N
(MR
Piano: Francis Pott
Harmonium: Martin Hall
Con ductor: Jeremy Backhouse
_~~ Saturday
-
20th Nov 2010
7.30 pm Guildford Cathedral
www.VivaceChorus.org
ANNA ARTHUR & ASSOCIATES
SOLICITORS
WISH THE
VIVACE CHORUS
EVERY SUCCESS FOR THIS EVENING
FIERI FACIAS HOUSE, HIGH STREET
RIPLEY, SURREY GU23 6AF
TEL: 01483 222499 — FAX: 01483 222766
\
Vivace
Choru
flflflflfl
Rossini: Petite Messe Solennelle
Deboragh Abbott
Soprano
Natalia Brzezinska
Mezzo-soprano
Stephen Aviss
Tenor
Charles Rice
Baritone
Francis Pott
Piano
Martin Hall
Harmonium
conductor
Jeremy Backhouse
Vivace Chorus
PRE-CONCERT TALK
Rossini — A Maestro Misunderstood
This will start at 6.30pm in the Chapter House of the Cathedral. The
speaker will be Gillian Ramsden. Yorkshire-born, into a musical family,
Gillian went on to study singing and piano at the Royal College of Music.
She began her singing career in the Royal Opera chorus, Covent
Garden. Whilst a member of the company she was chosen by Pierre
Boulez to sing a boy's role in Debussy's Pelleas and Melisande, which
led to a career specialising in similar roles, with Scottish Opera, Welsh
National Opera Company and companies on the continent, as well as on
radio and television.
On retiring from the professional stage, Gillian moved to Cranleigh,
becoming Musical Director of several choirs and a teacher of singing, as
well as taking the position of Singing Co-ordinator at Guildford School of
Acting. Gillian continues to direct a choir which she formed at Eimbridge
Retirement Village and to work as a private singing teacher.
Please note: Members of the audience who wish to attend the talk and
do not already have reserved seating can reserve their concert seats
beforehand in the appropriate unreserved areas of the Cathedral. The
talk should finish at 7.10pm, allowing time to order refreshments etc.
Gioacchino Rossini (1792 - 1868)
~
Rossini is renowned largely for his prolific
operatic output and, with the one notable
~ exception of the work being performed
-
~
tonight, little else.
He
was born into a musical family in
Pesaro, ltaly, learnt the horn and singing,
and as a boy, sang in at least one opera in
Bologna, where the family lived. He studied
there and began his operatic career when,
at 18, he wrote a one-act comedy for
Venice. Further commissions followed, from
Bologna, Ferrara, Venice and Milan; seven
operas were written in 16 months, all but
one of them comic.
4
Vivace Chorus
This level of activity continued in the ensuing years. His first operas to
win international acclaim date from 1813: the serious Tancredi and the
farcically comic L'italiana in Algeri. In 1815 Rossini went to Naples as
musical
and
artistic director of the Teatro
San
Carlo,
where
he
concentrated on serious opera. He was, however, allowed to compose
for other theatres, and two of his supreme comedies, /I barbiere di
Siviglia and La Cenerentola, date from this time.
In 1823 Rossini moved to Paris, where he took on the directorship of the
Théatre-Italien, composing for that theatre and the Opéra. His last opera,
and his 36th in 19 years, was Guillaume Tell, completed in 1829. It is
hardly surprising, therefore, that he wrote no more stage works during
the remaining 40 years of his life. After a period in Italy, during which his
health was poor and he composed very little, he returned to Paris in
1855, where his health, humour and urge to compose all returned.
One product of his late period was the Petite Messe Solennelle, which is
neither very ‘petite’ (it fills an entire concert programme), nor very
‘solennelle’ (solemnity surfaces only rarely). It was written in 1863 when
Rossini was 71 and falls under the broad group of works which he
described as the “sins of my old age”. The over-riding mood is lighthearted and joyous; however, if one can enter both the spirit of the age in
which it was written and Rossini's idiom, its depth of sincerity can be
clearly understood. As Rossini himself said when he had completed the
work: "Here it is then, this poor little Mass. | was born for opera buffa, as
you well know. A little science, a little heart, that is all. So blessed be thy
name, and grant me a place in Paradise!"
A few years after the first performance, Rossini was persuaded to score
the work for full orchestra, but nothing is added to the stature of the work
and Rossini remarked "| prefer it with the accompaniment of piano and
harmonium as we performed it." In fact, a significant part of the appeal of
the piece lies in its original keyboard parts. The harmonium, also known
as the ‘orgue expressif, was developed in France during the mid-19th
century. Its sustaining power, combined with the melodic and percussive
quality of the piano, creates a well-balanced and colourful accompaniment.
Rossini set the normal mass text, apart from the unusual inclusion of the
soprano solo O Salutaris as the penultimate item. Particular high points
in the music are the two contrapuntal passages for the choir — Cum
sancto Spiritu and Et vitam venturi saeculi (in the Et resurrexit) and a
tribute to the keyboard works of Bach — the Prélude religieux.
