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St Martin-in-the-Fields
Trafalgar Square, London WC2N 4]
Concerts by Candlelight
Saturday 11 January at 7.30pm
Vivaldi
by Candlelight
Bndenburg
Y sinfonta
Vivaldi
Gloria
Conductor Sarah Tenant-Flowers
Guildford Philharmonic Choir
Soloists:
Soprano Claire Surman
Vivaldi
Mezzo-Soprano Elizabeth Ife
Four Seasons
Director/Violin
Julian Leaper
The Brandenburg Sinfonia gratefully acknowledges the generosity of the
Josephine Baker Trust by supporting the soloists in this evening’s performance.
In 1978 Julian Leaper won a Junior Exhibition to the Royal Academy of
Music where he studied the violin with Emanuel Hurwitz, and piano, as a
joint first study with Hamish Milne. He was awarded prizes for solo and
chamber music performances.
In 1982 he continued his studies in Switzerland at the International
Menuhin Music Academy, Gstaad, and in 1983 made his London debut as
soloist performing a programme of British Music at the Purcell Room.
Julian Leaper has appeared as Leader and soloist with many British
orchestras including The Wren Orchestra, The City of London Sinfonia,
The New London Orchestra and The Consort of London.
He has
performed regularly with The Academy of St. Martin-in-the-Fields, The
English Chamber Orchestra and The London Mozart Players.
the
SBrandenbiire
A sinfonia
The Orchestra
Violin I
Julian Leaper Leader
Julian Tear
Trumpet
Paul Archibald
Oboe
Sandy Kim
Violin II
Charles Sewart
Fiona McCapra
Alison Teale
.
Harpsmhord
Robin Kimber
Viola
Jonathan Barritt
Matthew Quenby
Cello
Adrian Bradbury
Claire Morton
Bass
Marcus van Horn
Artistic Director
Concert Manager
PA to Artistic Director
Robert Porter
Sue Banner
Eve Christie
Ensemble Director
Events Manager
Finance Director
Julian Leaper
Wendy Warrilow
Patricia Unwin
Transport Manager
Alan Fryer
The Four Seasons
Antonio Vivaldi 1678 - 1741
Antonio Vivaldi’s Four Seasons were the first four of twelve Violin Concertos that he
had published in Amsterdam in 1725. The twelve were entitled 1/ cinmento dell’armonia
e dell’'inventiono (The trial between harmony and invention). Each of “The Four Seasons’
concertos is based on a sonnet describing the time of year. Although these four
concertos are some of the best known music, we know very little about them. We don’t
know when the sonnets were written, or by whom, whether the music was based on the
poetry, or vice-versa, or whether the programme ideas were Vivaldi’s own. The Seasons
of the year have been a theme that Artists have responded to throughout history. As
these particular anonymous sonnets are of little merit, it is possible that Vivaldi wrote
them himself.
The first of The Four Seasons is Spring. This is the most optimistic music of the cycle, it
is also the most formal, with a ritornello that has the heaviness and poise of a courtly
dance, suited to the proclaiming of a Goddess. The arrival of the season Spring in the
first movement is portrayed with the happy bird song and the murmuring of the
streams. Following this arrival of spring, as in the sonnet, the music shows the
darkening of the sky with thunder and lightning. However, at the end of the first
movement, the birds return and the singing continues. In the slow movement we hear
hushed Violins lulling the shepherd to sleep, while the Viola portrays a barking dog. In
the third movement we see festive celebration, in a rustic compound metre, with
bagpipe-like drones.
Vivaldi’s vision of Summer is the fear and destruction of a violent storm. First we hear a
ritornello that represents the oppressive heat of an airless day - repeated falling quavers
is a figure that paints this picture. The voice of the cuckoo can be heard, soon followed
by the turtledove and the nightingale, the cuckoo’s voice is a premonition of disaster.
The winds follow and in the final movement, the storm breaks, and destroys the corn.
