Opera, London City
Opera, and English Pocket Opera.
‘Played with a verve and sparkle.” — The Times
Vivace Chorus
Soprano I
Sel Adamu, Jane Barnes, Helen Beevers, Sarah Burrowes,
Rebecca Kerby, Joan Thomas, Hilary Vaill
Soprano II
Jacqueline Alderton, Anna Arthur, Isobel Humphreys, Krystyna Marsden, Sonia Morris,
Barbara Tansey, Valerie Thompson, Christine Wilks
Alto I
Barbara Barklem, Jane Brooks, Amanda Burn, Christine Medlow,
Lesley Scordellis, Carol Sheppard, Hilary Trigg
Alto I1
Mary Clayton, Valerie Garrow, Jo Glover, Catherine Middleton, Pamela Usher, June Windle
Tenor I
Bob Bromham, Bob Cowell, Nick Manning, Martin Price, John Trigg
Tenor 11
Peter Butterworth, Simon Dillon, Peter Norman
Bass I
Michael Dudley, Jeremy Johnson, Malcom Munt, Peter Pearce,
David Ross, Philip Stanford, Kieron Walsh
Bass 11
Peter Andrews, Norman Carpenter, James Garrow, Stuart Gooch,
Nick Gough, Neil Martin, Richard Wood
Brandenburg Sinfonia
Violin 1
Clara Biss
Milena Simovic
Cello
3
r}
Yiola 1 (Fanré)
Adrian Bradbury
Ali Mackenzie
John Dickinson
Matthew Quenby
Joseph Fisher
Bass
Violin 2
Eleanor Parry-Dickinson
Andiew Davies
Eleanor Parry-Dickinson
Mifty Hirsch
Viola 2 (Fauré)
Viola
John Dickinson
Matthew Quenby
Mitfy Hirsch
Joseph Fisher
Milena Simovic
Harp
Bl Bt
Organ
Rupert Jeffcoat
eremyy 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. 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.
Catriona Hewitson — Soprano
Edinburgh-born Soprano Catriona Hewitson began her
training at the City of Edinburgh Music School before studying
at the Royal Northern College of Music and the Royal College
of Music where she is currently a member of their International
Opera School. She was also a recent member of the ENO
Opera works training programme. She has won several prizes
including the Clare Croiza Prize for French Song, the Chris
Petty English Song Competition, the James Oncken Prize for
Song and the Cuthbert Smith Prize as well as coming second
in the Lies Askonas Competition, being a finalist in the Frederic
Cox Award for Singers, the Elizabeth Harwood Memorial
Award. Most recently she was a finalist in both the 2016
Maureen Lehane Vocal Awards and Royal Over-Seas League
Vocal Category.
Highlights on the concert platform include performing in St Martin-in-the-Fields as part of the
Brandeburg Choral Festival, making her debut in the Bridgewater Hall, singing in the Edinburgh
International Festival Songlines series and touring Northern Ireland with the Ulster Orchestra.
She has performed recitals for the Scottish Arts Club and the Edinburgh Festival Fringe, as well as
in Manchester and London. She has sung as a member of the BBC Radio 4 Daily Service Singers,
London Voices, the Orchestra for the Age of Enlightenment Chorus, Ludus Baroque, Caledonian
Voices, and the National Youth Choir of Scotland.
Catriona has worked with English Touring Opera covering the roles of Sophie Werther, Yniold
Pelléas et Mélisande and Iphise Dardanus (Rameau). Other roles include Susanna The Marniage of
Figaro, Musetta La bohéme, Monica The Medium (Magnetic Opera), Cis Albert Herring (The Grange
Festival), Ida Die Fledermaus, Emmie Albert Herring(RCMIOS), Amore Orfeo ed Eunidice, Harry Albert
Herning, Marta Company, Wife Paradise Moscow (RNCM), First Young Tree/ Squirrel Paul Bunyan
(British Youth Opera), Ensemble Giove in Argo (London Handel Festival/ RCMIOS), Amour Orfeo
and Eurydice (Winterbourne Opera), Belinda Dido and Aeneas (Ebarocum Baroque) and chorus with
Opera Holland Park.
Future performances include the Rooster and other small roles in The Cunming Little Vixen at
RCMIOS. Catriona is an Emma Rose Scholar supported by The Royal College of Music and
the Norah Popple Award and has also been generously supported by the Hope Scott Trust, James
Caird Travelling Fund, Cross Trust and PS.
Joseph Padfield — Bass-Baritone
Joseph Padfield graduated with distinction from the Opera
Course of the Guildhall School of Music and Drama in 2014.
He was an Alvarez Young Artist at Garsington Opera in 2012
& 2017, a Les Azuriales Young Artist in 2015 and is currently a
recipient of the 201617 International Opera Awards Bursary
Fund. He continues his vocal studies with Gary Coward.
Recent highlights include singing Golaud Pelléas et Mélisande for
Garsington Opera, his return to the Guildhall School of Music
and Drama as Ibn Hakia lolanta and performances as Figaro
Le nozze di Figaro and Guglielmo Cosifan tutte for Diva Opera on
tour in the UK, France and South Africa. In the current season
Joseph will perform Dr P The Man Who Mistook His Wife For A
Hat at the Institute of Contemporary Arts, London and Opera
Galas for Barandov Opera.
