Guildford Philharmonic Choir
Guildford Philharmonic Choir
President Sir David Willcocks CBE MC
AOOOE
Bach
Brandenburg Concerto No.3
Pachelbel
Canon in D Major
Handel
Dixit Dominus
Kuhnau
Tristis est anima mea
Albinoni
Adagio for organ and strings
Vivaldi
Gloria
Sally Barber
Soprano
Olivia Maffet
Soprano
Joya Logan
Contralto
Graham Voke
Tenor
Martin Johnson
Bass
Brandenburg Sinfonia
Jeremy Backhouse
Saturday 29 November 2003 at 7.30pm
Guildford Cathedral
Guildford Philharmonic Choir
AN EVENING OF THE BAROQUE
The term ‘baroque’ came into use in the arts for a new style committed to
genuine emotion and the imaginatively ornamental. Human drama became a
vital element in paintings from this period. They were typically acted out with
highly expressive, theatrical gestures, striking treatment of light and shade and
rich colour combinations. Other art forms, especially music, also developed a
dramatic and ornamental style during the same period.
By the end of the 15th century, the city of Rome had supplanted Florence as the
primary focal point of Renaissance culture. Massive papal patronage of the arts
began to enrich Rome. It was hardly surprising that music too should flourish
against this rich visual background. Typical of baroque musicians active in Rome
was the composer and violinist Corelli (1653-1713), whose style of playing
became the basis for the violin technique of the 18th and 19th centuries. Many
eminent composers of the baroque period sojourned in Rome, which also
featured on the ‘Grand Tour’, enjoyed by the wealthy of Europe, and especially
England, in increasing numbers during the 1700s.
Rivalling Rome in its musical influence, Naples owed its outstanding reputation
to both the inordinate number of talented musicians which the city produced and
to its music conservatories, which educated and served them so well. The
universally acknowledged master of Neapolitan baroque music was Alessandro
Scarlatti (1660-1725).
Also featured on the ‘Grand Tour’ was Venice, the great independent trading
city-on-the-water in the north, which was also a place of great wealth,
architectural masterpieces and musical influence, the most famous among its
musical sons being Antonio Vivaldi (1678-1741).
Though highly influenced by developments in Italy, Germany was in fact grafting
these forms and styles onto its own indigenous traditions. The Reformation
brought religion to the masses, both through Luther's translations of biblical texts
into German, and through the extensive use of the chorale as an essential
textual/musical accompaniment to the church service. From the traditional
chorale melodies, much of German baroque music was to grow and develop.
Given the difficulties of travel and communication at this time, it might easily be
assumed that composers would know relatively little of other composers or
countries. Nothing could be further from the truth. Travel by stage-coach may
have been lengthy, and probably only for the well-to-do, but music-making was
highly prized by many of the royal courts, and leading musicians would often be
financed for their journeys to bring back the latest styles and compositions.
During the first half of the 1700s, German music adopted the lItalian forms of the
concerto and sonata, and with them, much of the Italian baroque ‘vocabulary’,
together with the latest Italian compositions.
Guildford Philharmonic Choir
4
Johann Sebastian BACH 1685-1750
Johann Sebastian Bach was the son of Johann Ambrosius, court trumpeter for
the Duke of Eisenach and director of the musicians of the town of Eisenach in
Thuringia. Young Johann Sebastian was taught by his father to play the violin
and harpsichord, and was initiated into the art of organ playing by his famous
uncle, Johann Christoph Bach, who was then organist at the Georgenkirche in
Eisenach. Orphaned by the age of 10, Johann Sebastian was taken into the
home of his eldest brother, Johann Christoph, former pupil of Pachelbel, and
now well-established as organist of the St. Michaeliskirche, Ohrdruf. Johann
Sebastian at once settled down happily in this household, studying the organ
and harpsichord with great interest under his brother.
It was his excellent soprano voice that secured Johann Sebastian a position in
the choir of the wealthy Michaelis monastery at Liineburg, where he had a
unique chance to study and participate in choral and orchestral performances on
a scale unknown in his homeland. When nearly 18, Bach embarked on his
professional career, firstly as a violinist and then as an organist.
In 1708, the Duke of Weimar, one of the most distinguished and cultured nobles
of his time, offered Bach a post among his Court chamber musicians and as
Organist to the Court. During this time, interest was in the new ltalian style of
music which was then becoming the rage of Europe, one of the chief exponents
being the Venetian composer Vivaldi. In 1717, Bach moved to the small Court of
Anhalt-Céthen to hold the position of Capellmeister, the highest rank given to a
musician during the Baroque. His master was the young prince Leopold of
who had well-developed musical tastes. In the happy
Anhalt-Céthen,
atmosphere at Céthen, Bach's days were devoted to music and he wrote much
of his chamber music; violin concertos, sonatas, keyboard music, etc. However,
he wished to give his sons a good education, and there was no university at
Céothen, nor the cultured atmosphere and facilities of a larger city, so Bach
decided to look around for a new position.