Unlike the Summer Concerto, Autumn is one of victory and enjoyment. Having toiled
with the troubles of the Summer weather, man may now revel in untroubled leisure,
celebrating the harvest with singing and dancing. He can reap the benefits of the crops,
and drink ale. In the second movement, he rests and sleeps, and in the third, he hunts.
The Winter Concerto explores the varying emotions of the winter weather. The first
movement paints the coldness of the snow and biting winds, the second is a picture of
the warmth inside, in front of the fire, when the weather outside is freezing. The third
movement talks about the ice, how one is cautious when first trying to walk on it, then
grows in confidence, and in the end, falls and breaks the ice. Vivaldi concludes The Four
Seasons with the realisation that winter can bring much pleasure.
INTERVAL - 20 minutes
Gloria
Antonio Vivald:i 1678 - 1741
This, probably Vivaldi’s best known sacred work, must surely be counted among his
most important contributions to church music. It was probably written for the Feast of
the Blessed Virgin in 1713 or 1714. This was the Patronal Feast of the Ospedale della
Pieta (the orphanage for young girls) in Venice where Vivaldi was Music Master and is
therefore the most likely reason for its composition.
It was not unusual for single mass movements to be set to music, as certain occasions
required individual treatment of a particular movement. This was most likely the case
for this piece. The work is set in broad dimensions. It is cantata-like and is divided into
twelve movements, each of which is well-contrasted in tempo, key, scoring and musical
style. Its conspicuous use of winds (oboe and trumpet) as obligato instruments and its
allocation of solo vocal parts exclusively to high voices, two sopranos and one contralto,
are typical of the works written for the Pieta.
The first movement, Gloria in Excelsis Deo (Glory be in the highest to God), with its
octave leaps in the strings and the subsequent run with the trumpet, has become.
synonymous with the festive brilliance of Vivaldi’s church music. It exerts an almost
hypnotic sense of forward drive in the listener.
The second movement, Ez in Terra Pax Hominibus (And Peace on Earth to all Men) is
moving and broadly conceived piece of music. Contrary to what the words may lead
one to expect, it is a piece suffused with profound sadness.
After a light-hearted duet for the two sopranos, Laudamus te (We Praise Thee, Lord),
there follow two movements in E Minor: the Gratias Agimus Tibi (And We Give Thanks
Unto Thee) and the magnificent fugal Domine Propter Magnam (And All For Thy Great
Glory, Lord).
The next movement, Domine Deus (O Thou Our Lord God), is a Largo in the form of a
Siciliano with pizzicato lower strings. It is a dialogue between solo soprano and a
hauntingly beautiful solo for either oboe or violin. (Vivaldi left the choice to the
performers).
After the Et in Terra Pax Hominibus, the eighth section is another beautiful slow
movement. The Domine Deus, Agnus Dei (O Thou, Our Lord God, Lamb of God) is a
duet for contralto solo and choir. The Quoniam Tu Solus Sanctus (For Thou Only Art Most
Holy) uses the material of the opening Gloria.
The final movement, Cum Sancto Spiritu is not an original work by Vivaldi. He adapted
a fugue by the minor Veronese composer G. M. Ruggieri. Vivaldi largely rewrote the
piece, adding virtuoso trumpet solos, making this a dignified end to one of the great
masterpieces of choral music.
Soprano : Claire Surman
Mezzo0-Soprano : Elizabeth Ife
Sarab Tenant-Flowers is one of the leading choral directors of her generation, working with
both professional and amateur groups and in the field of arts education.
She was educated at Oxford and Durham Universities, gaining a Ph.D from the latter for
her study of the music of Elisabeth Lutyens, but forsook an academic career in favour of conducting and arts management. In the field of arts administration Sarah has managed some
of Britain’s most prestigious
events,
including the Sainsbury’s
Choir of the Year
Competition, Whitbread Book of the Year and Yehudi Menuhin Violin Competition.
Former posts include those of Director of the Association of British Choral Directors which
she co-founded, Artistic Director of Music at Oxford and General Manager of The Sixteen.
Sarah began conducting at Oxford, founding the Magdalen Chamber Choir, before going
on to become Director of St John’s College Chapel Choir in Durham and subsequently
studied with Sir Charles Groves, Peter Erdei from the Liszt Academy and Alan Hazeldine.
