Bob Chilcott: A Little Jazz Mass
John Rutter: Gloria
Will Todd: Mass in Blue,
Three Anthems, A Jazz Set
Conductor: Jeremy Backhouse
Soprano: Bethany Halliday
The Will Todd Jazz Band
- Saturday
19th May 2007
7.30pm Guildford Cathedral
www.VivaceChorus.org
Vivace Chorus was formerly Guildford Philharmonic Choir
Registered Charity No 1026337
ANNA ARTHUR & ASSOCIATES
SOLICITORS
EVERY SUCCESS FOR THIS EVENING
FIERI FACIAS HOUSE, HIGH STREET
RIPLEY, SURREY GU23 6AF
TEL: 01483 222499 — FAX: 01483 222766
Vivace
Chorus
...and all that JAZZ
Bob Chilcott
A Little Jazz Mass
Will Todd
Lighting The Way
The Christ-child
Every Stone Shall Cry
John Rutter
Gloria
Will Todd
A Jazz Set
Mass in Blue
Bethany Halliday
Soprano
Will Todd
Piano
The Will Todd Trio
The Will Todd Jazz Band
conductor
Jeremy Backhouse
Vivace Chorus
PRE-CONCERT TALK
'Trying not to kill Jazz'
This will start at 6.30pm in the Chapter House of the Cathedral. The
speaker will be tonight's main composer and pianist Will Todd, who will
talk about retaining the spirit of jazz in his Mass in Blue.
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.
Bob Chilcott is one of the most active
composers
and
choral
conductors
in
Britain today. He has been involved in
choral music most of his life - he was a
chorister in the choir of King's College,
Cambridge, and sang the Pie Jesu on
the renowned 1967 King's recording of
Fauré’s
Requiem,
conducted
by
Sir
David Willcocks. He returned to King's
as a Choral Scholar, and from 1985
sang tenor in The King’s Singers for 12
years,
until his departure in 1997 to
focus on composing. Bob has been a full
time composer ever since, and has
poured
his
energy
into
choral
composition, conducting and promoting choral singing throughout the
world. He is passionately committed to the belief that music can unite
people worldwide. He is well-known for his compositions for children’s
choir, and is equally active as a composer of mixed-voice music. He has
been the commissioned composer for recent festivals for the Alliance for
Arts and Understanding, promoting singing for boys' and men’s voices.
As a conductor Bob has worked extensively with choirs and festivals
throughout the world. For 7 years he was conductor of the Chorus at the
4
Vivace Chorus
Royal College of Music, and is Principal Guest Conductor of the BBC
Singers, with whom he works regularly in studio recordings and concerts.
He has also guest conducted the RIAS Kammerchor in Berlin, and the
Elmer Iseler Singers in Toronto.
He has twice been featured conductor for the youth project at Festival
500 in Newfoundland, and has conducted at festivals throughout Canada
and the United States; in 2003 he was the first non-American to conduct
a National Honor Choir for the American Choral Directors Association, in
New York City.
He
has
been
a featured
conductor for Europa
Cantat in
Sweden,
Germany and Belgium, also for the Japan Choral Association, and in
2004 was the first foreign conductor to conduct at the Song Festival in
Tallinn, Estonia. In 2005 he conducted for the first time at the Dartington
International Music Festival.
A Little Jazz Mass
A Little Jazz Mass (it lasts only 12 minutes) is a highly original and
effective setting of the Latin Missa Brevis, for chorus, piano and optional
bass and drum kit. The five movements embrace a variety of jazz styles.
It was originally written for upper voices (SSA) and was first performed at
the 2004 Crescent City Festival in New Orleans by the New Orleans
Children’s Chorus. It has since been arranged for mixed voices (SATB).
1. Kyrie
Kyrie eleison.
Lord, have mercy upon us.
Christe eleison.
Christ, have mercy upon us.
Kyrie eleison.
Lord, have mercy upon us.
2. Gloria
Gloria in excelsis Deo,
Glory be to God on high,
et in terra pax hominibus
and on earth peace
bonae voluntatis.
to men of goodwill.
Laudamus te, benedicimus te,
We praise Thee, we bless Thee,
adoramus te, glorificamus te,
we worship Thee,
gratias agimus tibi
we give thanks to Thee
propter magnam gloriam tua.
for Thy great glory.
Vivace Chorus
5
Dominus Deus, Rex coelestis,
Deus Pater omnipotens.