It may have been this hope of prospective employment which in 1721 led Bach
to revive an old invitation to produce what are now known as the Brandenburg
Concertos, what he described as "six concertos for several instruments”, Bach
had already met the Margrave of Brandenburg, and had been invited to provide
some orchestral music, but there is no record of Bach's having subsequently
visited the Margrave at his Brandenburg Court. However, the death in June 1722
of Johann Kuhnau, Cantor of the Thomasschule at Leipzig, led to a more
attractive opportunity. Bach already had many musical and courtly connections
in
Leipzig;
cosmopolitan
where
there
was
also
a
atmosphere.
So
Bach
left
famous
for
university
Leipzig,
and
where
he
a
distinctly
spent
remaining 27 years of his life as Cantor, or Director of Choir and Music.
5
the
Guildford Philharmonic Choir
Brandenburg Concerto No. 3 in G, BWV 1048
Allegro moderato
Adagio
Allegro
The Brandenburg Concertos are less a coherent collection of pieces than a
demonstration of Bach’s skill in working with different orchestral textures and
colours, and some of the music may date back to 1713. The pieces are of the
concerto grosso type, with one group of instruments standing in contrast to the
rest of the orchestra. Sometimes the contrast is established by differences in
tone colour between the group and the orchestra, sometimes it is achieved by
texture and weight. Brandenburg Concerto No. 3 in G is of this latter type. It is
scored for strings only. The strings are divided into nine parts, and there is a
tenth part for basso continuo. The parts join together in the tutti sections, or split
into groups of violins, violas and cellos (three of each instrument), or individual
solo instruments. The first movement takes the form of a da capo aria, but the
second section is not an exact repetition of the first and contains additional
developments of the music. The second movement is something of a mystery.
All that Bach provided in the manuscript at this point were the tempo indication
Adagio and two chords, constituting a Phrygian, or imperfect, cadence. Most
musicologists accept that this movement was intended to be an improvised
extended cadenza by a solo instrument, possibly a violin. The final movement is
an exuberant dance in triple time, in two sections.
Johann PACHELBEL 1653-1706
Johann Pachelbel was south German born, but spent much of his career in
middle Germany. He studied in Nuremburg, Altdorf and Regensburg before
becoming the organist of St. Stephen’s Cathedral Vienna, Austria, in 1674. He
returned to Germany in 1677 as the court organist at Eisenach, the city of Bach’s
birth 8 years later. The following year he obtained the organist post at the
Predigerkirche at Erfurt, remaining there for 12 years. During this time he taught
Johann Christoph Bach, Johann Sebastian’s older brother and guardian in
Ohrdruf. In 1690, Pachelbel became court organist at Stuttgart. Two years later
he took his final post, in Nuremburg, where he lived until his death in 1706.
Pachelbel’s repertoire is the stylistic ancestor of J S Bach’s, and he wrote both
free works (toccatas, fantasies, fugues, etc) and chorale settings. Pachelbel was
one of the great organist-composers of his day, a man who could count Bach’s
teacher among his pupils.
The Canon in D Major, which was written in or around 1680, is a minor piece by
comparison to Pachelbel’'s large-scale sacred works, but its charming grace has
made it a favourite. It has appeared in numerous transcriptions, including for
piano, guitar, woodwind, chorus and string quartet as well as rock, jazz and
synthesiser versions; tonight’s performance is a more conventional arrangement
for continuo strings.
Guildford Philharmonic Choir
6
George Frederick HANDEL 1685-1759
George Frederick Handel was born in Halle,
Germany, one month before
Johann Sebastian Bach and 50 miles from Eisenac
h, Bach’s birthplace. His
father was a barber-surgeon who wanted George to
go into law. However, with
his father in 1692, the young Handel visited the
Saxon court at Weissenfels,
where Duke Johann Adolf heard him play the organ.
The Duke advised the
father to have his son properly tutored, so at the age
of 10, Handel began to
receive composition lessons from the organis
t at the Marienkirche, Friedrich
Wilhelm Zachow.
His first employment, aged 17, was as organist at the
local church in Halle, then
in 1703, Handel was appointed violinist-composer
for Hamburg's German opera.
For a while he travelled Europe, enjoying conside
rable success from the various
operas he composed. Handel was 21 when, in
1706, he undertook an extended
visit to Italy. He was not to leave until 1709 as
he was soon in demand, first as
an organist, then as a composer of secular cantata
s and from early 1707, as
composer of sacred music for Cardinal Carlo
Colonna, an important supporter of
the Carmelite Order in Rome. While in Italy, he
met Corelli and both Scarlattis
(Alessandro and Domenico) and wrote over 100
chamber cantatas and other
pieces.
His return to Hanover was to assume the post
of Kapellmeister to the Elector
(soon to become King George | of England). In 1712
Handel moved to London:
2 years later, upon the accession of the House
of Hanover, he gained immediate
access to the royal circle of England and, in
1726, became a naturalised British
subject.
Dixit Dominus is the musical centrepiece of Handel'
s setting of the complete
Vespers service for the Feast of Our Lady of Mount
Carmel, composed during
the early stages of his stay in Rome in 1707. It
is a setting of Psalm 110 (109 in
the Catholic psalter) and the most brilliant and famous
of Handel’s three Vesper
psalms (the others being Laudate pueri Dominum
and Nisi Dominus).