The numerous choirs with which Sarah has worked include the Reading Festival Chorus,
Croydon Philharmonic Choir, Sevenoaks Philharmonic Choir, Linden Baroque Choir and
Horniman Singers. Between 1992 and 1999 she directed the Reading Bach Choir and the
Kantorei der Friedenskirche (Disseldorf), and in 1996 was appointed Musical Director of
one of the eastern region’s foremost choirs, Harlow Chorus. Recent concerts with Harlow
Chorus include a David Bedford commission involving the Hilliard Ensemble, Ensemble
Bash and community involvement, Britten’s War Requiem and a tour to Lisbon in June.
She is Director of the professional choir, Singscape, which was launched in February 2000.
As the name implies this choir specialises in multi-media presentation and contemporary
repertoire, collaborating with artists from numerous different artforms. Recent programmes
have included music by Schnittke, MacMillan, Pirt, Penderecki and the Russian Orthodox
tradition in presentations ranging from video installations and advanced scenography
techniques
to
simple
candlelight.
Singscape
currently
records
for
the
Classical
Communications label and forthcoming releases include a disc of Russian Orthodox
Christmas music and British contemporary music. Sarah also conducts a number of smaller
professional vocal consorts, including the Victoria Singers and Haysbridge Chorale, and is
Musical Director of the professional multi-arts ensemble, Figur’d Shade.
Orchestras with which Sarah has worked include the City of London Sinfonia, Britten
Sinfonia, Alberni Symphony Orchestra and the Brandenburg Sinfonia as well as numerous
period bands including the City of London Chamber Players. Future projects include
appearances at the Thaxted Festival with Emma Kirkby, Elgar's Dream of Gerontius
further Singscape recordings and a combined dance/choral collaboration with the composer
Bob Chilcott, semi-staged performances of Scarlatti’s Giuditta and further multi-media
presentations with Figur'd Shade.
The Guildford Philbarmonic Choir was founded in 1947 by the Borough of Guildford to
perform major works from the choral repertoire with the Guildford Philharmonic
Orchestra. Since this time, the Choir has grown both in stature and reputation and can now
rightly claim its place as one of the foremost Choruses in the country. The Choir is now
independent from the Borough of Guildford but still maintains
close links with the
Guildford Philharmonic Orchestra, with joint performances once
a year. The Choir grew to
prominence under the batons of such eminent British musicians
as Sir Charles Groves,
Vernon Handley and Sir David Willcocks. Jeremy Backhouse, appointed
in 1995, holds the
position of conductor at the present time, with Jeremy Filsell as
rehearsal accompanist. Sir
David remains in close contact with the Choir as its current President,
In the past five years the Choir’s repertoire has included Elgar’s
The Dream of Gerontius, a
widely acclaimed performance of Mahler’s Symphony No.2 (‘Resurrecti
on’) and Bruckner’s
Mass in E minor, Haydn’s Creation, Bach’s St Matthew Passion, (sung
in German), Mozart’s
Mass in C minor, Brahms’ Ein deutsches Requiem, Vaughan Williams’
A Sez Symphony, Handel’s
Messzah and Haydn'’s ‘Nelson’ Mass.
Our concert in Guildford Cathedral on 6th April 2002 was originally
planned to celebrate
the Queen’s Golden Jubilee. With the death of HM Queen Elizabeth
the Queen Mother
occurring exactly one week earlier, we retained the original
repertoire but dedicated the
performance to a celebration of the Queen Mother’s life. Beginning
with Benjamin Britten’s
wonderful arrangement of the National Anthem, it became a truly
memorable tribute.
A month later, the Choir ended the season with Mendelssohn’s
Elijah. Outside our usual
choral experience a group twice provided the backing for the tenor Russell
Royal Albert Hall and at the Brighton Centre.
