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
Havydn: 7rhe Creation
Rebecca Goulden
Soprano
Nicholas Scott
Tenor
Mark Wildman
Bass
Brandenburg Sinfonia
conductor
Jeremy Backhouse
The Vivace Chorus sends best wishes to its
President, Sir David Willcocks,
for his forthcoming 90th birthday.
Vivace Chorus
PRE-CONCERT TALK
Haydn - the painter and his palette
| This will start at 6.30pm in the Chapter House of the Cathedral. Thefl
speaker will be Gillian Ramsden. Gillian studied singing and piano at the
Royal College of Music in London, gaining ARCM diplomas in both andff
'then went on to begin her singing career in the chorus of the Royal
Opera House, Covent Garden.
| Gillian left the chorus to specialise in singing solo boy roles in opera and
| performed with Scottish Opera and the Welsh National Opera as well as
| at Covent Garden and on the Continent. She sang in both radio and
;
television operas. Since her retirement, she has lived in Cranleigh, where |
she teaches singing and is also a choral director.
Please note: Members of the audience who wish to attend the talk and}
do not already have reserved seating can reserve their concert seatsf
beforehand in the appropriate unreserved areas of the Cathedral. The
| talk should finish at 7.10pm, allowing time to order refreshments etc.
JOSEPH HAYDN (1732 — 1809)
About the composer
In
1761
Joseph Haydn entered the
service of the Esterhazy family, and
he
remained
in
their
salaried
employment for 30 years. In the first
years of this service he had charge of
an
orchestra
which
probably
comprised at least six violins, three
violas, three cellos and two double-
basses, together with pairs of oboes
and horns, other instruments being
added
on
an
occasional
basis,
as
required. These conditions were not
dissimilar to those he experienced in
his previous appointment, to the Austrian nobleman Count Morzin's
palace at Lukavec, in whose employ he worked from 1759.
4
Vivace Chorus
His long relationship with the Esterhazy establishment, first at Eisenstadt
and then at Esterhaza (which was modelled on the Palace of Versailles),
enabled Haydn to develop the range of his creative work. He viewed his
relative isolation at the court in positive terms: "I was cut off, and | was
therefore forced to become original."
Haydn visited Vienna regularly, and his musical development was one of
the most extraordinary features in the evolution of the new classical
style. For although he did not invent the symphony, it was he more than
any other composer who nurtured and developed the genre from its
infancy to the full glories of its maturity. The same might be said of his
role in the development of the string quartet. It is hardly surprising, then,
that he proved to be a great influence on Mozart.
When, after the death of Prince Nikolaus Esterhazy in September 1790,
Haydn was given his contractual freedom, he settled immediately in
Vienna. And such was his international reputation that the London-based
impresario Johann Salomon travelled in person, on a journey taking
some 3 weeks, in order to invite him to give concerts in the English
capital. Haydn agreed, and was in London at the end of 1791 when he
learned of Mozart's death. The two visits Haydn made to London were
hugely successful, and when he returned to Vienna permanently in the
mid-1790s, it was clear that he had gained creatively from the
experience. In his final years, however, the misfortune of ill health meant
that Haydn composed less and less. He died in Vienna on 31st May
1809, aged 77.
Vivace Chorus is performing The Creation this evening as one of the
many concerts this year to mark the 200th anniversary of Haydn's death.
About the music
After the death of Prince Nikolaus Esterhdazy, Haydn's regular
commitments evaporated. Within 3 months of this date, the violinistimpresario Johann Salomon was accompanying him across Europe, en
route for London. The new Prince had retained Haydn on full pay, but his
duties were so nominal that at the age of 58 he was able to challenge the
world. The exhilaration of the trip to London, which included the
experience of seeing the sea for the first time in his life, released from
him a new flow of creativity; and after his return to Vienna in 1792 it
became clear that his music had entered a new phase as a result of the
London experience. Such was Haydn's success in London that he was
invited to return, and he did so in 1794.
Vivace Chorus
5
These
London
visits
brought
a transformation
of
Haydn's
musical
experience. No longer was he 'cut off from the world', as he had been at
Esterhdza. Now he was an international celebrity, and this is reflected in
the music he wrote after his final return to Vienna. His two oratorios,
The Creation and The Seasons, provide the clearest examples of this
change, as well as of the intensity of Haydn's vision. He confessed that
he prayed every day while composing them.
Although he was a devout Catholic, Haydn used as the basis of The
Creation a libretto from Protestant England. This was given to him during
1794-5 by the impresario Salomon and adapted by Thomas Linley from
an original which had probably been written for Handel, though never set
by him. Haydn took this back to Vienna in 1795 and gave it to the
wealthy dilettante and baroque music enthusiast Gottfried van Swieten,
who shortened it and translated it into German. He also gave useful
advice on how the text might be set. When the score was published in
1800, the text appeared in both German and English. There is no doubt
that the music was composed 'bilingually’, since the first edition had
alternative notations where necessary, according to the language to be
used
in
performance.
From
the first the work achieved
a notable
success. During its first ten years there were no fewer than forty-five
Viennese performances, and this popularity soon became international.
The Creation is conceived on an extensive scale and uses the largest
forces
Haydn
employed.
His
model
was
the
Handelian
oratorio,
examples of which had much impressed him while he was in London,
and his subject an account of the creation of the universe, using a
combination of narrative, description and glorification. The sources for
the text and the imagery beyond were the Book of Genesis, Milton's
Paradise Lost and verses from the Psalms.