Handel was in Rome both to practice his art and also
assimilated the techniques of contemporary ltalian
to learn. He seems to have
style with little effort. Writing
music for the Catholic Church would also have
been a new experience for a
North German protestant, yet he faced few obstacl
can lay claim to being Handel's first piece of Latin
a remarkable achievement.
It shows that in only a few months followi
ng his
arrival in ltaly, Handel had thoroughly assimilated
style that characterised Italian music of the late
Handel
was
only 22
at
es here, either. Dixit Dominus
church music, and as such, is
the
time,
and
the
the highly charged, emotional
Baroque.
music
overflows
with
youthful
exuberance and infectious vitality; there is little
of that relaxed grandeur that is
so typical of his English music. Dixit Dominu
s is a large-scale work arranged for
five soloists, five-part chorus, strings and continuo.
7
Each of the nine movements
Guildford Philharmonic Choir
is strongly characterised, reflecting a powerful combination of ltalian techniques
and
textures
that
contemporaries,
owe
with
much
Handel's
to
Corelli,
own
Alessandro
strong,
very
Scarlatti
German
and
other
grounding
in
counterpoint.
The power and vitality are evident from the first movement, a spirited Allegro
revolving around four contrasting musical ideas. After two delightful ltalianate
arias for alto and soprano respectively, the ensuing chorus Juravit Dominus
opens with a passage marked grave, the harmonisation of which is rather
advanced. The G minor Allegro that alternates with it in this movement is fiery.
The brisk but stately chorus that follows contrasts a dignified rising figure at the
words Tu es sacerdos in aeternum with cascading semiquavers. (This same
music was reworked 30 years later into an eight-part chorus in Israel in Egypt.) A
flowing allegro, opened by the five soloists and taken up by the full chorus,
builds in intensity to depict God in his anger breaking the kings.
Judicabit in
nationibus
is
a
beautifully crafted
chorus
in
two
distinct
but
complementary sections, the second of which gives the choir an opportunity for
some delicate, virtuosic runs. The music of both sections merges towards the
end. Following the ravishing yet enigmatic duet (with chorus) De torrente in via
bibet, the choir takes off upon a dazzling finale, in which the virtuoso prelude
leads into a driving fugue at double the previous speed, a fiery precursor of the
great oratorio choruses still 30 years in the future. This is the youthful Handel at
his most virile.
Dixit Dominus, HWV 232
l.
Dixit Dominus — Soloists & Chorus
I.
Virgam virtutis — Alto solo
1.
Tecum principium — Soprano solo
V.
Juravit Dominus — Chorus
V.
Tu es sacerdos — Chorus
VI.
Dominus a dextris tuis — Soloists & Chorus
VII.
De torrente in via— Chorus
VIII.
Gloria Patri— Soloists & Chorus
Guildford Philharmonic Choir
8
Dixit Dominus Domino meo: sede a
dextris meis, donec ponam inimicos
The Lord said unto my Lord, sit thou at
tuos scabellum pedum tuorum.
thy footstool.
my right hand, until | make thine enemies
Virgam virtutis tuae emitet Dominus
The Lord shall send the rod of thy
ex Sion, dominare in medio inimicorum strength out of
Zion: rule thou in the
tuorum.
midst of thine enemies.
Tecum principium in die virtutis tuae
Thy people shall be willing in the day
in splendoribus sanctorum, ex utero
ante luciferum genui te.
of thy power, in the beauties of holiness
from the womb of the morning: thou hast
the dew of thy youth.
Juravit Dominus et non poenitebit
eum: Tu es sacerdos in aeternum
The Lord hath sworn, and will not repent;
Thou are a priest for ever according to
secundum ordinam Melchisedech.
the order of Melchisedech.
Dominus a dextris tuis confregit in
die irae suae reges.
The Lord at thy right hand shall strike
through kings in the day of his wrath.
Judicabit in nationibus, implebit ruinas,
conquassabit capita in terra multorum.
He shall judge among nations, he shall
fill the places with dead bodies and smite
in sunder the heads over many countries.
De torrente in via bibet: proptera
exaltabit caput.
He shall drink of the brook in the way:
therefore shall he lift up his head.
Gloria Patri et Filio
Glory be to the Father and to the Son
et Spiritui Sancto, sicut erat in principio and to the Holy
Ghost, as it was in the
et nunc et semper in
saecula saeculorum. Amen.
beginning, is now, and ever shall be,
world without end. Amen.
Johann KUHNAU 1660-1722
In 1684, the year before Bach was born, Kuhnau
became organist at the
Thomaskirche in Leipzig. Upon the death of Johann
Schelle (1701) Kuhnau became music director
of the Nikolaikirche, the university, and cantor
at the
Thomasschule as well. Bach, who succeeded Kuhnau
in all of these positions
except the university, knew Kuhnau from at least
1716 when together they had
tested the new organ at the Liebfrauenkirche in Halle.