Watson at the
In October, at the beginning of the 2002-03 season, we welcomed
members of the Freiburg
Bachchor to join with us in a performance of Dvorak’s rarely heard
Reguiem. Subsequently,
a party from the Guildford Philharmonic Choir travelled to Freiburg
to sing the same work
in November. The Guildford concert opened with Bruch’s Violin
Concerto No 1 in G minor
played by the incredibly talented 14 year-old Guildford-born Chloé Hanslip.
Following the annual carol concert organised by the Rotary Club at Guildford
Civic in midDecember, we are now looking forward to February 15th 2003 at
the Cathedral when we
join with the Wokingham Choral Society and the Guildford Philharmo
nic Orchestra under
the direction of Edward Gardner for a performance of Verdi’s Requiem.
Our major venture of the season is on the 17th May 2003, once
again at Guildford
Cathedral. This will be a unique chance to hear Mahler’s Symphony
No 8 in E flat, (“Veni
Creator Spiritus”), popularly known as ‘Symphony of @ Thousand'. The
Choir will be combining
with members of the Lewisham Choral Society, the South West Essex
Choir, eight soloists
and the Forest Philharmonic Orchestra. Jeremy Backhouse will conduct.
The Choir is always looking for new members, especially sopranos and
tenors; prospective
members are welcome to come along to rehearsals on a Monday
evening in central
Guildford, on an informal basis, before committing to an audition.
If you would like any further information about the Choir or its forthcomin
g programmes,
please phone Noreen Ayton, our Membership Secretary, on 01932 221918.
The Choir’s website is www.guildfordphilharmonicchoir.org.uk. Printed
details of the
Choir’s current season and tickets for performances can also be obtained from
the Tourist
Information Office, Tunsgate, Guildford, 01483 444334.
Soprano
Claire Surman, was born in London and graduated with a first class honours degree in
Music, Psychology and Education from the University of Keele. She has been studying at
the Royal College of Music since 1999 under the tutelage of Kathleen Livingstone and
recently won a Scholarship supported by a Leverhulme Award to study at the Benjamin
Britten International Opera School at the Royal College of Music. Her studies are also
generously supported by scholarships from the Wingate Foundation and the Sir James
Caird Trust. Claire has had a number of recent competition successes, including winning the
Lies Askonas Prize, the Agnes Nicholls Harty Trophy and the Ted Moss Lieder Prize.
Whilst at the College, Claire has performed a number of roles, including Mathilde
Guillaume Tell, Zaide Zaide, Agathe Der Freshiitz and Rosalinde Die Fledermaus in opera
scenes at the Britten Theatre, London. She recently understudied Helena A Midsummer
Night’s Dream for the BBIOS production directed by John Copley, and is currently
studying the Daughter of Zion for their staged world prémiere of Handel's Brockes Passion.
Claire performs regularly both as a recitalist and with choral groups. Recent performances
have included a recital of Strauss Lieder at St. Martin-in-the-Fields, a CD recording and
tour of the Czech Republic with Brahms Requiem and performances of JS Bach Magnificat
in D and Christmas Oratorio, Haydn Harmoniesse, Handel Jephtha and Messiab, Weber
Mass in Eb, Orft Carmina Burana and Beethoven Symphony No. 9. She was also the
soprano soloist for the British Federation of Young Choir’s in a performance of Haydn
Creation under Brian Kay.
She has participated in masterclasses with Sarah Walker, Thomas Hampson, Philip
Langridge, Gerald Finley, Jennifer Smith, Roger Vignoles and Graham Johnson and
recently took part in a choral masterclass for BBC Television at the Linbury Studio, Royal
Opera House under Andrew Parrott, Sir David Willcocks and Terry Edwards.
Mezzo- Soprano
Elizabeth Ife is from St. Ives, Cornwall and is presently studying as a postgraduate at the
RCM with Margaret Kingsley, after gaining her BMus (Hons) at the RSAMD in Glasgow.
Elizabeth is supported by the Josephine Baker Trust and has given recitals in venues all
around the UK and in the South of France - more recently she has won the prestigious Ted
Moss Lieder prize at the RCM.
