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Vivaldi
Gloria. ...
Bach Violin Concerto in E
Bach Brandenburg Concerto No.3
Vivace Chorus
Brandenburg Baroque Soloists
Violin - Persephone Gibbs
Conductor - Jeremy ‘Backhouse
Thursday 14 January 2016
7pm
Sponsored by:
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Welcome to the Brandenburg Choral Festival
May I wish you a very warm welcome to the fourth concert of the 2016
Brandenburg Choral Festival of London. Just starting our seventh year,
the BCFoL is firmly established as a major national choral event and the
premier showcase for amateur choirs with professional standards. This
year there will be around 80 choirs performing over 60 events in 14 iconic
London venues — ‘an excellent programme filled with so many vibrant
and stimulating events’, to quote our 2016 Artistic Patron, Bob Chilcott.
There really is something for everyone and alongside the standard
classical choral repertoire, you can hear jazz ensembles, gospel choirs and
at our Fringe Nights — almost anything goes! We also have three ‘Come
& Sing’ events this year which cater for all levels, from the experienced
choral singer to the enthusiastic newcomer and — how exciting — the final
one is while cruising at sea. Please do pick up a brochure (or a couple and
give one to a friend) or have a look at our website
www.brandenburg.org.uk to find out about all the events in the Festival.
You can also find out how you can get involved, either as a Friend or Ambassador.
In recent years we have also established links with around 100 small and midsize charitable
organisations and many of the concerts in the Festival will be affiliated to at least one charity. Tonight
we are delighted to welcome the 4Gs — no, not a new girl band created by Simon Cowell but the
Guildford & Godalming Grandmothers' Group. You can read about their excellent work elsewhere in
this programme, and we hope you will feel moved to contribute to the retiring collection which will go
to help them in their charitable endeavours.
Tonight’s first concert presents the Brandenburg Baroque Soloists who play in a historically informed
style on period instruments, and features leader Persephone Gibbs in the ever-popular concerto by J. S.
Bach. The second half if a real celebration of almost twenty years of music making between the
Brandenburg Team and the Vivace Chorus, all conducted by their outstanding director, Jeremy
Backhouse.
After this concert you should have just enough time to pop downstairs for a quick glass in the crypt
before our second concert of the evening: the legendary Joyful Company of Singers and their director
Peter Broadbent are performing Rachmaninov’s iconic setting of the Vespers — also known as the AllNight Vigil ( but don’t panic — it only lasts an hour!). Please do join us if you can.
I am sure you will have a lovely time this evening and I look forward to seeing you at another concert
soon.
Wishing you all a very Happy and Peaceful New Year.
zg
i
Robert Porter
Brandenburg Artistic Director
PS.
Brandenburg Ambassadors and Friends
Our Brandenburg Ambassadors are all volunteers who give up some of their spare time to help out at
concerts, and I am eternally grateful for their support. You may see them selling programmes, manning
the bar, gathering email addresses, or simply saying 'Hello' when you arrive. As well as hearing concerts
and rehearsals for free, there are social events during the year and the chance to meet like-minded people.
If you would like more information about becoming an Ambassador, please email
concert@brandenburg.org.uk.
Alternatively, you might like to become a Friend of the Brandenburg. By signing up to our free email
service you will receive details of all our activities and events as well as special offers on tickets and
priority booking. To sign up simply email brandenadmin@brandenburg.org.uk or you can use the contact
form on the website www.brandenburg.org.uk
BRANDENBURG
CHORAL FESTIVAL
OF LONDON
Artistic Director
SPR';'(G, 155"'55
Artistic Patron
Associate Music Director
Ralph Allwood MBE
General Manager
Frances Birch
Concert Manager
Jane Kersley
Development Officer
Claudia Jenkins
Marketing Manager
Marc Gascoigne
Administrator
Karin Hayes
Administrator
Editor
Friends Chairman
Mervion Kirwood
Celia Kent
Tim Rooke
Robert Porter
Bob Chilcott
The Brandenburg Choral Festival is a collective of like-minded promoters dedicated
to the promotion of high quality choral performance including :
Brandenburg Symphony Orchestra Ltd, JK Management, Fran Birch Music, Oxford Concert Productions.
