MASS IN
BLUE
Will Todd
MisaTango
Palmeri
Will Todd Ensemble
Santiago Quartet
Conductor:
Jeremy Backhouse
Vivace
Saturday
9thNov 2019
7.30 pm
22/10/2019 12:16
SHOWING AT GUILDFORD HOUSE
The Sunday Times
Watercolour Competition
2019
16 November 2019 - 2 January 2020
Clockwise from top left; Michael Borozdin-Bidnell JukkasjaÌörvi Kyrka,
Swedish Lapland, Graham Sendell, The Kissing Gate, Anne Goldberg,
Norman and The Toys, Tony Noble, The old mill by the canal, Autumn
Opening times:
Monday to Saturday,
10am to 4.45pm
FREE ADMISSION
GUILDFORD HOUSE
155 High Street,
Guildford GU1 3AJ
www.guildford.gov.uk/guildfordhouse
For more information call 01483 444751 or email heritageservices@guildford.gov.uk
GBC Sunday Times 2019 Poster aw.indd 1
07/10/2019 10:12
Milonga del Angel
Astor Piazzolla
Misa a Buenos Aires Martín Palmeri
Oblivion
Astor Piazzolla
Autumn
Astor Piazzolla
Mass in Blue
Will Todd
Richard Manuel & Paula Duarte
Tango dancers
Hilary Cronin
Soprano
Julian Rowlands
Bandoneón
Tom Mason
Double bass
Francis Pott
Piano
Santiago Quartet
Will Todd Ensemble
Conductor: Jeremy Backhouse
BRAVO!
Guildford in Bloom Awards September 2019
"Beautiful opening performance by Vivace Chorus. Thank you
for starting the awards in such style"
"Special guest appearance opening tonight – Vivace Chorus, a
magical choir of 48 singing Linden Lea"
"Country Garden by Percy Grainger performed by Vivace
Chorus – what a perfect way to start the show!"
Mozart Requiem May 2019
"The Ave Maria was sublime with real purity of sound and great
dynamics. And the Requiem was really powerful in its
contrasts - loved the strength of the men's voices in Dies irae
and the angelic women's choir in Confutatis! Well done! The
people around me were saying 'what an excellent evening of
culture' it was for the people of Guildford"
Sea Symphony - March 2019
"Thank you for a super evening! The music was wonderful and
your rendition of the RVW Sea Symphony left me feeling as
though I had been on the ocean. All three soloists were a joy to
hear and the orchestra was fabulous!"
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
Astor Piazzolla and the Tango
Interviewed a few years before his
death in 1992, the composer Astor
Piazzolla recalled his dramatic first
meeting with Nadia Boulanger, the
great French teacher of composition,
and the moment that transformed his
life and his music:
“She suddenly opened her eyes, took
my hand and told me: ‘You idiot, that’s
Piazzolla!’”
Born in Mar del Plata, Argentina, but
brought up in Greenwich Village and
Little Italy, New York City, Piazzolla had
learnt to play the bandoneón – the idiosyncratic cousin of the
accordion and the concertina that tonight’s virtuoso, Julian
Rowlands, has called 'the soul of tango'. After returning to his native
country at the age of sixteen Piazzolla had dedicated himself to
music, playing 'in every cabaret in Buenos Aires' but also making a
thorough study of the classical tradition with Alberto Ginastera.
A prize for composition and a scholarship from the French
government in 1954 brought the thirty-two-year-old to Paris, where
he showed Boulanger his 'kilos of symphonies and sonatas' but
concealed his love of tango, ashamed of its 'low class' associations:
“I didn’t want to tell her that I was a bandoneón player, because I
thought ‘She will then throw me from the fourth floor!’”
Luckily for Piazzolla and his future audiences the forensic Boulanger
questioned him 'like an FBI agent', briskly told him that his classical
pieces were derivative, asked him to play a tango of his own, and
was able to set the 'idiot' on his true artistic path. This led him to
develop the so-called New Tango, fusing tango with classical
elements to form a distinctive genre of contemporary music. He
summed it up as 'a popular chamber music that comes from the
tango' – perhaps using a key word in its strongest cultural sense –
popular: 'of the people, rooted in folk tradition'.
Vivace Chorus
3
The bandoneón
The bandoneón was invented in 19C Germany, originally so that
clergymen in remote country districts could play simple chordal
accompaniments to congregational singing, but it was soon
developed as an instrument of enormous melodic and rhythmical
potential. Taken to Latin America, it became an essential element in
the culture of Argentinian and Uruguayan tango.
In an online interview for Songlines Magazine Julian Rowlands has
discussed the extraordinary expressive range and adaptability of the
instrument. Sturdy and four-square when closed, it stretches out
lithely and flexibly on the knees of the performer, and this gives an
exciting immediacy and responsiveness to the sound, whether
playing long, intensely emotional melodies or exploiting “the
rhythmic drive that comes from bouncing the instrument so that
each attack overblows the reeds – the ‘chan-chan’ sound of the
tango marcato rhythm”.
The standard bandoneón has a range of nearly five octaves, and like
a stringed instrument it can achieve a wide variety of timbres and
subtle effects of vibrato – all sensitive to the player’s moment-bymoment shades of interpretation.
Photo: Pavel Krok
4
Vivace Chorus
Piazzolla: Milonga del Angel, Oblivion, Otoño Porteño
In their different ways the three Piazzolla pieces in this concert all
embody the distinctive character of tango: intimate dependence of
each instrument on the others, intricate, mutually supportive
musical patterns and gestures, and an extraordinary sense of
emotional honesty, shaped by a sensitive and co-operative
discipline.
Milonga del Angel:
String quartet, bandoneón, Tango dancers
The Milonga del Angel (1965) was written for a play by Alberto
Rodriguez Muños in which themes of violence and redemption are
explored in a Buenos Aires setting. Milonga is a dance-form with
West African origins, and is also the word for a dance-party. In the
relaxed, almost drowsy opening section the bandoneón emerges
modestly from beneath a yearning string melody. The characteristic
syncopated rhythms of tango begin to assert themselves as elegant
melodic lines answer each other and intertwine, creating a slow,
sensuous dance of contrasting colours, timbres and textures and
becoming more urgent before subsiding to a touchingly tranquil
conclusion.
