VIVACE’S
PARLOUR
PART SONGS AND PIANO DUETS
RECITATIONS AND RHYMES
SOLOS AND POPULAR CHORUSES
Conductor:
Jeremy Backhouse
Vivace
Saturday
11 Nov 2023
at 7.30pm
St Catherine’s School,
Anniversary Halls
24/10/2023 11:19
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Vivace Chorus
Vivace’s
victorian
parlour
An evening of musical delights
in the company of
Vivace Chorus
under the musical direction of
Mr Jeremy Backhouse
ably accompanied on the pianoforte by
Francis Pott & Nao Dixon
Part One
Two Madrigals
Thomas Morley:
Jon Long (introduction)
My bonny lass she smileth
Orlando Gibbons: The silver swan
Two Part-Songs
Jon Long (introduction)
Edward Elgar:
As torrents in summer
C V Stanford:
The Blue Bird
Becky Kerby (soprano)
Two Solo Songs
Jon Long (introduction)
Michael Balfe:
Come into the garden, Maud Stephen Linton (tenor)
The Dream
Scarlett Close (soprano)
Ballad
Arthur Sullivan, arr. Peter Gritton:
The Lost Chord
Three Oratorio Choruses
Jon Long (introduction)
John Stainer:
God so loved the world (‘The Crucifixion’)
C H H Parry:
Long since in Egypt’s plenteous land
(from ‘Judith’)
Jan Barklem (soprano)
Felix Mendelssohn: Baal, we cry to thee (from ‘Elijah’)
INTERVAL
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Vivace Chorus
Part Two
Two Part-Songs
Jon Long (introduction)
Gilbert & Sullivan: Brightly dawns our wedding day
Henry Bishop, arr. Bob Chilcott:
Home, sweet home
Waltzes
Jon Long (introduction)
Johannes Brahms: Liebeslieder Waltzes
Recitation
Marriott Edgar/Stanley Holloway:
Albert and the Lion
Two Songs of Farewell
Jacqui Alderton (reciter)
Jon Long (introduction)
Frederick Bridge:
The Goslings
Ciro Pinsuti:
Goodnight, goodnight, beloved
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.
Vivace Chorus
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An Introduction
In January 1877 one of the most beloved
entertainers of the time, the actor and
singer Fred Sullivan, lay dying at his house
in Fulham. The house survives, a few
hundred yards from the south-west end of
the New Kings Road, its yellow Londonbrick frontage shadowed by an enormous
sycamore tree and its windows, frames,
sills and all, still painted in funereal black.
By his bedside Fred’s younger brother, the
thirty-three year old Arthur Sullivan, by
Fred Sullivan
then a famous conductor and composer,
Victoria & Albert Museum
had kept watch for some days, and this
terrible experience – Fred was only thirty-nine, and his
tuberculosis had inflicted a lingering “decline” over the
previous year – nevertheless brought a creative breakthrough
for Arthur. At last, after five years of futile effort, he was able to
compose the music that expressed everything he felt in
response to Adeline Anne Procter’s sensationally popular
poem, The Lost Chord.
Sullivan’s setting, which at first he thought too intimate and
personal to be published, eventually became a key item in the
rich and diverse “parlour culture” of Victorian Britain.
Unforgettably dramatic and touching, its defining visual image
is of a solitary figure, man or woman, “seated one day at the
organ … weary and ill at ease”, who suddenly discovers in “the
noisy keys” a chord so beautiful that it seems to give,
unsought, a resolution of all of humanity’s anxieties, sorrows
and perplexities. This completed work offered the Victorians an
opportunity to explore deep emotional (and for many people
spiritual) needs, and in a form that could be instantly grasped
and valued.
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Vivace Chorus
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The song’s extraordinary central idea
also presented an intriguing challenge.
The overwhelming power of the chord,
“flooding the crimson twilight”, emerges
in the text as if by some mysterious
impulse from within “the soul of the
organ”, entering directly into the soul of
the player as the voice of music itself.
This prompts questions that the rest of
the song refuses to resolve: was it God
speaking through the organ? was it some
Arthur Sullivan
unconscious artistic process released in
the player? or is there a power in music to console and satisfy
us, compensating for the pains of life with the possibility of a
perfect, harmonious beauty that we can all pursue, however
incompletely, contenting ourselves with the journey rather
than with any expectation of closure?
Although the organist in the song is left still seeking in vain for
the “one lost chord divine”, the search is balanced, in a way
that is characteristically Victorian, between despair and hope.
In an age that was famously one of “faith and doubt”, Sullivan’s
song provided a cautiously positive message for religious
believers: “It may be” that the chord’s promise will be fulfilled
after death in the “grand Amen” of a Christian heaven, and this
will have brought consolation to many listeners. On the other
hand, for those sceptics who questioned faith, the chord,
which is explicitly compared to “love overcoming strife”, could
be a metaphor for the comfort to be found in the quiet
affections of family life, the happy intimacy of lovers, and the
self-fulfilment experienced by strong, active individuals
working for the harmony and the “one perfect peace” of
society beyond the parlour – all of them concerns that were
repeatedly idealised and promoted in Victorian culture.
Vivace Chorus
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The works in tonight’s concert explore the issues raised in The
Lost Chord in many different ways. The delights of a happy
home, “be it never so humble”, are the foundation on which
Henry Bishop built his phenomenally successful Home, Sweet
Home. Its melody became popular all over the world, and just
as in Balfe’s The Dream (I dreamt I dwelt in marble halls) its text
specifically rejects riches and social grandeur, “pleasures and
palaces”, in favour of the devotion and fortitude of everyday
people. Brahms, with engaging honesty, dramatizes the
shifting relationships and moods of lovers in his Liebeslieder
Waltzes, while Balfe’s Come into the garden, Maud, although it
omits the emotional extremes of Tennyson’s original text, is still
an impressively frank portrayal of passionate love. Morley’s My
bonny lass she smileth, in contrast, composed over two
hundred years before their time, delighted the Victorians with
its sunny celebration of youth and beauty.