The Creation is constructed in three parts, using numbered movements
which are based on the prevailing principles of recitative, aria and
chorus. Parts | and Il describe the six days of the biblical Creation, using
recitative to announce the dawn of each new day, aria to describe its
particular imageries, and concluding with choruses of praise. Swieten
supplied three soloists whose names he took from Milton: the archangels
Gabriel, Uriel and Raphael (sung by soprano, tenor and bass
respectively). Part Ill is less dramatic and therefore has less recitative,
being an evocation of the Garden of Eden on the seventh day. The
soprano and bass soloists take on the roles of Adam and Eve, while the
music develops through a mixture of solo, duet and chorus, ending with a
general chorus of praise.
6
Vivace Chorus
In
his music Haydn drew on his rich and diverse experience. The
orchestral writing is both subtle and, when necessary, dramatic, while in
terms of pacing, balancing and vocal writing, his deep understanding of
all the prevailing styles of opera was an invaluable asset. Is there, for
instance, a more dramatic moment in the choral-orchestral repertory than
that depicting the appearance of light?
But it is above all in the choruses that Haydn reached a new peak of
achievement. Never before had he been given the opportunity to write for
such large or talented choral forces, and the range and power he
achieved are remarkable. The Creation is therefore a worthy successor
and companion to the great oratorios of Handel, the composer whom
Haydn described as "the master of us all".
At that time . ..
The English chemist Humphry Davy produced laughing gas (nitrous
oxide), finding it 'absolutely intoxicating' when inhaled; he therefore
suggested its use as an anaesthetic in minor surgery. At the Battle of
Aboukir in
1799, the French under Napoleon defeated a combined
Turkish-British
force.
George
Washington
died
at
Mount
Vernon,
aged 67.
© Terry Barfoot
The Creation
PART ONE
bol
Introduction: Representation of Chaos (Orchestra)
Recitative and Chorus: In the beginning (bass and tenor)
Air and Chorus: Now vanish before the holy beams (tenor)
Despairing cursing rage (chorus)
4
Recitative: And God made the firmament (bass)
5
Air and Chorus: The marv'llous work (soprano)
6.
Recitative: And God said, Let the waters (bass)
7}
Air: Rolling in foaming billows (bass)
8.
Recitative: And God said, Let the earth (soprano)
9;
Air: With verdure clad (soprano)
10.
11.
Recitative: And the heavenly host (tenor)
Chorus: Awake the harp
12.
Recitative: And God said, Let there be lights (tenor)
13.
Recitative: In splendour bright (tenor)
14.
Chorus and Trio: The heavens are telling
Vivace Chorus
7
PART TWO
15.
Recitative: And God said, Let the waters (soprano)
16.
Air: On mighty pens (soprano)
17.
Recitative: And God created great whales (bass)
18.
Recitative: And the angels (bass)
19.
Trio: Most beautiful appear
20.
Trio and Chorus: The Lord is great
~ Interval ~
21.
Recitative: And God said, Let the earth bring forth (bass)
22.
Recitative: Straight opening her fertile womb (bass)
23.
Air: Now heaven in fullest glory shone (bass)
24.
Recitative: And God created Man (tenor)
25.
Air: In native worth (tenor)
26.
Recitative: And God saw everything that He had made (bass)
27.
Chorus: Achieved is the glorious work
27a.
Trio: On Thee each living soul awaits
27b.
Second Chorus: Achieved is the glorious work
PART THREE
28.
Introduction and Recitative: In rosy mantle appears (tenor)
29.
Duet and Chorus: By Thee with bliss (soprano and bass)
30.
Recitative: Our duty we have now performed (soprano and bass)
31.
Duet: Graceful consort (soprano and bass)
32.
Recitative: O happy pair (tenor)
33.
Chorus: Sing the Lord, ye voices all
PART ONE
1.
INTRODUCTION:
REPRESENTATION OF CHAOS
2.
CHORUS
And the Spirit of God moved upon the face
:
of the waters. And God said, Let there be
light: and there was light.
RECITATIVE AND CHORUS
RECITATIVE
Raphael
Uriel
In the beginning God created the heaven
and the earth; and the earth was without
form, and void; and darkness was upon
the face of the deep.
And God saw the light, that it was good:
and God divided the light from the
darkness.
Vivace Chorus
3.
AIRAND CHORUS
6.
RECITATIVE
Now vanish before the holy beams
Raphael
The gloomy shades of ancient night
And God said, Let the waters under the
The first of days appears.
heavens be gathered together to one
Now chaos ends, and order fair prevails.
Affrighted fly hell's spirits black in throngs:
place, and let the dry land appear: and it
Down they sink in the deep abyss
was s0. And God called the dry land earth,
and the gathering of waters called he
To endless night.
seas: and God saw that it was good.
CHORUS
7.
AR
Despairing cursing rage attends their rapid
Rolling in foaming billows,
fall. A new-created world springs up at
Uplifted, roars the boisterous sea.
God's command.
Mountains and rocks now emerge,
Their tops among the clouds ascend.
4,
RECITATIVE
Through th' open plains, outstretching
Raphael
And God made the firmament, and divided
wide,
In serpent error rivers flow.
the waters which were under the
Softly purling, glides on
firmament from the waters which were
Through silent vales the limpid brook.
above the firmament: and it was so.
Now furious storms tempestuous rage,
8.
