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GRAN
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L’ENTENTE CHORALE a Revolutionary Requiem
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The French word ‘Entente’ means co-operation: working together: working together ‘sans frontiéres’. It
implies that the synergy of the whole is greater than the sum of the parts: it speaks of comradeship and
‘fraternité’.
The phrase ‘Entente Cordiale’ has often been used to describe our relationship with France and the
French people (particularly perhaps during its better moments!!). Now Goldsmiths Choral Union, in
support of and with the support of the National Federation of Music Societies, gives you ‘L’Entente
Chorale’ — a magnificent example of choral co-operation. There have been four regional rehearsals — in
London, Edinburgh, Bristol and Salford. At these regional rehearsals Brian Wright has imprinted his own
inimitable style, drawing together the work of nearly 1,600 singers. These singers had already been
rehearsing with their choirs: 33 choirs in fact based in towns and villages as far apart as Inverness, Cardiff,
Cromer and Portsmouth: a truly extraordinary co-operation which we think has not been seen in the United
Kingdom before.
Although there are no French choirs here tonight (France not having the same amateur choral tradition as
the United Kingdom) we have chosen the French theme {I’Entente Chorale’ not only in honour of the
composer Hector Berlioz but also in celebration of that other co-operative venture triggered off exactly 200
years ago this weekend: the French Revolution.
The subtitle ‘A Revolutionary Requiem’ acknowledges not only this French bicentenary celebration: it also
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acknowleges the original performance intention for this work, planned to take place in 1837 in honour of
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the dead of another revolution — that in Paris in July 1830. Further, the theme ‘A Revolutionary Requiem’
speaks of the extremes we have gone to tonight in doubling the choral forces that Berlioz himself envisaged
should perform the work!!
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We have revolutionized a Requiem that in its own day was already truly revolutionary both in its concept
and its composition.
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There will be no recording this evening as we do not believe any form of recording could do justice to
shere might of this evening’s performance. What better implementation could there be of the Natione
Federation of Music Societies’ objective to keep music live and alive in the United Kingdom?
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VIVE PENTENTE CHORALE!!
GOLDSMITHS CHORAL UNION
Patrons: Sir Charles Groves CBE ~ The Worshipful Company of Goldsmiths
Musical Director: Brian Wright
Accompanist: Stephen Jones
GOLDSMITHS CHORAL UNION is now ranked as one of London’s finest amateur choirs, performing
at all the capital’s major concert halls. It has broadcast regularly and commissions new work, most recently
Peter Skellern’s first classical piece ‘Weathers’. GCU’s repertoire spans Monteverdi and Burgon via Bach
and Tippett and it has a stimulating concert schedule.
Forthcoming events include:
October 15 1989, Queen Elizabeth Hall, Bruckner : Mass in E minor
December 2 1989, Royal Festival Hall, Vaughan Williams: A Sea Symphony
December 21 1989, Royal Albert Hall, British Telecom Charity Christmas Festival Concert in aid of
National Children’s Homes, Children in Need, and Childline.
This busy and friendly choir welcomes new singing members. Rehearsals are normally held at Baden
Powell House (Gloucester Rd. tube) on Wednesday evenings from 6.30 to 9.30 pm. If you have some
singing experience and good sight reading and would like an audition, send a stamped addressed envelope
to: Mr David Hayes, 25 Featherbed Lane, Addington, Croydon, Surrey CR0 9AE. Tel: 01-657 1726
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The management of the Royal Albert Hall reminds concert goers that they may not smoke, take photographs, or make
recordings in the auditorium.
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Goldsmiths Choral Union
presents, in support of the
National Federation of Music Societies,
1500 voices from throughout the UK
Robert Tear
tenor
Brian Wright
conductor
Royal Philharmonic Orchestra
Sfa‘turday 15 July 1989
at 7.30pm
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ROYAL ALBERT HALL
Chief Executive : Patrick Deuchar
PROGRAMME £1.00
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TONIGHT’S ARTISTS
BRIAN WRIGHT is recognised as one of Britain’s finest younger conductors. A
Gulbenkian scholar
in London, he furthered his studies with George Hurst and
Jascha Horenstein and in Munich. He won major prizes in competitions in London
and Milan and spent a year as Assistant to André Previn and the LSO.
From 1976-84 he was a staff conductor
to the BBC, conducting hundreds of
broadcasts with all their orchestras. Based in London, he conducted the BBC
Symphony Chorus, winning praise for his Prom performances of Bach, Berlioz and
Liszt. He toured Switzerland and Belgium with the BBC Symphony Orchestra and
conducted the final concert in their 50th anniversary season. His association
continues as a guest and in November 1988 BBC TV launched its ‘Dancemasters’
series with Brian Wright conducting Stravinsky’s ‘Pulcinella’ with the BBC SO.
Since 1985, Brian Wright has been a guest conductor with Britain’s leading
orchestras. His repertoire is especially wide and he has conducted many premiéres.
Awaiting release is a recording of a new Symphony by the American composer John
Rodby. Forthcoming London concerts include a series of Elgar concerts in 1990
and Beethoven’s 9th in 1991. He is in his sixteenth season as Music Director of
Goldsmiths Choral Union.
ROBERT TEAR was born and educated in Wales, leaving to become a choral
scholar at King’s College Cambridge. Since leaving Cambridge in 1961, he has
-repeatedly shown his versatility and great talent as one of the world’s leading
tenors.
Robert Tear is sought after by all the musical centres of Europe and the USA. He is
especially well known in Paris, where, at UOpéra, he has sung Loge in Solti’s Das
Rheingold and taken part in the sensational complete production of Berg’s Lulu
conducted by Boulez in 1979. He has become a regular guest at Covent Garden,
having appeared there every season since his debut in 1970. He has also appeared at
the opera houses in Geneva, Berlin, Munich and Cologne.
He is also greatly in demand as a concert singer, appearing regularly on the South
Bank and in many European capitals. And he is a supremely successful recording
artist, having now made well over 250 records for every major recording company.
In 1985 Robert Tear made his US conducting debut in Minneapolis, and continued
to follow this new career when he conducted a televised New Year’s Day Viennese
concert from St David’s Hall, Cardiff. He has now been appointed Principal Guest
Conductor of the Orchestra of the Mill and Chief Guest Conductor of The City of
Ozxford Orchestra.
He was awarded the CBE in 1984 and is the holder of the Royal Academy of
Music’s newly founded Chair of Vocal Studies. In January of this year he was made
an Honorary Fellow of King’s College Cambridge.
