'BRUCKNER
.
~ Violin: Simon Fischer
|
Soloists from The Royal Academy of Music
Brandenburg Sinfonia
/
Conductor: Jeremy Backhouse
“
|
Saturday
"
18th Nov 2006
7.30 Guildford Cathedral
www.VivaceChorus.org
Vivace Chorus was formerly Guildford Philharmonic Choir
Registered Charity No 1026337
e
—
ANNA ARTHUR & ASSOCIATES
SOLICITORS
EVERY SUCCESS FOR THIS EVENING
FIERE FACIAS HOUSE, HIGH STREET,
RIPLEY, SURREY GU23 6AF
TEL: 01483 222499 — FAX: 01483 222766
Vivace
Chorus
President Sir David Willcocks CBE MC
Wolf:
Morgenhymnus
Elfenlied
Der Feuerreiter
Brahms:
Violin Concerto in D, Op. 77
soloist: Simon Fischer
Schicksalslied Op. 54
Bruckner:
Te Deum
Meeta Raval
Soprano
Alexandra Tiffin
Mezzo-soprano
Andrew Goodwin
Tenor
Piotr Lempa
Bass
Brandenburg Sinfonia
conductor
Jeremy Backhouse
Vivace Chorus
PRE-CONCERT TALK
WOLF, BRAHMS & BRUCKNER: THREE VIENNESE ROMANTICS
This will start at 6.30pm in the Chapter House of the Cathedral.
The speaker will be Robert Manning, an organist and member of
Please note: Members of the audience who wish to attend can
reserve their seats for the concert beforehand, in the cathedral.
The talk should finish at 7.10pm, allowing time to order
refreshments etc.
Hugo Wolf (1860 — 1903)
Hugo Wolf was born at Windischgraz, Austria (now Slovenj Gradec, Slovenia).
His father was a German musician and dealer in leather. Wolf learned the violin
and piano at an early age but his difficult temperament led to him being
expelled from his first two schools. He was finally sent to Vienna to study at the
conservatoire, but after only 2 years he was again expelled. Following a very
brief spell as a piano teacher, he survived on the charity of some good friends,
then from 1883 to 1887 worked as a music critic in Vienna. Wolf adored
Wagner, detested Brahms and was a close friend of his conservatory
classmate, Mahler. Unfortunately, his disparagement of Brahms made Wolf
many enemies and held back the performance of his own music.
However, in 1887, Wolf gave up being a music critic. From 1888, he consumed
himself with composition in a concentrated effort that produced, in a short time,
settings of 50 poems by Goethe and a further 53 by Eduard Mérike. The highly
successful first performances of Elfenlied and Der Feuerreiter in 1894
contributed decisively to the rise in Wolf's popularity. In 9 years, he composed
over 200 Lieder, in which music and poetry are more intimately joined than
they had been in the work of any composer since Schubert. Wolf combined an
independent vocal line with expressive techniques in the piano part and, using
a variety of rhythmic and harmonic devices to depict textual imagery, illustrate
mood and create musical structure, he continued and extended the Lied
tradition Schubert and Schumann had established.
Morgenhymnus (Morning Hymn)
In December 1897, Wolf created a version of his 1896 tenor Lied
Morgenstimmung (Morning Mood) for mixed choir and orchestra, renaming it
Morgenhymnus (Morning Hymn). It was a setting of text by Robert Reinick
(painter and poet; 1805 — 1852) and Wolf had already changed Reinick's
original title Morgenlied (Morning Song) for his solo version. In its monumental
character, this wonderful song is very characteristic of Wolf's later style.
4
Vivace Chorus
Bald ist der Nacht ein End gemacht,
Soon the night will come to an end,
Schon fiihl ich Morgenliifte wehen.
| already feel
The morning breezes blowing.
Der Herr, der spricht: "Es werde Licht!"
Da muB3, was dunkel ist, vergehen.
The Lord, speaks: "Let there be light!"
And all that is dark must fade away.
Vom Himmelszelt durch alle Welt
From the firmament
Through all the world
Die Engel freudejauchzend fliegen.
Der Sonne Strahl
Durchflammt das All.
Herr, lal8 uns kdmpfen, laB uns siegen!
The angels fly, rejoicing.
The rays of the sun
Go flaming through the universe,
Lord, let us fight, let us conquer!
Elfenlied (Fairy Song)
Elfenlied (for soprano, female voice choir and orchestra
) was composed on
11 May 1889, and is one of two remnants of a planned
opera based on
Shakespeare's play A Midsummer Night's Dream. The
highly successful first
performance of Elfenlied took place with that of Der Feuerreit
er in Berlin on
08 January 1894, with the famous choral conductor Siegfried
Ochs. Wolf had
the privilege of witnessing his success, together with
Bruckner, who had
arrived by the same train for a performance of his
Te Deum in the same
concert. [Wolf and Bruckner had first met in 1 884,
before the musical world
recognised the originality and monumental greatnes
s of Bruckner's symphonic
output, which Wolf was one of the first to value. For his
part, the older man was
early to recognise Wolf's mastery of the art of Lied,
congenial and long-lasting relationship.]
and the two developed a
Sopran
Soprano
Bunte Schlangen zweigeziingt,
You spotted snakes, with double tongue,
Igel, Molche, fort von hier!
DaB ihr euren Gift nicht bringt
In der Kénigin Revier!
Thorny hedgehogs, be not seen:
Newts and blindworms do no wrong,
Come not near our Fairy Queen.
Chor mit Sopran
Choir with Soprano
Nachtigall, mit Melodei
Philomel, with melody,
Sing' in unser Eiapopei!
Eiapopeia! Eiapopeia!
Dal kein Spruch,
Kein Zauberfluch
Der holden Herrin schédlich sei!
Nun gute Nacht mit Eiapopei!
Sing in our sweet lullaby,
Lulla, lulla, lullaby,
Lulla, lulla, lullaby,
Never harm, nor spell, nor charm,
Come our lovely lady nigh.
So good night, with lullaby.