RECITATIVE
Like chaff, by the winds impelled are the
Gabriel
And God said, Let the earth bring forth
clouds,
By sudden fire the sky is inflamed,
And awful thunders are rolling on high.
Now from the floods in steam ascend
grass, the herb yielding seed, and the fruittree yielding fruit after his kind, whose seed
is in itself, upon the earth: and it was so.
reviving showers of rain,
The dreary wasteful hail, the light and
flaky snow.
9.
AR
With verdure clad the fields appear,
Delightful to the ravish'd sense;
-
AIR AND CHORUS
By flowers sweet and gay
Gabriel
The marv'llous work behold amaz'd
The glorious hierarchy of heaven;
Enhanced is the charming sight.
And to th' ethereal vaults resound
With copious fruit the expanded boughs
The praise of God, and of the second day.
Here fragrant herbs their odours shed;
Here shoots the healing plant.
are hung;
In leafy arches twine the shady groves;
CHORUS
And to th' ethereal vaults resound
The praise of God, and of the second day.
Vivace Chorus
O'er lofty hills majestic forests wave.
10.
RECITATIVE
Uriel
TRIO
To day that is coming speaks it the day,
And the heavenly host proclaimed the
The night that is gone to following night.
11.
CHORUS
The heavens are telling the glory of God,
third day, praising God, and saying,
CHORUS
Awake the harp, the lyre awake,
And let your joyful song resound.
The wonder of his work displays the
firmament.
Rejoice in the Lord, the mighty God;
For he both heaven and earth
Has clothed in stately dress.
12.
RECITATIVE
Uriel
And God said, Let there be lights in the
firmament of heaven, to divide the day
from the night, and to give the light upon
TRIO
In all the lands resounds the word,
Never unperceived, ever understood.
CHORUS
The heavens are telling the glory of God,
The wonder of his work displays the
firmament.
the earth; and let them be for signs, and
for seasons, and for days, and for years.
PART TWO
He made the stars also.
13.
RECITATIVE
In splendour bright is rising now the sun,
And darts his rays; a joyful happy spouse,
A giant proud and glad
To run his measur'd course.
With softer beams, and milder light,
Steps on the silver moon through
silent night.
The space immense of th' azure sky
A countless host of radiant orbs adorns.
And the sons of God announced the fourth
day,
In song divine, proclaiming thus his power:
14.
CHORUS AND TRIO
CHORUS
The heavens are telling the glory of God,
The wonder of his work displays the
firmament.
10
15.
RECITATIVE
Gabriel
And God said, Let the waters bring forth
abundantly the moving creature that hath
life, and fowl that may fly above the earth
in the open firmament of heaven.
16.
AIR
On mighty pens uplifted soars
The eagle aloft, and cleaves the air,
In swiftest flight, to the blazing sun.
His welcome bids to morn the merry lark,
And cooing calls the tender dove his mate.
From ev'ry bush and grove resound
The nightingale's delightful notes;
No grief affected yet her breast,
Nor to a mournful tale were tun'd
Her soft enchanting lays.
Vivace Chorus
17.
RECITATIVE
Raphael
Gabriel, Uriel, and Raphael
How many are thy works, O God!
And God created great whales, and every
living creature that moveth; and
Who may their number tell?
God blessed them, saying,
Be fruitful all, and multiply.
20.
Ye winged tribes, be multiplied,
His glory lasts for ever and for evermore.
TRIO AND CHORUS
The Lord is great, and great his might.
And sing on every tree; multiply,
Ye finny tribes, and fill each wat'ry deep;
21.
RECITATIVE
Be fruitful, grow, and multiply,
Raphael
And in your God and Lord rejoice.
And God said, Let the earth bring forth the
living creature after his kind, cattle, and
18.
creeping thing, and beast of the earth,
after his kind.
RECITATIVE
And the angels struck their immortal
harps, and the wonders of
the fifth day sung.
22.
RECITATIVE
Straight opening her fertile womb,
19.
TRIO
The earth obey'd the word,
Gabriel
Most beautiful appear, with verdure young
adorn'd,
And teem'd creatures numberless,
In perfect forms, and fully grown.
Cheerful, roaring, stands the tawny lion.
The gently sloping hills; their narrow
With sudden leap the flexible tiger
sinuous veins
Distil, in crystal drops, the fountain fresh
appears. The nimble stag bears up his
and bright.
branching head.
With flying mane, and fiery look, impatient
neighs the noble steed.
Uriel
In lofty circles play, and hover in the air,
The cheerful host of birds; and as they
flying whirl
Their glittering plumes are dy'd as
rainbows by the sun.
The cattle, in herds, already seek their food
On fields and meadows green.
And o'er the ground, as plants, are spread
The fleecy, meek, and bleating flocks.
Unnumber'd as the sands, in swarms arose
The hosts of insects. In long dimension
Creeps, with sinuous trace, the worm.
Raphael
See flashing through the deep in thronging
swarms
23.
AR
Now heaven in fullest glory shone;
The fish a thousand ways around.
Earth smil'd in all her rich attire;
Upheaved from the deep, th' immense
The room of air with fowl is filled;
Leviathan
Sports on the foaming wave.
The water swell'd by shoals of fish;
By heavy beasts the ground is trod:
But all the work was not complete;
Vivace Chorus
11
There wanted yet that wondrous being,
That, grateful, should God's power admire,
27a.
TRIO
With heart and voice his goodness praise.
Gabriel and Uriel
On thee each living soul awaits;
24.