Domine Fili unigenite,
Jesu Christe.
Dominus Deus, Agnus Dei,
Filius Patris,
Qui tollis peccata mundi,
miserere nobis.
Qui tollis peccata mundi,
suscipe deprecationem nostram.
Qui sedes ad dexteram Patris,
miserere nobis.
Quoniam tu solus sanctus.
Tu solus Dominus.
Tu solus altissimus,
Jesu Christe,
Cum sancto Spiritu,
in gloria Dei Patris. Amen.
O Lord God, heavenly King,
God The Father Almighty.
O Lord the only begotten Son,
Jesus Christ.
O Lord, Lamb of God,
Son of the Father,
That takest away the sins of the
world, have mercy upon us.
Thou that takest away the sins of the
world, receive our prayer.
Thou that sittest at the right hand of
the Father, have mercy upon us.
For Thou only art holy.
Thou only art the Lord.
Thou only, O Jesus Christ,
with the Holy Spirit,
art most high
in the glory of God the Father. Amen.
3. Sanctus
Sanctus, sanctus, sanctus,
Dominus Deus Sabaoth.
Pleni sunt coeli et terra gloria tua.
Hosanna in excelsis.
4. Benedictus
Benedictus qui venit
in nomine Domini.
Hosanna in excelsis.
5. Agnus Dei
Agnus Dei, qui tollis peccata mundi,
Holy, holy, holy,
Lord God of Hosts.
Heaven and Earth are full of Thy
glory. Hosanna in the highest.
Blessed is he who cometh
in the name of the Lord.
Hosanna in the highest.
Lamb of God, that takest away the
miserere nobis.
sins of the world, have mercy upon
dona nobis pacem.
sins of the world, grant us peace.
Agnus Dei, qui tollis peccata mundi,
us. Lamb of God, that takest away the
Vivace Chorus
Will Todd (born 1970)
LR
»
Will Todd has been playing the piano since
he was three and composing works since
he was seven years old. His output includes
opera,
musicals,
religious
works,
performed
oratorio,
and
orchestral
his
work
has
throughout the
UK,
in
and
been
Europe
and in the USA.
Notable
works
include
the
opera
The
Blackened Man, which won second prize in
the
2002
International
Verdi
Opera
Competition, and was subsequently staged
at the 2004 Buxton Festival; the oratorio
Saint Cuthbert which has been performed
many
photo
© Fritz Curzon
of Kitty Genovese,
Theater
Festival,
times
and
recorded
by
the
Hallé
Orchestra; music theatre work The Screams
produced
and
the
most recently at the New York Music
cantata
The
Burning
Road — written
to
celebrate the 60" anniversary of the Jarrow March. His jazz mass
setting, Mass in Blue has been performed more than twenty times since
its 2003 premiere, as well featuring on two commercial recordings — most
recently by the Vasari Singers for Signum Records.
Recent performances include Among Angels — commissioned by the
Genesis
Foundation
and
premiered
by The
Sixteen
in
Salzburg
in
March 2006; Whirlwind — a major new opera for Streetwise Opera,
premiered recently at The Sage Gateshead; and Sweetness and
Badness — an opera for Welsh National Opera's WNO MAX project,
which is touring schools and theatres in Wales and England this autumn.
He is currently working on a new music theatre work with the Royal
Opera House's ROH2 programme, which complements the repertoire on
the
main
stage,
and writing
a
clarinet concerto for the
acclaimed
clarinettist Emma Johnson.
Lighting The Way (a song for pilgrims)
Written for the 'Lighting the Way' Festival in Durham Cathedral in 2000,
this song was sung by thousands of North East school children as part of
their visits to the Cathedral over the course of several weeks. It was
written with the intention of being easy to pick up, and this has made it a
popular worship song, beyond the context of the original commission.
Composer's notes © Will Todd 2006
Vivace Chorus
7
In the stars | see you;
In a flower, you're there;
In a song | hear you,
You are everywhere;
You are the light that starts the day
And with you I'm lighting the way.
When I'm lost you find me;
When [ cry you hear;
When | fall you bind me
And you calm my fear;
You are the path | take each day
And with you I'm finding my way.
In a lighted candle;
In a window fair;
In an ancient building;
You are everywhere;
You are the beacon of each day
And for you I'm lighting the way.
In a friend | touch you;
In a smile you're there;
In a prayer you're near me;
You are everywhere;
Help me to follow you each day
For with you I'm lighting the way.