She has participated in masterclasses with Sarah Walker, Roger Vignoles, John Streets,
Benjamin Luxon, Helen Yorke, Malcolm Martineau, Wolfgang Holzmeir and Michael
Chance.
Elizabeth has appeared in numerous operas including Carmen, Don Giovanni, Dialogues
des Carmelites, Rigoletto and the world prémiere staging of the Brocke’s Passion at the
RCM. Most recently she has performed in Les Picheurs de Perles, Adriana Lecouvreur and
La Rondine (Opera Holland Park) as well as the role of “Venus' in Orpheus in the
Underworld for British Youth Opera.
Concert performances include Bach’s Cantata #149, Dvorak’s Mass in D, Beethoven’s
Mass in C, Mozart’s Vesperae solennelles de confessore, Vivaldi's Gloria, Mendelssohn’s
Elijah, Mozart’s Requiem (St Martin in the Fields), Mozart’s Coronation Mass (St Martin
in the Fields), Haydn’s Nelson Mass, Rossini’s Petite Messe Solennelles, Handel's Messiah
and recently Elgar's The Music Makers.
Future engagements include a performance of Bach’s S¢. Jobn Passion at St. John’s Smith
Square.
] sinfonia
The Brandenburg Sinfonia is one of the most dynamically versatile musical organisations
in the country. It is renowned for its special quality of sound and poised vivacity in
performance. In recent years the orchestra has performed in the majority of the major
venues across the country, and in London at the Barbican, Queen Elizabeth Hall, Fairfield
Hall and St John's Smith Square.
The Brandenburg Sinfonia is also in great demand abroad and has recently visited France
twice, USA, Bermuda, the Channel Islands, Barbados and St Petersburg.
Future tours include France, Germany, USA, Japan and Hong Kong.
A large number of artists of international standing have worked with the orchestra
including Emmanuel Hurwitz, Lesley Garrett, John Georgiadis, John Wallace, lan Watson,
Michael Thompson and Gordon Hunt.
Its repertoire ranges from Bach to Lloyd Webber and its members give around three
hundred performances of orchestral, chamber, choral and operatic music during the year.
Along with selected freelance players, members of the orchestra are also members of the
Philharmonia, Royal Philharmonic, Royal Opera House and English Chamber orchestras
who choose to play with the Brandenburg Sinfonia in order to make music with the finest
of their peers in a more intimate and sympathetic setting.
The orchestras for a number of touring companies are formed from members of the
Brandenburg Sinfonia including First Act Opera, London City Opera, Opera Holland
Park and London Opera Players.
"What made it actually rather enjoyable was the playing of the chamber
orchestra which was consistently well shaded and nuanced"
THE DAILY TELEGRAPH
"Some of the most stylish Mozart playing for some time"
THE TIMES
"An ensemble of distinguished players"
THE INDEPENDENT ON SUNDAY
Future performances at St. Martin-in-the-Fields
by the Brandenburg Sinfonia in 2003 include:
27th February
14th March
The Elegance of Baroque
Julian Leaper
inc. Teleman Viola Concerto
Lisa Grosman
Mozart Requiem
Sarah Tenant-Flowers
Harlow Chorus
3rd April
Fauré Requiem
Christopher Herrick
with Twickenham Choral Society
24th May
Vivaldi Gloria
Julian Leaper
For further information about the Brandenburg Sinfonia or any of the
events listed please contact us:
Tel/Fax: 01372 209817
E-mail: bob@brandenburg.org.uk
Hallaton House, Garlands Road, Leatherhead SURREY KT22 7EX
Our latest CD The Elegance of the Baroque will be on sale at the back of the
church during the interval and after the concert price £10.
Smoking and the consumption offood and drink
are not allowed in the church
Patrons are éindly requested to switch off
alarms on digital watches and mobile phones
Flash photography, audio or video recording is not permitted
Please try to vestrain coughing. A handkerchiefplaced over the
mouth when coughing assists greatly in limiting the noise.
Thank you.
The Crypt Gallery and Café-in-the-Crypt
can be hirved for private functions. Phone: 020 7839 4342
the
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