From thee, O Lord, all seek their food:
Thou openest thy hand,
RECITATIVE
Uriel
And God created Man in his own image,
And fillest all with good.
in the image of God created he him.
Raphael
But when thy face, O Lord, is hid,
Male and female created he them.
He breathed into his nostrils the breath of
life, and Man became a living soul.
With sudden terror they are struck;
Thou tak'st their breath away,
They vanish into dust.
25.
AR
In native worth and honour clad,
With beauty, courage, strength, adorn'd,
Gabriel, Uriel, and Raphael
Thou sendest forth thy breath again,
Erect, with front serene, he stands
A man, the lord and king of nature all.
And life with vigour fresh returns;
His large and arched brow sublime
And new delights.
Revived earth unfolds new strength
Of wisdom deep declares the seat.
And in his eyes with brightness shines
27b.
The soul, the breath and image of his God.
Achieved is the glorious work;
With fondness leans upon his breast
The partner for him form'd,
A woman, fair and graceful spouse.
Her softly-smiling virgin looks,
Of flow'ry spring the mirror,
Our song let be the praise of God.
Glory to his Name for ever.
He sole on high exalted reigns.
Hallelujah!
Bespeak him love, and joy, and bliss.
26.
RECITATIVE
Raphael
And God saw every thing that he had
made, and behold, it was very good.
And the heavenly choir, in song divine,
thus closed the sixth day.
27.
CHORUS
Achieved is the glorious work;
The Lord beholds it, and is pleas'd.
In lofty strains let us rejoice,
Our song let be the praise of God.
SECOND CHORUS
PART THREE
28.
INTRODUCTION (MORNING) and
RECITATIVE
Uriel
In rosy mantle appears, by
music sweet awak'd,
The morning, young and fair.
From heaven's angelic choir
Pure harmony descends on ravish'd earth.
Behold the blissful pair,
Where hand in hand they go: their
glowing looks
Express the thanks that swell their
grateful hearts.
12
Vivace Chorus
A louder praise of God their lips
Eve
Shall utter soon; then let our voices ring,
Ye purling fountains, tune his praise;
United with their song.
And wave your tops, ye pines.
Ye plants, exhale, ye flowers, breathe
29.
DUET AND CHORUS
To him your balmy scent.
Adam and Eve
By thee with bliss, O bounteous Lord,
Adam
Both heaven and earth are stor'd.
Ye that on mountains stately tread,
This world so great, so wonderful.
And ye that lowly creep;
Thy mighty hand has fram'd.
Ye birds that sing at heaven's gate,
And ye that swim the stream;
CHORUS
For ever blessed be his power,
His Name be ever magnified.
Eve and Adam
Ye creatures all, extol the Lord;
CHORUS
Adam
Of stars the fairest, pledge of day,
Ye creatures all, extol the Lord;
That crown'st the smiling morn;
Him celebrate, him magnify.
And thou, bright sun, that cheer'st
the world,
Eve and Adam
Thou eye and soul of all;
CHORUS
Proclaim in your extended course
Ye valleys, hills, and shady woods,
Made vocal by our song.
From morn till eve you shall repeat
Our grateful hymns of praise.
Th' almighty power and praise of God.
CHORUS
Eve
Hail! bounteous Lord! Almighty, hail!
And thou that rul'st the silent night
Thy word call'd forth this wondrous frame,
And all ye starry hosts,
The heavens and earth thy power adore;
Ev'rywhere spread wide his praise
We praise thee now and evermore.
In choral songs about.
30.
Adam
Ye mighty elements, by his power
RECITATIVE
Adam
Our duty we have now perform'd,
Your ceaseless changes make;
In offering up to God our thanks.
Ye dusky mists, and dewy streams,
That rise and fall thro' th' air;
Now follow me, dear partner of my life,
Thy guide I'll be; and every step
Pours new delights into our breasts,
CHORUS
Resound the praise of God our Lord.
Great his name, and great his might.
Shows wonders everywhere.
Then mayst thou feel and know
the high degree
Of bliss the Lord allotted us,
Vivace Chorus
13
And with devoted heart
32.
His bounties celebrate.
Uriel
O happy pair! and happy still might be
Come, follow me, thy guide I'll be.
RECITATIVE
If not misled by false conceit.
Eve
O thou for whom | am, my help, my shield,
Ye strive at more than granted is;
And more desire to know, than know
My all, thy will is law to me;
ye should.
So God our Lord ordains; and from
obedience
33.
CHORUS
Grows my pride and happiness.
Sing the Lord, ye voices all,
31.
Celebrate his power and glory,
Magnify his name thro' all creation,
DUET
Adam and Eve
Let his name resound on high.
Graceful consort, at thy side
Praise the Lord. Utter thanks.
Softly fly the golden hours;
Jehovah's praise for ever shall endure.
Ev'ry moment brings new rapture,
Amen.
Ev'ry care is lull'd to rest.
Spouse adored, at thy side
Purest joys o'erflow the heart;
Life and all | have is thine;
My reward thy love shall be.
The dew-dropping morn,
O how she quickens all!
The coolness of even,
O how she all restores!
How grateful is of fruits the savour sweet!
Some of the printed music for this
evening's concert has been
borrowed from
Surrey County Council Performing
Arts Library and
The Henry Watson Music Library
at Manchester Central Library.
How pleasing is of fragrant bloom the smell!
But, without thee, what is to me
The morning dew, the breath of even,
The sav'ry fruit, the fragrant bloom?