Sopran
Soprano
Schwarze Kéfer, uns umgebt
Weaving spiders come not here:
Nicht mit Summen, macht euch fort! Hence you
long-legged spinners, hence:
Spinnen, die ihr kiinstlich webt,
Beetles black, approach not near:
Webt an einem andem Ort!
Worm nor snail do no offence.
Vivace Chorus
5
Chor mit Sopran
Choir with Soprano
Nachtigall, mit Melodei
Sing' in unser Eiapopei!
Eiapopeia! Eiapopeia!
Dal3 kein Spruch,
Kein Zauberfluch
Der holden Herrin schédlich sei!
Nun gute Nacht mit Eiapopei!
Philomel, with melody,
Sing in our sweet lullaby,
Lulla, lulla, lullaby,
Lulla, lulla, lullaby,
Never harm, nor spell, nor charm,
Come our lovely lady nigh.
So good night, with lullaby.
[Eifen entschweben. Titania schléft ein.]
[The fairies steal away. Titania falls asleep.]
Der Feuerreiter (The Fire Rider)
In setting the poems of Eduard Mérike (a South German pastor; 1804 — 1875),
Wolf created the first of the great songbooks on which he built his reputation. In
only 42 days in 1888, Wolf had completed 53 Mdrike Lieder, matchless in their
poetic settings. Mérike, although unknown today, was in Wolf's time a poet
considered second only to Goethe. His subjects were poetic idylls and
fairytales, and his natural surroundings. The composer claimed Morike as a
kindred spirit, an alter ego and a poet he venerated, devoid of the confessional
gushing that Wolf found so objectionable in certain poets of his own day.
The Morike ballad Der Feuerreiter was composed on 10 October 1888 and is a
work of furious rhythmic propulsion and demonic power. In 1892, Wolf
arranged it for choir and orchestra but did not touch the musical substance: the
singing voice appears in the trebles of the choir, the orchestral potential of the
masterly piano accompaniment is brought to light with great skill.
Der Feuerreiter, whose origin lies in folk legend, has the uncanny power to
detect distant fires and is drawn to them irresistibly. Supernatural forces forbid
him to extinguish fires, but in the past, he disobeyed their stricture. Now, when
he dashes on horseback to the burning mill, he dies in the flames as
punishment for his digression. Der Feuerreiter was one of Wolf's favourite
pieces and he performed it to make a strong impression, predicting that it
would make his listeners’ hair stand on end.
Sehet ihr am Fensterlein
Dort die rote Miitze wieder?
Nicht geheuer mul3 es sein,
Denn er geht schon auf und nieder.
Und auf einmal welch Gewlihle
Bei der Briicke, nach dem Feld!
Horch, das Feuerglécklein gellt:
Hinter'm Berg,
Hinter'm Berg
Brennt es in der Miihle!
6
Do you see the red cap
There again at the little window?
There's something eerie about it
Because it goes up and down.
And then suddenly: what a turmoil
By the bridge, towards the field!
Listen, the little fire bell shrills:
Behind the hill,
Behind the hill
There's a fire at the mill!
Vivace Chorus
Schaut! da springt er wiitend schier
Durch das Tor der Feuerreiter,
Auf dem rippendiirren Tier,
Als auf einer Feuerleiter!
Querfeldein! Durch Qualm
Und Schwiile
Rennt er schon und ist am Ort!
Driiben schallt es fort und fort:
Hinterm Beryg,
Hinter'm Berg
Look! He's leaping through the gate
Almost raving, the fire rider
On the beast, lean as a rake,
As though it were a fire-ladder!
Over stick and stone, through smoke
And stifling heat
He comes running, he arrives!
Yonder it resounds on and on:
Behind the hill,
Behind the hill
Brennt es in der Miihle!
There's a fire at the mill!
Der so oft den roten Hahn
Meilenweit von fem gerochen,
Mit des heilgen Kreuzes Spahn
He, who has so often smelled
The red cock from miles away,
Freventlich die Glut besprochen —
Who has used a splinter of the holy cross,
Weh! dir grinst vom Dachgestiihle
Sacrilegiously, to put out the fire —
Woe! From the rafters the enemy
Im Héllenschein.
Is grinning at you, surrounded
By the glow of hell,
Dort der Feind
Gnade Gott der Seele dein!
Hinter'm Beryg,
Hinter'm Berg
God have mercy on your soul!
Behind the hill,
Rast er in der Miihle!
Behind the hill
He races into the mill!
Keine Stunde hielt es an,
Bis die Miihle borst in Triimmer;
Not an hour did it take
"Til the mill explodes in ruins,
Doch den kecken Reitersmann
Sah man von der Stunde nimmer.
Volk und Wagen im Gewiihle
Kehren heim von all dem Graus;
Auch das Glécklein klinget aus:
Hinter'm Berg,
Hinterm Berg
But from that hour forth
The bold rider was never seen again.
Milling crowds and carts return
Home from all the horror,
And the little bell stops ringing:
Behind the hill,
Behind the hill
Brennts! —
There's a fire...
Nach der Zeit ein Miiller fand
Ein Gerippe sammt der Miitzen
At length a miller found
A skeleton, complete with cap,
Aufrecht an der Kellerwand
Auf der beinern Mébhre sitzen:
Feuerreiter, wie so kiihle
Reitest du in deinem Grab!
Husch, da féllt's in Asche ab.
Ruhe wohl,
Ruhe wohl
Drunten in der Miihle!
Vivace Chorus
Sitting upright by the cellar wall
On a bony mare.
Fire rider, how cool
Is the grave in which you're riding!
In a flash, he crumbles to ashes.
Rest ye well,
Rest ye well
Down there at the mill!
Johannes Brahms (1833 - 1897)
Brahms was born in Hamburg, the son of a double bass player, and received
an early grounding in the classics — especially the music of Bach. Brahms had
begun his professional career in the 1850s as a piano accompanist to betterknown artists, particularly violinists, such as Joachim. His alliance with Joachim
led to an association with Robert and Clara Schumann, who stimulated
international interest in the young composer; thus it can fairly be said that
Brahms acquired his reputation through Joachim.