The ltalian critic, Filippi, described the work as "The greatest seal on his
genius and his glory."
Vivace Chorus
5
. KYRIE
Soloists and chorus
Il. GLORIA
Gloria in excelsis Deo
Soloists and chorus
Gratias agimus tibi
Trio: Mezzo-soprano, tenor and bass
Domine Deus
Tenor solo
Qui tollis
Duet: soprano and mezzo-soprano
Quoniam
Bass solo
Cum sancto Spiritu
Soloists and chorus
. CREDO
Credo in unum Deum
Soloists and chorus
Crucifixus
Soprano solo
Et resurrexit
Soloists and chorus
IV. PRELUDE RELIGIEUX
Piano and harmonium
V. SANCTUS
Soloists and chorus
VI. O SALUTARIS
Soprano solo
VIl. AGNUS DEI
Mezzo-soprano solo and chorus
Part I
I. KYRIE - Soloists and chorus
Kyrie eleison.
Christe eleison.
Kyrie eleison.
Lord, have mercy.
Christ, have mercy.
Lord, have mercy.
Il. GLORIA
Gloria in excelsis Deo - Soloists and chorus
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,
we worship Thee, we glorify Thee.
adoramus te, glorificamus te.
Gratias - Trio: Mezzo-soprano, tenor and bass
Gratias agimus tibi
We give thanks to Thee
propter magnam gloriam tuam.
6
for Thy great glory.
Vivace Chorus
Domine Deus - Tenor solo
Domine Deus, Rex coelestis,
O Lord God, heavenly King,
Deus Pater omnipotens.
Domine Fili unigenite,
God The Father Aimighty.
Jesu Christe;
Domine Deus, Agnus Dei,
Jesus Christ;
Filius Patris.
Son of the Father.
O Lord the only begotten Son,
O Lord God, Lamb of God,
Qui tollis — Duet: soprano and mezzo-soprano
Qui tollis peccata mundi,
Thou 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 who sittest at the right hand of
miserere nobis.
the Father, have mercy upon us.
Quoniam - Bass solo
Quoniam tu solus sanctus.
Tu solus Dominus.
Tu solus altissimus,
For Thou only art holy.
Thou only art the Lord.
Thou only art most high,
O Jesus Christ.
Jesu Christe.
Cum sancto Spiritu — Soloists and chorus
Cum sancto Spiritu,
With the Holy Spirit, in the glory
in gloria Dei Patris. Amen.
of God the Father. Amen.
Glory be to God on high, Amen.
Gloria in excelsis Deo, Amen.
~ Interval ~
Part I1
lll. CREDO
Credo in unum Deum - Soloists and chorus
Credo in unum Deum
Patrem omnipotentem
factorem coeli et terrae,
visibilium omnium et invisibilium.
Credo in unum Deum
Et in unum Dominum Jesum
| believe in one God,
the Father almighty,
maker of heaven and earth,
and of all things visible and invisible.
| believe in one God,
And in one Lord, Jesus Christ, the
Christum, Filium Dei unigenitum,
Et ex Patre natum ante
only begotten Son of God,
omnia saecula.
all worlds.
Vivace Chorus
Begotten of his Father before
Credo in unum Deum,
Deum de Deo, lumen de lumine,
Deum verum de Deo vero.
Genitum, non factum,
consubstantialem Patri,
per quem omnia facta sunt.
| believe in one God,
God of God, light of light,
Very God of very God.
Begotten, not made, being of one
substance with the Father,
by whom all things were made.
Qui propter nos homines
Who for us men
et propter nostram salutem
and for our salvation
descendit de coelis.
Credo.
Et incarnatus est de Spiritu Sancto
ex Maria Virgine:
et homo factus est.
came down from heaven.
| believe. And was incarnate by the
Holy Ghost
of the Virgin Mary:
and was made man.
Crucifixus — Soprano solo
Crucifixus etiam pro nobis
sub Pontio Pilato:
passus, et sepultus est.
And was crucified also for us
under Pontius Pilate:
suffered, and was buried.
Et resurrexit
— Soloists and chorus
Et resurrexit tertia die,
secundum scripturas.
Credo.
Et ascendit in coelum:
sedet ad dexteram Patris.
Et iterum venturus est
cum gloria judicare vivos et mortuos:
Cujus regni non erit finis.
Et in Spiritum sanctum Dominum,
et vivificantem:
Qui ex Patre, Filioque procedit.
Qui cum Patre, et Filio simul adoratur,
et conglorificatur:
Qui locutus est per Prophetas.
Et unam sanctam catholicam et
apostolicam Ecclesiam.
Credo.
Confiteor unum baptisma
in remissionem peccatorum.
Et expecto resurrectionem
mortuorum.
And the third day He rose again
according to the scriptures.
| believe.
And ascended into heaven, and
sitteth at the right hand of the Father.
And He shall come again
with glory to judge the living and the
dead: His kingdom shall have no end.
And (I believe in) the Holy Ghost, the
Lord and giver of life: Who
proceedeth from the Father and Son.