Will Todd
The Christ-child
A work written (in 1997) for St Oswald's Church Choir where | sang
initially as a treble and where | continued to sing well into my 20s. It was
this experience that cemented my life-long love of choral music and
these beautiful G K Chesterton words seem to cry out for soft, heartfelt
harmonies. The piano part provides the simple chordal harmonies over
which the voices weave their lines. [WT]
The Christ-child lay on Mary's lap,
His hair was like a light.
0 weary, weary were the world,
But here is all aright.
Vivace Chorus
The Christ-child lay on Mary's heart,
His hair was like a fire.
0 weary, weary is the world,
But here the world'’s desire.
The Christ-child stood at Mary's knee,
His hair was like a crown.
And all the flowers looked up at Him,
And all the stars looked down.
G K Chesterton
Every Stone Shall Cry
| came across this poem in an anthology of Christmas writing and was
immediately struck by its rhythmic energy and brightness. The setting is
an MBA song form and the jazzy block chords and added 9ths harmony
reflect the joy of the Christmas message. The syncopated choir rhythms
also make the text bounce along. [WT]
A stable lamp is lighted
Whose glow shall wake the sky;
The stars shall bend their voices
And every stone shall cry.
And every stone shall cry,
And straw like gold will shine;
A barn shall harbour heaven
And an oxen stall become a shrine.
This child through David's city
Shall ride in triumph by.
The palm shall strew its branches
And every stone shall cry.
And every stone shall cry,
Though heavy, dull and dumb,
And lie within the roadway
To pave His kingdom come.
Yet He shall be forsaken
And yielded up to die.
The sky shall groan and darken
And every stone shall cry.
And every stone shall cry,
For stony hearts of men;
Vivace Chorus
9
God's blood upon the spearhead,
God's love refused again.
But now as at the ending
The low is lifted high.
The stars shall bend their voices
And every stone shall cry.
And every stone shall cry,
In praises for the child
By whose descent among us
The world was reconciled.
Amen.
Richard Wilbur
Reprinted by kind permission of Harcourt
John Rutter (born 1945)
John
Rutter
received
his
was
born
first
musical
in
London
and
education
as
a
chorister at Highgate School. He went on to
study music at Clare College, Cambridge.
His
compositions
small-scale
choral
include
works,
both
large-
and
orchestral
and
instrumental music, and specialist writing for
such
groups
as
the
Philip
Jones
Brass
Ensemble and the King's Singers. He has coedited various choral anthologies, including
four Carols for Choirs volumes with Sir David
Willcocks
and,
more
recently,
the
Oxford
Choral Classics series.
From 1975 to 1979 he was Director of Music at Clare College, and after
giving up this position to allow more time for composition, in 1981 he
formed his own choir, the Cambridge Singers, as a professional chamber
choir primarily dedicated to recording.
In 1984 Rutter formed his own record label, Collegium, to bring choral
music to a wider audience through performances of the highest possible
quality. Collegium has achieved great success and wide acclaim over the
years. In addition to showcasing Rutter's own work with the Cambridge
Singers, Collegium CDs feature a wealth of traditional and sacred music.
10
Vivace Chorus
Rutter now divides his time between composition and conducting, and
has guest-conducted or lectured at many concert halls, universities,
churches, music festivals and conferences in Europe, Scandinavia and
North America. He is an honorary Fellow of Westminster Choir College,
Princeton, a Fellow of the Guild of Church Musicians, and in 1996 the
Archbishop of Canterbury conferred a Lambeth Doctorate of Music upon
him in recognition of his contribution to church music. John Rutter has
been described as "the most successful and well-known composer of
choral music in recent British history" (BBC Music Magazine).
Gloria
This work, for mixed voices and small orchestral group, including brass
and percussion, was commissioned by the Voices of Mel Olson and first
performed on 5 May 1974 in Omaha, USA, under the direction of the
composer. It is in three movements.
The introduction consists of drum rolls and spiky fanfares followed by a
joyful outpouring of song which ends on a triumphant note. The second
movement is mystical and reminiscent of Holst, building to a climax and
then receding. The third movement is again in rhythmic mode, with an
off-beat fugue until the Amens, when with brass fanfares, the work
concludes much like the ending of the first movement, with joyous,
ringing high B flats.
Gloria in excelsis Deo,
Glory be to God on high,
et in terra pax
and on earth peace
hominibus bonae voluntatis.
to men of goodwiill.