Lrogramme
Johann Sebastian Bach
Brandenburg Concerto No. 3
Johann Sebastian Bach
Concerto No. 2 for Violin and Orchestra
in E Major BWV 1042
e v //Zfé/’l’[&/e
Antonio Vivaldi
Gloria
PROGRAMME
Brandenburg Concert No. 3
NOTES
Johann Sebastian Bach (1685—1750)
Brandenburg Concerto No. 3 calls for three violins, three violas, two or three cellos, plus basso
continuo (played here by harpsichord and double bass). It is based on the classic concerto grosso
pitting a ‘soloistic’ group of players or concertino against a background ensemble, called the ripieno
or tutti.
The Brandenburg Concerto No. 3 is a concerto in the sense that the word was employed in the
Baroque to mean a ‘coming together’ of instruments. Here the instruments that come together are the
strings in an unusual distribution and knowing how fascinated Bach was with numerology, is it merely
a coincidence that the Concerto No. 3 should be scored for three sections - three violins, three violas,
three bass instruments? The violinists and violists serve as both concertino and ripieno; in tutti
sections the three players of each instrument perform in unison, as a section, but in the contrasting
episodes they go their separate ways as three soloists.
The opening Allegro offers a magnificent example of what might be called ‘musical choreography,’
in which the musical material is tossed from one instrumental group to another like a sonic volleyball.
The closing movement, also an Allegro, is a high-spirited fugue that seems to ask the players to push
the tempo to the limit, but here the writing is considerably less intricate than that found in the first
movement. The two Allegros are connected by a musical mystery: a sequence of merely two chords
forming an imperfect (or ‘Phrygian’) cadence. There is little agreement among musicians and
musicologists about whether the chords should be played verbatim or whether they should be
understood to close a movement inserted at the player’s discretion.
Johann Sebastian Bach (1685—1750)
Concerto No. 2 for Violin and Orchestra
in E major BWV 1042
Written while Bach was Kapellmeister at the court of Anhalt-Céthen, the E major Concerto follows
the traditional Italian model of three movements, arranged fast—slow—fast. In the opening
movement, the violin is carefully integrated into the texture and melodic working-out of the material.
The basic formal plan of the movement is ritornello — i.e., the frequent return in the orchestra of the
opening music which is easily discerned in this concerto by the three chords that occur at the
beginning of each. The episodic sections between the recurrences of the ritornello see the soloist in
dominant mood.
The exquisite second movement derives its style from the operatic world. The basses present a theme,
full of pathos, at the outset that is repeated in various keys throughout the movement. Above this rises
the touching melody of the soloist as counterpoint and commentary on the orchestral background. The
finale, constructed in a strict rondo form, resumes the dancing spirit of the first movement. The
opening tutti rondo theme, returns unchanged four times. In between, the soloist embellishes the
theme in a variety of ways.
Gloria
V
Antonio Vivaldi (1678-1741)
Gloria, probably Vivaldi’s best-known sacred work, must surely be counted among his most
important contributions to church music. It was probably written for the Feast of the Blessed Virgin
in 1713 or 1714. This was the Patronal Feast of the Ospedale della Pieta (the orphanage for young
girls) in Venice where Vivaldi was music master and is therefore the most likely reason for its
composition. It was not unusual for single mass movements to be set to music, as certain occasions
required individual treatment of a particular movement. This was most likely the case for this piece.
The work is set in broad dimensions. It is almost like a cantata and is divided into twelve short
movements, each of which is well contrasted in tempo, key, scoring and musical style. The
conspicuous use of winds (oboe and trumpet) as obligato instruments and its allocation of solo parts
exclusively to high voices are typical of the works written for the Pieta.