In many respects Brahms brings the classical-romantic continuum to an end.
He felt no kinship to the 'music of the future' that was the mantle of Wagner
and Liszt, and throughout his life, Brahms was one of the few composers of his
era interested in the classical approach to variations, sonatas and such 18th
century contrapuntal procedures as fugue and passacaglia. In the age of the
bravura concerto, where the solo instrument is often merely accompanied by
the orchestra, Brahms, in his violin concerto and two piano concertos, wrote in
a truly classical manner that treats soloist and orchestra as equals, in the
tradition of Mozart and Beethoven.
Violin Concerto in D, Op. 77
Allegro non troppo
Adagio
Allegro giocoso, ma non troppo
Brahms composed his violin concerto in the summer of 1878 for his long-time
friend Joachim. Brahms certainly knew the impressive extent of his friend's
talent, but not being a violinist himself, the composer was concerned about the
practicality of what he was creating and invited Joachim to make corrections.
The violinist, who was also something of a composer himself, eagerly
complied, starting a discussion which continued until the concerto’s premiere in
Leipzig on New Year's Day, 1879. Brahms did not adopt all of Joachim's
suggestions, but did, however, leave him to compose his own cadenza in the
first movement. As the work received mixed reviews at the premiere, Brahms
and Joachim continued with revisions until its publication 6 months later. Even
then, not all the musical experts were pleased, but audiences have always
delighted in the piece, revelling in its lyrical melodies and rich orchestration.
The first movement opens with an unusually long tutti section, which is
eventually interrupted by the entry of the solo violin. After some extended
passage work, the violin restates and embellishes the opening themes. Dark
tones can be felt in the development section, but overall, the mood is one of
confident tranquillity.
The slow movement begins with a long oboe solo of great beauty, reinforcing
the spirit of unhurried calmness. The solo violin takes over, with an exquisitely
embellished version of this theme. The second subject introduces a note of
yearning, but tranquillity is restored in the recapitulation, when the oboe theme
briefly returns, accompanied this time by delicate tracery on the solo violin.
8
Vivace Chorus
The spirit of exuberance pervades the final movement, which is in sonata-rondo
form. A Hungarian-style main theme is stated at the outset by the solo violin in
thirds. After that two main themes are explored, one typically robust, and the
other gentler in character. A short written-out cadenza precedes the final poco
piu presto section, where Brahms cleverly transforms the rhythm to hurry the
concerto to its joyous conclusion.
~ INTERVAL ~
Schicksalslied (Song of Destiny) Op. 54
Friedrich Hélderlin (1770 — 1843) was a major German lyric poet whose work
bridged the Classical and Romantic schools. Like his older contemporaries
Goethe and Schiller, Holderlin was a fervent admirer of ancient Greek culture,
but also had a very personal understanding of it. Schicksalslied is the last stanza
from his 1799 epistolary novel Hyperion and in it he movingly expresses the
Greek idea of the tragic fall, contrasting the idyllic life of gods who are untouched
by destiny (Schicksal) with the tragic fate of humanity who are shattered by it.
Brahms composed his setting of Hyperions Schicksalslied (Hyperion's Song of
Destiny) in 1871, and like the Alto Rhapsody and Ein deutsches Requiem, it
contains some of his most powerful and emotional music. However, unlike the
original poem, the piece concludes with an orchestral postlude which, by
returning to the opening music, brings hope for the future.
Ihr wandelt droben im Licht
Auf weichem Boden, selige Genien!
Glénzende Gotterliifte
Riihren Euch leicht,
Wie die Finger der Kiinstlerin
Heilige Saiten.
Schicksallos, wie der schlafende
Séugling, atmen die Himmlischen;
Keusch bewahrt in bescheidener Knospe,
Bliihet ewig ihnen der Geist,
You wander aloft in the light
On soft earth, ye blessed spirits!
Radiant and celestial breezes
Touch you gently
As the harpist's fingers brushing
The sacred lyre.
Free of destiny, as the sleeping baby,
The immortal ones breathe;
Preserved in purity in a humble bud,
Their spirit blossoms eternally,
Und die seligen Augen
Blicken in stiller, ewiger Klarheit.
And their blessed eyes
Doch uns ist gegeben,
Auf keiner Stétte zu ruhn;
But we are not allowed
To rest in any place;
Es schwinden, es fallen
Die leidenden Menschen
Blindlings von einer Stunde zur andem,
Wie Wasser von Klippe zu Klippe geworfen,
Jahrlang ins Ungewisse hinab.
Vivace Chorus
Watch in calm and eternal clarity.
An anguished mankind
Reels and plummets
Blindly from one hour to the next
Like water, flung from crag to crag,
Plunged for years into the unknown.
9
Anton Bruckner (1824 — 1896)
Anton Bruckner was born in Ansfelden, Austria and his father, who was a
schoolmaster and organist, was his first music teacher. Bruckner studied at the
Augustinian monastery in St. Florian, becoming an organist there in 1851. He
continued his studies until he was 40, and was latterly introduced to the music
of Wagner, which he studied extensively from 1863 onwards. In 1861 he had
become acquainted with Liszt, who was first and foremost a harmonic
innovator, and, together with Wagner, had initiated the new German school.
In 1868, Bruckner accepted a post at the Vienna Conservatory, where he
taught music theory and organ performance. Mahler, who called Bruckner his
“forerunner", was in attendance during this time. In 1875, Bruckner accepted a
post at the Vienna University. During these years he concentrated most of his
energies on writing symphonies. These were poorly received and not
understood at the time, although he did have supporters, including the famous
conductor Arthur Nikisch. In addition to his symphonies, Bruckner wrote
masses, motets and other sacred choral works. He was a very simple man
and, unlike many of the great Romantic composers, was deeply religious, his
choral works being rooted in the faith of the Catholic Church.