With thee is every joy enhanced,
With thee delight is ever new,
With thee is life incessant bliss,
Thine, thine it all shall be.
14
Vivace Chorus
Registered Charity No 1026337
in the name of Guildford
Philharmonic Choir
Vivace Chorus
Rebecca Goulden was born and
educated in the North West and is a
graduate of the Royal Northern
College of Music and the Royal
College of Music, where she studied
with
Caroline
Crawshaw
and
Kathleen Livingstone.
Rebecca has performed on the
operatic stage for the Buxton
Festival, the Aldeburgh Festival, the
Bregenz
Festspiele
and
the
Beauforthuis Festival, Holland.
Rebecca also enjoys a varied
career on the Oratorio and concert
platform.
She
has
regularly
performed in Haydn’s Nelson Mass,
Orff's Carmina Burana Handel's Messiah and Mozart’s Mass in C minor,
to name but a few.
Rebecca is in her second year at the Royal Academy Opera, where she
studies with Elizabeth Ritchie and lain Ledingham. This term she will be
covering the role of Iris in Semele conducted by Sir Charles Mackerras,
performing an Opera gala concert at St Martin-in-the-Fields, and is a
finalist in the Great Elm Vocal competition at the Wigmore Hall. Next
year Rebecca will be performing in Handel's Messiah for Opera de
Bordeaux and in Beethoven’s 9th Symphony for the Amersham Festival.
She is generously supported in her studies by the Alec Rowley Award,
the Stanley Picker Trust, The Countess of Munster Trust, and The Royal
Masonic Trust. This year she is a recipient of a Susan Chilcott
Scholarship.
Contemporary Choral Classics Concert, 16 May 2009
The three a cappellaitems from the choir were truly
wonderful and were really moving - as was, especially, the
Lauridsen Lux aeterna closing pages. Will Todd's new piece
was a real triumph - a fabulous work, sung with total
commitment and energy. The children were great too.
Vivace Chorus
15
Nick
Scott
was
educated
at
Ampleforth College, where he studied
with Richard Hill. In 2005 Nick was
awarded a Choral Scholarship to
Gloucester Cathedral, then under the
direction
of
Andrew
Nethsingha,
where he was fortunate to receive
repertoire
coaching
from
Robert
Houssart. Performances as soloist at
Gloucester
include
Monteverdi's
Vespers
1610
and
Stainer’s
Crucifixion, as well as playing Prince
Phillipe
in
Berkeley's
A
Dinner
Engagement with Worcester College
Opera, Oxford University. He also
performed as a soloist in Kodaly’s
Missa Brevis at Gloucester Three Choirs Festival in 2007.
In 2007 Nick was awarded The Sir Elton John Scholarship to The Royal
Academy of Music, where he is currently studying with Ryland Davies
and lain Ledingham. Since starting in September, Nick has sung the role
of Paris in New Chamber Opera’s production of Arne’s The Judgement
of Paris and performed as a soloist in Haydn’s Harmonie Messe with
Stroud Choral Society and in Britten’s Serenade for Tenor, Horn and
Strings with the St. Cecilia Orchestra in Ripon. More recently he has
performed in Rossini's Petite Messe Solennelle and has travelled with
the London Bach Players to Pau in the South of France where he sang
the role of the Evangelist in Bach’s St John Passion. Nick sings in the
Royal Academy of Music/Kohn Foundation Bach Cantata Series and has
sung solos in the Royal Academy performance of St John Passion in the
Spitalfields Festival under Edward Higginbottom.
Last November Nick was awarded 3rd place in the Kathleen Ferrier
Bursary for Young Singers and has received The Arthur Burcher
Memorial Prize at the Royal Academy of Music for his end-of-year recital.
Recent performances include the role of Castor in Rameau’s opera
Castor and Pollux for The Yorke Trust in Norfolk over the summer.
16
Vivace Chorus
Mark Wildman received his early musical
education at The King's School, Gloucester
and as a chorister in Gloucester Cathedral.
Later on he studied at The Royal Academy of
Music,
where
he
was
awarded
the
Westmorland
Scholarship,
the
Recital
Diploma and the Frederick Shinn Fellowship.
In 1976, whilst still a student at the RAM, he
won
a Choral Exhibition at St. George’s
Chapel, Windsor Castle, where he sang for
3 years. This was followed by a similar period
with the BBC Singers, with whom he travelled
and performed world-wide.
As a bass soloist in oratorio and recital, Mark has travelled throughout
Europe, Scandinavia, the British Isles and the USA, where as well as
works from the standard repertoire, recent engagements have included
Walton's Belshazzar’s Feast, Mahler's Symphony No. 8 (Symphony of a
Thousand), Stravinsky's Les Noces and Pulcinella, and Rachmaninov’s
The Bells. He has sung in the first performance of many new works
including Giles Swayne’s CRY in London, Bjarne Slogedal’s Te Adoro at
Kristiansand Festival and the televised first performance of
Giovanna Marini’s Requiem at the Paris Festival.
the
Mark
has sung with most of Britain’s foremost orchestras, at the
Promenade concerts and at a number of British and European festivals.
In recent times he has given performances of the Elgar oratorios The
Dream of Gerontius, The Apostles and The Kingdom. This season has
included several performances of the Verdi Requiem, Mendelssohn’s
Elijah, the Bach Passions, Handel's Samson, Judas Maccabaeus and
Joshua; Vaughan Williams’ A Sea Symphony, Dona Nobis Pacem and
Five Mystical Songs and the Requiems of Fauré, Duruflé and Mozart.