Orlando Gibbons’s The silver swan addresses directly the
relationship between death, grief and music that is so central
to The Lost Chord, and it was a favourite of the many
composers, performers and teachers at the time who took a
keen interest in “early” music – among them John Stainer,
Hubert Parry and Frederick Bridge: its popularity shows that
any casual association between Victorian music and heavy,
morbid sentimentality is misplaced. Turning to the
consolations of religion, John Stainer’s Crucifixion, carefully
designed to be performable by ordinary parish choirs and
without professional soloists, and significantly entitled A
Meditation on the Sacred Passion of the Holy Redeemer, avoids
emotional vehemence and achieves a general effect of
modest sincerity and restraint in its musical language – in fact
it creates something of the intimacy of the Victorian parlour
itself.
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Elgar’s As torrents in summer, while dealing with the stresses
and changes of life, shows a similarly delicate economy of
expression, straightforward and moving. A parlour is by
definition a place in which people talk to each other, and by
extension sing and play together, either forming part of, or
performing to, an appreciative audience in an atmosphere of
mutual tolerance and delight. Parry’s chorus Long since in
Egypt’s plenteous land is interesting in this context. It comes
from a large work for public performance, his oratorio Judith,
which relates the attempt of the Assyrians to massacre the
people of Israel and sacrifice their children to the god Moloch,
and their defeat by the heroic Judith. The well-known melody
of the chorus, however, is most familiar as the hymn tune Dear
Lord and father of mankind, which (like the chorus) puts its faith
in “the constant sun” of love, divine or human, to order
individual lives and control “the strain and stress” of the world.
In many Victorian families this would surely have been seen as
an apotheosis of the values of the domestic parlour.
Jon Long 2023
Vivace Chorus
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Two Madrigals
My bonny lass she smileth
Thomas Morley (1557-1602)
The silver swan
Orlando Gibbons (1583-1625)
The Elizabethan composer Thomas Morley’s My bonny lass she
smileth, with its quick-moving, dance-like rhythms and
cheerful “fa-la-la” refrain, appealed to the Victorians’ love of
getting together to sing music that was just challenging
enough to be fun, but performable by amateurs to a good
standard. The title of Morley’s book A Plaine and Easie
Introduction to Practicall Music (1597) had in fact a message
that they would have approved of heartily, keen as they were
on self-improvement: essentially, “Work hard, and with a bit of
guidance you can do it!” Many would also have been familiar
with Morley’s Shakespeare settings such as It was a lover and
his lass and O mistress mine, which were still the standard
versions used in the theatre and ideal for performance at
home.
Gibbons’s The silver swan, remarkable for
its mournful but disciplined gravity and
its (mythical) claim that the beautiful bird
sings only once, when on the point of
death, satisfied another aspect of their
taste - the “shaping” of grief that was
often needed at a time of high mortality,
especially of children. The moral
message of the text is also something
that the Victorian family would have
assented to willingly, having met it
Orlando Gibbons
frequently in Dickens’s novels: beautiful
and sensitive people in the world are far outnumbered by the
noisy and foolish.
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Vivace Chorus
My Bonny Lass She Smileth
My bonny lass she smileth,
When she my heart beguileth,
Smile less, dear love, therefore,
And you shall love me more.
When she her sweet eye turneth,
Oh, how my heart it burneth!
Dear love, call in their light,
Or else you burn me quite!
The Silver Swan
The silver swan, who living had no note,
When death approached, unlocked her silent throat;
Leaning her breast against the reedy shore,
Thus sung her first and last, and sung no more:
“Farewell, all joys; Oh death, come close mine eyes;
More geese than swans now live, more fools than wise.”
Vivace Chorus
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Two Part-Songs
As torrents in summer
The Blue Bird
Edward Elgar (1857-1934)
Charles Villiers Stanford (1852-1924)
These two part songs are a reminder of the wide range of
genres, themes and styles that characterise works which
nevertheless seem to belong together in the category of
“parlour music”. Elgar and Stanford were both born in the
1850s, but As torrents in summer is solidly Victorian, the last
movement of a long cantata based on a Longfellow text, and it
has an earnestly traditional and reassuring religious theme. It is
a world away from Stanford’s stand-alone song The Blue Bird,
published in 1910 (therefore at the end of Edward VII’s reign),
which sets a text by a woman poet whose work, despite her
reserved personal life, looks confidently forward into the
twentieth
century.
Stanford’s music
here perfectly
complements the clarity, precision and emotional reticence of
Mary E. Coleridge’s poem, which has itself been compared to
the luminous effects achieved by the Impressionist painters
and the enigmatic simplicity of Imagist poetry.
As torrents in summer
The Blue Bird
As torrents in summer,
Half dried in their channels,
Suddenly rise, tho' the sky is still cloudless.
For rain has been falling
Far off at their fountains;
The lake lay blue below the hill,
O’er it, as I looked, there flew
Across the waters, cold and still,
A bird whose wings were palest
blue.
So hearts that are fainting
Grow full to o'erflowing,
And they that behold it,
Marvel, and know not
That God at their fountains
Far off has been raining
The sky above was blue at last,
The sky beneath me blue in blue.
A moment, ere the bird had passed,
It caught his image as he flew.
The lake lay blue below the hill.
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Two Solo Songs
Come into the garden Maud
The Dream
Michael Balfe (1808-1870)
Ballad
The Lost Chord
Arthur Sullivan (1842-1900)
Michael Balfe, in contrast, seems to belong to a different age.
Born in the reign of George III, and a child during the Regency,
he was already a popular composer when Victoria was
crowned at the age of nineteen in 1838. He had been a
protégé of Rossini, and would soon be conducting works by
Donizetti and Verdi in London as well as composing for the
greatest Italian bel canto singers of the day. Arias from the
opera-house were often performed in the Victorian parlour, in
versions reduced for piano accompaniment, and Balfe’s setting
of a famous passage from Tennyson’s “monodrama” Maud has
some recognisably operatic features: direct, urgent address to
the beautiful “heroine”, an ardent, swelling melody pushing
forward at a pulsing andante pace, and a vividly dramatic
moment when the mood suddenly changes as the protagonist
hears her approaching footsteps. At this point in an operatic
aria of the time there might well have followed a passionate
cabaletta section, and Balfe provides a fine “drawing-room”
version of this, brief but highly emotional, in which the pianist
and singer can show off their theatrical talents.