Bruckner was no child prodigy; his genius did not appear until well into his
fourth decade, broad fame and acceptance not coming until he was into his
60s. This was partly achieved due to his prowess as an organist. He impressed
audiences in England in 1871, giving six recitals on a new Henry Willis organ at
the Royal Albert Hall and five more recitals at the Crystal Palace. However, it
was not until 50 years after his death that Bruckner's music found wide
recognition in this country, but he is now acknowledged as one of the giants of
the 19th century in the field of symphonic and choral music. His symphonies,
on account of their scale, massive sonorities and imposing structure, have
often been referred to as cathedrals of sound.
Bruckner described his Te Deum as "the best work of my life". It was written in
1883 and is on a characteristically grandiose scale. It was an immediate
success from its first performance in 1886, and is one of the cornerstones of
Bruckner's reputation, with its strength and dignity, its unyielding faith and its
plea for redemption. Two substantial choruses flank the three short middle
sections — the first in triumphant mood, and the finale rising to a climax in which
all the voices are stretched to the top of their range with brilliant effect.
Te Deum
Te Deum laudamus
Te ergo quaesumus
We praise Thee, O God
We therefore pray Thee
Salvum fac populum tuum
O Lord save Thy people
Aetemna fac cum sanctis tuis
In te, Domine, speravi
10
Make them to be numbered with Thy saints
O Lord, in Thee have | trusted
Vivace Chorus
Te Deum laudamus,
Te Dominum confitemur;
Te aeternum Patrem
Omnis terra veneratur.
Tibi omnes Angeli, tibi coeli
Et universae Potestates:
Tibi cherubim et seraphim
Incessabili voce proclamant:
‘Sanctus, Sanctus, Sanctus,
Dominus Deus Sabaoth.
Pleni sunt coeli et terra
We praise Thee, O God,
We acknowledge Thee to be the Lord;
All the earth doth worship Thee,
The Father everlasting.
To Thee all Angels cry aloud,
The heavens and all the powers therein:
To Thee cherubim and seraphim
Continually do cry:
‘Holy, Holy, Holy,
Lord God of Sabaoth.
Heaven and earth are full
Majestatis glonae tuae.’
Of the majesty of Thy glory.’
Te gloriosus Apostolorum chorus,
Te Prophetarum laudabilis numerus,
The glorious company of the Apostles,
The goodly fellowship of the Prophets,
Te Martyrum candidatus laudat exercitus.
Te per orbem terrarum
Sancta confitetur Ecclesia,
Patrem immensae majestatis;
The noble army of Martyrs praise Thee.
The Holy Church throughout all the world
Doth acknowledge Thee,
The Father of an infinite majesty;
Venerandum tuum verum et unicum Filium;
Sanctus quoque Paraclitum Spiritum.
Thine honourable true and only Son:
Also the Holy Ghost, the Comforter.
Tu, Rex glonae, Christe,
Tu Patris sempitemus es Filius.
Thou art the King of Glory, O Christ,
Thou art the everlasting Son of the Father.
Tu ad liberandum
Suscepturus hominem,
When Thou tookest upon Thee
To deliver man,
Non horruisti Virginis uterum.
Thou didst not abhor the Virgin's womb.
Tu devicto mortis aculeo,
Aperuisti credentibus
When Thou hadst overcome the
Regna coelorum.
Sharpness of death,
Thou didst open the Kingdom of Heaven
Tu ad dexteram Dei sedes
Thou sittest at the right hand of God
To all believers.
In gloria Patris.
Judex crederis esse venturus.
In the glory of the Father.
We believe that Thou shalt come
To be our Judge.
Te ergo quaesumus
Tuis famulis subveni,
We therefore pray Thee,
Quos pretioso sanguine redemisti.
Aeterna fac sum Sanctis tuis,
In gloria numerari.
Vivace Chorus
Help Thy servants, whom Thou hast
Redeemed with Thy precious blood.
Make them to be numbered with
Thy Saints in glory everlasting.
11
Salvum fac populum tuum, Domine,
Et benedic hereditati tuae;
Et rege eos, et extole illos
O Lord, save Thy people,
And bless Thine heritage;
Govern them and lift them up
Usque in aetermum.
For ever.
Per singulos dies benedicimus te.
Et laudamus nomen tuum
In saeculum, et in saeculum saeculi.
Day by day we magnify Thee,
And we worship Thy name,
Ever word without end.
Dignare, Domine, die isto
Sine peccato nos custodire.
Miserere nostri, Domine,
Miserere nostri.
Fiat misericordia tua, Domine,
Vouchsafe, O Lord,
Super nos,
)
To keep us this day without sin.
O Lord, have mercy upon us.
Have mercy upon us
O Lord, let Thy mercy
Lighten upon us
Quemadmodum speravimus in te.
As our trust is in Thee.
In te, Domine, speravi;
Non confundar in aeternam
In Thee have | trusted;
Let me never be confounded.
The notes in this programme include material supplied through the
Programme Note Bank of Making Music, the National Federation of
Music Societies, who are acknowledged with thanks.
Some of the printed music for this evening's concert has been hired
from SCC Performing Arts Library and from the Hire Library at
Peters Edition Limited.
i%*****%*%%****%***%*%**%***%*%*
3
Clucas, Haydn & Mozart concert (20 May 2006)
s
5
3% Tt's delightful how the choir continues to improve, in volume, variation,
3 projection and control and how well it fits with the overall new image ¢
% of 'Vivace'. Jeremy's hard work has done wonders.
* Everyone around me thought that Humphrey Clucas' Evening Hymns
HWk
3% was truly beautiful. But the other works really knocked our socks off 3% people sitting around me had actually been bouncing fo the strains of 3
3 Quam olim Abrahae in Mozart's Requiem!
5
35 306 6 6 3 S 06 M6 A M A A e M A
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M A A M A A NN
AE A
3%
HENN
Vivace Chorus
Simon Fischer enjoys a distinguished and wide-ranging playing
career. He has
given many solo recitals at the Wigmore Hall, the Purcell
Room, and for the
BBC, and has frequently played as soloist or leader with
major UK symphony
and chamber orchestras such as the Philharmonia, Royal
Philharmonic, BBC
Philharmonic, Scottish Chamber Orchestra, Ulster Orchestr
a and many others.