Kuhnau's keyboard works
exerted a tremendous influence upon keyboard style
of the period and his Neue
Clavieriibung (New Keyboard Practice) was the precede
volumes, the last of which contained the Goldberg
9
nt for Bach’s own four
Variations.
Guildford Philharmonic Choir
Kuhnau composed church cantatas, suites and descriptive sonatas for harpsichord,
and showed mastery of an astonishing array of styles and forms. He shared with
Bach the ability to assimilate a large number of influences and to forge new
musical complexes. Moreover, the textual declamation and the fluid interchange
between polyphony and homophony reveals something of Handel's heritage too
(Handel encountered Kuhnau as a student and borrowed from Kuhnau’s keyboard
works in his own compositions). Indeed, just as Kuhnau is the most significant link
between Schutz and Bach, he might also be the only German composer who was
of immediate influence on the development of both Bach and Handel.
The short motet Tristis est anima mea is written for choir, five soloists and organ,
and shows the preservation of the traditional church style (in keeping with the
traditional Latin text). The precise date of this work is unknown, and it is more
conservative in texture but extremely expressive within the bounds of the motet
style. The piece was highly thought of by Bach, who performed and also
arranged it.
Trisitis est anima mea
My soul is exceedingly sorrowful,
usque ad mortem;
even unto death;
sustinete hic et vigilate mecum.
tarry ye here and watch with me.
(Matthew 26, 38)
Jam videbitis turbam,
Soon you will see the crowd
quae circumdabit me,
that will surround me;
vos fugam capietis.
you, however, will take flight.
Et ego vadam
And | shall go forth
immolari pro vobis.
to be sacrificed for you.
Tomaso ALBINONI 1671-1751
Tomaso Albinoni, eldest son of a wealthy paper merchant, was born in Venice in
1671 and resided in Venice all his life. At an early age he became proficient as a
singer and, more notably, as a violinist, soon turning his hand to composition. In
his youth, Albinoni flited unsuccessfully with the composition of church music.
He first came to public notice as a composer when, in 1694, his first opera,
Zenobia, regina de Palmireni, was produced in Venice and his first collection of
instrumental music (Sonata a tre, op.1) appeared. Thereafter he divided his
attention almost equally between vocal and instrumental composition. His vocal
music, circulated largely only in manuscript, was comparatively little known
outside Italy. His instrumental music (108 works published as op. 1-3 and 5-10,
plus 17 works published in ‘unauthorised’ collections and about 50 authenticated
works remaining in manuscript) enjoyed a vogue in northern Europe, particularly
through the activity of publishing houses in Amsterdam and London.
The Adagio for Organ and Strings is based on a fragment of manuscript
discovered in the Dresden State Library after the Second World War by Remo
Guildford Philharmonic Choir
10
Giazotto, a Milanese musicologist who was at that time completi
ng a biography
of Albinoni and a listing of his music. Only the bass line and
six bars of melody
had survived, possibly from the slow movement of a Trio Sonata.
Based on the
surviving fragment, Giazotto ‘reconstructed’ the now-famous
Adagio into a piece
for organ and string orchestra (with solo violin) in 1945.
To him it suggested a
piece that would be played in church, so he added an organ
and turned it into a
very stately and elegant piece with a strong melodic
line. Although it has been
criticised as being too romantically orchestrated for a piece
of genuine baroque
music, it nevertheless carries a beautiful dignity and warmth.
It is perhaps ironic
that Albinoni's rediscovery by the wider public in our
own times was largely
based on this ever-popular piece which Albinoni himself
would only barely
recognise.
Antonio VIVALDI 1678-1741
Born in Venice in 1678, the son of a professional violinist in
prestigious Basilica di San Marco, Antonio Vivaldi was
the orchestra of the
a gifted violinist himself,
and in 1703 was appointed maestro di violino at the Ospedal
e della Pieta, a
Venetian orphanage for girls. In this same year he was ordained
a priest, but
within a short time of his ordination, he gave up the
priesthood. Even so, he
became known as the ‘Red Priest’, because of the colour
of his hair, but was
probably better suited to his life as a freelance musician
and impresario. The
demands for his services were considerable and necessitated
travelling widely
throughout Europe promoting his own compositions, as well
as working in opera
in a number of theatres.
Vivaldi’'s music is universally associated with his native city
his life he enjoyed a fruitful musical association with the
of Venice. For much of
Ospedale in a variety of
capacities, at different times as violin teacher, musical
director and external
supplier of compositions, making the girls’ orchestra one of
the most admired and
accomplished in Europe. The now famous Gloria was
of the Blessed Virgin in
Ospedale.
probably written for the Feast
1713 or 1714, this being the Patronal Feast of the
Vivaldi was a prolific and hugely influential composer. The
cycle of violin concerti
(Opus 8, nos. 1-4) known as the Four Seasons is the best
known example from
a catalogue of more than 500 instrumental concerti
which he wrote. In addition,
more than 50 sacred vocal compositions and at least
40 cantatas are known,
many of them exhibiting the same depth and mastery
as the Gloria itself. Vivaldi
was also active in the field of opera, as both compose
r and impresario, having
around 50 operas to his credit, at least 16 of which are extant
and complete. His
influence is readily discernable in the forms of later baroque
music, notably in
original compositions by Johann Sebastian Bach and
also in Bach's many
transcriptions of Vivaldi's concerti.