ROYAL PHILHARMONIC ORCHESTRA was founded by Sir Thomas Beecham and gave its first concert
on 15 September
1946. Vladimir Ashkenazy became Music Director of the orchestra in January 1987, following such illustrious predecessors as
Sir Thomas Beecham (who held the position from 1946 until his death in 1961), Rudolf Kempe, Antal Dorati, Walter Weller
and, most recently, Andre Prévin.
The RPO has appeared at many leading international festivals including Athens, Edinburgh, Helsinki and Schleswig-Holstein.
Tours in the current season include Germany, Italy, Spain and the Canaries, and the United States.
The orchestra has also recorded soundtracks for films, television and radio, and made television broadcasts. The RPO has an
extensive discography which includes several recordings with André Previn, made since commencing his permanent association
with the orchestra. The RPO’s present Music Director, Vladimir Ashkenazy has already made a series of Shostakovich
recordings and a Tchaikovsky album with the orchestra, and further recordings are scheduled.
In May 1986 the RPO launched the first record label to be entirely managed and owned by an orchestra itself. RPO Records has
already released 15 recordings featuring the orchestra with artists such as Aled Jones, Andrew Litton, Sir Charles Mackerras, Sir
Yehudi Menuhin, André Previn and Paul Tortelier.
HECTOR BERLIOZ 1803-1869
Born on 11 December 1803 at La Cote de Saint
André, near Grenoble, Louis Hector Berlioz was
the son of a well-to-do local physician. He
showed an early aptitude for music, learning to
play his father’s flageolet and later taking up the
flute and guitar. By the age of 15 he was already
composing.
He first came to Paris in 1821 to take up a
medical career. But the Paris Opéra and the
library
of the Paris Conservatoire constantly
diverted him from his medical studies. He began
taking formal music lessons in 1822 and in the
following year became a private pupil of Jean
: 'iFraani_s Le Sueur, a choral and opera COmposer.
In 1826 Berlioz enrolled as a student at the Paris
Conservatoire and studied with Le Sueur and the
Bohemian-born composer and flautist Antonin
Reicha. In 1830 he won the prestigious Prix de
Rome, and in 1832, after completing the
mandatory two years of study in Italy to which
the prize entitled him, he embarked upon the
precarious life of a professional composer. From
1834 he also wrote trenchant music criticism for the Parisian Journal de Débats and later found
time to write books on orchestration and the art of conducting.
In 1827 Berlioz had attended a performance of Shakespeare’s Hamlet at the Paris Odéon,
starring
the young Irish actress Harriet Smithson as Ophelia. He fell passionately in love with
both
Shakespeare and Miss Smithson. Long before he met her, his passion for her burned
fiercely. His
unrequited love was the central source of his first great masterpiece, the
Symphonie Fantastique of
1830. Berlioz first met Harriet in late 1832, and, following ten months of courtship,
were married in October 1833. The marriage proved to be a disaster, although
Berlioz a son, Louis, whom he loved. In 1841 Berlioz began an affair with the
with whom he toured Belgium and Germany and in 1844 Berlioz and
the couple
Harriet did bear
singer Marie Recio,
Harriet finally separated.
Musically, the years
of marriage to Harriet Smithson brought forth some of Berlioz’s greatest
masterpieces, inspired for the most part by events in his life or the literature
he read. As well as the
originally intended for Paganini, who had commissioned it but never played
it) and a number of
Requiem there were orchestral works such as Harold en Iralie (with a prominent
viola part
overtures; the dramatic, partly choral symphonies Roméo et Juliette and
the Grande Symphonie
Funébre et Triomphale; and the opera Benvenuto Cellini.
During the last 25 years of his life, Berlioz watched the decline of musical taste in Paris, powerless
to stop it. His La Damnation de Faust, given in Paris in 1846, was a dismal failure. Yet he found
some success abroad. He visited England four times, for performances in London, and Russia
twice. In Germany, Liszt championed his music at Weimar. After Harriet Smithson’s death in
1854 he married Marie Recio, but within eight years she too was dead. His only son Louis
succumbed to yellow fever in Havana in 1867.
Berlioz continued to compose: the massive 7z Deum was completed in 1849; L’Enfance du Christ in
1954; and the orchestral version of his song cycle Nuits d’Eté in 1856 (the original composition of
this work for voice and piano had been completed in 1841). Between 1856 and 1858 his energies
were channelled into his most ambitious work, the opera Les Troyens, a work of epic proportions
based on Virgil’s Aeneid. Too big to be performed in its entirety, the piece had to be divided into
two parts to gain a hearing in Berlioz’s lifetime; in the event, only the second part was performed,
running for 22 nights at the Paris Théatre-Lyrique in November 1863. Berlioz saw this as
a
failure. In the previous year he had completed the two-act comic opera Béatrice et Bénédict based
on Shakespeare’s Much Ado About Nothing and staged at Baden-Baden. It was his last work. In
Fe’bruar{y 1868 he suffered two falls while visiting Nice and spent his last year in a weakened state.
He died on
8 March 1869.
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LA GRANDE MESSE DES MORTS
Opus 5 (1837)
Exactly 200 years ago, on 14 July 1789, the Paris mob stormed the Bastille and lit the spark that kindled the
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French Revolution, the most celebrated and influential political and social upheaval of modern history. The
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bicentenary of this momentous event is a fitting moment to reflect upon the spirit of innovation in the arts,
sometimes rather explosive, often fascinating and forward-looking, that has long been a special feature of
intellectual life in France. The Berlioz Requiem — La Grande Messe des Morts — typifies this trait admirably.
Daringly experimental in parts, awesomely explosive, and (given that Berlioz was not an orthodox believer)
deeply pious at times, the Requiem is worthy to stand as an exemplar of the French intellectual character.
The Requiem was commissioned in 1836 by the French Ministry of the Interior as a memorial to the
martyrs who had died in the Paris Revolution of July 1830. Responding to an impulse to write a
monumental piece of Beethovenian grandeur, Berlioz finished the work in record time in the summer of
1837. Unfortunately bureaucracy brought about the cancellation of the project, but only after Berlioz had
incurred the expense of copying the parts and engaging performers. Eventually the death of a French
general on active service in France’s colonial war in Algeria provided the excuse to stage the Requiem on 5
December in the church of Les Invalides. An orchestra of 190 players and a choir of 210 voices took part. It
was a great public occasion, carried off with due pomp and ceremony, although Berlioz later claimed in his
memoirs that the evening was spoiled for him when the conductor, Francois-Antoine Habeneck, stopped to
take a pinch of snuff just before the crucial “Tuba mirum’ section of the ‘Dies Irae’. Berlioz stepped in
smartly to save the day. And save it he evidently did, for the Requiem proved a major success.