He has thus worked with conductors such as Viadimir Ashkenaz
y, Sir Charles
Groves, Richard Hickox, Andrew Litton, Sir Yehudi Menuhin,
Yan-Pascal
Tortelier and Andre Previn.
Sought-after as a teacher, Simon Fischer is a professo
r at the Yehudi Menuhin
190 consecutive monthly
articles in The Strad magazine have attracted world-wi
de interest and acclaim,
as have his technique books Basics and Practice,
now both translated into
Korean and lItalian. He has taken part in several
Radio 3 programmes and
frequently gives masterclasses, recitals and broadcas
ts abroad, including
School and the Guildhall School of Music. His so-far
recently in Europe, the USA and Australia.
Simon Fischer plays on a Nicolo Gagliano violin made
Vivace Chorus
in 1761.
13
Meeta Raval — Soprano
Meeta Raval was one of the first head
girl choristers of Wells Cathedral. She
graduated from the Guildhall School
of Music and Drama with a First
Class Honours Music degree and is
currently on the postgraduate course
at the Royal Academy of Music,
where she studies with Janice
Chapman and Jonathan Papp.
The Royal Academy has awarded her
with the Eva Tumer and John Lewis
scholarships. She is the winner of the
Dame Eva Tumer competition for
‘The Most Dramatic Soprano’. Meeta
is grateful to the Musicians'
Benevolent Fund for awarding her
with the Maidment scholarship. She is
also thankful to the Josephine Baker Trust. Meeta has participated in
masterclasses led by Sally Burgess, lan Burnside, Emma Kirkby, Graham
Johnson, Sarah Walker and Edith Wiens. Opera scenes roles include those of
Donna Elvira, Donna Anna, Fedora and Giorgetta.
This July, Meeta sang the role of Teresa in Henze’s opera Das Wundertheater
in the Teatro Poliziano, Montepulciano, Italy. Meeta was selected as one of
14 singers to take part in this summer's Solti Accademia Di Bel Canto, which
was held in Castiglione, ltaly. There she had the honour of singing in
masterclasses given by Mirella Freni and performed with the orchestra Citta di
Grosseto at the Salone De Cinquecento in the Palazzo Vecchio, Florence.
Meeta plans to continue her studies at the Royal Academy of Music. Future
engagements include Brahms, Mozart and Verdi Requiems, and a fund-raising
concert in Stafford for the local charities in association with Stafford Castle
Rotary / Innerwheel clubs.
*%%**#*****%**%*********%%%%%**i
3
Clucas, Haydn & Mozart concert (20 May 2006)
What a wonderful concert. Each concert the choir does surpasses the
3% one before. We didn't think that you could get any better but the 3
Es
3% last concert was just superb. We so enjoy listening to you. Jeremy is 3
% such a wonderful conductor and has such a splendid rapport with the ¥
choir.
3K 346 346 M6 346 M 306 Sk 3 06 e A e e 06 A A 0 M A A A NN A
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AE NN
Vivace Chorus
Alexandra Tiffin —
Mezzo-soprano
Alexandra was born in Liverpool. In 1996
she became a member of the National
Youth Choir of Great Britain, with whom
she went on a world tour, singing in places
such as Fiji, New Zealand, Australia, the
Cook Islands and Hawaii. Two years later
she entered the Royal Northern College of
Music, where she took part in numerous
RNCM operas and excerpts. This included
her singing the title role in the excerpt of
lolanthe (Gilbert & Sullivan), the role of
Cherubino in the excerpt Il Nozze di
Figaro (Mozart) and the principal role of
Florinda in the RNCM production of
Stephen Sondheim’s Into the Woods.
In June 2002 Alexandra gained a B.Mus.
(Hons) degree from the RNCM and went on to teach singing at Merchant
Taylors’ School for Girls and at Chetham's School of Music. She is now
continuing her opera training at the Royal Academy of Music, studying with
Glenville Hargreaves. Whilst at the Royal Academy of Music, she has taken
part in their opera excerpts, including the roles of Gertrude in Hamlet
(Thomas), Bradamante in Alcina (Handel) and Olga in Eugene Onegin
(Tchaikovsky).
In June 2006 Alexandra played the role of Dorabella in Cosi Fan Tutte (Mozart)
for Heritage Opera and in June to August she sang chorus in Opera Holland
Park’s productions of The Queen of Spades (Tchaikovsky) and Rigoletto
(Verdi). Also in August this year, Alexandra played the role of Third Lady in
Die Zauberflote (Mozart) at Dartington International Summer School. She is
generously supported by the Girls' Welfare Fund, Laurence Atwell's Charity
and Hill Dickinson Solicitors.
i*******%***%**%%**%%******%*%**
3K
Clucas, Haydn & Mozart concert (20 May 2006)
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I really enjoyed my visit to Guildford last weekend, and Vivace Chorus
strikes me as being very good. The diction was excellent and it was
3 easy to follow the text in the programme. I couldn't fault the 3%
% ensemble singing and the choir is so very well balanced.
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Vivace Chorus
3
15
Andrew Goodwin - Tenor
Born in Sydney, Andrew started his
musical education on the violin and
piano. In 1999 he moved to Russia,
where
he
studied
voice
at
the
St.
Petersburg Conservatory with
Professor Lev Morozov, graduating
with
a
Bachelor
of
Music
in
June 2005.
While based in Russia, Andrew was
a
St.
regular
soloist
with
the
Petersburg
Philharmonic
Orchestra, performing in most of the
prestigious
halls
of
Russia,
including
the
Philharmonic
St.
Petersburg
renowned
Hall,
Mali
the
Philharmonic
Hall,
the
St.
Petersburg State
Cappella and the Main Hall of the
Moscow Conservatoire.
Andrew’s operatic debut was in
January 2006, performing the role of Fenton in Opera Australia’s production of
Verdi's Falstaff. In September 2006 Andrew opened the season of the Bolshoi
in
Moscow singing
Eugene Onegin.