The first movement, ‘Gloria in excelsis Deo’ (Glory to God in the highest), with its octave leaps in
the strings and the subsequent trumpet run is typical of the festive brilliance of Vivaldi’s church
music. It exerts an almost hypnotic sense of forward drive in the listener. The second movement, ‘Et
in terra pax hominibus’ (and peace on earth to all men), is a moving and broadly conceived section of
music, with its intense chromaticism almost contradicting the meaning of the text. After a lighthearted duet for two solo voices, ‘Laudamus te’ (we praise Thee, Lord), there follow two contrasting
movements in E minor: the ‘Gratias agimus tibi’ (we give thanks unto Thee), and the magnificent
fugal ‘Propter magnam gloriam tuam’ (for thy great glory Lord).
The next movement, ‘Domine Deus’ (O Thou our Lord God) is a flowing largo in the style of a
Siciliano based on pizzicato lower strings. It is an expressive dialogue between solo soprano and a
hauntingly beautiful solo for oboe. After the ‘Domini Fili unigenite Jesu’ (Lord Jesus Christ), the
eighth section ‘Domine Deus, Agnus Dei’ (Lord God, Lamb of God) is a calm prayer for solo voice
with passionate interjections from the chorus. This prayer is echoed by the intensely chromatic choral
‘Qui tolis peccata mundi’ (Thou who takest away the sins of the world) which is followed by the
determined ‘Qui sedes ad dextram Patris’ (who sittest on the right hand of the Father).
The penultimate movement, ‘Quoniam tu solus sanctus’ (for Thou alone art holy) draws on the
material from the opening Gloria for chorus. The final movement ‘Cum Sancto Spiritu’
(with the
Holy Spirit) is not original work by Vivaldi. He adapted a fugue by the minor Veronese composer G.
M. Ruggieri. Vivaldi largely rewrote the piece, adding a virtuoso trumpet part to bring to a glorious
conclusion one of the great masterpieces of the choral repertoire.
o.eSORl
Gloria in excelsis Deo
Et in terra pax hominibus
Laudamus te
Gratias agimus tibi
Propter magnam gloriam tuam
Domine Deus
Domine Fili unigenite Jesu
Domine Deus, Agnus Dei
Qui tollis peccata mundi
— (] . Qui sedes ad dextram Patris
11.
Quoniam tu solus sanctus
12. Cum Sancto Spiritu
BIOGRAPHIES
Vivace Chorus
Vivace Chorus is a flourishing and adventurous choir based
in Guildford, Surrey. We have two aims: to make music of
the highest standard and to have fun while doing so.
The choir has come a long way since it began some 67
years ago as the Guildford Philharmonic Choir, gaining
over time an enviable reputation for performing first-class
concerts across a wide range of musical repertoire.
Since
1995, Vivace has thrived under the exceptional leadership of this evening’s conductor, Jeremy
Backhouse, supported by pianist and composer Francis Pott as rehearsal accompanist.
Our repertoire spans more unusual works such as Prokofiev’s Alexander Nevsky as well as the great
choral masterpieces of Bach, Brahms, Handel, Haydn, Mozart and Verdi, and the more intimate works
of Fauré, Tavener, Allegri and Lauridsen. We also actively promote the classics of the future with our
‘Contemporary Choral Classics’ series, commissioning new works when funds allow.
Particular successes in recent years have included a sell-out performance of Mahler’s Symphony No. 8,
the ‘Symphony of a Thousand’, at the Royal Albert Hall, a highly acclaimed performance of Britten’s War
Requiem, and another Royal Albert Hall success in May 2014, when we performed the Verdi’s Requiem.
Our 2015—2016 season opened in Guildford’s concert hall, G Live, with a performance of Orff’s
well-known Carmina Burana, alongside the rarely performed but equally deserving Vaughan
Williams’ Five Tudor Portraits, and will continue on 5 March 2016 with an evening featuring some
of opera’s best-loved choruses and arias. The last concert of the season, in May, showcases some of
the best of French choral music from Massenet, Fauré and Franck.
In addition to our own concerts, we also sing in various charity concerts and are delighted to take part
each year, as tonight, in the Brandenburg Choral Festival here in St Martin-in-the-Fields.