Vivaldi's setting of the Gloria, a joyful hymn of praise and
supplication, is for four-
part chorus and orchestra with three soloists, two soprano
11
and one alto, though
Guildford Philharmonic Choir
it is customarily performed with only two soloists. It is divided into 12 contrasting
movements, each characterised by its own mood and musical texture, yet still
managing to preserve a sense of formal coherence.
The introductory movement, Gloria in Excelsis, with its octave leaps in the
strings and subsequent run with the trumpet, shows the festive brilliance of
Vivaldi’s church music. He maintains momentum throughout the movement with
the voices entering in declamatory style before exploring the musical material
sequentially. The second movement, Et in terra pax, with gently pulsating string
accompaniment, is quiet and contemplative, perfused with profound sadness.
This is followed by an exuberant duet, Laudamus te; in turn the voices imitate
each other and then join almost playfully to sing in thirds together.
The sixth movement, Domine Deus, is long melody in C major and unfolds as a
dialogue between solo soprano alongside an equally beautiful instrumental
obbligato for either oboe or violin (Vivaldi left the choice of instrument to the
performers). The chorus Domini Fili unigenite, with its relentless dotted rhythms, is
followed by a serene slow movement, Domine Deus, Agnus Dei, for the alto soloist
and choir.
The Quoniam tu solus sanctus is a truncated form of the opening movement.
The final chorus, Cum Sancto Spiritu, is not an original work by Vivaldi. As was
common practice at the time, Vivaldi ‘borrowed’ from an existing work, (in this
case the fugue from a Gloria by the minor Veronese composer Giovanni Maria
Ruggieri) and largely rewrote it, adding virtuoso trumpet solos, to make this a
dignified end to a masterpiece of choral music.
Gloria in D major, RV 589
l.
Gloria — Chorus
Il.
Et in terra pax hominibus — Chorus
.
Laudamus te— Duet: Sopranol and |l
V.
Gratias agimus tibi — Chorus
V.
Propter magnam gloriam — Chorus
VL.
Domine Deus — Soprano
VII.
Domine Fili Unigenite — Chorus
VIll.
Domine Deus, Agnus Dei— Alto & Chorus
IX.
Qui tollis peccata mundi— Chorus
X.
Qui sedes ad dexteram Patris — Alto
XI.
Quoniam tu solus Sanctus — Chorus
XII.
Cum Sancto Spiritu — Chorus
Guildford Philharmonic Choir
12
Gloria in excelsis Deo
Glory to God in the highest
Et in terra pax hominibus bonae
And on earth peace to men of goodwill.
voluntatis.
Laudamus te, benedicimus te,
We praise thee, we bless thee,
adoramus te, glorificamus te.
we worship thee, we glorify thee.
Gratias agimus tibi
We give thanks to thee
Propter magnam gloriam tuam.
For thy great glory.
Domine Deus, Rex coelestis, Deus
Lord God, heavenly King, God the Father
Pater omnipotens
almighty
Domine Fili Unigenite,
O Lord, the only-begotten Son,
Jesu Christe
Jesus Christ
Domine Deus, Agnus Dei,
O Lord God, Lamb of God, Son of the
Filius Patris, Domine Deus, Rex
Father, O Lord God, heavenly King,
coelestis, Domine Fili unigenite,
O Lord the only-begotten Son, have
miserere nobis.
mercy upon us.
Qui tollis peccata mundi, Agnus Dei,
Thou that takest away the sins of the
Filius Patris, miserere nobis.
world, Lamb of God, Son of the Father,
Qui tollis peccata mundi, suscipe
have mercy upon us.
deprecationem nostram.
Thou that takest away the sins of the
world, receive our prayer.
Qui sedes ad dexteram Patris,
Thou that sittest at the right hand of the
miserere nobis.
Father, have mercy upon us.
Quoniam tu solus Sanctus, tu solus
For thou only art holy, thou only art the
Dominus, tu solus Altissimus,
Lord, thou only art most high,
Jesu Christe.
Jesus Christ.
Cum Sancto Spiritu, in gloria
With the Holy Ghost, in the glory of God
Dei Patris, Amen.
the Father, Amen.
13
Guildford Philharmonic Choir
Sally Barber
Sally Barber studied oboe and singing as part of her BA in
German and Music at the University of Exeter. She has studied
with Tim Penrose and, more recently, Catherine Denley and
sung, broadcast and recorded with a variety of highly acclaimed
groups including the Tallis Chamber Choir, New London
Chamber Choir and Vasari Singers, touring extensively in the
UK and overseas. She is a long-standing member of the
Chapel Choir of the Royal Hospital, Chelsea.