Vivace Chorus
5
Martín Palmeri: Misa a Buenos Aires (Misatango) - 1996
Palmeri was born in 1965, and his Mass for Buenos Aires was the first
work in which he experimented with mixing choral music with tango:
“Everything is possible”, he said, “and music should be
interconnected and we should build a bridge between all musical
forms”. Strongly influenced by his compatriot Piazzolla, he said in an
interview that “without [the bandoneón] it is very difficult to be ‘in the
genre' … this instrument is like the human voice, it is the typical
sound of tango”.
When he composed the work Palmeri was director of a choir who
had told him that they wanted to “sing tango”, but he found it difficult
to write music for unaccompanied voices that could be performed
with the necessary precision. His solution was to compose the
Misatango with a concentration of the tango elements in the
instrumental score for bandoneón, strings and piano (the traditional
make-up of the tango orchestra), then 'counterpoint' this with more
recognisably conventional writing for the voices, “energised by
tango rhythms”. He said that he chose to set the Latin text of the
Mass because it gave the work “a reserved, esoteric quality” which
from his point of view had “much to do with tango”.
From the beginning the Kyrie uses the text dramatically, contrasting
the insistent Kyrie eléison ('Lord have mercy') with the persuasive
Christe eléison ('Christ have mercy') and so exploiting both the
bandoneón’s percussive accenting and its long-breathed, eloquent
phrasing.
The work moves straight on into the spirited Gloria, and two musical
traditions come together as the soprano soloist, gravely supported
by the instrumental ensemble, expresses the slow, dignified and
sensuous character of tango which then blends seamlessly with a
hushed, devotional mood derived from the traditions of choral
church music. The Quoniam section ('For Thou only art holy') returns
to the vigorous rhythm of the opening Gloria, and the amens are
exuberant, even playful, at the end.
Palmeri identified the Credo as a “difficult, complex, very elaborate
text” with an “almost theatrical narrative” for which he aimed to find
musical ideas that embodied the drama. The firm statement of faith
6
Vivace Chorus
at the beginning is underlined by selective use of unison and a
propulsive rhythm. At Et Incarnatus est ('He was incarnate by the
Holy Ghost') the solo voice, supported by solemn phrases in the
accompaniment, dramatises the pathos of Jesus’s vulnerability, and
the pain and exposure of the Crucifixion are vividly conveyed by
jabbing rhythms (consciously handled, Palmeri said, in the style of
Piazzolla).
The unaccompanied account of the Death and Entombment ends
on a bare chord with no “third”, which Palmeri said represents “the
void of death”, and the tempo shifts to allegro for the Resurrection.
After the mysterious Spiritum section for the soloist her phrases are
taken up by the basses, then developed by the other parts.
Everything here grows out of and is built on the Resurrection theme,
just as in Christian doctrine the Church and the Faith are grounded in
the Resurrection: Palmeri is attentive to the religious argument of
the text as well as to its drama. Confidently repeated amens, rising
from fortissimo to fortississimo (triple forte) form a fitting conclusion.
In contrast, the soloist’s simple phrases at the beginning of the
Sanctus are introduced by an elegantly relaxed piano solo, then
rhythmically varied by the chorus.
This leads directly into the Benedictus, gentle and mysterious at
first but almost immediately becoming a cheerfully lilting melody.
The words here are those of the people of Jerusalem welcoming
Jesus as Messiah, and Palmeri dramatizes the entry into the city as
an uncomplicated, everyday event linking Heaven and Earth – just
as it is for a community of believers.
The Agnus Dei begins with a powerful chord, followed by a slow,
languorous melody from the bandoneón that initiates the pleas for
mercy. Fugal entries give weight to the prayer, and Palmeri
increases the sense of urgency as the end approaches not by
hastening the tempo but by reining it in. Syncopated cries of Dona
nobis pacem for all voices rise to forte, then a sudden dramatic
softening brings the work to an extended and gentle close.
Vivace Chorus
7
Misa a Buenos Aires (Misatango)
Chorus, Soprano, String quartet, Bandoneón, Double bass, Piano
Kyrie
Kyrie eléison
Lord have mercy
Christe eléison
Christ have mercy
Kyrie eléison
Lord have mercy
Gloria
Gloria in excelsis Deo et in
terra pax hominibus bonæ
voluntatis.
Glory to God in the highest, and
on earth peace to people of
good will.
Laudamus te, benedicimus te,
adoramus te, glorificamus te.
We praise you, we bless you,
we adore you, we glorify you.
Gratias agimus tibi propter
magnam gloriam tuam,
Domine Deus, Rex cælestis,
Deus Pater omnipotens.
We give you thanks for your
great glory, Lord God, heavenly
King, O God almighty Father.
Domine Fili unigenite Jesu
Christe, Domine Deus, Agnus
Dei, Filius Patris.
Lord Jesus Christ, Only
Begotten Son, Lord God, Lamb
of God, Son of the Father.
Qui tollis peccata mundi,
miserere nobis; qui tollis
peccata mundi, suscipe
deprecationem nostram. Qui
tollis peccata mundi, miserere
nobis.
Who takes away the sins of the
world, have mercy on us; who
takes away the sins of the
world, receive our prayer; who
takes away the sins of the
world, have mercy on us.
Quoniam, tu solus Sanctus, tu
solus Dominus tu solus
Altissimus, Jesu Christe. Tu
solus Dominus, tu solus
Altissimus, cum Sancto Spiritu:
in gloria Dei Patris. Amen.
For You alone are the Holy One,
you alone are the Lord, you
alone are the Most High, Jesus
Christ, with the Holy Spirit, in
the glory of God the Father.
Amen.
8
Vivace Chorus
Credo
Credo in unum Deum, Patrem
omnipotentem, factorem cæli
et terræ, visibilium omnium et
invisibilium, et in unum
Dominum, Jesum Christum,
Filium Dei unigenitum.
I believe in one God, the Father
Almighty, maker of heaven and
earth, of all things visible and
invisible, and in one Lord, Jesus
Christ, the only-begotten Son of
God.