Perhaps the most striking feature of the Requiem is the way in which it exploits space. It is pure
‘architectural’ music and was designed as such by Berlioz. But its scoring is also remarkable, extending in
terms of contrast from the austere unaccompanied choral writing of the ‘Quarerens me’ to the vast forces of
a massive orchestra unleashed at “Tuba Miram’ and consisting of quadruple wind, a dozen horns, 16
timpani, and four separate widely spaced brass bands. Berlioz’s shattering vision of the Apocalypase
anticipates Verdi’s by nearly 40 years.
The solemn ‘Requiem et Kyrie’ opens in G minor with a sombre orchestral introduction. The chorus then
present a slow fugato in which a forceful subject is answered by a halting, fearful chromatic figure first
heard in the tenor line. The words ‘Dona eis requiem’ are set to soothing celestial harmonies, but the
harshness of this world can still be felt. The movement’s climax, at ‘et lux perpetua luceat eis’ finds Berlioz
symbolizing the radiance of eternal light by means of high strings that soar clear of the other forces to climb
to a piercing A natural. After this glimpse of glory the movement ends in sombre mood again, with the
chorus muttering ‘Kyrie eleison’.
The ‘Dies Irae’ starts with a series of sections based on a plainsong-like melody first heard on low
instruments playing in octaves. The sopranos reply with a plangent variation on this theme, accompanied
by upper strings also playing in octaves. The tone
of fear is unmistakable, and as tenors and basses take up
the text in thinly scored counterpoint, the sense of urgency builds. At the first appearance of ‘Quantus
tremor’, all the choral parts join to express a communal sense of foreboding. A chromatic surge follows, and
both pitch and tempo rise and the tenors become more agitated. Another surge, and the tenor line becomes
frantic. After yet another surge, the brass bands announce the Day of Judgement with a series of
overlapping fanfares. The pitch rises once more, to E flat, and we are drowned in the sheer noise of the full
orchestra and chorus. From the grandeur of this moment we descend to the abject terror and hand-wringing
repentance of ‘Mors stupebit’, to which the sinister sneering of horns adds a special frisson.
The ‘Quid sum miser’, in which the tenors’ lonely line and the music of the cor anglais, bassoon and cello
that punctuates it both recall the ‘Dies Irae’ material, has a severe, penitential mood. The tenors’ plea ‘gere
curam’ is completed by the basses whose ‘mei finis’ closes this movement without comfort or hope. The
tone of grandeur returns with the ‘Rex tremendae’, a movement full of energy and pace. The high spots are a
powerful setting of ‘Confutatis maledictis’ and the hopeless, imploring exclamations of ‘salva me’, which at
the end are passed from voice to voice. The closing cadence on ‘fons pietatis’ brings a measure of comfort
and warmth to an otherwise awesome movement. The unaccompanied ‘Quaerens me’, remarkable for the
severity of its counterpoint and the percussive repetition of notes in the lower parts, is an oasis of calm at
the most personal crisis point in the whole piece. It is in stark contrast to the ‘Lacrymosa’, in which the full
orchestral and choral forces are again employed. A swinging 9/8 fugue in A minor contrasts with a calmer
section in C major. Both are presented twice, except that at its second appearance the calmer section is
presented in A major and leads directly to an explosive coda involving the brass bands for the last time.
Monument dedicated
t0 the memory of
those who perished
July 1830, drawn by
:
Jo Nash
The ‘Offertorium’ is one of the most extraordinary movements. The chorus change the text in unison on
just two notes, A and B flat, around which the orchestra weaves an elaborate prelude. At ‘Quam olim
Abrahae’, the voices break free of their confinement and close the movement with a long-drawn-out cadence
ofgreat beauty. Male voices dominate the ‘Hostias), singing a series of chordal phrases that are echoed by
the unearthly sound of three high flutes and eight low trombones. The celestial radiance of the ‘Sanctus’, in
which the solo tenor’s phrases are echoed by the angelic sound of women’s voices, is heightened by Berlroz s
use of flute, high solo violins and divided tremolo violas. A fugal ‘Hosanna in excelsis’ provides earthly
contrast to the celestial ‘Sanctus’ text. There is no ‘Benedictus’; instead, the ‘Sanctus’ music returns, subtly
enhanced by the addition of a cello part and quiet, stately bass drum and cymbal strokes. The ‘Hosanna’ too
returns, the compressed fugue being terminated by a noble unison statement of the words ‘Hosannain
excelsis’.
The ‘Agnus Dei’ begins by reprising the chordal phrases ofthe ‘Hostias’, but prefaced by slow, separated
woodwind chords to which the violas add an artificial echo. We hear agam
the otherwordly sound of high
flutes and low trombones and are ledinto a rcprlse of the opening music from the ‘Requiem et Kyr1e The
final moments are consolatory the words ‘Quia pius es’ are set to the same music as ‘fons pietatis’. With a
series of two-chord ‘Amens’, in which the harmonies are subtly varied each time, the work draws to a
peaceful close.
Programme notes © 1989 by William Gould
REQUIEM ET KYRIE
Requiem aeternam dona eis, Domine,
Grant them eternal rest, O Lord,
et lux perpetua luceat eis.
and may perpetual light shine on them.
Thou, O God, art praised in Sion,
Te decet hymnus, Deus, in Sion,
et tibi reddetur votum in Jerusalem
Exaudi orationem meam,
ad te omnis caro veniet.
Kyrie eleision.
Christe eleison.
Kyrie eleison.
and unto Thee shall the vow be performed
in Jerusalem. Hear my prayer,
unto Thee shall allflesh come.
Lord have mercy upon us.
Christ have mercy upon us.
Lord have mercy upon us.
DIES IRAE
Dies irae, dies illa
Day of wrath, that day
Solvet saeclum in favilla,
Teste David cum Sibylla.
Quantus tremor est futurus
Quando judex est venturus
Will dissolve the earth in ashes
As David and the Sibyl bear witness.
Cuncta stricte discussurus.
Tuba mirum spargens sonum
Per sepulcra regionum
Coget omnes ante thronum.
Mors stupebit et natura
Cum resurget creatura
Judicanti responsura.
Liber scriptus proferetur
In quo totum continetur,
Unde mundus judicetur.
Judex ergo cum sedebit
Quidquid latet apparebit,
Nil inultum remanebit.