Who with the Father and Son
together is worshipped and glorified:
Who spake by the Prophets.
And in one holy catholic and
apostolic Church.
| believe.
| acknowledge one baptism
for the remission of sins.
And | look for the resurrection
of the dead.
Vivace Chorus
Credo.
| believe.
Et vitam venturi saeculi.
And the life of the world
Amen.
to come. Amen.
In unum Deum credo
| believe in one God.
IV. PRELUDE RELIGIEUX (Offertory) — Piano and harmonium
V. SANCTUS
- Soloists and chorus
Sanctus, sanctus, sanctus,
Holy, holy, holy,
Dominus Deus Sabaoth.
Lord God of Hosts.
Pleni sunt coeli et terra gloria tua.
Heaven and Earth are full of Thy
Hosanna in excelsis.
glory. Hosanna in the highest.
Benedictus qui venit
Blessed is he who cometh
in nomine Domini.
in the name of the Lord.
Hosanna in excelsis.
VI. O SALUTARIS
- Soprano solo
O Salutaris Hostia
Quae caeli pandis ostium.
Bella premunt hostilia,
Da robur, fer auxilium.
Amen.
Hosanna in the highest.
O saving Victim, who opens wide
The gate of heaven.
Hostile wars afflict us,
Give strength and bring us help.
Amen
VIl. AGNUS DEI - Mezzo-soprano solo and chorus
Agnus Dei, qui tollis peccata mundi,
Lamb of God, that takest away the
miserere nobis.
Agnus Dei, qui tollis peccata mundi,
dona nobis pacem.
sins of the world, have mercy upon
us. Lamb of God, that takest away the
sins of the world, grant us peace.
Some of the printed music for this evening's concert has been hired
from Surrey County Council Performing Arts Library.
Vivace Chorus
Deboragh Abbott — Soprano
Deboragh
is
Glenville
Hargreaves
Wheeler
currently
studying
with
and
Dominic
Academy of
at the Royal
Music, London. She has appeared with
Opera Ireland, Opera Fringe, the Opera
Theatre Company and Anna Livia
Opera Festival.
Deboragh recently performed the role
of Dame Janet in the premiére of Irish
composer Fergus Johnston's The Earl
of Kildare for Opera Ireland and La
Cugina in their production of Madama
Butterfly.
Other recent performances include the
role of La Ciesca in Puccini's Gianni
Schicchi for Opera Fringe and First
Lady and Queen of Night (cover) in The Magic Flute for
Dublin Institute
of Technology. Deboragh was honoured to sing with
Norfolk Trust Opera
in 2009, where she performed the role of Telaire in
Rameau’s Castor
et Pollux.
Her concert performances include Handel's Messiah, Bach's
Jesu meine
Freude and Mass in B minor (soprano I1), Mozart's Requiem
, Messiaen's
Poemes pour Mi and a concert version of Porgy and Bess
in the National
Concert Hall, Dublin.
In 2009, Deboragh was the recipient of the prestigious
Dramatic Cup and
Tony Quigley Award at the Feis Ceoil, Dublin, and
in June was the
recipient of the Mary Brennan Award and Vocal
Bursary. Upcoming
performances include a concert with Sir Trevor Pinnock,
Dvorak’s Stabat
Mater, Brahms’ Zigeunerlieder and Marcellina in Le
Nozze di Figaro for
Royal Academy of Music opera scenes.
Deboragh is kindly supported by the Royal Academy
of Music and the
Arts Council of Ireland.
10
Vivace Chorus
Natalia Brzezinska — Mezzo-soprano
Natalia joined the Royal Academy Opera
in September 2008. She graduated with
distinction in vocal studies from the Music
Academy in Lodz (Poland) before coming
to the UK in 2006 to take up postgraduate
studies with Anne Howells and Mary Hill at
the Academy. She was a finalist in the
Richard Lewis Competition (2008, 2009)
and
highly commended in the Flora
Nielsen/Elena Gerhardt Prize Competition
(2008). She is supported by the Josephine
Baker Trust and the Nan Copeland Award.
Her oratorio experience includes Bach'’s
Magnificat, St Matthew Passion, B Minor
Mass and cantatas, Handel's Messiah and
Samson, Vivaldi's Gloria and Stabat Mater, Pergolesi's Stabat Mater,
Haydn's Nelson Mass and Theresia Mass, Mozart's Requiem and
Coronation Mass, Zebrowski's Requiem, Rheinbergers Mass in C,
Nicolai's Mass in C, Schubert's Mass in E flat, Saint-Saéns’ Oratorio
pour Noel and Dvorak’s Stabat Mater. Operatic roles include Berta in
Rossini's Barber of Seville, Fidalma in Cimarosa’s The Secret Marriage,
Florence Pike in Albert Herring, Larina and Filipievna in Eugene Onegin,
Emira in Hasse's I/ Siroe and Enotea in Vinci's Medo. In April 2010
Natalia joined Glyndebourne Festival Opera where she sang The Mother
in Stravinsky's Mavra and was a chorus member in their productions of
Macbeth, Don Giovanni and The Rake's Progress.