Laudamus te, benedicimus te,
We praise Thee, we bless Thee,
adoramus te, glorificamus te,
we worship Thee,
gratias agimus tibi
we give thanks to Thee
propter magnam gloriam tuam.
for Thy great glory.
Dominus Deus, Rex coelestis,
O Lord God, heavenly King,
Deus Pater omnipotens.
God The Father Almighty.
Domine Fili unigenite,
O Lord the only begotten Son,
Jesu Christe.
Jesus Christ.
Dominus Deus, Agnus Dei,
O Lord, Lamb of God,
Filius Patris,
Son of the Father,
Qui tollis peccata mundi,
That takest away the sins of the
miserere nobis.
world, have mercy upon us.
Vivace Chorus
11
Qui tollis peccata mundi,
Thou that takest away the sins of the
suscipe deprecationem nostram.
world, receive our prayer.
Qui sedes ad dexteram Patris,
Thou that sittest at the right hand of
miserere nobis.
the Father, have mercy upon us.
Quoniam tu solus sanctus.
For Thou only art holy.
Tu solus Dominus.
Thou only art the Lord.
Tu solus altissimus,
Thou only, O Jesus Christ,
Jesu Christe,
with the Holy Spirit,
Cum sancto Spiritu,
art most high
in gloria Dei Patris. Amen.
in the glory of God the Father. Amen.
~INTERVAL ~
A Jazz Set - The Will Todd Trio
Personent Hodie (arr. Will Todd Trio): melody from Piae Cantiones 1582
Mary’s Lullabye (Rutter arr. Will Todd Trio)
Give me Oil in my Lamp (traditional arr. Will Todd Trio)
WT writes of tonight's trio numbers: “These are wonderful melodies
which | grew up singing, and they feel highly appropriate in the context of
tonight’s other religious music. It's not often you hear a jazz trio playing
hymn tunes, but there is a great tradition of jazz taking older melodies
and breathing a new feeling into them. Enjoy.”
Mass in Blue (Jazz Mass) op 28
Written in 2003 in response to a commission by Hertfordshire Chorus
and originally premiered under the title Jazz Mass, Will Todd's Mass in
Blue is a brilliant blend of driving jazz grooves and clear, strong, choral
writing against which the solo piano and solo soprano voice weave and
blend in a delightful aural tapestry. The work reflects not only the
composer's love of jazz music and his admiration of jazz performers, but
also his own experience as an improviser. It also allows Todd to make
use of his extensive choral skills which he deploys so effectively in works
such as the oratorios The Burning Road and Saint Cuthbert or the
chorus writing of his opera The Blackened Man. It is a confident work by
a composer who understands and responds to the jazz idiom, making
12
Vivace Chorus
free use of the 12-bar blues sequence (which has been fundamental in
the development of jazz music) as well as more complex harmonic
processes.
The Kyrie opens with an energetic cadenza for the trio section which
builds into the first set tempo of the work. Over this the first vocal entry is
heard, a bluesy theme reminiscent of negro spirituals and therefore apt
for the Kyrie eleison text. Gradually other lines join the initial melody until
the full choir is singing. On a move to the subdominant (B flat) the choir
ecstatically bursts forth with Christe eleison and as this music subsides
we hear the soprano enter on a soulful melody with a strong improvised
feel, which builds over the return of the original key of F minor. The
music
of
the
opening
Kyrie
eleison
is
repeated
with
the
soloist
interwoven around the vocal lines in a virtuosic display. The movement
slows and closes on a thrilling F rninor-11 chord.
The Gloria is set up with a fanfare from the brass which punctuates the
whole movement. From the moment the choir enters there is an uplifting
rhythmic drive to this setting with the full brass section adding a
distinctive colour. In the central section of the Gloria a pulsating 5/8 time
is set up which gradually builds until a recapitulation of the opening
material brings the movement to a close.
The Credo features the soprano in a colourful 12-bar blues in 12/8 time.
There is a strong gospel feel with the choir repeating lines from the
soloist and humming soft backing harmony. Again in three sections, the
first blues part gives way to a more sombre section at the Crucifixus, and
after Et sepultus est a piano solo leads the band into a blazing depiction
of the moment of resurrection. The Et resurrexit is set with a scorching
up-tempo
swing
which
eventually
cuts
back
into
the
12/8
as
the
movement builds to a thrilling climax.