QUID SUM MISER
Quid sum miser tunc dicturus,
Quem patronum rogaturus,
Cum vix justus sit securus?
Recordare, Jeus pie,
Quod sum causa tuae viae,
Ne me perdas illa die.
Oro supplex et acclinis,
Corcontritum quasi cinis,
Gere curam mei finis.
REX TREMENDAE
Rex tremendae majestatis,
Qui salvandos salvas gratis,
Salva me, fons pietatis,
Recordare, Jesu pie,
Quod sum causa tuae viae,
Ne me perdas illa die.
Confutatis maledictis (Jesu)
Flammis acribus addictis,
Vocame...
Et de profundo lacu.
Libera me de ore leonis,
Ne cadam in obscurum,
Ne absorbeat me Tartarus.
QUAERENS ME
Quaerens me sedisti lassus,
Redemisti crucem passus,
What dread there will be
When the judge shall come
To judge all things strictly.
A trumpet, spreading a wondrous sound
Through the graves of all lands,
Will drive mankind before the throne.
Death and Nature shall be astonished
When all creation rises again
To answer to the Judge.
A book, written in, will be brought forth
In which is contained everything that is,
Out of which the world shall be judged.
When therefore the judge takes his seat
Whatever is hidden will reveal itself.
Nothing will remain unavenged.
- What then shall I say, wretch that I am,
What advocate entreat to speak for me,
When even the righteous may hardly be secure?
Remember, blessed Fesu,
That I am the cause of Thy pilgrimage,
Do not forsake me on that day.
I pray in supplication on my knees,
My hearet contrite as the dust,
Take care of my end.
King of awful majesty,
Who freely savest the redeemed,
Save me, O fount of goodness,
Remember, blessed Fesu,
That I am the cause of Thy pilgrimage.
Do not forsake me on that day.
When the accursed have been confounded (Jesu)
And given over to the bitter flames,
Call me...
And from the bottomless pit.
Deliver me from the lion’s mouth,
Lest I fall into darkness
And the black abyss swallow me up.
Seeking me Thou didst sit down weary,
Thou didst redeem me, suffering the cross,
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Tantus labor non sit cassus.
Juste judex ultionis
Donum fac remissionis
Ante diem rationis.
Ingemisco tanquam reus,
Supplicanti parce, Deus.
Preces meae non sunt dignae,
Sed tu bonus fac benigne,
Ne perenni cremer igne.
Qui Mariam absolvisti
Et latronem exaudisti,
Mihi quoque spem dedisti.
Inter oves locum praesta
Et ab haedis me sequestra,
Statuens in parte dextra.
Thou didst redeem me, suffering the cross,
Let not such toil be in vain.
Fust and avenging Fudge,
Grant remission
Before the day of reckoning.
I groan like a guilty man.
Spare a suppliant, O God.
My prayers are not worthy,
But Thou in Thy merciful goodness grant
That I burn not in everlasting fire.
Thou who didst absolve Mary Magdalen
And hearken to the thief,
To me also hast given hope.
Place me among Thy sheep
And separate me from the goats,
Setting me on Thy right hand.
LACRYMOSA
Lacrymosa dies illa
Qua resurget ex favilla
Judicandus homo reus.
Mournful that day
When from the dust shall rise
Guailty man to be judged.
Pie jesu, Domine
Merciful Jesu, Lord
-Dona eis requiem aeternam.
Grant them eternal rest.
OFFERTORIUM
Domine, Jesus Christe, Rex gloriae,
libera animas omnium
Lord Jesus Christ, King of glory,
fidelium defunctorum de poenis
deliver the souls of all the
faithful departed from the pains
inferni et de profundo lacu.
Et signifer sanctus Michael
And let St Michael Thy standard-
of hell and from the bottomless pit.
sanctam, quam olim Abrahae
bearer lead them into the holy
light which once Thou didst promise
Domine, Jesu Christe, Amen.
Lord Jesus Christ. Amen.
repraesentat eas in lucem
promisisti et semini eius,
to Abraham and his seed,
HOSTIAS
Hostias et preces tibi laudis
We offer unto Thee
offerimus. Suscipe pro animabus
illis quarum hodie m=moriam
this sacrifice of prayer and praise.
Receive it for those souls
facimus.
whom today we commemorate.
SANCTUS
Sanctus, sanctus, sanctus, Deus Sabaoth.
Holy, holy, holy, God
of Hosts.
Pleni sunt coeli et terra gloria tua.
Hosanna in excelsis.
Heaven and earth are full
of Thy glory. Hosanna in the highest.
AGNUS DEI
Agnus Dei, qui tollis peccata mundi,
Lamb of God, who takest away the sins
dona eis requiem sempiternam.
of the world, grant them everlasting rest.
Te decet hymnus, Deus, in Sion,
et tibi reddetur votum in Jerusalem.
Exaudi orationem meam, ad te omnis
caro veniet.
Requiem aeternam
dona defunctis, Domine, et lux
perpetua luceat eis, cum sanctis tuis
in aeternam, Domine, quia pius es.
Amen.
Thou, O God, art praised in Sion
and unto Thee shall the vow be
performed in Jerusalem. Hear my
prayer, unto Thee shall all flesh come.
Grant the dead eternal rest,
O Lord, and may perpetual light shine
on them, Thy saints for ever,
Lord, because thou art merciful.
Amen.
g
BLANDFORD CHORAL SOCIETY, DORSET
Celia Sutton
Sopranos
]
Annette Turner-Jones
Sarah A’Barrow
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Rita Butler
&ites
Trudy Francis
Alma Adshead
Pepe Bastin
Judith Crompton
Elizabeth Greenslade
Clare Jenkins
Susan Sawyer
Betty Jane Crowther
Muriel Dean
Joyce Ringrose
Judith Robertson
Nancy Hardy
Eileen Lancaster
Tenors
Ruth Milbank
Janet Parry
Joy Reynolds
Stephen Brooks
Frank Greenslade
Martin Wright
Basses
Tony Butler
Alan Francis
David Longfoot
John Warren
Peter Wood
BROCKHAM CHORAN SOCIETY, SURREY
Gwyneth Woollard
‘Sopranos
Jill Buckle
Peggy Holland
RN
Shiela Honeyman
Jenny Bartholomew
Joan Benns
Margaret Murray
Sue Pratt
Jane Davies
Patsy Malcher
Sian Mayo
Nick Hands-Clarke
Basses
Bob Holland
Ann Wilson
Robin Luff
Peter Nutley
Anthony Potter
Robert Chalmers
David Holland
Bruce Pennell
Tenors
Mike Jarvis
Chris Pratt
Toby Smith
Keith Forsyth
THE CAMDEN CHOIR, LONDON
Mary Lawrence
Sopranos
.