For 15 years Natalia has been a member of Con Vigore, a specialist
chamber choir of 12 voices performing a wide range of repertoire from
Gregorian chant to contemporary works at prestigious venues across the
world. She has participated in master-classes with Jadwiga Rappé,
Diane Forlano, Malcolm Martineau, Rosamund llling and Dennis O'Neill.
In the last 6 years she has featured in the Schleswig-Holstein Music
Festival in Germany. As the mezzo Bach Scholar, she performs regularly
as a soloist in the Royal Academy of Music/Kohn Foundation Bach
Cantata Series.
Vivace Chorus
11
Stephen Aviss — Tenor
Stephen Aviss was born and brought
up in Surrey.
Following a chance
meeting
with
a
teacher,
he
Swedish
moved to
singing
Sweden to
train,
studying at the University
College of Opera and Opera Studio
in Stockholm. Stephen is currently
studying for an MA at the Royal
Academy of Music in London, where
he was recently awarded the Connell
Grabowksy Prize. He has a BA Hons
degree in English Literature from
University College London.
Stephen’s operatic debut was at
Folkoperan in Stockholm, singing the
role of Regi Assistenten in Anders
Nilsson’s newly written opera Zarah.
Whllst studying in Sweden, Stephen sang roles including Ferrando in
Cosi Fan Tutte, Danilloin The Merry Widow and the title rolein Gounod's
Faust. His British debut was with Surrey Opera, singing the role of
Fenton in Nicolai's Die lustigen Weiber von Windsor. Recently Stephen
covered the role of Ruggero for British Youth Opera’s production of
Puccini's La Rondine at the Peacock Theatre and sang the role of
Alfredo in La Traviata with the European Chamber Opera in Kuwait.
Stephen
has
Viennese
evening
also
performed
with
the
many
concerts
Karlshamn
abroad,
Orchestra
in
including
a
Sweden,
a
Neapolitan concert at the Place des Vosges, Paris and a concert at the
Royal Naval College in London. He has toured extensively in Sweden
and Norway singing both lieder and opera. In May 2009, he was
delighted to accept an invitation to sing at the Palace of Versailles as
part of the 60th anniversary celebrations of the founding of the
Weizmann Institute. Television work includes a special performance of
The Office, The Opera for BBC's Comic Relief.
Also a regular performer of oratorio works, Stephen has sung in Handel's
Samson and Rossini's Stabat Mater. Forthcoming events include
Messiah with The Hurst Green Singers. Stephen will also sing the role of
Christoph in Sir Peter Maxwell Davies' new opera Kommilitonen for
Royal Academy Opera.
12
Vivace Chorus
Charles began singing as a music
at The King's School,
Canterbury, singing in Canterbury
scholar
Cathedral and on tour in ltaly,
France, Germany and Hungary.
While studying politics at university,
he joined Leeds Youth Opera and at
Leeds Civic Theatre sang Ned
Keene in Peter Grimes, Renato in
Un
Ballo
in
Maschera
and
Maximilian in Candide. Charles is
currently on the opera course at the
Royal Academy of Music, where he
continues
his studies under Mark
Wildman and Dominic Wheeler.
Recent opera engagements include
ol
Vicar
in
Albert Herring for
Royal
Academy Opera, covering The Keeper of the Madhouse in The Rake’s
Progress and Caviliere di Ripafrata in Martinu's Mirandolina for
Garsington Opera, James in The Pirates of Penzance at Buxton,
Zaretsky in Eugene Onegin at Iford Arts and Dr. Falke in Die Fledermaus
for Alternative Opera. In 2009, Charles was a finalist at Les Azuriales
Young Artists Competition in France and winner of the Garsington Prize.
This summer Charles sang for Glyndebourne Festival Opera chorus,
covering Mr Redburn in Billy Budd and singing the Cat in Stravinsky’s
Renard. He returned to Royal Academy Opera in September, when he
sang Gugliemo in Cosi fan tutte, conducted by Jane Glover and directed
by John Cox.
Charles
also
performs
regularly
on
the
concert
platform.
Recent
engagements include Mustique Opera Gala, Haydn's Nelson Mass under
Jonathan Willcocks, Brahms’ Requiem for Sleaford Choral Society,
Schumann’s Mass at Leamington Spa and Rossini's Petite Messe
Solennelle at the Wadhurst Music Festival.
Charles is grateful to be supported by a Worshipful Company of
Musicians’ Allcard Award, the William Allen Charitable Trust, The
Kathleen Trust, The Kohn Foundation Vocal Scholarship and The
Josephine Baker Trust.