Et ex Patre natum ante omnia
sæcula. Deum de Deo, Lumen
de Lumine, Deum verum de
Deo vero.
Born of the Father before all
ages, God from God, Light from
Light, true God from true God.
Genitum, non factum,
consubstantialem Patri: per
quem omnia facta sunt.
Begotten, not made,
consubstantial with the Father,
by whom all things were made.
Qui propter nos homines et
propter nostram salutem
descendit de cælis.
Who for us men and for our
salvation came down from
heaven.
Et incarnatus est de Spiritu
Sancto ex Maria virgine, et
homo factus est.
And by the Holy Spirit was
incarnate of the Virgin Mary,
and was made man.
Crucifixus etiam pro nobis, sub
Pontio Pilato: passus, et
sepultus est.
For our sake he was crucified
under Pontius Pilate, suffered
death and was buried.
Et resurrexit tertia die
secundum scripturas. Et
ascendit in cælum, sedet ad
dexteram Patris.
He rose again on the third day
according to the Scriptures. He
ascended into heaven, and is
seated at the right hand of the
Father.
Et iterum venturus est cum
gloria, judicare vivos et
mortuos. Cujus regni non erit
finis.
He will come again with glory,
to judge the living and the
dead, and his kingdom will have
no end.
Vivace Chorus
9
Credo in Spiritum Sanctum,
Dominum et vivificantem, qui ex
Patre Filioque procedit, qui cum
Patre et Filio simul adoratur et
conglorificatur, qui locutus est
per prophetas.
I believe in the Holy Spirit, the
Lord, the giver of life, who
proceeds from the Father and
the Son, who with the Father
and the Son is adored and
glorified, who has spoken
through the prophets.
Credo in unam, sanctam,
catholicam et apostolicam
ecclesiam.
I believe in one, holy, catholic
and apostolic Church.
Confiteor unum baptisma in
remissionem peccatorum. Et
expecto resurrectionem
mortuorum, et vitam venturi
sæculi.
I confess one Baptism for the
forgiveness of sins, and I look
forward to the resurrection of
the dead and the life of the
world to come.
Amen.
Amen.
Sanctus & Benedictus
Sanctus, Sanctus, Sanctus,
Dominus Deus Sabaoth. Pleni
sunt cæli et terra gloria tua,
Hosanna in excelsis.
Holy, Holy, Holy, Lord God of
hosts. Heaven and earth are
full of your glory, Hosanna in
the highest.
Benedictus qui venit in nomine
Domini, Hosanna in excelsis.
Blessed is he who comes in
the name of the Lord, Hosanna
in the highest.
Agnus Dei
Agnus Dei, qui tollis peccata
mundi, miserere nobis.
Lamb of God, who takes away
the sins of the world, have
mercy on us.
Agnus Dei, qui tollis peccata
mundi, miserere nobis.
Lamb of God, who takes away
the sins of the world, have
mercy on us.
Dona nobis pacem.
Grant us peace.
10
Vivace Chorus
Piazzolla: Oblivion
String quartet, bandoneón, Tango dancers
Oblivion (1982) was written for the sound-track of Marco
Bellocchio’s ironic film comedy Enrico IV, and has been
performed as a vocal number with lyrics that tease out the
double sadness implied by its simple but subtle structure –
regret for lost love, and regret that even the memory of loss is
fading.
The eloquent bandoneón melody falls, rises and falls again,
while the tender accompaniment moves repeatedly upwards.
Perhaps one of these elements represents lost love and the
other the memory of love that still remains but is gradually
disappearing.
The piece illustrates perfectly what the cellist Yo Yo Ma has
said about Piazzolla’s tango music – that it shows “the great
strength of true voice” and is “a music of deep undercurrents …
endlessly passionate and full of yearning”.
Interval
(20 minutes)
This event is part of Echoes Festival of Latin Classical Music
2019, organised by ILAMS and the Instituto Cervantes
www.echoesfestival.co.uk
www.ilams.org.uk
Vivace Chorus
11
Piazzolla: Otoño Porteño (Autumn in the Port City)
String quartet, bandoneón, Tango dancers
Autumn in the Port City – that is, Buenos Aires – is part of a
sequence of pieces on the seasons, although Piazzolla did
not originally write them as a set.
The vigorous, jaunty rhythms of the opening show that for
him this season is not just a time for regretful emotions, and
the strongly accented, percussive effects that the bandoneón
can achieve come into play here.
The music slows and introduces a warmly reflective theme,
with hints of falling leaves, passing time and the cool feel of
the Port City evening, and this then alternates playfully with
the opening material until the piece ends as if with a sudden,
sardonic wave of the hand.
Programme notes by Jon Long
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Contact us: Email: info@wokingmind.org.uk
Information & Advice: 07860 340 739
We're a registered charity (no. 1096503)
and a registered company (no. 4570329) in England
There will be a retiring collection on behalf of 'Woking Mind'.
Please give generously.
12
Vivace Chorus
Will Todd: Mass in Blue (Jazz Mass) Op. 28
Written in 2003 in response to a commission by Hertfordshire
Chorus, and originally premiered under the title Jazz Mass, Will
Todd’s Mass in Blue is a brilliant blend of driving jazz grooves
and clear, strong, choral writing against which the solo piano
and solo soprano voice weave and blend in a delightful aural
tapestry. The work reflects not only the composer’s love of
jazz music and his admiration of jazz performers, but also his
own experience as an improviser.
It also allows Todd to make use of his extensive choral skills
which he deploys so effectively in works such as the oratorios
The Burning Road (Op 10) and Saint Cuthbert (Op 7) or the
chorus writing of his opera The Blackened Man. It is a
confident work by a composer who understands and responds
to the jazz idiom, making free use of the 12 bar blues sequence
(which has been fundamental in the development of jazz
music) as well as more complex harmonic processes.
The Kyrie opens with an energetic cadenza for the trio section
which builds into the first set tempo of the work. Over this the
first vocal entry is heard, a bluesy theme reminiscent of
spirituals and therefore apt for the text Kyrie eléison - 'Lord
have mercy'. Gradually other lines join the initial melody until
the full choir is singing. They burst forth ecstatically with
Christe eléison, and as this music subsides we hear the soprano
enter on a soulful melody with a strong improvised feel. The
music of the Kyrie eléison is repeated with the soloist
interwoven around the vocal lines in a virtuosic display. The
movement then slows to a thrilling final chord.