Dorothy Luciani
Maire O’Connell
Clark
S
oy e
Rosie Perkins
= s
Lesley Gould
Janet Robertson
Sue Sole
Sunderprem O’Keefe
Altos
Davi
B
Catherine Ernster
Deborah Hayter
Mandy Hardingham
Tenors
Chris Cooke
Peter Jamieson
John Wren
Andrew Hinchley
Rory Johnston
Tim Perkins
Peter Stroud
Joan Lindeman
Ruth McAllister
Juliette Sawkill
Lesley Sinclair
Basia Bielinski
Jenny Leggatt
Vanda Caudrey
Wendy Delamore
Lynda Fenelon
Basses
Clare Tanner
Dan Elliott
Pauline Sekyi
Basses
Tenors
Kenneth Gambier
Desmond Cheale
CAMBRIDGE PHILHARMONIC SOCIETY
Sopranos
Wendy Fray
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Catherine Lofts
Alice Kn‘ewstubb
Valerie Mahy
Jane Nunn
Brenda Marshall
Pamela Trigg
Gwendolen Meadows
Barbara Parker
,
Margaret Partridge
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Slkas
Evelyn Samuel
Debbie Davies
David Cole
Paul Fray
Derek Norman
David Limbert
Richard Monk
Richard O’Connor
Ian Phillipps
Alan Rickard
Alan Soutter
Patrick Hall
Peter Knewstubb
CHISWICK CHOIR, LONDON
Rebecca Phillips
Gill Drake
Tenors
Christine Quine
Linda Evans
Diana Goodeve Docker
Richard Camp
Sue Riley
Suzanne Judelson
Helen Forsyth
Pru Ross
Lynne Lacey
Paula Grossman
Edith Hafenrichter
Bessie White
Anne Lawson
Altes
Lisa Ronaldson
Maureen Thomas
Felicity Tucker
Sopranos
Liz Price
Sue Chandler
Dawn Dearing
Marion Lapladie
Sue Lawrence
Judy Donath
Gillian Downs
Sarah Livingstone
Chris Moftatt
Elizabeth Martyn
Peter Lawson
Basses
Tony Fogarty
John Francis
Frank Malthouse
Christopher May
Mike Phillips
John Rolt
Nigel Seymer
Frank Tucker
Michael Wilks
John Wilson
Piers Ford Crush
Ann Thomson
Ian Hunter
E M Jones
Felicity Davies
David Jones
David Evans
Robert Tucker
Cenmyr Thomas
CARDIFF BACH CHOIR
Sopranos
Joyce Griffiths
Janlun
Ann Bryan12
Ann Meurig Jones
M R Warfield
R
ENI T
Ann Davies
Betty Johnston
Palmer
y
Altos
Iris Brown
Helen Fletcher
Michael Foster
Tenors
Cecil James
Keith John
Peter Webb
Max Harper
Basses
Arthur Bridgman
COVENTRY PHILHARMONIC SOCIE
TY
Sopranos
Altos
Sk Lee
Ann Benson
Margaret Parkinson
Janet Cowles
Sarah Philpott
Christine Darmon
Anne Polson
Joan Donaldson
Sally Rice
Doreen Earl
Judith Robins
Pat Fleming
Maureen Spencer
M ] Harris
Menna Thomas
Heather Amery
Eirlyth Lockett
Richard Haw
Jean Pardon
Andrea Lloyd
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Brenda Barratt
P Sn; lummer
Gillian Chiles
Jean
Rosalind Coles
JAefin Smith
Joanna Davis
Janet Eardley
Marion Jackson
Jill Waring
Doreen Leach
Margaret Jakiel
Marilyn Withers
Barbara Lewis
Sc .nelder
ison Stanley
T
B
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Andrew Adam
Peter Corne
Neville Davis
John Jones
shers
Andrew Bell
Malcolm Lewis
Dennis Norfolk
THE CUNNINGHAME CHOIR, AYRSHIRE
Sopranos
Lorna Haining
Patricia Stevenson
Collee
Bt
o
Ellen Hart
T
Wy
Mary Stonelake
Karen Turner
Kay Frost
Elna Martin
Mary Stewart
Alan Lang
Ian Paterson
Jim
Smith
:
Chris Willis
e
John Turner
Netta Beaton
Tenors
e
Basses
Betty Buchanan
Ian Buchanan
Eric Bruce
Douglas Martin
Robert Young
Steven
Bradley
Ivor Willis
DOVERCOURT CHORAL SOCIETY, ESSEX
Sopranos
Audrey Brook
Pat Clarke
Sue Payne
Jane Tettmar
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Phoebe Ward
Basses
Constance Wilson
Bl
Tenors
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Maureen Goddard
Anne Lord
Kate Guilfoyle
Marian Heath
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Shines
Altos
s
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Brian
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Beryl Burleigh
Marie-Louise Collins
John Coptcoat
Alison Farren
Tenors
.