Vivace Chorus
13
Francis Pott began his musical life as a
chorister at New College, Oxford. He held
open
music scholarships at Winchester
College
and
Magdalene
College,
Cambridge, studying at the latter with
Robin Holloway and Hugh Wood while
also pursuing piano studies as a private
pupil
of the distinguished British artist
Hamish Milne in London. He spent several
years
teaching
music
in
the
UK's
secondary education sector while pursuing
a parallel freelance career as a composer
and pianist. He was also a member of
Winchester Cathedral Choir under Dr David Hill from 1991 until 2001,
touring the USA, Brazil, France, Germany, the Netherlands and Norway
and participating in many CD releases and televised concerts during that
period. For many years John Bennett Lecturer in Music at St Hilda's
College, University of Oxford, in 2001 Francis was appointed Head of
Music at London College of Music & Media, Thames Valley University.
Subsequently he became both Head of Composition and Head of
Research Development for the Faculty of Arts, embracing Music, Media,
Art & Design and Creative Technologies. In February 2007 he was
appointed to the University’s first Chair of Composition.
Francis has received many national awards as a composer andin 1997
gained first prize in the second S. S. Prokofiev International Composmg
Competition
in
Moscow.
His
works
have
been
heard
in
some
20 countries worldwide, broadcast in Britain, the USA, Canada and the
Irish and Czech Republics, issued extensively on CD (particularly under
the innovative British label, Signum) and published by four major houses
in the UK. Francis Pott’s piano music has been extensively championed
in the UK, Canada and the USA by the Russian-Canadian virtuoso,
Alexander Tselyakov, and his organ works by the acclaimed British artist,
Jeremy Filsell.
Francis remains active as a pianist and accompanist, uniting this with
both composition and academic research. He is currently writing a major
critical study of the works of the Russian composer Nikolai Medtner,
under contract to Ashgate Press, and remains the only Medtner scholar
to have examined the major manuscript sources in both Ottawa and
Moscow as well as London.
14
Vivace Chorus
Martin
Hall
received
his
music
education at the Royal Academy of
Music, where he was a prize-winner,
and New College, Oxford. He has had
a busy and wide-ranging career as a
conductor,
teacher,
singer
and
keyboard player in London, Cornwall
and Surrey.
A Fellow of the Royal College of
Organists, Martin has been active as a
recitalist, continuo player and church
musician. In the latter capacity he has
accompanied and directed services at
St
Bartholomew the Great,
Cathedral and New College.
Truro
As a conductor, Martin directed the
Truro Choral Society for several years as well as acting as
Chorus
Master for Richard Hickox, Paul Daniel and Leon Lovett. He was Director
of Music at Reigate VI Form College until 2004 before returning
as a
member of the music staff at New College. He directs the profession
al
chamber orchestra the Kensington Sinfonia, most recently in a highly
successful
programme with
the
virtuoso trumpeter Crispian
Steele-
Perkins in Abinger (where he directs the accomplished church choir) and
Herefordshire. He acts as duo partner with members of the orchestra
from time to time.
Martin has had a most cordial association with the Vivace Chorus
for a
number of years now, as deputy accompanist and conductor. He
has
taken part in several concerts with the choir in Guildford Cathedral
as
organist, pianist and harpsichordist.
NNNNNNNNNNNN
NNNNNNNNNNNN
NNNN
Vivace footnote: It's an unusual but very welcome experience
to have, in both Francis and Martin, two such stalwart supports
of the choir sharing the platform with us this evening!
Also, a warm welcome back to Natalia Brzezinska after her stunning
performance at our evening of Russian music in May.
NNNNNNNNNNNN
NNNNNNNNNNNN
Vivace Chorus
NNNN
15
M
Jeremy
Backhouse
began
musical
career
Canterbury
Cathedral,
in
where
he was
his
Head
Chorister, and later studied music
at Liverpool University. He spent
S5years as Music Editor at the
Royal National Institute of Blind
People (RNIB), where he was
responsible for the transcription of
print music into Braille. In 1986 he
joined EMI Records as a Literary
Editor
and
from
Aprii
1990
combined his work as a Consultant
Editor for EMI Classics and later Boosey & Hawkes Music Publishers
with his career as a freelance conductor.
In
January
1995,
Jeremy
was
appointed
Chorus
Master
and
subsequently Music Director of the Guildford Philharmonic Choir (now
the
Vivace
ambitious
Chorus).
Jeremy
programmes,
has
including
presented
and
Howell's
Hymnus
conducted
some
Paradisi
and
Szymanowski's Stabat Mater, Mahler's ‘Resurrection’ Symphony (No. 2)
and ‘Symphony of a Thousand’ (No. 8), Vaughan Williams' A Sea
Symphony,
Mendelssohn's
‘Lobgesang’
(Symphony
No. 2),
and
Prokofiev's Alexander Nevsky and Ivan the Terrible. Major classical
popular works have included Elgar's The Dream of Gerontius, Verdi's
Requiem and most recently, in November 2009, Haydn's The Creation.
Since 1980, Jeremy has been the conductor of the Vasari Singers,
acknowledged as one of the finest chamber choirs in the country,
performing music from the Renaissance to contemporary commissions.
Jeremy
is
totally
committed
to
contemporary
music
and
to
the
commissioning of new works. He and Vasari have commissioned over
20 works in their recent history, and this enthusiasm has spread to the
Vivace Chorus who, in May 2009, performed the premiére of their first
commission — local composer Will Todd's Te Deum.