Vivace Chorus
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The Dream comes from Balfe’s opera The Bohemian Girl,
written for Drury Lane in 1843 and soon to be in production in
New York, Vienna, Sydney and beyond – a stunning worldwide success. The deliberately naïve style of its wistful
melody, the strong moral message that love is more important
than riches, and the simple piano part, which meant that the
singer could accompany herself, would have made it a
beautiful moment of calm and reflection in an evening in the
parlour that also included the passions of Maud and the
brooding speculations of The Lost Chord.
Come into the garden, Maud
Come into the garden, Maud,
For the black bat, Night, has flown;
Come into the garden, Maud,
I am here at the gate alone.
And the woodbine spices are wafted
abroad,
And the musk of the roses blown,
For a breeze of morning moves,
And the planet of love is on high,
Beginning to faint in the light that she
loves,
On a bed of daffodil sky,
To faint in the light of the sun she loves,
To faint in his light, and to die.
Come! come!
Come into the garden, Maud,
For the black bat, Night, is flown;
Come into the garden, Maud,
I am here at the gate alone.
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Queen rose of the rosebud garden of
girls,
Come hither, the dances are done;
In gloss of satin and glimmer of pearls,
Queen, lily, and rose, in one.
Shine out little head, sunning over with
curls,
To the flowers, and be their sun.
Shine out! Shine out!
Come into the garden, Maud,
For the black bat, Night, is flown;
Come into the garden, Maud,
I am here at the gate alone.
Vivace Chorus
The Dream
I dreamt I dwelt in marble halls
With vassals and serfs at my side,
And of all who assembled within those
walls
That I was the hope and the pride.
I had riches all too great to count
And a high ancestral name.
I dreamt that suitors sought my hand,
That knights upon bended knee
And with vows no maiden heart could
withstand,
They pledged their faith to me.
And I dreamt that one of that noble host
Came forth my hand to claim.
But I also dreamt which pleased me
most
That you loved me still the same,
That you loved me
You loved me still the same,
That you loved me
You loved me still the same.
But I also dreamt which charmed me
most
That you loved me still the same
That you loved me
You loved me still the nsame,
That you loved me
You loved me still the same.
The Lost Chord
Seated one day at the organ,
I was weary and ill at ease,
And my fingers wandered idly
Over the noisy keys.
It linked all perplexèd meanings
Into one perfect peace,
And trembled away into silence
As if it were loth to cease.
I know not what I was playing,
Or what I was dreaming then;
But I struck one chord of music,
Like the sound of a great Amen.
I have sought, but I seek it vainly,
That one lost chord divine,
Which came from the soul of the organ,
And entered into mine.
It flooded the crimson twilight,
Like the close of an angel's psalm,
And it lay on my fevered spirit
With a touch of infinite calm.
It may be that death's bright angel
Will speak in that chord again,
It may be that only in Heav'n
I shall hear that grand Amen.
It quieted pain and sorrow,
Like love overcoming strife;
It seemed the harmonious echo
From our discordant life.
Vivace Chorus
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Three Oratorio Choruses
God so loved the world
John Stainer (1840-1901)
Long since in Egypt’s plenteous land
Baal, we cry to thee
C.H. Parry (1848-1918)
Felix Mendelssohn (1809-1847)
The Victorian public had an enormous appetite for large-scale
religious works, and the Birmingham Triennial Festival, based
in a rich and forward-looking city, commissioned both
Mendelssohn’s Elijah (1846) and Parry’s Judith (1888). John
Stainer wrote his Crucifixion (1887) for the parish church choir in
Marylebone, and on a deliberately smaller scale. The son of a
south London cabinet maker, he eventually became Heather
Professor of Music at Oxford and dedicated his life to
promoting access to music, including work as Inspector of
Music for Schools and the publication of such well-known
pieces as Love divine, all loves excelling, God rest you merry,
gentlemen and Good King Wenceslas. Like Parry’s Long since in
Egypt’s plenteous land, Stainer’s God so loved the world has a
characteristically Victorian aim – to communicate directly and
earnestly, encouraging serious reflection shaped and
supported by a clearly-defined system of belief.
Mendelssohn, in contrast, was an international “star” whose
experiences in the English parlour included accompanying
Victoria and Albert in vocal duets and, on one occasion,
playing simultaneous variations on Rule, Britannia! (left hand)
and the Austrian National Anthem (right hand); “We were all
filled with the greatest admiration. Poor Mendelssohn was
quite exhausted …”, wrote the grateful Queen. The large-scale
chorus Baal, we cry to thee is unlikely to have been performed
in even the grandest parlour, although Elijah was soon
available in piano score for adventurous players and singers,
as were Victorian editions of huge works such as Wagner’s
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Anello del Nibelungo (The Ring Cycle) or I Maestri Cantori di
Norimberga (The Mastersingers), translated from German into
Italian as was required of all operas at the Royal Italian Opera,
Covent Garden.
God so loved the world
God so loved the world,
that He gave His only begotten Son,
that whoso believeth in Him
should not perish
but have everlasting life.
For God sent not His Son into the world
to condemn the world,
But that the world through Him might be
saved.
Long since in Egypt’s plenteous land.
Long since in Egypt’s plenteous land
Our fathers were oppressed;
But God, whose chosen folk they were,
Smote those who long enslaved them
there,
And all their woes redressed.
The Red Sea stayed them not at all,
Nor depths of liquid green;
On either hand a mighty wall
Of waters clear rose at his call,
And they passed through between.
In deserts wild they wandered long,
They sinned and went astray;
But yet his arm to help was strong,
He pardoned them tho’ they did wrong,
And brought them on their way.
At last to this good land they came,
With fruitful plenty blest;
Here glorious men won endless fame,
Here God made holy Zion’s name,
And here he gave them rest.