Collins
DURHAM CHORAL SOCIETY
Sopranos
Joyce Robson
Kathie Ross
Maureen Aspinall
Connie Stone
Elizabeth Fewster
Altos
Marjan Hartley
Pam Beasley
Lindy Easten
Valerie Revely
Basses
Wendy Keys
Mary Oliver
Heather Batey
Alison Curry
Jenny Hayward
Glenys Sandham
Chris Butler
Ros Saunders
David Crookes
Sadie Thompson
Patrick Holroyd
Matthew Leach
David Baggott
Roy Beasley
Arthur Candeland
Fred Oliver
Robert Simpson
William Todd
Joyce Murray
John Fairhurst
EDINBURGH ROYAL CHORAL UNION
Sopranos
Loraine Alexander
Fiona Anderson
Jane Bell
Tona Binnie
Libby Campbell
Morvyth Davis
Jane Freshwater
Alison Gow
Olive Kinnear
Susanne Low
Alison Lyon
Helena McIntyre
Bonnie Moore
Altos
Susan Morrison
Deborah Neale
Moira Allingham
Sheena Nicolson
Janet Darling
Margaret Paton
Jillian Davey
Kathy Rankin
Lilian Davidson
Adriana Skaraas
Carolyn Dow
Rosemary Stewart
Emma Fraser
Joanna Stewart
Kathleen Hendry
Maureen Stewart
Carole Hope
Jane Watson
Tony Ireland
Vivien Wilson
Ena McLatchie
Heather Neilson
Angela Robertson
Vera Stewart
Vida Thomson
Beatrice Wickens
Alny Younger
Tenor
Danny Gilbert
Catherine McLaughlin
Basses
Jane McLeod
John Aldhous
Peter Freshwater
Dominic Goodwill
John Greer-Spencer
Andrew Matheson
James Miller
Alistair Munro
Ross Munro
Geoffrey Newton
Stuart Pawley
Roy Russell
David Williams
13
ELLESMERE PORT MUSIC SOCIETY, MERSEYSIDE
Sopranos
Isobel Astley
Ann Barlow
Delia Brettell
Jan Bland
Joan Bloore
Jane Gibbs
Susan Haywood
Jean Hyndman
Anne Jones
Maisie Kench
Julie Kench
Susanne Kilgallen
Ruth Leach
Pamela Levett
Anne Lighten
Linda McCann
Beryl Maggs
Jane Manning
Nicki Mee
Dorothy Mowles
Joan Myatt
Patricia Banfill
Josephine Barrington
Marylin Openshaw
Janette O’Flanagan
Lyn Bennett
Pamela Byrne
Mil Range
Pauline Cook
Rachel Cooke
Gillian Cope
Janette Elliott
Katherine Parr
Margaret Richards
Vivien Robinson
Helen Scott
Margaret Scudamore
Ruth Slack
Eileen Smith
Audrey Thomas
Jean Townson
June Wale
Angela Weaver
Sylvia Wise
Altos
Edna Astley
Hilary Cook
Linda Hamilton
Jean Hadfield
Valerie Price
Kathleen Robertshaw
David Williams
Audrey Rooney
Caroline Robinson
Malcolm Williams
David Willis
Valerie Savins
Brenda Sheard
Basses
Molly Watson
Phillip Banfill
Athol Barrington
Steve Brettell
John Carter
Christine Surfleet
Anna Titchmarsh
June Walkley
Catherine Willis
Valerie Holroyd
Gail Jones
Alison Kay
Jessie Land
Ian Smith
‘Tenors
Johnathan Howell
David Long
Peter Moody
Ian Myatt
Raymond Bonnard
Judith McCannon
Milly McGroarty
Mary Monkhouse
Rhiannon Morgan
Patricia Parker
Graham Mercer
Charles Minors
Peter Murphy
Malcolm Perry
David Prince
Michael Orriss
Steve Rogers
Ray Skinner
Frederick Small
Ben Williams
Steve Wood
Margaret Bissett
Linda Carey
Renate Chambery
Hilde Davis
Sheila Edmundson
Muriel Mennell
Audrey Morris
Mary Pavitt
Helen Pickering
Edith Rumbal
Basses
FINCHLEY CHORAL SOCIETY, LONDON
Sopranos
Peronel Barnes
Pamela Dawswell
Jenny Devos
Anne Dhoul
Judy Dodds
Elizabeth Forsyth
Cynthia Fox
Lore Gort
Molly Hunt
Jill Huckstep
Tina Kaps
Barbara Kay
Ann Kirby
Norma Leen
Jean Leyland
Myrtle Levy
Muillie Renn
Ailsa Shores
Jacqueline Thomson
Maria Webb
Margaret Woodland
D Earl
June Grieve
Melvina Hartland-Swann
Irene Harper
Rosemary Helfer
Joyce Judkins
Altos
Susan Bowman
Hilary Kyriakides
Annabelle Lake
Tenors
Frank Cartmell
Ronald Cerner
Geoffrey James
Donald Jennings
Roger Knight
Chris Bruce
John Davis
Daniel Davis
Alan Duke
Michael Hamm
Reginald Judkins
Ambrose Murray-Davey
Alan Nafzger
Charles Posner
Jeremy Pratt
Stephen Westoby
GOLDSMITHS CHORAL UNION, LONDON
Sopranos
Lyn Corke
Hilary Avshu
Meriel Beeden
Hester Bonnerman
Deborah Bowers
Kate Cameron
Gillian Edelstone
Jenny Garrett
Barbara Janes
Kathy Johnston
Su Johnston
Joanna Kenny
Angela Coleman
‘Maureen Coleman
Catherine Cooke
Anne Cotter
Caroline Dacey
Tessa Gould
Janet Kirkland
Jo Churchill
Janet Lynch
Lyn Mycroft
Jean Ramsey
Catherine Ribton
Gillian Rogers
Hilary Hunt
Jenny Leach
Giz Marriner
Wendela Pascall
Caroline Phillips
Anne Randall
Marjorie Trone
Judith Wright
Penny Wright
Gillian Shelvey
14
Helen Pattison
Irene Clugston
Altos
Hilary Clifton
Romaine Ford
Patricia Gracey
Meg Green
Margaret Haggis
Barbara Harding
Claire Jemmett
Rachel Keegan
Jean Laidlaw
Helen Lancaster
Alison Leggatt
Catherine Walker
Sylvia Levinson
Tenors
Olga McLoughlin
Gwen Milne
Betty Newbury
Elizabeth Newman
Dinah Nichols
Avril Sessions
Deborah Smith
Sarah Smith
Rosemary Bishton
Maggie Dean
Fiona Dick
Jane Eastwood
Christine Edmond
Pat Hicklenton
Krystyn Holloway
Nina Manasseh
Julia Mikardo
Lindsay Paget-Cooke
Maggie Ronald
Connie Suter
Victoria Ware
Pat Whitsey
William Gould
Andrew Hamer
Martin Hart
Alan Jackson
Stephen Locke
Martin Miller
Phil Stoneham
Tom Taylor
David Whiteley
Jonathan Haskell
Michael Wright
Francisco Diego
David Hayes
Godfrey Rock
Alistair Seaton