He combines a busy performing career with that of a professor of Singing
at the Royal Academy of Music, where he was appointed Head of Vocal
Studies in 1991. He is a much-travelled adjudicator and has served as a
jury member at a number of international singing competitions as well as
being an examiner, moderator and trainer for the Associated Board of
the Royal Schools of Music. He is a visiting professor at the Reykjavik
Songskolinn, Iceland and at the Cardiff International Academy of Voice.
Mark was elected a Fellow of the Royal Academy of Music in 1994 and a
Fellow of the Royal Society of Arts in 1995.
Vivace Chorus
17
Jeremy Backhouse
Jeremy Backhouse began his
musical career in Canterbury Cathe
dral,
where he was Head Chorister,
and later studied music at Liver
pool
University. He spent Syears as
Music Editor at the Royal Natio
nal
Institute for the Blind, where he
was responsible for the transcript
ion
of
print music into Braille. In 1986
he joined EMI Records as a
Literary
Editor and from April 1990 he comb
ined work as a Consultant Edito
r for
EMI Classics with a career as a freel
ance conductor. In November 2004,
Jeremy joined Boosey & Hawk
es Music Publishers and now
works for
them in a freelance capacity.
In January 1995, Jeremy was
appointed Chorus Master and
subsequently Music Director of
the Guildford Philharmonic Choi
r (now
Vivace Chorus). Major works perf
ormed in Guildford Cathedral inclu
de
Mahler's Symphony No. 2 and Symp
hony No. 8, Prokofiev’s Alexande
r
Nevsky, Elgar's The Dream of
Gerontius, Karl Jenkins’ The Arme
d
Man
Mendelssohn’s Symphony No.
2 (Lobgesang) and most recen
tly, in
November 2008, Verdi's Requiem.
Since 1980, Jeremy has been
the conductor of the Vasari Singe
rs,
acknowledged as one of the
finest chamber choirs in the
country,
perf
orming music from the Renaissa
Jeremy has also worked with a
nce to contemporary commissi
ons.
number of the country's leading
choirs,
including the Philharmonia Choru
s, the London Choral Society and
the
Brighton Festival Chorus. For 6
years, to the end of 2004, Jere
my
was
the Music Director of the Wooburn
Singers, following Sir Richard Hick
ox
(who founded the choir in 1967)
and most recently, Stephen Jacks
on. In
January 2009, Jeremy was appo
inted Music Director of the Salis
bury
Community Choir. His first concert
with them was in May of this year.
18
Vivace Chorus
Bn&lenburg
sinfonia
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, Russia, Germany, Japan and Hong Kong. In
1999 the orchestra established major concert series at both St Martin-inthe-Fields and Crystal Palace Bowl.
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. lts 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
Susie Candlin
Helen Cox
Ben Hancox
Anna de Bruin
Floortje Gerritsen-
Viola
Cian O'Duill
Jake Walker
Toby Deller
lan Byrne
Lucy Saunders
Sebastian Comberti
Helena Binney
Lynn Selwood
Huston
Gabiriella Nikula
Rebecca Matthews
Cello
Oboe
Rebecca Garland
Horn
Susie Koczur
Jason Koczur
Trumpet
Paul Archibald
Claire Thorne
Ruth Beresford
Trombone
Clarinet
Tom Lessels
Karen Hobbs
Matthew Knight
Emma Juliette Boyd
Dougal Prophet
Ben Russell
Bassoon
Timpani
Anthony Williams
Graham Hobbs
Elizabeth Barker
Tai Mi Song
Violin 2
Elizabeth van Ments
Sheila Law
Caroline Bishop
Flute
Fergus Davidson
Tomoka Mukai
Nicola Smedley
Bass
Amy Cardigan
Rosie Burton
John Dickenson
Laura Kernohan
Contra Bassoon
Harpsichord
Catherine May
David Chatterton
Vivace Chorus
19
Vivace Chorus Singers
FIRST SOPRANOS
Joanna Andrews
Helen Beevers
Mary Broughton
Elaine Chapman
Rachel Edmondson
Mo Kfouri
Maggie Martelli
Hilary Minor
Sue Fletcher
Jane Hedgecock
FIRST TENORS
Sheila Hodson
Pamela Leggatt
Margaret Mann
Lois McCabe
Clare McKinlay
Tim Hardyment
Kay McManus
Christine Medlow
Bob Cowell
Nick Manning
Martin Price
Chris Robinson
John Trigg
Susan Norton
Robin Onslow
Rosalind Milton
Gill Perkins T
SECOND TENORS
Bob Bromham
Margaret Parry
Marjory Rollo
Tony Chantler
Fergus Hamilton
Margaret Perkins
Lesley Scordellis
Catherine Shacklady
Kate Rayner
Gillian Rix
Kathryn Slaughter
Judy Smith
Ann Smith
Rosemary Spalding
Carol Terry
Jo Stokes
Hilary Trigg
Geoff Johns
Stephen Linton
Jon Scott
FIRST BASSES
John Britten
Michael Golden
SECOND SOPRANOS
SECOND ALTOS
Brian John
Jacqueline Alderton
Valerie Adam
Anna Arthur
Geraldine Allen
Barbara Barklem
Marion Arbuckle
Jeremy Johnson
Jon Long
Chris Newbery
Judith Chester
Anna Durning
Jane Kenney
Evelyn Beastall
Sylvia Chantler
Mary Clayton
Judith Lewy
Christine Curtis
Krystyna Marsden
Andrea Dombrowe
Carolyn Edis
Valerie Edwards
Enid Millinger
Debbie Morton
Alison Newbery
Kate Peters
Rosalind Plowright
Chris Peters
Robin Privett
David Ross
Philip Stanford
Kieron Walsh
SECOND BASSES
Celia Embleton
Elizabeth Evans
Peter Andrews
Alan Batterbury
Roger Barrett
Isobel Rooth
Valerie Garrow
Claire Hann
Ann Sheppard
Barbara Hilder
Dave Cox
Paula Sutton
Christine Wilks
Frances Worpe
Susan Hinton
Geoffrey Forster
James Garrow
Carol Hobbs
Yvonne Hungerford
Brenda Moore
FIRST ALTOS
Penny Baxter
Jacqueline Norman
Beryl Northam
Monika Boothby
Karen Prodger
Norman Carpenter
Stuart Gooch
Nick Gough
Jane Brooks
Prue Smith
Michael Jeffery
Neil Martin
Maxwell New
Mike Osborn
Margaret Dentskevich
Rosey Storey
Elisabeth Yates
Chris Short
Michael Taylor
Liz Durning
20
T alto soloist
Vivace Chorus
Vivace Chorus Patrons
The Vivace Chorus is extremely grateful to all Patrons
for their financial support.