Like the Gloria, the Sanctus is set for the choir and band without the
soloist. It is a beautiful, slow ballad set up initially on the piano in which
the
woodwind
players
are
featured,
especially
soprano
sax.
The
movement provides a welcome period of tranquillity and reflection after
the sheer energy of the previous three movements.
The Benedictus begins with solo double bass over which the choir sings
a theme which builds up from the basses through the rest of the voices.
This music is gradually invaded by a new, more driving beat and the solo
voice
begins to weave
Vivace Chorus
into
the texture once
again.
This
funky riff
13
gradually takes over and the music emerges into a powerful Hosanna
section with punching brass and a jubilant choral sound.
The Agnus Dei grows out of the dying echoes of the Hosanna with a
haunting soprano ballad accompanied by piano. In the stirring maestoso
which follows, we hear the main themes of the work on high trumpet
fanfares and strong trombone chords. Once again the strong 12-bar
blues harmony underpins the texture. A huge climactic entry from the
choir subsides into a gentle A minor section in which intricate choral lines
are woven over a simple, repeated chordal structure. After another big
build this time with the chorus featured, the music returns to the opening
ballad theme, the soprano now accompanied by soft choir and brass.
This is a substantial movement and is more than beautiful: it is painful,
plaintive, a cry for mercy and a prayer for peace. Traditionally the mass
would end here, but in another dramatic masterstroke Will Todd leaves
the altos hanging on a soft E after the last chord of the Agnus Dei. The
air of expectation grows as the sopranos softly recapitulate the Credo
theme. Gradually the music builds with the soloist entering and then the
tenors and basses. Suddenly the driving 12/8 beat of the Credo is forcing
the music forward as the choir sing Et expecto resurrectionem and the
music comes back to the key in which the work began, F minor. The
emphatic
final
chords
of the work
leave the
listener not
in
quiet
contemplation but jerked forward into praise and belief. Credo! Amen!
Notes © Ralph Woodward 2003
1. Kyrie
Kyrie eleison.
Lord, have mercy upon us.
Christe eleison.
Christ, have mercy upon us.
Kyrie eleison.
Lord, have mercy upon us.
2. Gloria
Gloria in excelsis Deo,
Glory be to God on high,
et in terra pax hominibus
bonae voluntatis.
and on earth peace
to men of goodwill.
Laudamus te, benedicimus te,
We praise Thee, we bless Thee,
adoramus te, glorificamus te,
gratias agimus tibi
we worship Thee,
we give thanks to Thee
propter magnam gloriam tua.
for Thy great glory.
14
Vivace Chorus
t
Dominus Deus, Rex coelestis,
O Lord God, heavenly King,
Deus Pater omnipotens.
God The Father Almighty.
Domine Fili unigenite,
O Lord the only begotten Son,
Jesu Christe.
Jesus Christ.
Dominus Deus, Agnus Dei,
O Lord, Lamb of God,
Filius Patris,
Son of the Father,
Qui tollis peccata mundi,
That takest away the sins of the
miserere nobis.
world, have mercy upon us.
Qui tollis peccata mundi,
Thou that takest away the sins of the
suscipe deprecationem nostram.
world, receive our prayer.
Qui sedes ad dexteram Patris,
Thou that sittest at the right hand of
miserere nobis.
the Father, have mercy upon us.
Quoniam tu solus sanctus.
For Thou only art holy.
Tu solus Dominus.
Thou only art the Lord.
Tu solus altissimus,
Thou only, O Jesus Christ,
Jesu Christe,
with the Holy Spirit,
Cum sancto Spiritu,
art most high
in gloria Dei Patris. Amen.
in the glory of God the Father. Amen.
3. Credo
Credo in unum Deum
| believe in one God,
Patrem omnipotentem
the Father almighty,
factorem caeli et terrae,
maker of heaven and earth,
visibilium omnium et invisibilium.
and of all things visible and invisible.
Et in unum Dominum Jesum
And in one Lord, Jesus Christ,
Christum, Filium Dei unigenitum,
Only begotten Son of God,
Et ex Patre natum ante omnia
Begotten of his Father before all
saecula. Deum de Deo,
worlds. God of God,
lumen de lumine,
light of light,
Deum verum de Deo vero.
Very God of very God.
Genitum, non factum,
Begotten, not made, being of one
consubstantialem Patri:
substance with the Father: by whom
per quem omnia facta sunt.
all things were made.