Jeremy has also worked with a number of the country's leading choirs,
including the Philharmonia Chorus, the London Choral Society and the
Brighton Festival Chorus. For 6 years, to the end of 2004, Jeremy was
the Music Director of the Wooburn Singers, following Richard Hickox and
Stephen Jackson.
In January 2009, Jeremy was appointed
Music
Director of the Salisbury Community Choir.
16
Vivace Chorus
A Rufigiafi EQénihg, bes
Saturday 22TM May 2010
from Rachel Musgrove's review
for 'The Surrey Advertiser'
. In they clattered - handbags or programmes in one hand, cushions from home in the .
. other. Vivace Chorus's supporters are clearly well-practised in their concert-going
‘ rituals at Guildford Cathedral. Had the programme nailed me to the chair I might
. have felt a hair shirt moment coming on - the cathedral's chairs are designed for
- the truly devout - but as it was, this programme of Russian music had plenty to
- keep feet tapping and pins and needles at bay.
: And what a following; the place was packed. The Russian programme from this
- 120-strong chorus proved a popular choice. Borodin's Polovtsian Dances launched
. the first half, followed by the rarely heard choral version of Tchaikovsky's /812
. Overture. Some perfectly placed consonants in the 1812 proved this to be a
polished performance. The thunderous gunfire was particularly effective in the
battlefield cathedral acoustic; unfortunately the string writing in the Borodin had
« not fared quite so well in that cavernous space, coming across as muddied, with a
¢ slight delay at times between chorus and orchestra.
- It was Prokofiev's Ivan the Terrible where the spotlight came to rest in the second * half. Ivan, banned by Soviet authorities due to its complex characterisation of the
Russian hero, provided some intense moments for the two soloists from the opera
. course at the Royal Academy of Music and for the chorus.
. A deeply moving solo by the young, poised mezzo-soprano Natalia Brzezinska,
- 'Ocean Sea, Russian Sea', revealed a treat of a voice with chestnut tones. She was
* admirably backed by the murmuring chorus. We had the pleasure of hearing her
again in 'The Song of the Beaver' in which Brzezinska employed darker tones to
TSGML
emphasise the sinister edge to this seemingly innocent hunting story.
Vivace are capable of both a great delicacy of colour and a great show of strength.
|
Adjectives to describe the wordless chorus of benediction in 'Ivan's Sickness',
might be, say, 'sweet’, 'sublime’, 'dulcet’, but I'm going to go with 'mellifluous’.
LSR The baritone's drinking song in ‘The Banquet’ gave us an opportunity to hear the
* surprisingly big baritone voice of Lithuanian Vytautas Vepstas, backed by the men's *
- humming chorus, who were a little oo tentative at first, but with Jeremy
:
:1 Backhouse's firm lead, soon found the right level to project over the orchestra...
. This time next year Vivace Chorus is singing in Mahler's Symphony No.8 at the
_ Royal Albert Hall. This is a tour-de-force of the orchestral world, with its huge
¢ orchestra, eight soloists, two large choruses and a children's choir. Put 15th May
- 2011 in your diaries as a date not to be missed.
Vivace Chorus
£
About the Vivace Chorus
Jeremy Backhouse
Music Director
Francis Pott
Accompanist
The Committee
James Garrow
Chairman
Isobel Rooth
Hon. Secretary
Tel. 01252 702979
email: secretary@vivacechorus.org
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 Secretary
Tel. 07703 807250
Hilary Trigg
Publicity
Hilary Minor
Press Officer
Neil Martin
Committee member
Tel. 01403 751552
Tel. 01483 770896
Other (non-Committee) responsibilities
Christine Medlow
Music Librarian
John Britten
Music sales
Margaret Mann
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.
18
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: 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, Schitz and Monteverdi, with Vivaldi's
uplifting Gloria to end the evening. The season finished with Will Todd's
Te Deum — a world premiére and first commission by the choir, which we
recorded in July of this year and has just been released on CD.
In June 2009, half the choir and Jeremy embarked on what quickly
became known as the Tour de France. We gave concerts of music from
the early 16th to late 20th centuries 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!
The 2009/10 season started in lively fashion with Haydn's The Creation,
to mark the 200th anniversary of the composer's death. Our ltalian
evening in March showed the operatic composers Verdi and Puccini in a
light new to many, and lastly we brushed up our Russian pronunciation,
returning to Prokofiev, this time with Ivan the Terrible.
Our biggest project to date, to mark the centenary of Mahler's death, is a
performance of his monumental Symphony No. 8 in the Royal Albert Hall
on 15th May 2011 — read more about this on pages 22 and 23.
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.