Solo work includes Handel's Messiah, Dixit Dominus and Acis
and Galatea, Vivaldi's Gloria, Leighton’s Crucifixus pro Nobis,
Darke’s As the Leaves Fall, Vaughan Williams’ Mass in G Minor, Mozart's Mass in C
Minor and Missa Brevis in D, Brahms’ Liebesliederwalze and Haydn's Kleine
Orgelmesse. Future plans include a tour of Luxembourg and a performance of Francis
Pott's My Song is Love Unknown at St John’s Smith Square.
Olivia Maffett
Olivia originally trained as an actor at the Webber
Douglas Academy. Theatrical experience includes
repertory at Ayr, two seasons for Channel Theatre,
Bernstein’'s Trouble in Tahiti at the Bridewell Theatre for
director
Clive
Paget,
Wendy
Toye's
acclaimed
production of The Sound of Music (National Tour), and
Tom Stoppard’s Indian Ink (Aldwych Theatre). Her
musical activities range from the Almeida Contemporary
Music Festival through regular chorus work for the
Royal Opera to BBC Radio 2’s ‘Friday Night is Music
Night'. She sang in Ligeti’'s Le Grand Macabre and John
Adams’ E/ Nino at the Chatelet Theatre in Paris, both
directed by Peter Sellars, and appeared as Elektra in Oresteia by Xenakis at the
Linbury Studio Theatre.
Joya Logan
Joya studied piano, flute and singing at Trinity College of Music and now concentrated on singing, studying with
Deborah Miles Johnson. She is an accomplished consort
singer, and has performed throughout Europe and the UK
with the English Concert, Serenata Voices, The Shutz Choir,
and Singscape and is a member of the Guards Chapel Choir
She has appeared regularly on BBC Radio 2’s ‘Friday Night is
Music Night’, and recorded for Radio 3 and 4. Joya had also
appeared as soloist on many recordings for the Hyperion
Label with the Corydon Singers.
Guildford Philharmonic Choir
14
Her solo repertoire includes Bach’s Magnificat, St Matthew Passion, St John
Passion and Christmas Oratorio, Britten’s Rejoice in the Lamb and A Ceremony
of Carols, Copeland’s In the Beginning, Handel’s Dixit Dominus and Messiah,
Haydn’'s Nelson Mass, Mozart's Requiem and Vesperae Solenenes de
Confessore, Pergolesi’s Stabat Mater, Respighi’s Laud to the Nativity, Vaughan
Williams’ Mass in G, Vivaldi’'s Gloria, and Durufle’s Requiem. Joya has recorded
Rachmaninov’'s Vespers for Hyperion. Last year Joya appeared as Guest soloist
in the Spirit of Christmas at the Grosvenor Chapel, in the presence of HRH
Prince and Princess Michael of Kent.
Joya also founded ‘Mini Crotchets’, a pre-school Music Group for toddlers in
South West London, aiming to encourage young children to enjoy music through
action and counting songs, percussion playing, nursery rhymes and popular
children’s songs.
Graham Voke
Graham Voke started his musical career in Old St Paul‘s
Church Edinburgh, where he became Head Chorister. He
was the second person in Scotland to receive the RSCM
(Royal School of Church Music) Senior St Nicholas
Award. He has sung with the Scottish Philharmonic and
the Scottish Chamber Choir, with whom he has toured
Europe.
Since moving to London he has performed with the New
London Singers,
under Barry Rose, and now appears
regularly with the Tallis Chamber Choir and St Alfege
Parish Church in Greenwich. He has also appeared
regularly in the music festival at Quille in Southern France.
Martin Johnson
Martin Johnson has enjoyed many years of making
music across a wide spectrum of activities. He first
started singing with Sir David Willcocks at Kings
College School Cambridge, followed by several
years as a viola player in the National Youth
Orchestra. He was then awarded a choral
scholarship to Durham University, where he read
English Literature.
.
After graduation he appeared on the London music
;
scene, performing for many years as a soloist in
l
the London Handel Festival at Hanover Square.
His singing activities then embraced everything from Handel to Light Opera to
Close
15
Harmony
(and
back
again)
with
several
recordings
as
well
as
Guildford Philharmonic Choir
Jeremy Backhouse
Jeremy Backhouse began his musical career in Canterbury
Cathedral where he was Head Chorister, and later studied
music at Liverpool University. He spent five years as Music
Editor at the Royal National Institute for the Blind, where he
was responsible for the transcription of print music into
Braille. In 1986 he joined EMI Records as a Literary Editor
and since April 1990 he has combined his work as a
Consultant Editor for EMI Classics with his career as a
freelance conductor and record producer.
Jeremy is also the conductor of the Vasari Singers, widely acknowledged as one
of the finest chamber choirs in the country. Since winning the prestigious
Sainsbury’s Choir of the Year competition in 1988, they have performed
regularly on the South Bank and at St John’s, Smith Square in London, as well
as in the cathedrals of Canterbury, Chichester, Winchester, Hereford, Ely and
Peterborough. Their list of CDs is lengthening annually. In February 2002 the
Vasari Singers performed the UK Premiere of Dupré’s oratorio La France au
Calvaire, followed by a World Premiere CD recording, on the Guild label. As a
new departure, the Vasari Singers’ latest Guild label CD, ‘Our love is here to
stay’ is a collection of close harmony, blues and jazz numbers, including several
arrangements by Ward Swingle, their Patron.