The Gloria is set up with a fanfare from the saxophone which
punctuates the whole movement. From the moment the choir
enters there is an uplifting rhythmic drive to this setting. In the
central section of the Gloria a pulsating 5/8 time is established
which gradually builds until a recapitulation of the opening
material brings the movement to a close.
Vivace Chorus
13
The Credo features the soprano in a colourful 12 bar blues in
12/8 time. There is a strong gospel feel with the choir repeating
lines from the soloist and humming soft backing harmony.
Again in three sections, the first blues part gives way to a more
sombre section at the Crucifixus, and after et sepultus est ('and
he was buried') a piano solo leads the ensemble into a blazing
depiction of the moment of resurrection. The Et resurrexit is set
with a scorching up-tempo swing which eventually cuts back
into the 12/8 as the movement builds to a thrilling climax.
Like the Gloria the Sanctus is set for the choir and band
without the soloist. It is a beautiful, slow ballad set up initially
on the piano, with a prominent role for the saxophone. The
movement provides a welcome period of tranquility and
reflection after the sheer energy of the previous three
movements.
The Benedictus begins with solo double bass over which the
choir sings a theme which builds up from the basses through
the rest of the voices. This music is gradually invaded by a
new, more driving beat and the solo voice begins to weave into
the texture once again. This funky riff gradually takes over and
the music emerges into a powerful Hosanna section with
punching instrumental rhythms and a jubilant choral sound.
The Agnus Dei is a substantial movement: more than beautiful,
it is painful, plaintive, a cry for mercy and a prayer for peace. It
begins with a moving contrast to the end of the Benedictus as
the piano tenderly introduces a haunting soprano ballad, the
strong 12 bar blues harmony once again underpinning the
texture. The choir enters, pleading gently but insistently, as
intricate choral lines are woven over a simple, repeated chordal
structure. The music builds from a beautiful rising phrase on
qui tollis peccata mundi – 'who takest away the sins of the
world', to an intense climax at miserere nobis – 'have mercy
upon us'. The opening ballad theme then returns, the soprano
now accompanied softly by the choir.
14
Vivace Chorus
Traditionally the Mass would end here on pacem - 'peace', but
in another dramatic masterstroke Will Todd leaves the altos
hanging on a soft F after the last chord of the Agnus Dei. The
air of expectation grows as the sopranos softly recapitulate
the Credo theme, and gradually the texture builds with the
soloist entering, then the tenors and basses.
Suddenly the 12/8 beat of the Credo is heard again, driving
the music forward with renewed energy as the choir sing et
expecto resurrectionem - 'I look for the resurrection'. The
emphatic final chords of the work leave the listener not in
quiet contemplation but impelled forward into praise and
belief: 'Credo! Amen!'
© Ralph Woodward 2003 updated by Jon Long for the version
used in this performance
Will Todd: Mass in Blue (Jazz Mass) Op. 28
Chorus, Soprano, Jazz Ensemble (Saxophone, Double bass, Drums,
Piano), String quartet
Kyrie
Kyrie eléison
Lord have mercy
Christe eléison
Christ have mercy
Kyrie eléison
Lord have mercy
Gloria
Gloria in excelsis Deo et in
terra pax hominibus bonæ
voluntatis.
Glory to God in the highest, and
on earth peace to people of
good will.
Laudamus te, benedicimus te,
adoramus te, glorificamus te.
We praise you, we bless you,
we adore you, we glorify you.
Gratias agimus tibi propter
magnam gloriam tuam,
Gloria! Domine Deus, Rex
cælestis, Deus Pater
omnipotens.
We give you thanks for your
great glory, Gloria! Lord God,
heavenly King, O God almighty
Father.
Vivace Chorus
15
Domine Fili unigenite Jesu
Christe, Domine Deus, Agnus
Dei, Filius Patris.
Lord Jesus Christ, Only
Begotten Son, Lord God, Lamb
of God, Son of the Father.
Qui tollis peccata mundi,
miserere nobis; qui tollis peccata
mundi, deprecationem nostram
suscipe.
Who takes away the sins of
the world, have mercy on us;
Who takes away the sins of
the world, receive our prayer;
Qui sedes ad dexteram Patris,
miserere nobis.
You are seated at the right
hand of the Father, have mercy
on us
Quoniam, tu solus Sanctus, tu
solus Dominus tu solus
Altissimus, Jesu Christe. Tu solus
Dominus, tu solus Altissimus,
cum Sancto Spiritu: in gloria Dei
Patris. Amen.
For You alone are the Holy
One, you alone are the Lord,
you alone are the Most High,
Jesus Christ, with the Holy
Spirit, in the glory of God the
Father. Amen.
Credo
Credo in unum Deum, Patrem
omnipotentem, factorem cæli
et terræ, visibilium omnium et
invisibilium, et in unum
Dominum, Jesum Christum,
Filium Dei unigenitum.
I believe in one God, the Father
Almighty, maker of heaven and
earth, of all things visible and
invisible, and in one Lord, Jesus
Christ, the only-begotten Son of
God.
Et ex Patre natum ante omnia
sæcula. Deum de Deo, Lumen
de Lumine, Deum verum de
Deo vero.
Born of the Father before all
ages, God from God, Light from
Light, true God from true God.
Genitum, non factum,
consubstantialem Patri: per
quem omnia facta sunt.
Begotten, not made,
consubstantial with the Father,
by whom all things were made.
Qui propter nos homines et
propter nostram salutem
descendit de cælis.
Who for us men and for our
salvation came down from
heaven.
16
Vivace Chorus
Et incarnatus est de Spiritu
Sancto ex Maria virgine, et homo
factus est.
And by the Holy Spirit was
incarnate of the Virgin Mary, and
was made man.
Crucifixus etiam pro nobis, sub
Pontio Pilato: passus, et sepultus
est.
For our sake he was crucified
under Pontius Pilate, suffered
death and was buried.