Oh, may we ne’er forget what he hath
done,
Nor prove unmindful of his love,
That, like the constant sun,
On Israel hath shone,
And sent down blessings from above.
Baal, we cry to thee
Baal, we cry to thee,
hear and answer us!
Heed the sacrifice we offer!
Hear us, Baal!
Hear, mighty god!
Baal, oh answer us!
Baal, let thy flames fall
and extirpate the foe!
Interval
Vivace Chorus
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Two Part-Songs
Brightly dawns our wedding day
W.S. Gilbert (1836-1911) and Arthur Sullivan (1842-1900)
Home, sweet home
Henry Rowley Bishop (1787-1855)
Gilbert and Sullivan’s madrigal comes from Act 2 of The
Mikado, written at the height of their success with the Savoy
Operas in 1885. Sullivan had won the first ever Mendelssohn
Scholarship at the extraordinarily early age of fourteen, and
studied for two years in Leipzig before he was twenty. His long
career as conductor, composer and researcher (in 1867 he and
a friend discovered the lost manuscript score of Schubert’s
Rosamunde) gave him a wide experience of European music,
and in his stage works he delighted in parody.
This “merry madrigal” contains brief melodic echoes of
Morley’s Now is the month of maying and the traditional “fa-lalas” that go back to the Italian balleto form that Morley himself
was imitating. In the theatre Gilbert’s story-line and stage
directions provide the element of (typically gruesome)
humour: for complicated reasons the bridegroom has agreed
to be beheaded soon after the wedding, and the singers are
instructed to collapse in tears at the end of each verse, but the
madrigal is a serious and entertainingly close imitation of a
musical genre that was still very popular with the Victorians.
Henry Bishop’s most famous song, Home, sweet home, with its
tenderly emotional melody and touching lyrics, first appeared
in his opera Clari, or The Maid of Milan in 1823, and it soon
became a kind of “common property” for composers
approaching a moment of intimate pathos. Varied and
decorated in the style of the period, and equipped with new
words, it is sung in Donizetti’s superb romantic tragedy Anna
Bolena (Anne Boleyn) as the doomed queen prays for an end
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to her sufferings, and Verdi used it to devastating effect in
Nabucco for King Nebuchadnezzar’s plea to the God of the
Hebrew slaves to release him from madness. Bishop
republished it in 1852 as a parlour ballad, and it became so
popular in the USA that, allegedly, it was banned by the Union
Army authorities as a threat to morale during the Civil War.
Brightly dawns our wedding day
Brightly dawns our wedding day;
Joyous hour, we give thee greeting!
Whither, whither art thou fleeting?
Fickle moment, prithee stay!
What though mortal joys be hollow?
Pleasures come, if sorrows follow:
Though the tocsin sound, ere long,
Ding dong! Ding dong!
Yet until the shadows fall
Over one and over all,
Sing a merry madrigal,
Fal-la--fal-la!
Let us dry the ready tear;
Though the hours are surely creeping
Little need for woeful weeping,
Till the sad sundown is near.
All must sip the cup of sorrow,
I to-day and thou to-morrow;
This the close of every song.
Ding dong! Ding dong!
What, though solemn shadows fall,
Sooner, later, over all?
Sing a merry madrigal,
Fal-la--fal-la!
Home, sweet home
Mid pleasures and palaces though we may roam,
Be it ever so humble, there's no place like home.
A charm from the skies seems to hallow us there,
Which seek thro' the world, is ne'er met elsewhere.
Home! Home!
Sweet, sweet home!
There's no place like home.
There's no place like home!
An exile from home splendour dazzles in vain:
Oh give me my lowly thatched cottage again,
The birds singing gaily that came at my call,
And gave me the peace of mind dearer than all.
Home, home, sweet, sweet home.
There's no place like home,
There's no place like home!
Vivace Chorus
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Waltzes
Liebeslieder Waltzes
Johannes Brahms in 1872
Johannes Brahms (1833-1897)
Brahms wrote his “Lovesong” waltzes in
1868-9, inspired by a set of folk-song
texts, Polydora, published by G. F.
Daumer in 1855, and by some late works
of Schubert that had explored the robust
folk dance form, the ländler, with its
vigorous ¾ time and characteristic
stamping technique. Brahms’s settings
are elegant, sophisticated and virtuosic,
responding superbly to the forthright
earthiness and subtle psychological
insights of the texts.
They deal with the tenderness, yearning, moodiness and
changeableness of lovers, intense feelings aroused by
apparently trivial incidents, or tiny observed shifts in a
relationship that threaten happiness. Wonderfully clear and
penetrating images from nature illuminate the work – two
lovers are linked yet also separated, like the moon reflected in
the water; the lonely girl would glow like the evening sky if she
could find a man to love her; another resembles the tender
green hop-vine, trailing on the ground, still beautiful but
melancholy without her support now that her beloved is away.
There are moments of real violence too: the lover’s feelings
like waves crashing on the rocks, or his fierce threat to put
padlocks on the mouths of gossips or smash the door bolts as
if they were made of glass. For all their brevity, the waltzes are
a brilliantly comprehensive investigation of Liebe, Lust und
Leide – love, desire and pain.
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Liebeslieder Waltzes, Op. 25
No. 1. Rede, Mädchen, allzu liebes
No. 1. Speak, dearest maiden
Rede, Mädchen, allzu liebes, das mir in
die Brust, die kühle,
hat geschleudert mit dem Blicke, diese
wilden Glutgefühle!
Willst du nicht dein Herz erweichen,
willst du eine Überfromme,
rasten ohne traute Wonne, oder willst
du, dass ich komme?
Rasten ohne traute Wonne, nicht so
bitter will ich büssen,
komme nur, du schwarzes Auge,
willst du dass ich komme wenn die
Sterne grüssen?
Speak, dearest maiden you whose
glance has hurled
into my cool heart these wild, passionate
feelings!
Don’t you want to soften your heart? Do
you want, you overly pious one,
to rest without true delight? Or do you
want me to come?
Rest without true delight — I don’t want
to suffer so bitterly.