Sopranos
Jacqueline Alderton, Helen Beevers, Mary Broughton, Rachel Edmondson,
Isobel Humphreys, Rebecca Kerby, Alex Nash, Emily Nash, Susan Norton, Margaret Parry,
Kate Peters, Gillian Rix, Joan Thomas, Valerie Thompson, Christine Wilks, Frances Worpe
Altos
Barbara Barklem, Jane Brooks, Liz Durning, Valerie Garrow, Jo Glover, Christine Medlow, Penny
Muray, Gill Perkins, Lesley Scordellis, Carol Sheppard, Prue Smith, Rosey Storey, Hilary Trigg,
Pamela Usher
Tenors
Mike Bishop, Peter Butterworth, Bob Cowell, Simon Dillon, Peter Norman,
Martin Price, John Thornely, John Trigg
Basses
Peter Andrews, Michael Dudley, James Garrow, Stuart Gooch, Neil Martin, Malcolm Munt, John
Parry, Peter Pearce, Chris Peters, David Ross, Philip Stanford, Kieron Walsh
Brandenburg Baroque Soloists
Brandenburg Baroque Soloists is one of the exciting new
orchestras playing on period instruments. It was originally
created as an offshoot of the highly successful Brandenburg
Sinfonia for a performance of Bach’s Christmas Oratorio in
2004. The orchestra is a judicious mixture of regular Sinfonia
players who play on both modern and original instruments with
some of the finest period instrument specialists drawn from the
same pool as the Academy of Ancient Music, the Orchestra of
the Age of Enlightenment and the Gabrieli Consort.
The repertoire of the orchestra has expanded steadily to include the standard baroque choral classics
including Handel’s Messiah, the Bach Passions, numerous oratorios and much of the standard
instrumental repertoire including Vivaldi’s Four Seasons and of course the Brandenburg Concertos.
Persephone Gibbs
Violin 1
Viola
Stefanie Heichelheim
Trumpet
Neil Brough
Debbie I?iamond
Marina Ascherson
Hurosichord
B
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Katie De La Matter
Magda Loth-Hill
Sebastian Comberti
2
Florence Petit
Jan Zahourek
Violin 2
John Rogers
Cello
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Oboe
Geoff Coates
Jeremy Backhouse — Conductor
Jeremy is one of Britain’s leading conductors of amateur choirs. He began
his musical career in Canterbury Cathedral where he was senior chorister.
In 1980 he was appointed music editor at the RNIB, where he was
responsible for the transcription of print music into braille. He has worked
for both EMI Classics and later Boosey & Hawkes music publishers as a
literary editor, but now pursues his career as a freelance conductor.
Jeremy has been the sole conductor of the internationally renowned chamber choir Vasari Singers
since its inception in 1980. Since winning the prestigious Sainsbury’s Choir of the Year competition
in 1988, the Vasari Singers has performed regularly on the South Bank and at major concert venues
in London, as well as in many of the cathedrals and abbeys of the UK. Jeremy and the Vasari Singers
have broadcast frequently on BBC Radio 3 and 4, have a discography of over 25 CDs on the EMI,
Guild, Signum and Naxos labels, and have recently launched their own label with a recording of
Jonathan Rathbone’s Under the shadow of His wing, which they premiered in 2014.
In January 1995, Jeremy was appointed Music Director of the Vivace Chorus (then the Guildford
Philharmonic Choir). Alongside the standard classical works, Jeremy has conducted the Vivace
Chorus in some ambitious programmes, including Howells’ Hymnus Paradisi and Szymanowski’s
Stabat Mater, Mahler’s ‘Resurrection’ Symphony (No. 2), Prokofiev’s Alexander Nevsky and Ivan the
Terrible, Mahler’s ‘Symphony of a Thousand’ (No. 8) and Verdi’s Requiem in the Royal Albert Hall
with the Royal Philharmonic Orchestra, and Britten’s War Requiem.
In January 2009 Jeremy took up the post of Music Director of the Salisbury Community Choir. His
first major engagement with them was the opening concert of that year’s Salisbury International Arts
Festival, in Salisbury Cathedral, premiering a vast new work by Bob Chilcott entitled Salisbury
Vespers. In 2013 the choir celebrated its 21st anniversary with a major concert in Salisbury Cathedral,
featuring the world premiere of a specially commissioned community work by Will Todd, The City
Garden, which they subsequently toured to Lincoln (2014) and Guildford (2015).