Qui propter nos homines
Who for us men
et propter nostram salutem
and for our salvation
descendit de caelis.
came down from heaven.
Et incarnatus est de Spiritu Sancto
And was incarnate by the Holy Ghost
ex Maria Virgine:
of the Virgin Mary:
et homo factus est.
and was made man.
Crucifixus etiam pro nobis sub
And was crucified also for us under
Pontio Pilato:
Pontius Pilate:
passus, et sepultus est.
suffered, and was buried.
Vivace Chorus
15
Bet hany Halliday with the Will Todd Trio
THE WILL TODD TRIO
Piano:
Will Todd
Bass:
Gareth Huw Davies
Percussion:
Jim Fleeman
THE WILL TODD JAZZ BAND
Saxophon es:
Richard Exall, Paul Fawcus
Baritone saxophone:
Chris Caldwell
Trumpets:
John Blackshaw, Lance Kelly,
Peter Medland, Jonathon Reed
18
Trombones:
Tracey Holloway, Robert Price
Bass trombone:
Rob Burgess
Tuba:
David Powell
Timpani:
Chris Kimber
Organ:
Andrew Earis
Vivace Chorus
Jeremy Backhouse
Photography by Sim Canetty-Clarke
===
Jeremy Backhouse began his musical career in Canterbury Cathedral,
where he was Head Chorister,
University.
and later studied music at Liverpool
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 work as a Consultant Editor for
EMI Classics with a 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, 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.
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.
Vivace Chorus
19
Vivace Chorus (formerly the Guildford Philharmonic Choir)
The
Guildford
Guildford
in
Philharmonic Choir was
founded
by the
Borough
of
1947 to perform major choral works with the Guildford
Philharmonic Orchestra. Since this
time,
under the
batons of such
eminent British musicians as Sir Charles Groves, Vernon Handley and its
current President, Sir David Willcocks, the Choir has grown both in
stature and reputation to become one of the foremost choruses in the
country.
For some time, the Choir had
been
independent from the
Borough of Guildford, and to reflect its independent status, decided to
'rebrand’ itself, changing its name to Vivace Chorus in May 2005.
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
2004/05
season
began
with
a
glowing
performance of Elgar's The Dream of Gerontius, followed by the unusual
and
much-appreciated
[talian
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 a
‘Last Night of the Proms' charity concert for the children's hospice
CHASE at a packed Fairfield Halls, Croydon. This was a big success as
well as great fun, so we were delighted to be invited back to sing operatic
highlights at the 2006 concert — and we've been asked again this year!
The 2005/6 season began with Mendelssohn’s epic choral Symphony
No. 2 (Lobgesang) — a work rarely heard in the UK. By contrast, our next
concert was
devoted
to
Bach
and
Handel.
In
addition
to
Brahms'
Schicksalslied and Bruckner's Te Deum, our first concert of the 2006/7
season included three delightful choral works by Hugo Wolf, virtually
unknown repertoire in the UK. Our last concert, The Music Makers, was
devoted entirely to English works, by Elgar, Parry and Vaughan Williams.
Vivace Chorus is always searching for new members to maintain its high
standard. For further details about joining, please contact Jane Sweaney,
membership@vivacechorus.org.