Do come, you dark-eyed boy;
come when the stars appear!
No. 2. Am Gesteine rauscht die Flut
No. 2. At the rocks rushes the flood
Am Gesteine rauscht die Flut,
heftig angetrieben:
Wer da nicht zu seufzen weiß,
lernt es unterm Lieben.
At the rocks rushes the flood,
vehemently driven:
He who does not know how to sigh
will be taught by loving.
No. 3. O die Frauen, o die Frauen!
No. 3. Oh women, oh women
O die Frauen, o die Frauen,
Wie sie Wonne tauen!
Wären lang ein Mönch geworden,
Wären nicht die Frauen!
Oh women, oh women,
how they do delight!
I would have become a monk long ago
were it not for women!
No. 4. Wie des Abends schöne Röte
No. 4. Like the beautiful crimson
evening
Wie des Abends schöne Röte
möcht ich arme Dirne glühn
einem, einem zu Gefallen
sonder Ende Wonne sprühn
Like the beautiful crimson evening
I, a poor girl, would glow,
To please one, alone,
Radiating bliss forever.
No. 5. Die grüne Hopfenranke
No. 5. The green hop-vine
Die grüne Hopfenranke, sie schlängelt
auf der Erde hin.
Die junge, schöne Dirne, so traurig ist ihr
Sinn!
Du höre, grüne Ranke! Was hebst du
dich nicht himmelwärts?
Du höre, schöne Dirne! Was ist so
schwer dein Herz?
The green hop-vine creeps along the
ground.
The beautiful young maiden — so
sorrowful is her heart!
Listen, green vine, why don’t you climb
toward the heavens?
Listen, beautiful maiden, why is your
heart so heavy?
Vivace Chorus
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Wie hobe sich die Ranke, der keine
Stütze Kraft verleiht
Wie wäre die Dirne fröhlich, wenn ihr der
Liebste weit?
How can a vine climb that has no
support to hold it up?
How could the maiden be happy if her
lover is far away?
No. 6. Ein kleiner, hübscher Vogel
No. 6. A pretty little bird
Ein kleiner hübscher Vogel nahm den
Flug
zum Garten hin, da gab es Obst genug.
Wenn ich ein hübscher, kleiner Vogel
wär,
ich säumte nicht, ick täte so wie der.
Leimruten Arglist, lauert an dem Ort,
der arme Vogel konnte nicht mehr fort.
Nicht fort, nicht fort.
Wenn ich ein hübscher, kleiner Vogel
wär
ich säumte nicht, ich täte nicht wie der.
Der Vogel kam in eine schöne Hand,
da tat es ihm, dem Glücklichen nicht an.
Wenn ich ein hübscher, kleiner Vogel
wär,
ich säumte nicht, ich täte so wie der.
A pretty little bird flew
No. 7. Wohl schön bewandt war es
No. 7. How very pleasant is used to be
Wohl schön bewandt War es vorehe
Mit meinem Leben, Mit meiner Liebe;
Durch eine Wand, Ja, durch zehn
Wände,
Erkannte mich Des Freundes Sehe;
Doch jetzo, wehe, Wenn ich dem Kalten
Auch noch so dicht Vor’m Auge stehe,
Es merkt’s sein Auge, Sein Herze nicht.
How very pleasant it used to be,
both with my life and with my love;
through a wall, even through ten
walls,
my friend’s eye noticed me.
Yet now, alas, even if I stand
right in front of the cold one’s eye, his
eye, his heart notice me not.
No. 8. Wenn so lind dein Auge mir
No. 8. When your eyes so gently
Wenn so lind dein Auge mir und so
lieblich schauet,
jede lezte Trübe flieht, welche mich
umgrauet.
Dieser Liebe schöne Glut, lass sie nie
verstieben!
immer wird, wie ich so treu dich ein
Andrer lieben.
When your eyes so gently and so fondly
gaze on me,
every last sorrow flees that once had
troubled me.
This beautiful glow of our love —do not
let it die!
Never will another love you as faithfully
as I.
22
to the garden where fruit was plentiful.
If I were a pretty little bird,
I’d not hesitate; I’d do just as he did.
Treacherous bird-lime lay in ambush;
The poor bird could not escape.
No escape, no escape.
If I were a pretty little bird,
I’d not hesitate before doing as he did.
The bird was taken by a lovely hand;
No harm came to the happy little bird.
If I were a pretty little bird,
I’d not hesitate; I’d certainly do as he did.
Vivace Chorus
No. 9. Am Donaustrande
No. 9. On the Danube's bank
Am Donaustrande,da steht ein Haus
On the Danube’s bank
there stands a house,
and there a rosy maiden gazes out.
The maiden is quite well protected;
ten iron bars
are blocking her door.
Ten iron bars—that’s a joke!
I’ll break them
as if they were only glass.
On the Danube’s bank
there stands a house,
and there a rosy maiden gazes out.
da schaut ein rosiges Mädchen aus.
Das Mädchen ist wohl gut gehegt,
zehn eiserne Riegel
sind vor die Türe gelegt.
Zehn eiserne Riegel das ist ein Spass,
die spreng ich
als wären sie nur vom Glas.
Am Donaustrande,
da steht ein Haus,
da schaut ein rosiges Mädchen aus.
No. 10. O wie sanft die Quelle
No. 10. Oh how gently the stream
winds
O wie sanft die Quelle sich durch die
Wiese windet
O wie schön wenn Liebe sich zu der
Liebe findet!
Oh how gently the stream winds
through the meadow!
Oh how beautiful when one love finds
itself another!
No. 11. Nein, es ist nicht auszukommen
No. 11. No, it is impossible to get along
Nein, es ist nicht auszukommen mit den
Leuten;
alles wissen sie so giftig auszudeuten.
Bin ich heiter, hegen soll ich lose Triebe,
bin ich still, so heissts ich wäre irr aus
Liebe.
Nein, es ist nicht auszukommen mit den
Leuten;
alles wissen sie so giftig auszudeuten.
No, it is impossible to get along with
such people;
they make all into poison!