Lensky
in
a
new
production
of
Tchaikovsky's
During his studies, Andrew has won a number of awards and scholarships. In
March 2006, he was a finalist in the Opera Australia Foundation singing
competition, and in 2005, took second place in the Yelena Obrastzova singing
competition in St. Petersburg. In April 2004 Andrew won the Amber Nightingale
singing competition in Kaliningrad, Russia. That same year, Andrew received
the Martin Bequest Travelling Scholarship, the Sir Robert Askin Operatic
Travelling Scholarship, and the Australian Opera Auditions Committee Joan
Sutherland and Richard Bonynge Scholarship. He was a finalist in the 2004
Australian Singing Competition, winning the Nelly Apt Travelling Scholarship to
attend the International Vocal Art's Institute in Tel Aviv, Israel.
Future engagements in 2006 include further performances at the Bolshoi
Opera singing Lensky; premiere performance of the new opera Boyarynya
Morozova by Rodion Shchedrin in Moscow and the role of Belmonte from
Mozart's Die Entfuhrung aus dem Serail with Opera Australiain 2007.
Andrew is currently enrolled in the postgraduate opera course at the Royal
Academy of Music and is grateful for the support by the Australian Music
Foundation and ARS Musica Australis.
16
Vivace Chorus
Piotr Lempa — Bass
Piotr Lempa, a native of
Poland, began his career
as
a
soloist
in
the
Technical
University of
Czestochowa
Choir
Collegium Cantorum. In
2000, he graduated with
a
Management
and
Marketing degree and
joined the Vocal and
Acting Faculty at the
Music
Academy
in
Gdansk, Poland. There
he made his concert debut during his first year of study, in Mozart's
Requiem.
During his third year in Gdansk he appeared with the Baltic Opera
House in
Mozart's Le Nozze di Figaro and has since appeared there
in many
productions, including works by Mozart, Rossini, Donizetti, Verdi and Puccini.
He has also performed with the Musical Theatre in Gdynia, Poland.
In 2004 he sang Uberto in Pergolesi’'s La Serva Padrona and was awarded
the
Governor of Province Pomorskie Theatre Prize for the best debut. In 2005
he
was also singled out for the Hamburg State Opera Director Special Prize in the
Xl Ada Sari Vocal Competition in Nowy Sacz.
Piotr has given many concerts both in Poland and in the UK, Germany, Austria,
Switzerland, France and the USA. In 2001 he took part in concerts
in
remembrance
of
the
World
Trade
Center
victims
in
New
York
and
Pennsylvania. He has participated in vocal masterclasses with M. Freni (Italy),
H.
Lazarska
(Vienna), J.
Nesterenko
(Vienna),
R. Karczykowski (Poland) and D. O’Neill (UK).
J.
Rappe
(Poland),
He graduated from the Vocal and Acting Faculty at the Music Academy in
Gdansk, Poland with distinction under Leszek Skrla and presently studies in his
final year with Mark Wildman and Ingrid Surgenor at The Royal Academy of
Music in London.
Piotr is generously supported
Jacqueline Warne Scholarship.
Vivace Chorus
by a
Kohn
Scholarship,
and
an
Eric and
17
Jeremy Backhouse
Photography by Sim Canetty-Clarke
Jeremy Backhouse began his musical career in Canterbury Cathedral, where
he was Head Chorister, and later studied music at Liverpool University. He
spent 5 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 from April 1990 he
combined his work as a Consultant Editor for EMI Classics with his career as a
freelance conductor. In November 2004, he took the post of Music Editor at
Boosey & Hawkes Music Publishers.
In January 1995, Jeremy was appointed Chorus Master and subsequently
Music Director of the Guildford Philharmonic Choir (now Vivace Chorus). Major
works performed in Guildford Cathedral include Mahler's Symphony No. 2 and
Symphony No. 8, (the monumental Symphony of a Thousand), Prokofiev's
Alexander Nevsky, Elgar's The Dream of Gerontius, Karl Jenkins’ The Armed
Man and Mendelssohn’s Symphony No. 2 (Lobgesang).
Jeremy is also the conductor of the Vasari Singers, widely acknowledged as
one of the finest chamber choirs in the country, performing choral music from
the Renaissance right up to contemporary commissions. In 2005, the choir and
Jeremy celebrated their 25th anniversary together with a highly regarded
project including ten new commissions, a recording of these and other 21st
century anthems, and a world premiere concert at St John's, Smith Square.
Jeremy has also worked with a number of the leading choirs in the country,
including the Philharmonia Chorus (preparing for Sir Colin Davis), the London
Choral Society (for Ronald Corp) and the Brighton Festival Chorus (for Carl
Davies). From September 1998 to the end of 2004, Jeremy was 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.
18
Vivace Chorus
Artistic Director — Robert Porter
Associate Music Director — Sarah Tenant-Flowers
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 Halls and St John's, Smith Square.
The Brandenburg Sinfonia is also in great demand abroad and has visited
France, USA, Bermuda, the Channel Islands, Barbados and St Petersburg.
Other tours include Germany, Japan and Hong Kong. In 1999 the orchestra
established major concert series at both St. Martin-in-the-Fields 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.
Violin 1
Viola
Flute
Ruth Rogers
Kate Read
Fergus Davidson
David Lee
Julian Saxl|
Sue Appel
Clare Robson
Terry Shew
Hannah Craib
Oboe
Katy Pryce
Janina Kopinska
Emily Pailthorpe
Ellie Reed
chkramasmghe Cello
Margaret
Miller
Tim Steggals
Kirsty Langan
Lucy Foster
Clarinet
anne
Trumpet
Chris
Deacon
ar
:
Joanna McWheeney
Jenny Holt
Katy Wriaht
Jessica
eyire ASsnwo
T
d
essica Townsen
Miles Maguire
Violin
2
Lucy Hartley
Bass
:
4
Trombone
Kate Robinson
Samaptha
_
L4:
Raqhel Rowntree
Judith Nemtanu
Kate Maran
Miranda Allen
Polly Ballard
Helen Isaac
y-urte
Alice Durrant
Li Boberg
N
Horn
Ashworth
paai:grend
Gavin McNaughton
Rachel Sims
Timpani
Tim Palmer
Gillian Hicks
:
A
Ruth Davis.