Et resurrexit tertia die secundum
scripturas. Et ascendit in cælum,
sedet ad dexteram Patris.
He rose again on the third day
according to the Scriptures. He
ascended into heaven, and is
seated at the right hand of the
Father.
Et iterum venturus est cum
gloria, judicare vivos et mortuos.
Cujus regni non erit finis.
He will come again with glory,
to judge the living and the
dead, and his kingdom will have
no end.
Credo in Spiritum Sanctum,
Dominum et vivificantem, qui ex
Patre Filioque procedit, qui cum
Patre et Filio simul adoratur et
conglorificatur, qui locutus est
per prophetas.
I believe in the Holy Spirit, the
Lord, the giver of life, who
proceeds from the Father and
the Son, who with the Father
and the Son is adored and
glorified, who has spoken
through the prophets.
Credo in unam, sanctam,
catholicam et apostolicam
ecclesiam.
I believe in one, holy, catholic
and apostolic Church.
Confiteor unum baptisma in
remissionem peccatorum. Et
expecto resurrectionem
mortuorum, et vitam venturi
sæculi.
I confess one Baptism for the
forgiveness of sins, and I look
forward to the resurrection of
the dead and the life of the
world to come.
Amen, Credo!
Amen, I believe!
Vivace Chorus
17
Sanctus & Benedictus
Sanctus, Sanctus, Sanctus,
Dominus Deus Sabaoth.
Holy, Holy, Holy, Lord God of
hosts.
Pleni sunt cæli et terra gloria
tua, Hosanna, Sanctus
Dominus Deus, Sanctus
Heaven and earth are full of
your glory, Hosanna, holy Lord
God, holy.
Benedictus qui venit in nomine
Domini, Hosanna in excelsis
Deo.
Blessed is he who comes in
the name of the Lord, Hosanna
to God in the highest.
Agnus Dei
Agnus Dei, qui tollis peccata
mundi, miserere nobis.
Lamb of God, who takes away
the sins of the world, have
mercy on us.
Agnus Dei, qui tollis peccata
mundi, miserere nobis.
Lamb of God, who takes away
the sins of the world, have
mercy on us.
Agnus Dei, qui tollis peccata
mundi, dona nobis pacem.
Lamb of God, who takes away
the sins of the world, grant us
peace.
Credo, credo. Et expecto
resurrectionem mortuorum, et
vitam venturi sæculi.
I believe! I look forward to the
resurrection of the dead, and
the life of the world to come.
Amen, Credo!
Amen, I believe!
End
18
Vivace Chorus
Rowan Bell
Ruth Funnell
Cressida Wislocki
Jonathan HennessyBrown
The Santiago Quartet
1st violin
2nd violin
Viola
Cello
The Santiago Quartet was formed by
Jonny Hennessey-Brown on his return
from a six-year stint as principal cello
of the Yucatán Symphony Orchestra,
Mexico.
Formerly known as Cuarteto Genesis,
the quartet has always championed
the vastly diverse and often underrated music of Latin America.
Photo © David Morgan
The quartet has been fortunate enough to perform in venues such
as Bellas Artes, Mexico City, The Purcell Room, St. Martin-in-theFields, The Troubadour in Earl’s Court and at festivals and concerts
around England and beyond.
They have made two albums; one called Latin Perspective and the
other Language of the Heart.
The latter album received rave reviews and had radio plays on BBC
Radio 3, 4, Classic FM and Radio 6 Music. On hearing them play live
in the studios of Front Row, Sir Bob Geldof commented “Sexier than
50 Shades of Grey”.
Georgia Mann-Smith played Oblivion from the second album on
Radio 3 breakfast adding simply, “Gorgeous performance”.
Language of the Heart made it to number three in the Classical
specialist charts and number nine in the Classic FM charts.
Collaborations have always been a big part of enriching musical
experience for the quartet, and they have enjoyed working with
artists such as Ahmed Dickinson, Cecilio Perera, Ana Silvera,
Sebastian Forbes, Will Todd, Nick Ingman, Salisbury Community
Choir, and the Latin Grammy Award winning Cuarteto
Latinoamericano, in no particular order of importance!
Vivace Chorus
19
Julian Rowlands – Bandoneónist
Photo © Nick Rutter
Bandoneónist and composer Julian
Rowlands has appeared on TV and
radio including BBC's "Strictly", "The
One Show" and "Zingzillas", ITV’s
"Surprise Surprise", BBC Radio 4's
"Front Row", and Radio 3's "Sound of
Dance" and "In Tune". He made his
Radio 3 debut in 2010 accompanying
bass-baritone Erwin Schrott in a live
broadcast from the Royal Opera
House, and his Wigmore Hall debut
later that year playing Piazzolla’s Five
Tango Sensations with the soloists of
the London Philharmonic Orchestra.
Julian created the score for the Olivier-nominated Midnight
Tango together with Ros Stephen and Jonathan Taylor of
Tango Siempre, and appeared in its 480 performances in the
West End and on tour, described by the Financial Times as
"the tango, raw, intoxicating, speaking with its true voice”.
His solo performances of his own music in the play Flying into
Daylight won the accolade 'Tango Nirvana' from the Guardian.
His recordings of Piazzolla with the Santiago String Quartet on
the 2018 album Language of the Heart have attracted praise
from artists including Sting, Bob Geldof and Tom Robinson.
Other ensembles with whom he has worked include The
Orchestra of the Royal Opera House, the Philharmonia
Orchestra and Chamber Players, The City of London Sinfonia,
Chineke, the RTE Concert Orchestra and the London Tango
Quintet.
20
Vivace Chorus
Paula Duarte – Tango dancer
Paula
is
a
world-class
professional dancer, teacher
and choreographer of the
Argentine tango. Following her
studies
in
contemporary
dance (Master's degree in
Dance Performance 2004),
Paula's
passion
for
the
Argentine tango developed
consistently into a full-time
career.
Based in London, she is
Photo © Valentin Bheringer
regularly invited to work with
national and international Tango communities with different
dance partners. In the United Kingdom she has taught at
Negracha Tango Club, Tango Bridge, Queer Tango, Tango on
the Thames, Pavadita, Mayfair Milonga, Reading Tango Club
and weekly teaches at Tanguito Tango Academy.