If I’m merry, my desires are frivolous;
if I’m silent, then it means I’m mad with
love.
No, it is impossible to get along with
such people;
they make all into poison!
No. 12. Schlosser auf, und mache
Schlösser
No. 12. Locksmith, come and make
locks
Schlosser auf, und mache Schlösser
ohne Zahl,
denn die bösen Mäuler will ich
schliessen allzumal!
Locksmith, come and make locks,
innumerable locks,
because I want to close their evil
mouths once and for all!
No. 13, Vögelein durchrauscht die Luft
No. 13, A little bird rushes through the
air
Vögelein durchrauscht die Luft
sucht nach einem Aste,
A little bird rushes through the air
looking for a branch;
Vivace Chorus
23
und das Herz, das Herz begehrts,
wo es selig raste.
and the heart—it yearns for a
heart where it may blissfully rest.
No. 14. Sieh', wie ist die Welle klar
No. 14. See how clear are the waves
Sieh', wie ist die Welle klar,
blickt der Mond hernieder!
Die du meine Liebe bist,
liebe du mich wieder!
See how clear are the waves
when the moon gazes down!
You who are my love,
love me again!
No. 15. Nachtigall, sie singt so schön
No. 15. The nightingale sings so
beautifully
Nachtigall, sie singt so schön
wenn die Sterne funkeln.
Liebe mich, geliebtes Herz
küsse mich im Dunkeln
The nightingale sings so beautifully
when the stars twinkle.
Love me, dear heart;
kiss me in the darkness!
No. 16. Ein dunkeler Schacht ist Liebe
No. 16. Love is a dark pit
Ein dunkeler Schacht ist Liebe
ein gar zu gefährlicher Bronnen;
da fiel ich hinein, ich Armer,
kann weder hören noch sehn,
nur denken an meine Wonnen,
nur stöhnen, in meinem Wehn.
Love is a dark pit,
a far too dangerous well;
and poor me, I fell into it.
Now I can neither hear nor see;
I can only remember my delight,
only groan in my misery.
No. 17. Nicht wandle, mein Licht
No. 17. Don't wander, my light
Nicht wandle, mein Licht, dort außen Im
Flurbereich!
Die Füße würden dir, die zarten, Zu naß,
zu weich.
All überströmt sind dort die Wege, Die
Stege dir;
So überreichlich tränte dorten Das Auge
mir.
Don’t wander, my light, over there in the
fields!
Your dainty feet would become Too wet,
too soft.
All the roads are flooded there, all your
paths—
So profuse were the tears that flowed
from my eyes.
No. 18. Es bebet das Gesträuche
No. 18. The bushes tremble
Es bebet das Gesträuche,
Gestreift hat es im Fluge ein Vögelein.
In gleicher Art erbebet die Seele mir,
erschüttert von Liebe, Lust und Leide,
gedenkt sie dein.
The bushes tremble,
brushed during the flight of a little bird.
In the same way my soul trembles,
shaken by love, joy, and sorrow,
when it thinks of you.
English translations by the Cayuga Vocal Ensemble
24
Vivace Chorus
Recitation
Albert and the Lion
Marriott Edgar (1880-1951)
Edgar was born a Victorian, but he wrote Albert and the Lion in
the 1930s. His family moved from Scotland to London, where
he grew up, but his comic recitations of the adventures of
Albert Ramsbottom and his family have a different focus.
Good-humoured, fantastical and wryly observant of human
nature, they became famous for their affectionate
characterisations of stolid, unflappable Northerners whose
down-to-earth, sceptical and resilient attitude to life carries
them through ridiculous situations that have strong roots in the
Victorians’ love of absurdity. Appropriately, Wallace the Lion in
the poem is named after the first African lion bred in captivity
in the UK, who lived just long enough to intersect with Queen
Victoria’s reign, dying in 1838.
Pushed it in Wallace's ear
Vivace Chorus
25
Two Songs of Farewell
The Goslings
Frederick Bridge (1844-1924)
Goodnight, goodnight, beloved
Frederick Bridge (1904)
Ciro Pinsuti (1829-1888)
Frederick Bridge held important
posts as conductor, organist and
choirmaster, and from 1875 took
charge of the music at Westminster
Abbey, where he radically improved
standards of singing in the choir,
pushed through an important rebuild
of the organ, and oversaw the music
for Edward VII’s coronation. Like
many of his contemporaries he had a
keen interest in early music, and
made sure that several unfamiliar
pieces were heard on that great state
occasion.
He
was
also
an
enthusiastic pioneer of “authentic”
performances of Handel.
His light-hearted part song The Goslings was a collaboration
with the lyricist F.E. Weatherley, a barrister (as, incidentally, was
W.S. Gilbert, whose mischievously gruesome sense of humour
he shared). Weatherley was well known for his many comic
and sentimental songs, including Danny Boy and The Roses of
Picardy. The text and music of The Goslings mock the
solemnity and some of the melodramatic conventions of
parlour music, and include a cheerful quotation of
Mendelssohn’s Wedding March from the suite that he wrote for
A Midsummer Night’s Dream. Ciro Pinsuti’s Goodnight,
goodnight, beloved, in contrast, radiates calm and affection, its
warm, reassuring harmonies managing to be simultaneously
26
Vivace Chorus
both rich and luminous as they explore Longfellow’s text. The
composer demonstrates how touchingly effective parlour
music could be when it responded with sympathy and skill to
the simple but profound emotions of everyday human lives.
All programme notes © Jon Long 2023
The Goslings
She was a pretty little gosling,
And a gay young gosling he;
And "I love you," he said, "so dearly;"
And "I love you too," said she.
But "alas! we must part, "He whispered,
"I'm off to the world so wide;
But love, don't fear,
I'll come next year,
And make you my little bride."
'Twas Michaelmas day at morning,
That he came home once more,
He met his true love's mother,
And oh! she was weeping sore.
"Too late, you've come," she whispered,
"They've taken your love away,
She never will be your bride, ah, me!
For she's going to be cooked today!"
Then up he went to the farm house:
"Where is my love?" he said;
But the farmer's wife,
she seized a knife,
And cut off his little head.