David Willingham
Basses
Colin Grimsey
Richard Grimsey
Stephen Jones
Tim Maby
Patrick Orpen
Peter Smith
Roland Smith
Gerald Sykes
Geoff Brazier
Keith Browne
Michael Burns
Steve Collin
John Hague
Brian Hicklenton
David Holloway
Bill Johnston
Maurice Kench
Mike Lock
John Norkett
Jim Shenton
Michael Shier
Stephen Briggs
Charles Smith
John Suter
Chris Watts
Michael Elstone
Paul Tobin
David Corke
GOOLE CHORAL SOCIETY, HUMBERSIDE
Sopranos
Pamela Muse
Altos
Monica Allen
Judy Backhouse
Wendy Shand
Janet Sharp
Mary Dent
-
Karen Dunleavy
Brenda Burton
Betty Chant
Janet Clarke
Kathryn Sharp
Anne Hudson
Brian Hill
Pearl Marwood
Debbie Newton
Dorothea Day
Joan Meikle
Margaret Tordoff
Tenors
Basses
John Allen
David Fishburn
John Hammond
Hazel Dunn
Betty Stamp
Gill Falkingham
Philip Brough
Gordon Johnson
Margaret Hindmarsh
Dianne Thompson
Emily Grassby
Frank Ella
John Lister
Dorothy Muse
Rita Ward
Agnes Hill
Garry Griffith
Ralph Marwood
Jeni Young
GUILDFORD PHILHARMONIC CHOIR, SURREY
Sopranos
Kathleen Aldridge
Helen Archibald
Louise Barnfield
Jilly Bradshaw
Mary Broughton
Elaine Chapman
Jill Davies
Andrea Dombrowe
Barbara Doyle
Celia Embleton
Rita Frita
Jenny Hakim
Susan Hinton
Rita Horton
Joy Hunter
Elaine Inglis
Iris Bennett
Hilary Trigg
Judith Lewey
Alison Bosley
Pauline Vince
Alison Munro
Jean Brown
Jean Whitehouse
Rosemary Munro
Sheila Davidson
Christine Nicholson
Maggie Guilfoyle
Susan Norton
Ingrid Hardiman
Robin Onslow
Marilyn Hill
Alexandra Palmer
Carol Hobbs
Margaret Parry
Sheila Hodson
Rosalind Plowright
Jean Radley
Judy Smith
Enid Weston
Christine Wilks
Altos
Iris Ball
Basses
Michael Allen
Tenors
Christopher Anderson
Graham Barwick
Michael Bradbeer
John Britten
Bob Bromham
Walter Chattaway
Adrian Buxton
Douglas Corr
Katharine Isaac
Henry Carew
Peter Herbert
Helen Lavin
Toby Crowe
Maxwell New
John Parry
Christine Medlow
Geoffrey Forster
Brenda Moore
Leslie Harfield
Don Skipper
Faye Richardson
Maggie van Koetsve
Philip Stanford
Prue Smith
Nick Lamb
Andrew Whitehouse
Rosemary Smith
Peter Lemmon
Ralph Whitehouse
Margaret Tingley
Andrew Ross
Martin Wilks
Altos
Ray Skinner
Marjorie Storey
William Proudfoot
Valery Dean
Lorraine Geddes
Margaret Swan
Fran Tilbrook
INVERNESS & DISTRICT CHORAL SOCIETY
Sopranos
Anita Dunlop
Doris Fowler
Adrienne Adie
Sheila Cumming
Dorothy Lindsay
Christine Mackintosh
Basses
Ken Chegwyn
Geoff Davies
Christina MacLeod
Dorothy Mackay
Jessie MacPherson
Christine Dora
Jean Thom
Patricia Moore
Jean Duncan
Barbara Young
Jo Campbell
Ian Fairgrieve
Iain Mackintosh
Alastair Owens
Elizabeth Creswell
Margaret Douglas
Tenors
Basses
Fay Ellis
David Barrett
Peter Armstrong
Sheila Purchase
Mike Nendick
John Parker
Nancy Davies
Sheila Davies
Tenors
Ralph Duncan
LINDOW SINGERS, CHESHIRE
Sopranos
Valerie Pickwell
Anne Tyler
Helen Baker
Jennifer Beames
Jean Gill
Joan Mitchell
Altos
Dorothy Ridehalgh
Suzanne Browne
Roy Vickery
ITain Purchase
Keith Worrall
Stephen Swinfin
LLANDAFF CATHEDRAL CHORAL SOCIETY, SOUTH GLAMORGAN
Sopranos
Ann E Pugh
Ann Attwool
Joy Waldock
Ann Bailey-Wood
Madeleine Webb
Joan Baird
Diane Daniel
Helena Evans
Marnie Francis
Ella Goulstone
Norma Fraser
Miranda Green
Margaret Johns
Jean Guest
Chloe M Jones
June Holt
Sarah Read
Vera Rowlands
Myra Jenkins
Altos
Patricia Edwards
Basses
Eira Davies
Jane Jenkins
C Gale
M Gilbert
Carwen Jones
Hilary Kitcher
Jean Llewellyn
Helen Johnson
Julia Stevens
Jessie Thomas
Dilys Wright
K R Paradice
F Gilbert
Michael Pugh
Bernard Schutz
P E Wright
Kenvyn Hopkins
Sally Sleat
Tenors
Jill Turner
Royston Bailey-Wood
George Thomas
Andrew Trinick
John Wills
Paula Jessett
Christine Snow
Jean Wines
Loulla Mathews
Jean Urquart
Joyce Bradbury
Donald Jessett
15
OXFORD HARMONIC SOCIETY
Sopranos
Elizabeth Bremner
Lucinda Coventry
Glenys Davies
Pia Eckelaar
Michelle Ellender
Anne Marie Jones
Peggy Simpson
Hilary Whitehouse
Dorothy Wilson
Elizabeth Wilson
Mary Williams
Gillian Jenkins
Alto
Louise Armstrong
Beryl Barringer
Naida Christie
Susan Timperley
Lesley Thomas
Trevor Hyman
Ruth Wickett
Basses
Shirley Wild
Henry Christie
John Eckersley
David Kay
Peggy Cordy
Philippa Logan
Tenors
Maureen Robertson
John Cordy
Joseph Wilson
Celia Woodward
Myra Pinhorn
Ruth Shack
Basses
PORTSMOUTH FESTIVAL CHOIR, HAMPSHIRE
Sopranos
Hazel Barrow-Vale
Glenis Bennett
Jean Buckle
Jane Dalton
Mollie Dear
Julie Durham
Elizabeth Earwood
Sheila Evers
Alison Harding
Shirley Knowles
Catherine Laine-Toner
Carol Mulready
Kate Painter
Rachel Saunders
Lesley Segrave
Carole Sharpe
Beryl Swindells
June Witham
Altos
Cynthia Bird
Marilyn Clare
Audrey Croucher
Pam Fontana
Vera Parker
Lilian Petersen
Christine Wagstaff
Janet Whitehead
Judith Wyatt
Tenors
Brian Harwood
George Baughan
Hugh Burns
Jeremy Miles
Chris Painter
Dave Petersen
John Sammons
Peter Tippetts
John Holtam
THE PRIORY SINGERS, NORTHUMBERLAND