Rehearsals
evenings
in
throughout term
time
central
are
held
Guildford
on
and
Monday
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
Penny Baxter
Bob Cowell
Noreen Ayton
Monika Boothby
Tim Hardyment
FIRST TENORS
Helen Beevers
Jane Brooks
Chris Robinson
Mary Broughton
Jane Crane
John Trigg
Miranda Champion
Liz Durning
Elaine Chapman
Celia Embleton
SECOND TENORS
Rachel Edmondson
Ingrid Hardiman
John Bawden
Mo Kfouri
Kay McManus
Bob Bromham
Lorna Mann
Christine Medlow
Tony Chantler
Hilary Minor
Rosalind Milton
lan Landsborough
Susan Norton
Mary Moon
Stephen Linton
Robin Onslow
Penny Muray
Rachel Owen
Jacqueline Norman
FIRST BASSES
Sarah Palmer
Penny Overton
John Britten
Margaret Parry
Marjory Rollo
Michael Golden
Margaret Perkins
Isobel Rooth
Keith Hester
Emma Purvis
Lesley Scordellis
Chris Newbery
Gillian Rix
Catherine Shacklady
Chris Peters
Judy Smith
Hilary Trigg
Robin Privett
Carol Terry
Pamela Woodroffe
David Ross
SECOND ALTOS
Kieron Walsh
Nikki Vale
Frances Worpe
Philip Stanford
Valerie Adam
SECOND SOPRANOS
Marion Arbuckle
SECOND BASSES
Jacqueline Alderton
Sally Bailey
Peter Andrews
Anna Arthur
Evelyn Beastall
Roger Barrett
Josephine Field
Mary Clayton
Alan Batterbury
Mandy Freeman
Andrea Dombrowe
Norman Carpenter
Jane Kenney
Valerie Edwards
Geoffrey Forster
Judith Lewy
Valerie Garrow
James Garrow
Krystyna Marsden
Barbara Hilder
Michael Jeffery
Catherine McAulay
Sheila Hodson
Neil Martin
Lois McCabe
Yvonne Hungerford
Maxwell New
Alison Newbery
Brenda Moore
Michael Taylor
Alison Palmer
Beryl Northam
Lucy Percy
Prue Smith
Kate Peters
Rosey Storey
Rosalind Plowright
Elisabeth Yates
Susannah Priede
Vivien Rieden
Ann Sheppard
Maggie Smith
Kathy Stickland
Paula Sutton
Christine Wilks
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@yvivacechorus.org
Jane Sweaney
Membership Secretary
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
Brenda Moore
Programme notes, soloists’ liaison & advertising
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
Golden and Associates
Dr. Roger Barrett
Mr. Peter Herbert
Mrs. E.A. Batterbury
Mrs. Carol Hobbs
Mrs. Elizabeth-Claire Bazin
Mr. Laurie James
Mr. Bill Bellerby MBE
Mrs. M. van Koetsveld
Mrs. Doreen Bellerby MBE
Mrs. Christine Medlow
Mr. & Mrs. Peter Bennett
Mr. Ron Medlow
Mr. G.S. Blacker
Dr. Roger Muray
Mrs. J. G. Blacker
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
Mr. & Mrs. G. Dombrowe
Friends
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
email: patrons@yvivacechorus.org
Vivace Chorus
Beevers,
Tel.
01252
313963,
29
or
Overheard outside St Martin-in-the-Fields on
25 January
2007
[after
our
performance
of
Mozart's Reguiem):
Audience member [as it transpired, one of a group
of visitors from Chile]: "Were you singing in the
concert just now?"
Vivace singer: "Yes.."
Audience member: "I must tell you that your performance was quite
extraordinary!!"
Vivace singer: [hesitantly] "Er..Thank you; T hope you enjoyed it?"
Audience member: "It was inspiring and I was so thrilled! Thank you so
very much."
Vivace singer: "Well, thank you for coming - we love singing the Mozart -
it's such wonderful music and makes you want to sing the words as though
they mean something."
Audience member: "Yes, and it really showed. You should carry on singing
for ever!"
‘The
Music
Makers':
10
March
2007
"I did so much enjoy your last concert - it was so,
well . quintessentially English, sung and played
beautifully, and from the heart. Wonderful!"
‘The Music Makers': 10 March 2007
“This programme must have been put together with
me in mind. I thought it perfect, both in design and
execution. The choir was terrific, the orchestra a
treat to listen to, and that lark ascending...
All in all, you can all be very proud of yourselves."
24
Vivace Chorus
Dates for Your Diaries
Vivace Chorus announces its opening concert for
next season on
Saturday, 17 November 2007 at Guildford Cathedral
Programme to include:
Widor:
Toccata from Symphonie No.5 (organ solo)
Fauré:
Cantique de Jean Racine (chorus — organ)
Fauré:
Requiem
Some of the printed music for this evening's concert has been hired from
Surrey County Council Performing Arts Library, Tyalgum Press and
Yorkshire Libraries & Information Music & Drama Library.
The staging for this concert is owned by
the Association
hire,
please
of Surrey Choirs.
contact
Penny
To
Peters,
EIRaREnily sesisted by
Guildford Cathedral Office (tel: 01403 | (& SUILPFORD
547860). It was purchased with financial
assistance
from
the
Foundation
for
Sport and Arts, PO Box 20, Liverpool.
Vivace Chorus
Registered Charity No 1026337
in the name of Guildford Philharmonic Choir
Vivace Chorus
25
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Branches also at:
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Record Corner
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Vivace Chorus
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