In January 1995, Jeremy was appointed Chorus Master of the Guildford
Philharmonic Choir, working closely with conductors such as Jonathan Willcocks,
En Shao and Vernon Handley, as well as regularly conducting concerts with the
choir and orchestra alike. In 1998, he conducted a memorable performance of
Elgar's The Dream of Gerontius in Guildford’s Civic Hall, the first public
performance to be promoted by the choir itself, and in March 1999 gave a
“masterly” performance of Bruckner's Mass in E minor and Mahler's Symphony
No.2 in Guildford Cathedral.
Jeremy has worked with a number of leading choirs in the UK, including the
Philharmonia Chorus (preparing for Sir Colin Davis), the London Choral Society
(for Ronald Corp) and the Brighton Festival Chorus (for Carl Davies). In
September 1998, Jeremy became the Music Director of the Wooburn Singers,
only the third conductor in the distinguished history of the choir, following
Sir Richard Hickox (who founded the choir in 1967) and most recently,
Stephen Jackson.
Guildford Philharmonic Choir
16
W Sinfonta
The Brandenburg Sinfonia is one of the most dynamically versatile musical
organisations in the country. It is renowned for its special quality of sound and
poised vivacity in performance. The orchestra performs regularly in the majority
of the major venues across the country, and in London at the Barbican, Royal
Albert Hall, 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, USA, Bermuda, the Channel Islands, Barbados and St
Petersburg. Future tours include France, Germany, USA, Japan, Hong Kong
and Barbados.
In 1999 the orchestra established major concert series at both St Martin-in-theFields and Crystal Palace Bowl. In Autumn 2001 the orchestra undertook a
major classical music cruise on the QE2.
A large number of artists of international standing have worked with the
orchestra including Emmanuel Hurwitz, Lesley Garrett, John Georgiadis,
John Wallace, Michael Thompson and Gordon Hunt.
Its repertoire ranges from Bach to Lloyd Webber and its members give around
100 performances of orchestral, chamber, choral and operatic music during the
year.
The orchestras for a number of touring companies are formed from members of
the Brandenburg Sinfonia including First Act Opera, London City Opera, Opera
Holland Park, London Opera Players and Central Festival Opera.
The Guildford Philharmonic Choir
The Guildford Philharmonic 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 grew to prominence under the batons of such eminent
British musicians as Sir Charles Groves, Vernon Handley and Sir David
Willcocks. Sir David remains in close contact with the Choir as its current
President, and the Choir is now independent from the Borough of Guildford.
17
Guildford Philharmonic Choir
In March 1999 the Choir gave a widely acclaimed performance of two works
which must surely rank among the greatest choral works of all time, Mahler’s
Symphony No.2 — ‘Resurrection’ and Bruckner's Mass in E minor. The Choir
enjoyed a challenging and exciting concert programme for the 2000/01 season,
with Mozart’s Mass in C minor, Brahms’ Ein deutsches Requiem and Vaughan
Williams’ Sea Symphony.
The 2001/02 season included a patriotic and thrilling concert to celebrate the
Queen’s Golden Jubilee and a performance of Mendelssohn’s Eljah. A novel
experience for the choir was two concerts with the tenor Russell Watson, at the
Royal Albert Hall, London, and at Brighton.
Last season began with a moving performance of the rarely-heard Dvorak
Requiem. Members of the choir were then invited to perform Vivaldi’s Gloria at
St Martin-in-the-Fields. This was followed by a powerful performance of Verdi's
Requiem, having combined forces with Wokingham Choral Society for the
annual Guildford Borough concert. However, the highlight of the year was
another Mahler performance, the Symphony No. 8 “Veni Creator Spiritus’,
(‘Symphony of a Thousand’). For this massive undertaking, the Choir was joined
by Lewisham Choral Society, the South West Essex Choir and the children of
the Grey Coat Hospital Chamber Choir.
The Choir is always searching for new members to maintain its high standard
and auditions are held throughout the year. For further details about joining the
Choir or for information about any of our future concerts, please contact Noreen
Ayton, tel: 01932 221918. Rehearsals are held on Monday evenings throughout
term time in central Guildford and prospective members are most welcome to
attend rehearsals on an informal basis before committing to an audition.