Platinum Patrons:
Dr Roger Barrett
Mrs Rita Horton
Mr and Mrs Peter B P Bevan
Mr Laurie James
Mrs J G Blacker
Mrs Pamela Leggatt
John and Barbara Britten
Ron and Christine Medlow
Mr and Mrs R Broughton
Mr and Mrs Maxwell S New
Mr Michael Dawe
Dr John Trigg MBE
Mr and Mrs J Durning
Miss Enid Weston
Dr Michael Golden
Bill and June Windle
Gold Patrons:
Mr Robin Broadley
Mrs Jean Radley
Mr and Mrs Philip Davies
Brenda and Brian Reed
Mr and Mrs G Dombrowe
Dr and Mrs M G M Smith
Dr Roger Muray
Prue and Derek Smith
Mr and Mrs John Parry
Silver Patrons:
Dr J B R Arbuckle
Mrs Maryel Cowell
Mr Bill Belleroy MBE
Mrs Carol Hobbs
Mrs Doreen Bellerby MBE
Mrs M van Koetsveld
Mr and Mrs Peter Bennett
Mr Lionel Moon
Mr H J C Browne
New Patrons are always welcome. If you are interested in participating,
please contact our Patrons Secretary, Chris Short, on 07703 807250 or
email patrons@vivacechorus.org
Our Patrons scheme has recently undergone a re-launch, the purpose of
which is two-fold: to give Patrons additional benefits for their financial
backing and to encourage new Patrons to support the choir, which will
help us to continue to perform innovative, high-quality programmes.
Vivace Chorus
21
About the Vivace Chorus
Jeremy Backhouse
Music Director
Francis Pott
Accompanist
The Committee
James Garrow
Chairman
Tel. 01403 751552
Isobel Rooth
Hon. Secretary
Bob Cowell
Hon. Treasurer
Jane Brooks
Membership Secretary
Tel. 01483 539088
email: membership@vivacechorus.org
Michael Taylor
Ticket sales
Tel. 07958 519741
email: tickets@vivacechorus.org
Jackie Alderton
Mailings
Tel. 01932 343625
Gill Perkins
Sponsorship
Tel. 01483 458132
Chris Short
Patrons' liaison
Tel. 07703 807250
Hilary Trigg
Publicity
Hilary Minor
Press Officer
Neil Martin
Committee member
Tel. 01252 702979
email: secretary@vivacechorus.org
Tel. 01483 770896
Other (non-Committee) responsibilities
Christine Medlow
Music Librarian
John Britten
Music sales
Penny Baxter
Pre-concert talks
Prue Smith
Auditions accompanist, cathedral & library displays
Brenda Moore
Programme notes, soloists’ liaison & advertising
Alan Batterbury
Concert staging
Chris Alderton
Front of House
Chris Peters
Website Manager
For other phone numbers and email addresses, please refer to the
'Contact us' page of our website: www.vivacechorus.org.
22
Vivace Chorus
The choir was founded in 1947 as the Guildford Philharmonic Choir but
in May 2005, to reflect its new independent status from the Borough of
Guildford,
'rebranded'
itself
as
the
Vivace
Chorus.
We
enjoy
a
challenging and varied repertoire from the 16th century onwards; some
pieces are well-known, others are rarities deserving to be heard by a
wider audience. In the 2004/5 season, we introduced our Contemporary
Choral Classics Cycle, an innovative series of works from the late 20th
and 21st centuries. To show the variety of our recent programmes:
The 2007/8 season tested both our tuning and our nerves, with a
programme
by
French
composers,
unaccompanied,
followed
by
our
sung
Viennese
only
with
organ
Masters concert
or
which
included more a cappella singing (three Bruckner motets and a 16-part
arrangement of Mahler's Ich bin der Welt abhanden gekommen). Our
contemporary concert featured Karl Jenkins' Requiem, with other works
by Britten, Fauré, Elgar, Barber and Mahler.