Catriona Hewitson — Soprano
Catriona Hewitson is an Edinburgh-born soprano who is currently studying
for a Masters at the Royal College of Music and is taught by Janis Kelly.
Catriona is an RCM Scholar supported by the Emma Rose Memorial Award
and is also generously supported by the Josephine Baker Trust, Hope Scott
Trust, the James Caird Travelling Fund, the Cross Trust and PS. Catriona
was a student at the City of Edinburgh Music School before starting at the
Royal Northern College of Music as an undergraduate. During her time at
the RNCM, where she studied with Deborah Rees, she gained a first-class
degree and a distinction for her postgraduate diploma. She won several prizes while at the RNCM and
at the RCM she came second in the Lies Askonas Competition and was awarded the Cuthbert Smith
Prize.
She made her debut as a soloist in the Bridgewater Hall singing Szymanowski’s Stabat Mater and has
toured Northern Ireland with the Ulster Orchestra. Catriona has performed as part of the Brandenburg
Choral Festival twice in St Martin-in-the-Fields singing Mozart’s Requiem. She sings for the BBC
Radio 4 Daily Service Singers, London Voices, the Chorus of Enlightenment, Caledonian Voices,
Ludus Baroque and the National Youth Choir of Scotland.
Last autumn, Catriona was working with English Touring Opera, covering the roles of Sophie
(Werther) and Yniold (Pelléas et Mélisande). She has just finished performing the role of Ida (Die
Fledermaus) with John Copley at the RCMIOS. Other roles at the RCMIOS have included Emmie
(Albert Herring) and the ensemble of Giove in Argo by Handel as part of the London Handel Festival.
In the RNCM operas she played Harry (Albert Herring), Amore (Orfeo e Euridice) and Wife
(Paradise Moscow). While with British Youth Opera, she performed the roles of Squirrel and First
Young Tree (Paul Bunyan).
This year Catriona will be performing a lunchtime recital for the Scottish Arts Club and returning to
sing with Shrewsbury Choral Society. She will also be performing in opera scenes at the RCM later
this month.
Helen Brackenbury — Mezzo-soprano
Helen Brackenbury hails from Nottingham where she began her singing
career in the renowned Cantamus Girls’ Choir, becoming one of the
principal soloists and studying with the choir’s late director, Pamela Cook.
Helen gained a scholarship and went on to study at the Royal Academy of
Music.
As a member of Royal Academy Opera, Helen studies with
Elizabeth Ritchie and Audrey Hyland. Before this she completed a BMus
and MA degree (distinction) under the tuition of Sarah Walker and Mary Hill.
In recent months, Helen has performed in venues such as the Wigmore Hall, St Paul’s Cathedral and
at the Oxford Lieder Festival. Helen has also been fortunate enough to sing in the Royal Academy of
Music/Kohn Foundation Bach Cantata series in special concert conducted by the internationally
renowned, Masaaki Suzuki. She has performed the roles of Mrs Sedley from Britten’s Peter Grimes,
Mrs Herring from Britten’s Albert Herring, Bianca from Britten’s The Rape of Lucretia and Eduige
from Handel’s Rodelinda in the Royal Academy’s opera scenes. Helen has also performed the roles
of La Maestra della Novizie and La Sorella Infirmeria in Puccini’s Suor Angelica and Marcellina in
Mozart’s Le nozze di Figaro performed at the Hackney Empire for Royal Academy Opera.
As a soloist, Helen has sung all over the country in concert and oratorio works, some of which include
Elgar’s Sea Pictures with Harmony Sinfonia Orchestra, Mozart Requiem and Vivaldi’s Gloria.
Future engagements include Opera Holland Park, the role of Stepmother in Rimsky-Korsakov’s May
Night and Arnalta in Monteverdi’s L’incoronazione di Poppea for Royal Academy Opera.