And she served him up with his true
love,
On a dish so deep and wide,
So though in life they were parted,
In death they were side by side.
Goodnight, goodnight, beloved
Good night, good night, beloved!
I come to watch o'er thee!
To be near thee, alone is peace for me.
Thine eyes are stars of morning,
thy lips are crimson flowers.
Good night, beloved!
While I count the weary hours.
End
Vivace Chorus
27
Vivace Chorus and Verdi Requiem
We are very excited to be joining the
Liverpool Welsh Choral for two
special concerts in 2024 where we
will perform Verdi's iconic Requiem.
Vivace Chorus will also bring
Ellington's
Sacred
Concert
to
© Phil Nash Wikimedia Commons
Liverpool. Ellington called this
joyous set of jazz pieces for band and choir “the most important
thing I have ever done”.
Ellington Sacred Concert
Friday 26th Apr. 2024, 6:00pm
The Tung Auditorium, Liverpool
Verdi Requiem
Saturday 27th Apr. 2024, 7:30pm
Liverpool Anglican Cathedral
Verdi Requiem
Saturday 18th May 2024, 7:30pm
G Live, Guildford
Sign up to the Vivace newsletter to keep up to
date with all our news! Even better, before
every concert, we’ll enter every newsletter
subscriber into a draw to win two free
tickets!
Just scan this QR code on your mobile and
sign up. We’ll do the rest.
https://www.vivacechorus.org/vc/newsletter
28
Vivace Chorus
Jeremy Backhouse
Conductor
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 frequently on Classic
FM and BBC Radio 3 and have a
Photo © Ash Mills
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.
Until July 2022, Jeremy was also 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.
Vivace Chorus
29
Francis Pott
Piano
Francis Pott retired in summer 2023 as
Professor of Composition at London
College of Music, University of West
London. His music has been performed
and broadcast in over 50 countries
worldwide, published by five major
houses in the UK and widely recorded. He
has received four national and two
international composition prizes and in
2021 was a recipient of the Medal of the
Royal College of Organists, its highest
Photo © Rumen Mitchinov
award, for ‘distinguished achievement in
Photography
the field of sacred choral and organ
composition’. He has also composed three major works for chorus
and orchestra, a violin concerto, chamber music and works for piano.
He has been married for 30 years to Ginny and they have two adult
children, both musicians. Francis has been accompanist to the
Vivace Chorus since 2008.
https://francispott.com
Nao Dickson
Piano
Nao Dickson was born in Japan and came to
England to study at the Royal Academy of
Music where she gained her BMus, LRAM and
LTCL. She studied piano performance with
Graeme Humphrey, chamber music with
Geoffrey Pratley and voice with Elizabeth
Richie. Since winning the chamber music
competition “Concorso Internazionale Di
Interpretazione Musicale” in Italy with Violinist
Yoko Muraoka, she has been a regular guest
for the concert series at St Mary Abbots and St
Bride’s church in London and more locally at
Music at Walnut. She was recently a guest
pianist with
the
Riverstrings
Quartet
Photo © J Dickson
performing one of Dvořák’s piano quartets.
She also enjoys working for Music in hospitals and care and teaches
piano at Winchester College.
30
Vivace Chorus
About Vivace Chorus
Jeremy Backhouse
Francis Pott
Peter Norman
Music Director
Accompanist
Chairman
Vivace Chorus at the Royal Albert Hall, May 2014
Photo © Ash Mills
Vivace Chorus is a flourishing, ambitious and adventurous
choir based in Guildford, Surrey. We enjoy singing traditional
choral classics alongside the challenge of contemporary and
newly-commissioned music – there’s something for everyone
at Vivace!
The choir began in 1946 as the Guildford Philharmonic Choir
and was rebranded as Vivace Chorus in 2005. We have 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 and 2018 saw a sell-out performance
at G Live Guildford for our "Concert for Peace".
Vivace Chorus
31
Just before the first Covid
lockdown, we performed the
incredible African Sanctus by
David Fanshawe, complete with
the dancers of the Mighty Zulu
Nation
Theatre
Company,
enthusiastically wielding
their
assegais.
Vivace
thrives
under
the
exceptional leadership of our
conductor, Jeremy Backhouse.
Jeremy’s passion for choral music
Photo © Ash Mills
and his sheer enthusiasm for
music-making are evident at every rehearsal and performance.
He is supported by Francis Pott, who is an academic and
composer of international repute and an accomplished
concert pianist – who better to accompany our rehearsals?
We have also enjoyed successful European and UK tours,
including trips to France, Italy, Germany, Austria, the Baltic
states and, most recently, northern Spain.
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 Guildford Baptist
Church, Millmead, Guildford.
Just contact our membership secretary, Becky Kerby, at
membership@vivacechorus.org or pay a visit to our website,
vivacechorus.org. You can also follow us on Facebook and X
(Twitter) - @VivaceChorus.
32
Vivace Chorus
Joy Hunter MBE Life Patron
(September 1925 – August 2023)
Joy joined Guildford Philharmonic Choir
when Tod Handley was the conductor and
retired aged 76 under Jeremy Backhouse,
by which time the choir was called Vivace
Chorus. The choir and music played a large
part in her life and after her retirement, she
volunteered to help at all our concerts in
Guildford Cathedral, selling tickets and
programmes and helping people find their seats. When
physical limitations meant she could no longer do this, she
was still determined to attend, even in her wheelchair.
She was at our last concert before the Covid lockdown, African
Sanctus. Despite being in her 90s, she would not be beaten
by a virus! Even though retired, she joined Vivace’s overseas
tours, determined not to miss out on the company, the travel
and the music. She was able to be there at one of Vivace’s
most moving occasions, when we sang Ward Swingle’s Give
us this Day in Schwetzingen, Germany, when many were
moved to tears and the audience was still clapping when we
had processed out of the church. The choir and her choir
memories meant a great deal to her. She was also much
involved in Vivace’s Guildford / Freiburg connection.