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
19
Vivace Chorus Singers
FIRST SOPRANOS
Joanna Andrews
Helen Beevers
Mary Broughton
Elaine Chapman
Rachel Edmondson
Mo Kfouri
Hilary Minor
Susan Norton
Margaret Parry
Margaret Perkins
Kate Rayner
Gillian Rix
Rosemary Spalding
Carol Terry
Nikki Vale
SECOND SOPRANOS
Jacqueline Alderton
Anna Arthur
Barbara Barklem
Alison Dawson
Mandy Freeman
Judith Lewy
Krystyna Marsden
Debbie Morton
Kate Peters
Rosalind Plowright
Isobel Rooth
Ann Sheppard
Judy Smith
Paula Sutton
Zowie Sweetland
Philippa Walker
Christine Wilks
Frances Worpe
FIRST ALTOS
Penny Baxter
Monika Boothby
Jane Brooks
Margaret Dentskevich
Liz Durning
20
Sue Fletcher
Sheila Hodson
Pamela Leggatt
Jean Leston
Margaret Mann
Lois McCabe
Kay McManus
Christine Medlow
Mary Moon
Penny Muray
Gill Perkins
Karen Prodger
Marjory Rollo
Lesley Scordellis
Hilary Trigg
Maggie Woolcock
SECOND ALTOS
Valerie Adam
Geraldine Allen
Hannah Andrews
Evelyn Beastall
Sylvia Chantler
Ailis Clarke
Mary Clayton
Carolyn Edis
Celia Embleton
Elizabeth Evans
Valerie Garrow
Barbara Hilder
Carol Hobbs
Yvonne Hungerford
Janet Lansdale
Brenda Moore
Jacqueline Norman
Beryl Northam
Sheila Rowell
Prue Smith
Jo Stokes
Rosey Storey
Pamela Usher
June Windle
Elisabeth Yates
FIRST TENORS
Bob Cowell
Tim Hardyment
Nick Manning
Martin Price
John Trigg
SECOND TENORS
Bob Bromham
Peter Butterworth
Tony Chantler
Stephen Chowns
John Duke
Geoff Johns
Stephen Linton
Peter Norman
Jon Scott
FIRST BASSES
John Britten
Michael Golden
Brian John
Jeremy Johnson
Eric Kennedy
Chris Newbery
Chris Peters
Robin Privett
David Ross
Philip Stanford
SECOND BASSES
Peter Andrews
Roger Barrett
Alan Batterbury
Norman Carpenter
Dave Cox
Geoffrey Forster
James Garrow
Stuart Gooch
Nick Gough
Peter Jaffe
Michael Jeffery
Jonathan Long
Neil Martin
Mike Osborn
John Parry
Michael Taylor
Vivace Chorus
Vivace Chorus Patrons
The Vivace Chorus is extremely gratef
ul to all Patrons
for their financial support.
Honorary Life Patrons:
Mr Bill Bellerby MBE
Dr John Trigg MBE
Mrs Doreen Bellerby MBE
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 Janet McLean
John and Barbara Britten
Mr and Mrs R H R Broughton
Ron and Christine Medlow
Mr Michael Dawe
Dr Roger Muray
Mr and Mrs G Dombrowe
Mr and Mrs Maxwell S New
Mr and Mrs Joseph Durning
Dr Michael Golden
Susan and Cecil Hinton
Mrs Carol Hobbs
Gold Patrons:
Mr Robin Broadley
Mr and Mrs Philip Davies
Mr and Mrs John Parry
Silver Patrons:
Mrs Iris Bennett
Mr H J C Browne
Mrs Maryel Cowell
Dr and Mrs M G M Smith
Kathy Stickland
Miss Enid Weston
Bill and June Windle
Mrs Jean Radley
Brenda and Brian Reed
Prue and Derek Smith
Mrs M van Koetsveld
Mr Lionel Moon
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 [Plea
se see page 26 for more details.]
Our Patrons scheme underwent a
re-launch in 2009, the purpose of
which was two-fold: to give Patrons
additional benefits for their financial
backing and to encourage new Patro
ns to support the choir, which will
help us to continue to perform innova
tive, high-quality programmes.
Vivace Chorus
21
20" November 2010
Dear Concert-goer,
Welcome to our 64th concert season; one of the most ambitious and
exciting we have ever undertaken. Tonight's ‘Petite Messe Solennelle’ is
the first of seven concerts planned for the coming season.
Our concert programmes are as varied as ever and include glorious pieces
from the early Baroque onwards, but undoubtedly the climax of our season
will be Mahler's massive masterpiece — his eighth symphony. As one of the
highlights of the London concert season on 15" May, we are promoting a
performance of this work, created on a grand scale: for full symphony
orchestra, eight soloists, two huge choruses and a children’s choir.
The vast numbers required to perform this piece mean that it is rarely heard
live. Whether it is the thunderous E flat from the organ that launches the
symphony, the off-stage brass, the choir of 450, a soprano’s voice soaring
exquisitely from the top gallery or the finale’s huge fanfare, each moment of
Mahler’s epic work is one to be savoured.
The Vivace Chorus will be joined by four other choirs, including the London
Symphony Chorus, and will be accompanied by the Royal Philharmonic
Orchestra conducted by Jeremy Backhouse. Such a magnificent work is at
its best when performed in a concert hall of the grandeur of the Royal Albert
Hall — it will suit our concert perfectly.