Sue Cordiner
Alastair Warren
Tuba :
Alex Kidson
Anna Giddey
Vivace Chorus
19
Vivace Chorus (formerly the Guildford Philharmonic Choir)
The Guildford Philharmonic Choir was founded by the Borough of Guildford in
1947 to perform major choral works with the Guildford Philharmonic Orchestra.
During this time, the Choir grew both in stature and reputation to become 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, the current President. For some time, the
Choir had been independent from the Borough of Guildford, and to reflect its
independent status and ever-increasing and varied undertakings, decided to
'rebrand' itself — the change of name, to Vivace Chorus, was announced in
May 2005, during our last concert of the 2004/05 season.
Vivace Chorus enjoys a challenging and varied concert repertoire, performing
works spanning the last five centuries — some well-known, but also many
rarities deserving to be heard by a wider audience. By way of demonstration:
the 2002/03 season included Dvorak’s beautiful but rarely heard Requiem, and
the climax of the season was undoubtedly Mahler's Symphony No. 8, where
the choir combined forces with Lewisham Choral Society, the South West
Essex Choir and the Grey Coat Hospital Girls Choir. The season also included
a concert of American music, featuring works by Barber, Bernstein, Copland
and Stravinsky. The season concluded with Borodin’s Polovtsian Dances and
Prokofiev's Alexander Nevsky (both sung in Russian), together with
Rachmaninov’'s Piano Concerto No. 3, performed by the choir's outstanding
accompanist, Jeremy Filsell.
The 2004/05 season began with a glowing performance of Elgar's The Dream
of Gerontius, followed by the unusual and much-appreciated /falian Inspirations
— non-operatic works by famous composers of Italian opera. This was followed
by the first in our Contemporary Choral Classics Cycle, a projected 4-year
innovative series of choral works from the late 20th and 21st century — classics
of the future paired with established masterpieces. The chosen pairing was
Vaughan Williams’ Dona nobis pacem (1936) and Karl Jenkins’ The Armed
Man (2000). During the summer break, we were invited to sing (under our new
name for the first time) a 'Last Night of the Proms' charity concert for CHASE at
a packed Fairfield Halls, Croydon. This was a big success as well as great fun,
and we were delighted to be invited back last month for this year's concert!
The 2005/6 season began with another piece rarely heard in its entirely in the
UK — Mendelssohn’s epic choral Symphony No. 2 (Lobgesang), together with
smaller choral items by Parry, Elgar, Mendelssohn and Holst. As a complete
contrast, our next concert was devoted entirely to works of Bach and Handel.
Vivace Chorus is always searching for new members to maintain its high
standard. For further details about joining, please contact Jane Sweaney,
Tel. 07788 410342. 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. For more
information, see our website at www.vivacechorus.org.
20
Vivace Chorus
Vivace Chorus
FIRST SOPRANOS
FIRST ALTOS
Joanna Andrews
Marion Adderley
Bob Cowell
Noreen Ayton
Penny Baxter
Tim Hardyment
FIRST TENORS
Helen Beevers
Monika Boothby
Chris Robinson
Mary Broughton
Jane Brooks
John Trigg
Miranda Champion
Jane Crane
Elaine Chapman
Liz Durning
SECOND TENORS
Sara Dann
Celia Embleton
John Bawden
Rachel Edmondson
Ingrid Hardiman
Bob Bromham
Calli Hayes
Susan Hinton
Tony Chantler
Mo Kfouri
Kay McManus
lan Landsborough
Catherine McAulay
Christine Medlow
Stephen Linton
Susan Norton
Rosalind Milton
Robin Onslow
Mary Moon
FIRST BASSES
Rachel Owen
Penny Muray
John Britten
Margaret Parry
Jacqueline Norman
Michael Dudley
Margaret Perkins
Penny Overton
Geoffrey Forster
Genevieve Pott
Marjory Rollo
Michael Golden
Emma Purvis
Lesley Scordellis
Keith Hester
Vivien Rieden
Catherine Shacklady
Chris Newbery
Gillian Rix
Jane Sweaney
Chris Peters
Judy Smith
Hilary Trigg
Robin Privett
Carol Terry
Pamela Woodroffe
David Ross
Nikki Vale
SECOND SOPRANOS
Jacqueline Alderton
Anna Arthur
Josephine Field
Jane Kenney
Judith Lewy
Krystyna Marsden
Lois McCabe
Alison Newbery
Alison Palmer
Lucy Percy
Kate Peters
Susannah Priede
Maggie Smith
Kathy Stickland
Christine Wilks
Frances Worpe
SECOND ALTOS
Valerie Adam
Marion Arbuckle
Sally Bailey
Deborah Bayliss
Evelyn Beastall
Mary Clayton
Andrea Dombrowe
Carolyn Edis
Valerie Edwards
Valerie Garrow
Barbara Hilder
Carol Hobbs
Sheila Hodson
Yvonne Hungerford
Brenda Moore
Beryl Northam
Philip Stanford
Kieron Walsh
SECOND BASSES
Dan Adderley
Peter Andrews
Roger Barrett
Alan Batterbury
Norman Carpenter
James Garrow
Nick Gough
Michael Jeffery
Neil Martin
Maxwell New
John Parry
Roger Penny
Michael Taylor
Isobel Rooth
Rosey Storey
Elisabeth Yates
Vivace Chorus
21
Choir Functionaries
Jeremy Backhouse
Chorus Director
Jeremy Filsell
Accompanist
The Committee
John Trigg
Chairman
email: chairman@yvivacechorus.org
Bob Cowell
Hon. Treasurer
email: treasurer@vivacechorus.org
Hon. Secretary
email: secretary@vivacechorus.org
Jane Sweaney
Membership Secretary
Tel. 07788 410342
email: membership@vivacechorus.org
Jackie Alderton
Ladies’ uniforms
Mailings Coordinator
Tel. 01932 343625
email: mailing@vivacechorus.org
Rosey Storey
Hilary Trigg
Minutes Secretary
Publicity
email: publicity@vivacechorus.org
Michael Taylor
Ticket Sales
Tel. 07958 519741
email: tickets@vivacechorus.org
Noreen Ayton
Methodist Church liaison
James Garrow
Fund-raising/Social events
Miranda Champion
Other responsibilities
Christine Medlow
Helen Beevers
Music Librarian
Patrons Liaison
email: patrons@vivacechorus.org
Chris Peters
Website coordinator
Chris Alderton
Front of House
Sponsorship secretary
email: sponsorship@vivacechorus.org
email: advertising sales@vivacechorus.org
22
Vivace Chorus
Patrons and Friends of
Vivace Chorus
Vivace Chorus is extremely grateful to all Patrons and Friends
for their Financial support.