A member of Churchill’s secretariat in 1944, she worked in the
War Rooms as part of the planning for D-Day, a single mother
of three young children after her husband’s early death, a
member of the Archbishop of Canterbury’s staff, a deputy
Head, gaining an MBE for her services to Age UK, TV
personality because of her work in WWII and the post war
agreements .... a long and fulfilled life. We are so lucky to have
had such a member of our choir.
Vivace Chorus
33
Vivace Chorus Patrons
The Vivace Chorus is extremely grateful to all patrons for their support.
Honorary Life Patrons
John Britten
James Garrow
John Trigg MBE
Life Patrons
John and Jean Leston
Platinum Patrons
Richard & Mary Broughton
Amanda Burn
Humphrey Cadoux-Hudson CBE
Norman Carpenter
Andrea & Gunter Dombrowe
Rosemary & Michael Dudley
Geoffrey Forster
Susan Hinton
Stephen Linton
John McLean OBE & Janet McLean
Ron & Christine Medlow
Lionel & Mary Moon
Peter Norman
Robin Privett
David & Linda Ross
Geoffrey Johns & Sheila Rowell
Catherine & Brian Shacklady
Prue & Derek Smith
Dennis & Marjory Stewart
Idris & Joan Thomas
Pam Usher
Rob and Susie Walker
Anthony J T Williams
Bill & June Windle
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 G Live, Dorking Halls, the Royal Albert Hall and
the Royal Festival Hall.
For details, please contact Anna Arthur on
07825 031087 or email: patrons@vivacechorus.org.
34
Vivace Chorus
Vivace Chorus Singers
FIRST SOPRANO
Alex Nash
SECOND ALTO
SECOND TENOR
Sandra Adamson
Alison Palmer
Geraldine Allen
Geoff Johns
Sel Adamu
Kate Peters
Evelyn Beastall
Stephen Linton
Amelia Atkinson
Mary Somerville
Mary Clayton
Charles Martin
Jan Barklem
Olwyn Westwood
Sheena Ewen
Peter Norman
Helen Beevers
Christine Wilks
Liz Hampshire
Mary Broughton
Eiri Williams
Pauline Higgins
Jo Haviland
Isobel Humphreys
Natalie Wojcikiewicz Lois McCabe
Kay McManus
Becky Kerby
FIRST ALTO
Val Morcom
Richard Broughton
Fran MacKay
Jackie Bearman
Pamela Murrell
Brian John
Suzie Maine
Jane Brooks
Sonja Nagle
Jeremy Johnson
Michelle Mumford
Amanda Burn
Sheila Rowell
Andrew Linden
Sue Norton
Valentina Faedi
Lucy Schönberger
Jon Long
Robin Onslow
Lynne Hargreaves
Jo Stokes
Keith McClurey
Gillian Rix
Sheila Hodson
Rosey Storey
Malcolm Munt
Sarah Smithies
Lis Martin
Pamela Usher
Chris Newbery
Barbara Tansey
Charlotte Mathieson
Esther Van Rooyen
Robin Privett
Joan Thomas
Christine Medlow
Alison Vincent
David Ross
Hilary Vaill
Rosalind Milton
Miriam White
Lilly Nicholson
FIRST TENOR
Jackie Payne
Bob Bromham
SECOND BASS
Linda Ross
Bob Cowell
Peter Andrews
SECOND SOPRANO
FIRST BASS
Paul Barnes
Phil Beastall
Rob Walker
Jacqueline Alderton Catherine Shacklady Andrea Dombrowe
Anna Arthur
Owen Gibbons
Marjory Stewart
Gill Backhouse
Rosie Jeffery
Sue Thomas
Norman Carpenter
Sarah Badger
Hilary Trigg
Audrey Kueh
Chris Peters
Jane Barnes
Fiona Wimblett
Nick Manning
Richard Wood
Scarlett Close
Maggie Woolcock
Barbara McDonald
Ann Fuller
Martin Price
Isabel Mealor
John Trigg
Mike Johns
Neil Martin
Graham Vincent
Susie Walker
Vivace Chorus
35
Vivace Chorus dates for your diary
The Mayor of Guildford's Christmas Concert
Holy Trinity Church, Guildford
Sunday 10th Dec. 2023, 7:00pm
Join Vivace Chorus and the Mayor of Guildford for the season's most
popular carol concert! Attracting a capacity audience at Holy Trinity
Church on Guildford High Street. This concert is a festive mix of
traditional and contemporary music, along with your favourite
audience carols, all in aid of the Mayor's Local Support Fund.
Come & Sing 2024
Saturday 27th Jan. 2024, 10:30am-4pm
Holy Trinity Church, Guildford
Would you like to spend a day singing in our choir? Then join us,
together with our professional musicians, Jeremy and Francis, to
rehearse and perform one or more choral works; this year it's
Mendelssohn's wonderful Elijah. Tickets include drinks and lunch.
Our Come & Sing is always popular, so book your place today!
Duruflé Requiem
Friday 1st March 2024, 7:30pm
Holy Trinity Church, Guildford
Duruflé's beautiful Requiem is where “Gregorian chant meets the
sumptuous sound world of 20th century France” according to BBC
Music Magazine. Our wonderfully meditative concert also includes
works by Ešenvalds, Dubra and Jonathan Dove.
Verdi Requiem
G live, Guildford
Saturday 18th May 2024, 7:30pm
Join Vivace Chorus and the Liverpool Welsh Choral for Verdi's
magnificent Requiem. First performed in May 1874, we are
celebrating its 150th anniversary.
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
36
Vivace Chorus
Duruflé
Requiem
and music by
Widor, Eŝenvalds,
Pärt, Dubra and
Jonathan Dove
Vivace
Vivace 2024.indd 3
Friday
1 March 2024
at 7.30 pm
Holy Trinity,
Guildford High Street.
27/10/2023 11:11
FUTURE CONCERTS
Vivace
Rotary in Guildford and
Vivace Chorus present
THE MAYOR OF GUILDFORD’S
CHRISTMAS
CONCERT
Sunday
10 Dec 2023
at 7pm
Holy Trinity Church, Guildford.
Victorian-Programme.indd 1