Mahler's view was that "the symphony must be like the world, it must
embrace everything". We invite you to embrace this masterpiece at the
Royal Albert Hall, 7.30 on Sunday 15" May 2011. A free pre-concert talk
entitled ‘The universe bursts into song: Mahler and his Eighth Symphony’
will be given by Mahler expert Dr Jeremy Barham of the University of Surrey.
Make a wonderful evening out at one of the world’s greatest concert venues
even more relaxing by catching the coach from Guildford. For just £12, we
will transport you to the concert and bring you back afterwards. If you are
interested, please email tickets@VivaceChorus.org or call 07958 519 741;
better still, see our ticket desk tonight. Tickets range from £5 to £40 and can
be purchased tonight from our ticket desk or from the Royal Albert Hall:
www.rovalalberthall.com or call 020 7589 8212. Ticket sales are already
going well, and | urge you not to miss out on a rare opportunity to hear this
wonderful masterpiece.
| hope you enjoy tonight's concert, and look forward to seeing you again.
Yours sincerely
James Ganvew
Chairman
22
Vivace Chorus
ADOPT A MUSICIAN
See your name in our programme
having to sing a note!
ROYAL PHILHARMONIC ORCHESTRA
CONDUCTOR: JEREMY BACKHOUSE
In contrast to this
B
evening's performance,
our Concert of Mahler's
o
SYMPHo‘Nfi,{ N08
VIVACE CHORUSE
metonn
without
_
Eighth Symphony
»
in May next year will
employ a huge orchestra.
B! Members of the choir
¥ have already been given
ST
the opportunity to 'Adopt
a Musician' and we invite
you, our audience, to do
the same. You can
sponsor a string player
for as little as £25, wind
Please see the display at the back of the
cathedral tonight or
send your cheque, payable to Vivace
Chorus, to our Treasurer,
Bob Cowell: 1 Penhurst, Shores Road,
Woking, Surrey,
GU21 4HP. If you pay tax and would
like to enhance your
donation by using Giftaid, where the Reven
ue pay the Choir the
tax you would have paid before being
able to donate, please
email our Treasurer on treasurer@vivac
echorus.orq for a
suitable form.
Thank you for any assistance you can
major and exciting undertaking.
give us to sponsor this
The Vivace Chorus gratefully acknowledge the
sponsorship
of Natalia Brzezinska and Charles Rice by
Josephine Baker Trust.
Vivace Chorus
the
23
Were you there?
Did you enjoy it?
Will Todd
Te Deum Vivace Chorus
The Burning Road Crouch End Festival Chorus
If so, you might like to know
that a new Will Todd CD, Te
Deum, is on sale tonight.
It
features
the
2
Vivace
Chorus, Jeremy Backhouse,
soprano
Bethany
Halliday,
the Will Todd Jazz Trio and
Guildford Youth Choir, and is
coupled with Todd’s cantata
The Burning Road, recorded
by
Crouch
End
Festival
Chorus and David Temple.
[Tyalgum Press label catalogue
no TYA 004; £11.00.]
from Stephen Goss’ Review of Te Deum,
in the Surrey Advertiser, May 2009:
"Todd'’s brilliant new piece was the highpoint of the evening.
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 4th 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 choir’s undivided attention; his hard
work on detail and bold programming transformed this concert
into an event. I eagerly await their next commission.”
24
Vivace Chorus
For Complete
Family Eyecare
Extensive range offrames
|1 Wolsey Walk, Woking GU21 1XU
with many designer names | Tel: 01483
766800
Richard Broughton
Resident Partner
FCOptom DipCLP
Branches also at:
Camberley, Fleet and Guildford
Vivace Chorus
Registered Charity No 1026337
in the name of Guildford Philharmonic Choir
The staging for this concert is owned by
the Association of Surrey Choirs.
To
hire, please contact Penny Peters,
Guildford Cathedral Office (tel: 01403
Financially assisted by
G
GUILDFORD
@1 BOROUGH
547860). It was purchased with financi
assistance
from
the
Foundation
Sport and Arts, PO Box 20, Liverpool.
al [ Tonight's concert has been
for | heldin Guildford Cathedral
Printed by WORDCRAFT
115 Merrow Woods, Guildford, Surrey
Tel: 01483 560735
Vivace Chorus
by kind permission of the
Dean and Chapter.
GU1 2LJ
25
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 the 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 our Patrons Secretary,
Chris Short, on 07703 807250 or email him at
patrons@vivacechorus.org
26
Vivace Chorus
Looking forward to
seeing you at one of
our next concerts...
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with us again!
Join us for our annual event — there are still a few
places left. This year we are BAROQU Eing with the
exuberant and daring Dixit Dominus by Handel
.
and, as a contrast to this roller-coaster choral ride,
we will sing works by Lotti and Gesualdo.
Pick up a leaflet tonight or visit our website
for all the details.
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Chorus
22" January 201
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1st October
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www,VivateCh
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www.VivaceChorus.org
Registered Charity No 1026337