We started the 2008/9 season with a spectacular performance of Verdi's
Requiem, in combination with our twin choir, the Freiburger Bachchor,
and Romsey Choral Society. Then as a complete contrast, our Venetian
Baroque concert included some of the earliest music we have ever sung.
These were masterpieces from Gabrieli, Schiitz and Monteverdi, with
Vivaldi's uplifting Gloria to end the evening. Finally, and following on from
the success of our first-ever jazz concert in May 2007 (which included
Will Todd's fabulous Mass in Blue), the season finished with Will Todd's
Te Deum — a world premiére and first commission by the choir.
We also regularly sing in a 'Last Night of the Proms' charity concert in the
Fairfield Halls, Croydon, and with our good friends the Brandenburg
Sinfonia, we sing at least once a year in the superb venue of St Martinin-the-Fields, performing works such as Mozart's Requiem.
During this summer's break, half the choir and Jeremy embarked on
what quickly became known as the Tour de France. We gave concerts in
the cathedrals of Paris (Notre-Dame), Rouen and Beauvais. This proved
to be both inspiring and emotionally moving — and we had great fun too.
Eagerly anticipated events are a commercial recording of Will Todd’s
Te Deum and, to mark the centenary of Mahler’s death, a performance of
his Symphony No. 8, being planned for May 2011 in the Royal Albert Hall.
If you are interested in singing with us, please contact Jane Brooks,
01483 539088. Rehearsals are held on Monday evenings at Holy Trinity
Church, Guildford High Street, and prospective members are welcome to
attend rehearsals on an informal basis before committing to an audition.
For more information, see our website at www.vivacechorus.org.
Vivace Chorus
23
Images and great memories from the Vivace Chorus' Tour de France
VIVACE CHORUS
opecTion:
Jeremy Backhouse
ANGLETR
AEnoadrciseTw 143
Above: Our mascot,
'the chubby cherub'.
Top right: evening
concert in Beauvais.
Opposite: recital in
Notre-Dame, Paris.
Below: Afternoon ride
on the Beauvais
carousel and finally,
homeward bound.
'
T
s
Contemporary Choral Classics
Concert, 16 May 2009
from Stephen Goss' review for
‘The Surrey Advertiser'
.. a full-house was treated to a compelling performance of contemporary vocal
music. The ambitious Vivace Chorus commissioned a brand new large-scale work
for the occasion - Will Todd's Te Deum for chorus, children's choir, soprano
soloist and ensemble. The rest of this refreshingly imaginative programme was
made up of music by other living composers from America and Britain. While it
was good to hear fine performances of some familiar modern classics by John
Tavener and John Rutter and to be introduced to works by Morton Lauridsen
and Eric Whitacre, Todd's brilliant new piece was the highpoint of the evening.
.. it was Vivace's recent performance of [Todd's] Mass in Blue that led to this
commission. From the bold virtuosic timpani writing in the opening bars of the
Te Deum it was clear that the audience was in for a treat. Todd's musical
language is drawn from a variety of sources which are integrated into a
compelling musical cocktail. If there were echoes of Walton and Britten in one
movement, there were traces of Sondheim and Duke Ellington in another. Pupils
from Holy Trinity School, Tormead School and Holy Trinity Church Choir joined
forces in a touching performance of the 4TM movement; a beautiful setting of
the Lord is my Shepherd. Elsewhere, soprano Bethany Halliday and saxophonist
Paul Fawcus impressed with gripping solo turns.
The Vivace Chorus were excellent throughout the concert, making light work of
a
challenging
programme.
Conductor
Jeremy
Backhouse
had
the
chorus's
undivided attention; his hard work on detail in rehearsals paying dividends in a
s slick, professional performance.
4
[/
s
The staging for this concert is owned by
Financially assisted by
the Association of Surrey Choirs.
G_
GUILDFORD
Peters,
@8
BOROUGH
Guildford Cathedral Office (tel: 01403
:
hire,
please
contact
Penny
To
547860). It was purchased with financial | Tonight's concert has been
assistance from the Foundation for | heldin Guildford Cathedral
.
Sport and Arts, PO Box 20, Liverpool.
by kind permission of the
Dean and Chapter.
Printed by WORDCRAFT
115 Merrow Woods, Guildford, Surrey GU1 2LJ
Tel: 01483 560735
Vivace Chorus
25
For Complete
Family Eyecare
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with many designer names | Tel: 01483 766800
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26
Vivace Chorus
.
Vivace
Chorus ‘
Did you like what you've heard?
Would you like to get involved?
New singers are always welcome; if you'd like to know
more, talk to any of the choir members, or contact our
Membership Secretary, Jane Brooks, on 01483 539088
or email membership@vivacechorus.org
Even if you don't want to sing,
you can still be involved!
Become a Patron.
As a Patron you will receive discounts on tickets for
concerts sponsored by Vivace Chorus and priority
booking. You can also reserve seats in sections of the
Cathedral which are normally unreserved. You will be
invited to our social events and your name will appear
in our programmes.
Being a PLATINUM Patron costs just £75 a year and
entitles you to 20% off all ticket purchases.
GOLD Patrons enjoy a 10% discount on tickets in return
for their £50 subscription. [The SILVER level remains
only for existing Patrons who prefer not to upgrade.]
For more details contact Chris Short, Patrons' liaison,
on 07703 807250 or email patrons@vivacechorus.org
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GUILDFORD CATHEDRAL
SATURDAY 14TH NOV : 7.30PM
PRE-CONCERT TALK AT 6.30Pm