After winning the 1st place award in 2011 (III Open Show
Andalucia) dancing 'Felicia' she has been invited to join Tango
Companies such as Rea Danza (Broken Tango), Milton y
Romina, Perfiles, Compañía Nacional Arcos de Buenos Aires
and later in 2019 'Revelacion Tango' (Compañía de Adriano
Mauriello) as the female principal dancer.
Paula is currently part of the UK touring shows 'Tangomotion'
and 'Language of the Heart', with 'Tango Siempre' and
'Santiago Quartet' orchestras. She has also worked with 'Solo
Tango Orquesta' (Bali tango in Paradise) and 'Orquesta Tipica
D'Ariega' (El Abrazo de Riga, Latvia). Paula is currently
travelling worldwide with dancer Michael Nadtochi: together
they are known as 'Paulita y el Gato' and they have been part
of many festivals since the start of their collaboration in April
2018. Paula's dancing and teaching methods strive for
technical quality, attention to detail, elegance and precision.
Vivace Chorus
21
Richard Manuel – Tango dancer
Richard Manuel is an Argentine
Tango dancer, choreographer and
teacher. He has appeared on many
shows, including 'La Milonga
Interna', 'Una noche en Buenos
Aires', both directed by Biljana Lipic,
'Romance d’Carnaval' (UK Tour)
directed
by
Myriam
Ojeda,
'Ferverosa' (UK tour) directed by
Wendy
Hesketh
and
'Tangomotion' (UK tour) with the
band Tango Siempre.
He was also part of the creative
team and choreographer of the
show 'Tango! Tango!', directed by
Photo © David Morgan
Justin Pearson, about the life of
Astor Piazzolla which has toured the UK in 2008, 2009 and
2012. In 2009 he choreographed 'Boléro de Ravel' for 4 tango
dancers for Conductor Darrell Davison.
In November 2011 he joined the show 'Midnight Tango' (West
End, UK Tour and Strictly Come Dancing on BBC One) directed
by Karen Bruce (344 shows in 2012 and 2013).
Between 2014 and 2019 he has toured the UK with the new
'Tangomotion' show.
More recently, in 2018 he choreographed and performed in
three promotional videos - for the Santiago Quartet, the rock
band The 5th Element, and ‘The Great Masked Ball’ for The
Lost Estate and choreographed, performed and directed a
solo piece for a video clip called 'Barreras de Amor'.
Richard has taught and performed Argentine tango for 20
years in 12 countries and more than 140 cities around the
world for workshops, festivals and shows.
22
Vivace Chorus
Hilary Cronin – Soprano
Hilary Cronin is a Londonbased soprano. She read music
at Royal Holloway University of
London
where
she
was
awarded the Driver Prize for
Excellence in Performance, and
the Dame Felicity Lott Bursary
for postgraduate study. Hilary
then trained at Trinity Laban
Conservatoire
under
the
tutelage of Teresa Cahill and
completed a Postgraduate
Diploma and an FTCL Diploma.
Photo © Marc Gascoigne
Hilary has appeared in numerous operatic productions. She
covered roles for English Touring Opera in their 2016 Autumn
season, and, earlier this year, covered Despina and sang
Chorus for Nevill Holt Opera’s Così fan tutte. Last year, Hilary
played the lead in The Boatswain's Mate at Grimeborn Opera
Festival, and sang the role of Grilletta in Haydn's Lo Speziale
with Baroquestock Opera.
Hilary is an experienced ensemble singer and currently works
with the Monteverdi Choir, St Martin's Voices, Seraphim, Echo,
Sansara, and the Chamber Choir of London. She has also
performed with the Choir of the Age of Enlightenment, London
Voices, Britten Sinfonia Voices, Philharmonia Voices, Erebus
Ensemble, and Mogens Dahl Kammerkor.
Hilary is in demand as an oratorio soloist, often performs with
Istante Baroque, and she is regular soprano at St
Bartholomew-the-Great, and Holy Sepulchre. Hilary has
appeared as a soloist with the Will Todd Ensemble for the last
2 years, and next year will perform Mass in Blue at Salisbury
Cathedral. Upcoming engagements include Beethoven Mass
in C Major at The Sheldonian Theatre, Haydn Nelson Mass in
Henley, a Recital at Cranleigh School, and Handel Theodora in
the Vienna Konzerthaus.
Vivace Chorus
23
Will Todd
Photo © Andy Holdsworth
Will Todd’s flagship work is the
jazz Mass setting Mass in Blue,
which has been performed
hundreds of times around the
world since its 2003 premiere. His
anthem The Call of Wisdom was
commissioned by St Paul’s
Cathedral for the Diamond
Jubilee Thanksgiving Service for
Queen Elizabeth II in June 2012
and his arrangement of Amazing
Grace was performed as part of
the
BBC
Nelson
Mandela
Thanksgiving Service, and at the
private ceremony for President
Obama’s second inauguration.
Other notable works include the opera The Blackened Man, a
prizewinner in the International Verdi Opera Competition; the
oratorio Saint Cuthbert, which has been recorded by the Hallé
Orchestra; music theatre work The Screams of Kitty Genovese,
produced most recently by Tête à Tête Opera in London and
Edinburgh; a setting of Keats’ Ode to a Nightingale for Hertfordshire
Chorus and the highly acclaimed Alice’s Adventures in Wonderland
for Opera Holland Park.
Will has worked with many of the UK’s leading ensembles including
The Sixteen, The BBC Singers and the BBC Concert Orchestra. He
has had a fruitful collaboration with the award-winning chamber
choir Tenebrae with whom he has made the two highly-acclaimed
albums The Call of Wisdom and Lux et Veritas; the latter was voted
one of the top 20 albums of 2014 by Classic FM. The album
recorded by Opera Holland Park of Alice’s Adventures in Wonderland
went straight into the specialist classical charts at No 1 in July 2015,
and following three sell-out seasons of the show a new indoor
production at the Linbury Theatre at the Royal Opera House, Covent
Garden also sold out in November 2015.