Patrons
Dr. J.B.R. Arbuckle
Mr. & Mrs. G. Dombrowe
Dr. Roger Barrett
Golden and Associates
Mrs. E.A. Batterbury
Mr. Peter Herbert
Mrs. Elizabeth-Claire Bazin
Mrs. Carol Hobbs
Mr. Bill Bellerby MBE
Mr. Laurie James
Mrs. Doreen Bellerby MBE
Mrs. M van Koetsveld
Mr. & Mrs. Peter Bennett
Mrs. Christine Medlow
Mr. G.S. Blacker
Mr. Ron Medlow
Mrs. J. G. Blacker
Dr. Roger Muray
Mrs. Ingrid Brockdorff
Mr. & Mrs. Maxwell S New
Mr. & Mrs. R.H.R. Broughton
Mr. & Mrs. John Parry
Mr. H.J.C. Browne
Mrs. Jean Radley
Mrs. Maryel Cowell
Mr. & Mrs. B. Reed
Mr. & Mrs. Philip Davies
Mr. Michael Shortland
Mr. Michael Dawe
Dr. & Mrs. M.G.M. Smith
Mrs. Margaret Dentskevich
Miss Enid Weston
Friends
Dega Broadcast Systems
Mrs. Jean Shail
Mrs. K.C. Stickland
As a Patron and in return for donating £25 or more per annum, you will be kept
informed of future concerts and given priority booking at our own concerts. You
may book an unlimited number of reserved seats at the Cathedral where the
concert is sponsored by Vivace Chorus.
New Patrons and Friends are always welcome. If you are interested in
participating, please contact Helen Beevers,
Tel. 01252 313963, or email: patrons@yvivacechorus.org
Vivace Chorus
23
For Complete
Family Eyecare
Extensive range of frames |1 Wolsey Walk, Woking GUZ1 1XU
with many designer names
Tel: 014838 766800
Richard Broughton FOOpesm DipCLP
Branches alws ac:
Camberiey, Fleer and Cuildford
Music Lovers...
%
You'll find what you want at the
Record Corner
VAST SELECTION OF CDs & DVDs
|
Chris Alderton
OPEN 9.00am - 5.30pm
MONDAY - SATURDAY
Classical Music Specialists
sRock - Jazz - Pop - Folk
«Spoken Word Tapes
Why not let me
‘orchestrate’ your
*Sepcrate Pop - Classical Departments
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FOR ENQUIRIES
OR OUR MAIL ORDER SERVICE
Interior and exterior work
CREDIT CARDS ACCEPTED
Tel: 01932 343625
24
‘®01483 422006
\_POUND LANE, GODALMING, SURREY GU7 18X )
Vivace Chorus
Tax isn't taxing
| Always wanted to
... when we're here to help
know more about
If you find your annual tax return
wine?
has you tearing your hair out...
If you have trouble communicating
with Revenue and Customs...
If you forgot all about it last year
Graham Rawlinson
and have incurred a penalty...
..Visit the Tax Shop
Wine Tutor (WSET Approved)
The Stables, Wiggins Yard,
Tutored tastings
Bridge Street, Godalming 6GU7 1HW
Staff training
tel.: 01483 239120
Corporate hospitality
Fax: 01483 426867
email: taxshop@caswall.co.uk
We offer a fixed rate tax
return completion service
IAUR
“H
g
v
Tel: 01483 239136
email graham@caswall.co.uk
LI
Computer access
e
Broadband Internet
0
Digital printing
5"
v
1-to-1 assistance and training
g
5
B
B
Business seminars
Conference facilities
16
LIUARTL
- and more...
The Stables, Wiggins Yard, Bridge Street, Godalming GU7 THW
Tel: 01483 239134
Vivace Chorus
Visit www.bluemouse.org
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AU
25
The staging
for this concert
is owned
by the
-t
.
:
Association of Surrey Choirs. To hire, please
e
—
-
s
ol
&8 CUILDFORD
BOF QY GH
contact Penny Peters, Guildford Cathedral
Office (tel: 01403 547860). It was purchased
with
financial
assistance
from
the
Foundation for Sport and Arts, PO Box 20,
Liverpool.
Programme production
Programme notes, advertising & soloists’ liaison: Brenda Moore
Printed by WORDCRAFT: Tel: 01483 560735
Vivace Chorus
Registered Charity No 1026337
26
Vivace Chorus
Vivace Chorus Forthcoming Programmes
Sunday, 10 December 2006: Holy Trinity Church, Guildford
at 6.30pm.
THE MAYOR OF GUILDFORD’S CHRISTMAS CONCERT
Conductor: Jeremy Backhouse
Saturday, 10 March 2007: Guildford Cathedral at 7.30pm.
'THE MUSIC MAKERS'
Parry: Blest Pair of Sirens
Elgar: Sea Pictures; The Music Makers
Vaughan Williams: Serenade to Music; The Lark Ascending
Conductor: Jeremy Backhouse
Saturday, 19 May 2007: Guildford Cathedral at 7.30pm.
Contemporary Choral Classics Cycle - Year 3
'AND ALL THAT JAZZ'
Bob Chilcott: A Little Jazz Mass
John Rutter: Gloria
Will Todd: Mass in Blue; Three Anthems; A Jazz Set
Conductor: Jeremy Backhouse
The Will Todd Jazz Band
Forthcoming
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