Other roles include Bear Prince East of the Sun, West of the Moon (Téte 2 Téte Opera Festival); Coyle
Owen Wingrave (Banft Centre for Performing Arts, Canada); Lido Boatman/Restaurant Waiter
Death in Venice (Garsington Opera) and Barker The Adventures of Pinocchio (Cambridge Philharmonic
Society). He has understudied roles including Zuniga Carmen (Scottish Opera); Dog/Death/
Smith Swanhunter (Opera North); Eisenring Biedermann and the Arsonists (Independent Opera) and
Guglielmo (Garsington Opera).
Solo oratorio engagements have included Handel Messiah with Lawrence Cummings; Dvorak 7e
Deum with St John of Jerusalem Festival Chorus; Monteverdi Vespers with Bridgewater Sinfonia;
Haydn Nelson Mass with Vivace Choir; the world premiére of Ian Schofield’s Freedom with
Southampton Choral Society and Fauré Requiem, Campra Requiem, Brahms Ein deutsches Requiem
and Vaughan Williams Five Mystical Songs.
A NOTE ON TONIGHT’S VENUE
There has been a place of worship on the site of St
Martin-in-the-Fields since medieval times, although the
foundation stone for the present building was laid in
1722. Designed in the neoclassical style by James Gibbs,
the total cost was £33,661, including the architect’s fees!
The ecarliest extant reference to the church is from 1222
and it was rebuilt by Henry VIl in 1542 to keep plague
victims in the area from having to pass through his =~
Palace of Whitchall. At this time it was literally ‘in the
Ficlds® as Trafalgar Square didn’t exist until 1830. The
church was enlarged again during the reign of James
I and the actress Nell Gwynn was among those buried
there.
St Martin is the patron saint of beggars and the church
is dedicated to St Martin of Tours who is generally
portrayed on horseback, sharing his cloak with a
vagrant. The church is now well known for its work with
the homeless through The Connection and the BBC
Radio 4 Christmas appeal.
The church as you sce it today, and the underground spaces including the refurbished Crypt,
shop and ‘backstage’ area, opened in 2008. St Martin’s also provides services for the Chinese
community in London.
From performances by Mozart and Handel in the 18" century through to the founding of
the world-renowned Academy of St Martin-in-the-Fields in the 1950s, the church has always
had a strong musical tradition. Today, evening concerts by candlelight feature top British and
international ensembles presenting choral, chamber and instrumental music from the Baroque
and Early Classical period as well as more modern works by living composers. There are jazz
nights in the Crypt and free lunchtime concerts during the week.
Coming soon
ING'S
BRANDENBURG
CHORAL FESTIVAL
OF LONDON
BRANDENBURG
College
CHORAL FESTIVAL
LONDON
OF LONDON
SPRING SERIES
2018
SPRING SERIES
Allegrl
Come & Sing
Spem in alium
Mls e I e I e
Sing through Tallis’s spectacular 40-part
motet before listening to the
by candlelight
i
et
=
Choir of King’s College pertorm at
St Paul’s Covent Garden at 7.30pm
Joytul Company of Singers
Conductor - Peter Broadbent
with Joseph Fort and
Concert lasts approximately one hour without an interval
The ChOIr Of Klflg S Couege ]Jondon
Friday 9 February
.
9.30pm
Tickets £14 (unreserved)
St Martin-in-the-Fields
Offi
7766 1100 Onlin
9
Saturday 10 February
sonsored b
fi;@
3pm
Tickets £15 students ¥5 (music hire included)
King’s College London
Tuws@m-.mmwcmafl%_’ =
Box
.«
:
mmmm«wmmmmmzm
f.org
ce: 07528
BRANDENBURG
.'t
CHORAL
elryrdgd
FESTIVAL
OF LONDON
BRANDENBURG
The Queen’s Chapel
CHURCH
SPRING SERIES
CHORAL FESTIVAL
of the Savoy
OF
LONDON
2018
.
Tallis
Spem 1n
Lamentations
alium
Allegri
Miserere
I Dodici
Choir of King’s College London
Conductor - Gabriel Chernick
Conductor - Joseph Fort
Saturday
vorsoret
N
1,
10
February
Monday 12 February
2 3opm
e
iy
:
)
b Kildeen
Tickets £23 (premium) £18 (unreserved)
€5
children ¥5
St Paul'sCovent Garden
WMMWEW
07528
Memnesr
ING S
301IES
S
=
AN
7.30pm
Tickets£23(premium) €18 (unreserved) children £5
The Queen’s Chapel of the Savoy
s‘m,mas:zmumwcznvm
Box oftice: 07528
77
ko festival
17 Luxury London Hotels
2000+ Guest Bedrooms and Suites
Meeting and Events Venues for 2000+
State-of-the-art Health Clubs and Spas
Binvag
Eco-Friendly Hotel Design
For enquiries please contact us on:
T: +44 (0) 20 7233 7888 | E: reservations@grangehotels.com
www.grangehotels.com