Sopranos
Leila Cashman
Val Goldthorpe
Susan Holmes
Sylvia McDougle
Margaret McNaught
Beulah Miller
Muriel Oates
Chris Ramm
Gwyneth Robinson
Gill Scott
Irene Thompson
Ann Thwaites
Catherine Tweddle
Betty Walker
Margaret Wheeler
Janet Wrench
Altos
Barbara Brown
Joy Campbell
Margaret Danskin
Mary Davis
Thelma Gilhespy
Anne Greaves
Shelagh May
Barbara Millns
Meryl Sharp
Betty Sharples
Rachel Thompson
Margaret Varley
Tenors
John Ahlstedt
David Barraclough
Nick Brown
Adam Nichols
Basses
Chris Campbell
Glenn Davis
Robin Gilhespy
Keith Sargeant
Ernest Scott
Richard Taylor
Jim Teasdale
Len Thompson
Paul Williams
Dereck Brown
THE RUSHMOOR CHOIR, HAMPSHIRE
Sopranos
Audrey Batchelor
Mary Clark
Donia Coomber
Betty Dickson
Marjon Elsdon
Katherine Johnson
Gillian Leakey
June Marshall
Marilyn Martin
Margaret Monk
Vivienne Owen
Altos
Tenors
Basses
Maureen Hunter
Boyd Burgess
Mary Law
Rod Coomber
Anne Rogers
Arwyn Jones
Mark Maclay
Ian Powell
Alex Varden
Ian Wickens
Lynn Swain
Betty Saunders
Barbara Thake
Maralyn Wong
Joyce Shoebridge
ST GEORGE’S SINGERS, CHESHIRE
Sopranos
Margaret Adshead
Joyce Aland
Margaret Anderson
Marie Bailey
Margaret Brailsford
Patricia Bromilow
Denise Clarke
Jean Collins
Maureen Davies
Jean Dutton
16
Gwyneth Fife
Betty Gaskell
Mavis Holmes
Anthea Howell
Valerie Jones
Myrtle Kendal
Helen Long
Cynthia Marshall
Johanna McCarthy
Maggie McDougall
Barbara Thorpe
Melita Turner
Kathleen Wood
Barbara Yates
Altos
Nancy Booth
Jacquie Davies
Sarah Eagland
Philomena Eccles
Jean Egerton
Shelagh Gall
Margaret Hutchcroft
Constance Jones
Christine McConkey
Helen Rowlands
Anne Sallaway
Branwen Smith
Anne Taylor
Anne Walters
Patricia Wardle
Ann Young
Tenors
Christopher Garretty
Kenneth Johnson
Gareth Rowlands
Basses
Eric Adshead
Barry Anderton
William Carter
Ian Clarke
Kenneth Dawes
Graham Eagland
John Ellis
James Hutchison
Emlyn Rhoderick
Peter Smith
Roy Thomas
Norman Whitelam
TWICKENHAM CHORAL SOCIETY, LONDON
Sopranos
Gill Atkin
Sandra Bell
Liz Butler
Penny Cavan
Kathy Embleton
Diana Evans
Joy Fleck
Debbie Senders
Deborah Lumb
Kate Mehanna
Pamela McWilliam
Ruth Parker
Pat Plummer
Dorethea Willerding
Candy Williamson
Alcos
Rosemary Gough
Susan Britton
Jane Mansell
Margaret Harvey
Alison Hutchins
Sarah Jones
Margaret Lord
Mary Cooksey
Dorothy Cox
Julie Hall
Margaret Burnham
Margaret Hamilton
Anne Hulbaekdal
Rosemary Jeffery
Clare Jeffery
Susan Lewish
Meg Lewis
Jane Murphy
Susan McCarty
Jane Newman
Barbara Orr
Anne Stephens
Christine Stuart
Anne Sutton
Jayne Swindin
Carol Thomas
Felicity Williams
Denise Willingham
Tenors
David Amos
Colin Flood
Clive Hall
Chris Hardy
Richard Kendal
John Mullinar
John Orr
Mark Robins
David Stanners
Lucy Watson
UNIVERSITY HOSPITAL OF WALES CHORAL SOCIETY, SOUTH GLAMORGAN
Sopranos
Anne Davies
Margaret Hughes Thomas
Mary Jones
Mildred Jones
Valerie Jones
Barbara Leigh
Helena Massey
18
May Penn
Dorothy Peregrine
Ruth Selby
Josie Tanner
Lorna Tapper-Jones
Jackie Visser
Valerie Wood
Altos
Rosemary Brown
Basses
Andrew Blyth
Alan Brookes
Jim Coupar
Alan Hicks
Leslie Hill
Gareth Lewis
Robert Marson
Peter Midgley
Adrian Mumford
Paul Newton
Michael Turner
Robert Vickers
Robert Webb
Richard Welton
Valerie Colgan
Tenors
Basses
Betty Hollis
Robert Davies
David Griffiths
Kenneth Lawrence
Gerard Massey
Alan Davies
David Glass
Frank Grogan
Horace Hall
Alison Holmquist
Christine John
Christine Mills
Valerie Simpson
Eiddwen Thomas
Christine Warren
John Sutton
Tudor Thomas
Geoffrey Trinick
Christopher Holmquist
Frederick Howell
Paul Reynolds
Basil Vaughan
Aubrey Waters
David Williams
BARNET CHORAL
SOCIETY
ELLESMERE PORT
MUSIC SOCIETY |
Musical Director: Colin Durrant
Rehearsals: Church House
Wood Street
Chipping Barnet
With an active membership of over
150 and a thriving patrons scheme,
the Society enters its 40th season in
Wednesday evenings, 7.45
September - July
September this year.
Contact Sandra Culhane
We extend our best wishes to
Hon Secretary
8 West End Lane
Barnet
(01) 441 5502
GUILDFORD
PHILHARMONIC CHOIR
Chorus Master: Neville Creed
Goldsmiths Choral Union
for the success of this venture.
BASINGSTOKE CHORAL
SOCIETY
We are seeking new singers, especially
tenors and basses, to join us for our exciting
1989-90 season.
Join us for our 'Come and Sing'
on 23 September
Vivaldi: Gloria
Concerts to include
Tippett's
Child of our Time
in Winchester Cathedral
with the Bournemouth Symphony Orchestra.
Vaughan Williams: Five Mystical
Rehearsals held every Tuesday evening at
Songs
Queen Mary College Regional Centre,
Full details from Mrs Kathy Atkins
(0483) 444 666
Basingstoke.
For further details telephone
Barbara Fairbrother,
Admin. Secretary,
Reading (0734) 332 435
]ACQUELINE DU PRE
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JACOUELINE
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