24
Vivace Chorus
Will wrote his Clarinet Concerto for Emma Johnson, who recorded it
with the BBC Concert Orchestra in 2015 on the CD An English
Fantasy on the Nimbus label. Will has also collaborated with
celebrated children’s author Michael Rosen to create Lights, Stories,
Noise, Dreams, Love and Noodles, a cantata commissioned by David
Hill for The Bach Choir and more recently If I Had Wings based on
the Icarus myth for Herts music service for their Royal Albert Hall
performance.
Will frequently performs as a jazz pianist, leading the Will Todd
Ensemble, and enjoys a close working relationship with the
chamber choir St Martin’s Voices. Will is a regular visitor to mainland
Europe and the US where he is in high demand as a workshop
leader and conductor of his own music.
Will Todd Ensemble
Will Todd
James Fleeman
Paul Jones
Gareth Huw Davies
Piano
Drums
Saxophone
Double bass
The Will Todd Ensemble first worked
together as part of a worldwide training
programme for Unilever in which
improvisation was used to underpin
some of the training themes. Since then
the Ensemble has performed and
broadcast extensively including live
broadcasts on BBC Radio, appearances
Image © Alban Low
in London (Barbican Centre, Pizza
Express Soho, St Martin in the Fields), at festivals throughout the UK
and concerts in many of the UK’s most beautiful cathedrals
including Exeter, Durham, Chichester, Clifton, Sheffield, Guildford
and Wells. Drummer Jim Fleeman (currently performing the hit
show Matilda in the West End) and Bass player Gareth Huw Davies
form the rhythm section, and the Ensemble is sometimes as large
as 14 including a full brass line-up.
The Will Todd Ensemble is also familiar with workshop
environments and has worked in schools, universities, and business
contexts, bringing the joy, fun, technique and psychology of music
and improvisation to a varied cross section of audiences.
Vivace Chorus
25
Jeremy Backhouse
Jeremy Backhouse is one of Britain’s
leading choral conductors. He began his
musical career in Canterbury Cathedral
where he was Senior Chorister.
Jeremy has been the sole conductor of
the internationally-renowned chamber
choir, Vasari Singers, since its inception in
1980. Since winning the prestigious Choir
of the Year competition in 1988, the Vasari
Singers has performed regularly at major
concert
venues
and
cathedrals
throughout the UK and abroad. Jeremy
and the Vasari Singers broadcast
Photo © Ash Mills
frequently on Classic FM and BBC Radio
3 and have a discography of over 25 CDs on EMI, Guild, Signum and
Naxos. Their recordings have been nominated for a Gramophone
award, received two Gramophone Editor’s Choice awards, the top
recommendation on Radio 3’s ‘Building A Library’ and two recent
CDs both achieved Top Ten status in the Specialist Classical Charts.
He is totally committed to the performance of contemporary music
and, with Vasari, he has commissioned over 25 new works.
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, Szymanowski’s Stabat Mater,
Mahler’s ‘Resurrection’ Symphony, Prokofiev’s Alexander Nevsky and
Ivan the Terrible, then Mahler’s ‘Symphony of a Thousand’ and Verdi’s
Requiem in the Royal Albert Hall with the Royal Philharmonic
Orchestra.
In January 2009 Jeremy became the Music Director of the Salisbury
Community Choir. In 2013 the choir celebrated its 21st Anniversary
with a concert in Salisbury Cathedral, premiering a speciallycommissioned work by Will Todd, The City Garden, which they
toured to Lincoln (2014) and Guildford (2015) cathedrals. A new
work from Alexander L'Estrange was premiered in Winchester
Cathedral in November 2018.
Jeremy has also worked with a number of the country's leading
choirs, including the BBC Singers, the London Symphony Chorus,
the Philharmonia Chorus, and the Brighton Festival Chorus.
26
Vivace Chorus
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. In
2017 we celebrated our 70th birthday with the Philharmonia
Orchestra 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 performance. He is supported by Francis Pott,
who is not just a very fine rehearsal accompanist, but is also an
academic and composer of international repute and an
accomplished concert pianist.
Vivace Chorus
27
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-theFields. We also like to take our
music-making overseas and have
toured to France, Italy, Germany,
Austria and the Baltic States, with a trip to Northern Spain planned
for 2020.
We’re a friendly and sociable choir that enjoys singing traditional
choral classics alongside the challenge of contemporary and newlycommissioned music. We are always 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 United
Reformed Church, Portsmouth Road, 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.
Images © Ash Mills
28
Vivace Chorus
SING WITH THE BEST
It's official: singing
▪ Makes you feel happier
▪ Reduces stress
▪ Improves memory
▪ Strengthens the lungs and
immune system
But most of all, it's just great fun!
Apart from singing in local
venues, we also tour abroad and
have a full calendar of social
events, including walks and
parties.
If you're tempted to join us, just
drop an email to our membership
secretary,
Jane
Brooks
at
membership@vivacechorus.org.