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Guildford Philharmonic Choir
18
Guildford Philharmonic Choir
FIRST SOPRANOS
FIRST ALTOS
FIRST TENORS
Joanna Andrews
Marion Adderley
Bob Cowell
Noreen Ayton
Penny Baxter
lan Landsborough
Helen Bates
Monika Boothby
Nick Manning
Helen Beevers
Jane Brooks
Chris Robinson
John Trigg
Elaine Chapman
Margaret Dentskevich
Mirander Champion
Valerie Edwards
Sara Dann
Celia Embleton
Calli Hayes
Ingrid Hardiman
Mo Kfouri
Susan Hinton
Hilary Minor
Valerie Leggatt
Susan Norton
Kay McManus
Robin Onslow
Rosalind Milton
Margaret Parry
Mary Moon
SECOND TENORS
David Baxter
Tony Cousins
Leslie Harfield
FIRST BASSES
John Britten
Lesley Peek
Penny Muray
Philip Davies
Judy Smith
Jacqueline Norman
Michael Dudley
Carol Terry
Penny Overton
Terence Ellis
SECOND SOPRANOS
Lesley Scordellis
Geoffrey Forster
Jane Sweaney
Vaidotas Gerikas
Jacqueline Alderton
Hillary Trigg
Michael Golden
Anna Arthur
Pamela Woodroffe
Keith Hester
Josephine Field
Mandy Freeman
SECOND ALTOS
Laurie James
Chris Peters
Angela Hall
Valerie Adam
David Ross
Angela Hand
Marion Arbuckle
lan Savill
Jane Kenney
Sally Bailey
Philip Stanford
Judith Lewy
Evelyn Beastall
Kieron Walsh
Krystyna Marsden
Iris Bennett
Lois McCabe
Mary Clayton
Alison Palmer
Andrea Dombrowe
Kate Peters
Carolyn Edis
Rosalind Plowright
Valerie Garrow
Susannah Priede
Carol Hobbs
Alison Rawlinson
Sheila Hodson
Jill Scott
Yvonne Hungerford
Ann Sheppard
Brenda Moore
Maggie Smith
Jean Munro
Kathy Stickland
Prue Smith
Christine Wilks
Alex Stevens
Rosey Storey
Suleen Syn Wong
Beatrice Wood
19
SECOND BASSES
Dan Adderley
Peter Andrews
Roger Barrett
Alan Batterbury
Norman Carpenter
James Garrow
Nick Gough
Peter Herbert
Michael Jeffery
Stephen Jepson
Neil Martin
Maxwell New
Nigel Pollock
Michael Taylor
Guildford Philharmonic Choir
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Saturday 8 May 2004 — 7.30pm
Guildford Philharmonic Choir
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20
GUILDFORD PHILHARMONIC CHOIR
President: Sir David Willcocks CBE MC
PATRONS
Dr. J.B.R. Arbuckle
Golden and Associates
Dr. Roger Barrett
Mrs. Carol Hobbs
Mrs. E.A. Batterbury
Mr. Laurie James
Mr. Bill Bellerby MBE
Mr. & Mrs. Michael Kilkenny
Mrs. Doreen Bellerby MBE
Mr. & Mrs. Michael Longford
Mr. & Mrs. Peter Bennett
Mr. Ron Medlow
Mr. & Mrs. G S Blacker
Mrs. Christine Medlow
Mrs. Ingrid Brockdorff
Mr. & Mrs. Maxwell S New
Mr. & Mrs. R.H.R. Broughton
Sue O’Connell
Mr. HJ C Browne
Mr. & Mrs. John Parry
Canon Patricia Cousins
Opticians Penny & Hayter
Mrs. Maryel Cowell
Mrs. Jean Radley
Mr. Michael Dawe
Mr. & Mrs. B. Reed
Mrs. Margaret Dentskevich
Mr. Michael Shortland
Mr. & Mrs.G. Dombrowe
Dr. & Mrs.M.G.M. Smith
Dr. Simon Doran
Mrs. Y M L Tiplady
Executive Presentation
Miss Enid Weston
FRIENDS
Dega Broadcast Systems
Mr. lan Rayner
Mrs. Joyce Feather
Mrs. Jean Shail
Mrs. Suzanne Pickerill
Mrs. K C Stickland
If you are interested in becoming a Patron or Friend, please contact Bob Cowell
on 01483 770896
21
Guildford Philharmonic Choir
Ben’s Collectors’ Records
5 Tunsgate Guildford GU1 3QT
01483 534562
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The staging for this concert is owned by the Association of Surrey
Choirs. To hire, please contact Stephen Jepson, tel: 01306 7303883.
It was purchased with financial assistance from the Foundation for
Sport and Arts, PO Box 20, Liverpool.
Guildford Philharmonic Choir
22
DATES FOR YOUR DIARY
Sunday 14 December 2003 at 2.30pm
The Mayor of Guildford’s Christmas Concert
Guildford Civic
Promoted by Guildford Rotary
Saturday 21 February 2004 at 7.30pm
Beethoven: Symphony No.9
Haydn: Te Deum
Guildford Cathedral
Promoted by Guildford Borough Council
Saturday 20 March 2004 at 7.30pm
‘American Celebration’
Copland: Fanfare for the Common Man
Thompson: Alleluia
Lauridsen: O Magnum Mysterium
Stravinsky: Symphony of Psalms
Barber: Agnus Dei (a cappella version of Adagio for Strings)
Bernstein: Chichester Psalms
Guildford Cathedral
Promoted by Guildford Philharmonic Choir
Saturday 22 May 2004 at 7.30pm
‘Russian Spectacular’
Rachmaninov: Piano Concerto No.3 in D minor, Op.30
Borodin: Polovtsian Dances
Prokofiev: Alexander Nevsky
Guildford Cathedral
Promoted by Guildford Philharmonic Choir