Vivace Chorus Singers
FIRST SOPRANO
FIRST ALTO
Valerie Garrow
Geoff Johns
Sel Adamu
Jackie Bearman
Jo Glover
Stephen Linton
Jane Barnes
Jane Brooks
Margaret Grisewood Peter Norman
Joanna Bolam
Amanda Burn
Liz Hampshire
Mary Broughton
Kate Emerson
Mary King
Rebecca Kerby
Valentina Faedi
Christine Lavender
FIRST BASS
Fran MacKay
Elaine Harris
Penny Macfarlane
Paul Barnes
Suzie Maine
Sheila Hodson
Lois McCabe
Phil Beastall
Heather Newbery
Jean Leston
Kay McManus
Richard Broughton
Sue Norton
Penny McLaren
Catherine Middleton Michael Dudley
Robin Onslow
Christine Medlow
Val Morcom
Brian John
Gillian Rix
Rosalind Milton
Pamela Murrell
Jeremy Johnson
Sarah Smithies
Mary Moon
Sonja Nagle
Jon Long
Barbara Tansey
Penny Muray
Jacky Norman
Malcolm Munt
Joan Thomas
Lilly Nicholson
Sheila Rowell
Chris Newbery
Hilary Vaill
Linda Ross
Prue Smith
Chris Peters
Clare Wills
Catherine Shacklady
Rosey Storey
David Ross
SECOND SOPRANO
Carol Sheppard
Pamela Usher
Andrew Skinner
Jacqueline Alderton Marjory Stewart
Jo Stokes
Anna Arthur
Susie Walker
Philip Stanford
Jon Scott
Catherine White
Rob Walker
Suzanne Cahalane
Julia Stubbs
Anne Whitley
Kieron Walsh
Philippa Curtis
Nicola Telcik
Elisabeth Yates
Isobel Humphreys
Sue Thomas
Mo Kfouri
Hilary Trigg
Harriet Lavis
Maggie Woolcock
Bob Bromham
Bob Cowell
Krystyna Marsden
Sonia Morris
SECOND ALTO
Michelle Mumford
Valerie Adam
Alex Nash
Evelyn Beastall
Gill Perkins
Diana Butcher
Kate Peters
Sylvia Chantler
Paula Sutton
Mary Clayton
Christine Wilks
Liz Curry-Hyde
Fiona Wimblett
Andrea Dombrowe
Frances Worpe
Sheena Ewen
30
SECOND BASS
FIRST TENOR
Owen Gibbons
Rosie Jeffery
Barbara McDonald
Chris Robinson
John Trigg
SECOND TENOR
Peter Andrews
Norman Carpenter
Geoffrey Forster
James Garrow
Stuart Gooch
Nick Gough
Neil Martin
Roger Penny
Richard Wood
Ewan Bramhall
Tony Chantler
Simon Dillon
Vivace Chorus
Vivace Chorus Patrons
The Vivace Chorus is extremely grateful to all patrons for their support.
Honorary Life Patrons
Mr John Britten
Dr John Trigg MBE
Life Patrons
Mrs Joy Hunter MBE
John and Jean Leston
Platinum Patrons
Alan & Elizabeth Batterbury
Mr & Mrs Peter B P Bevan
Robin & Jill Broadley
Roger & Sharon Brockway
Richard & Mary Broughton
Amanda Burn
Humphrey Cadoux-Hudson CBE
Jean & Norman Carpenter
Andrea & Gunter Dombrowe
Rosemary & Michael Dudley
Robert Glossop MBE
Susan & Cecil Hinton
Michael & Anna Jeffery
Dr Stephen Linton
John McLean OBE & Janet McLean
Ron & Christine Medlow
Lionel & Mary Moon
Roger Muray
Peter Norman
John Parry
Robin & Penny Privett
David & Linda Ross
Geoffrey Johns & Sheila Rowell
Jonathan Scott
Catherine & Brian Shacklady
Prue & Derek Smith
Dennis & Marjory Stewart
Joanna Stokes
Idris & Joan Thomas
Pam Usher
Rob and Susie Walker
Anthony J T Williams
Bill & June Windle
Maggie Woolcock
BECOME A VIVACE PATRON
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
Mary Moon on 01372 468431 or email: patrons@vivacechorus.org.
Vivace Chorus
31
Vivace Chorus dates for your diary
The Mayor of Guildford's Carol Concert
Sunday 15th December 7.00 pm
Holy Trinity Church, Guildford
One of the highlights of the Christmas season in Guildford is the
Mayor of Guildford's annual Carol Concert, in support of the Mayor's
selected charity. In the beautiful setting of a candlelit Holy Trinity
Church, Vivace Chorus's imaginative 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.
African Sanctus
Saturday 14th March 2020
G Live, Guildford
A stunning and inventive piece of choral music, David Fanshawe’s
African Sanctus blends joyful choral singing with original music and
sounds recorded by the composer in Africa during the 1970s.
The choir will be joined by the talented BackBeat Percussion
Quartet and the incomparable Mighty Zulu Nation Theatre Group for
an unforgettable night of rhythm and song.
Best of Broadway
Saturday 23rd May 2020
G Live, Guildford
One of the most moving moments in our sell-out Concert for Peace
in 2018 was an arrangement of You’ll Never Walk Alone for choir and
brass band. This year, we are delighted to be performing again with
the Friary Brass Band – Guildford’s local brass band that ranks in the
top 30 bands in the world! We’ll be singing and playing some alltime favourites from Broadway, including music from Bernstein,
Lloyd Webber and Rodgers and Hammerstein. A delightful
programme of music for a summer’s evening.
Further details at vivacechorus.org
Printed by IMPRINT COLOUR LTD
Pegasus Court, North Lane, Aldershot GU12 4QP. Tel : 01252 330683
Vivace Chorus is a Registered Charity No. 1026337
32
Vivace Chorus
Vivace
AFRICAN
SANCTUS
David Fanshawe
featuring BackBeat
Percussion Quartet
and Mighty Zulu
Nation Theatre
Company
© The Hippo Man,
Mayinda Orawo, Luo Kenya, 1973
(P. David Fanshawe)
Saturday
14 March 2020
at 7.30pm
Free pre-concert talk by
Jane Fanshawe
vivacechorus.org
Registered Charity No. 1026337
Vivace 2020 concerts-chosen.indd 6
Guildford’s state-of-the-art
entertainment venue
22/10/2019 13:18
Vivace events for 2020
The Rotary Club of Guildford
and the Vivace Chorus present
Vivace
THE MAYOR OF GUILDFORD’S
CHRISTMAS
CONCERT
Conductor: Jeremy Backhouse
in aid of the
Mayor’s Local
Distress Fund
Vivace
Sunday
Rachmaninov
Vespers
15th Dec 2019
7pm
Holy Trinity Church
Guildford
Sat 25 Jan 2020 at 10 am
Normandy Village Hall
Vivace
Vivace
FANSHAWE
featuring BackBeat Percussion Quartet
and the Mighty Zulu Nation
Theatre Company
THE BEST OF
Rodgers and Hammerstein,
Bernstein, Sondheim,
Lloyd Webber and more
Sat 14 March 2020 at 7.30 pm
Sat 23 May 2020 at 7.30 pm
Guildford’s state-of-the-art
entertainment venue
Guildford’s state-of-the-art
entertainment venue
You can book for
our ‘Come and Sing’ online
or pick up a flyer tonight.
vivacechorus.org
Viv 13-Mass in Blue Programme cover.indd 1