Helen is kindly supported by the Patricia Kris Wolfe Prize, the Josephine Baker Trust, the Countess
of Munster Musical Trust, the Chizel Educational Trust, the Winship Foundation, the Split Infinitive
Trust and the Pamela Cook Memorial Fund.
Persephone Gibbs — Violin
Persephone’s education ran the gamut from studying with violin pedagogue
Dorothy DeLay at the Juilliard School, through English and law degrees, to
improvising and writing songs with a rock band. Her interest in period
performance was cemented while studying with David Takeno and Rachel
Podger at the Guildhall School of Music, where she won prizes for chamber
music and solo Bach performance.
Hailed by Time Out as a ‘rising star of the baroque violin,” Persephone is
director/soloist in the Brandenburg Baroque Soloists’ series of concerto programmes at St Martin-inthe-Fields and leads the group’s performances of the major baroque choral repertoire. Persephone also
leads Devon Baroque, the Temple Players, Charivari Agréable Simfonie and the Bampton Classical
Players, with whom she has appeared as soloist at the Wigmore Hall. She led Opera Theatre
Company’s productions of Orlando and Alcina at the Buxton Festival.
Persephone has appeared as soloist and guest leader with Florilegium, the Festive Orchestra of
London and the Orchestra da Camera Lorenzo Da Ponte. She was recently a featured soloist with the
English Concert in Radio 3’s Baroque Spring season.
An interest in early Italian repertoire has led Persephone to work with His Majesty’s Sagbutts and
Cornetts, the English Cornett and Sackbut Ensemble and I Fagiolini. She played the pre-recorded
ritornelli for Silent Opera’s innovative production of Monteverdi’s L’Orfeo this year.
Persephone has co-founded two chamber groups: the Constanze Quartet, which performs the classical
and early romantic string quartet repertoire; and Gut Instinct, which explores seventeenth and
eighteenth century music for two or, more unusually, three violins and continuo. Both groups enjoy
presenting neglected composers in the context of their more famous contemporaries, and
Persephone’s research has unearthed pieces not regularly performed in centuries.
Persephone regularly guest lectures at City University on historical performance and period string
instruments; she frequently directs undergraduate performance workshops there as well.
Persephone is a member of the Academy of Ancient Music, the Orchestra of the Age of
Enlightenment, the Gabrieli Consort and the Amsterdam Baroque Orchestra.
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The Guildford & Godalming Grandmothers’
Group - 4Gs
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We are mainly grandmothers ourselves and have come %
together to express our solidarity with the thousands of
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orphaned grandchildren. Our aim is to support projects appropriate to their needs,
whether practical, medical, social or emotional. All projects are agreed in
consultation with the grandmothers themselves, respecting their expertise and
promoting true solidarity in the fight against AIDS.
seeds for vegetable plots,
Projects range from providing
school uniforms and medication to bereavement
counselling.
The Guildford and Godalming Grandmothers’ Group was founded in 2011 as the
first UK branch of the Grandmothers to Grandmothers Campaign, which is linked to
the Stephen Lewis Foundation, a Canadian organisation seeking to turn the tide of
AIDS in Africa and supporting over 300 community projects in 15 countries of subSaharan Africa. We organise fundraising events such as stalls at local fetes, quiz
evenings, coffee mornings and a Christmas food hamper raffle, raising over £2,000
each year.
We also give presentations to local groups to raise awareness of the plight of the
African grandmothers. One of the 4Gs attended Vancouver Tribunal in 2013 with
Canadian and African grandmothers and two joined 500 Ugandan grandmothers
and 20 Canadian grandmothers for a convention in Entebbe in 2015. They can
relate stories of both sadness and hope.
To find out more about us, you can contact us via our website or by email:
www.grandmothers4.org
grandmothers4@hotmail.co.uk
We are very grateful to the Brandenburg Choral Festival for the opportunity to be
involved with the concert this evening.
As a very small organisation, this
opportunity to raise funds for African grandmothers is very much appreciated.
Please note - for your comfort and enjoyment
Smoking and consumption offood and drink
are not allowed in the church.
Patrons are kindly requested to switch off mobile phones
and alarms on digital watches.
Flash photography, audio and video recording are not permitted.
Please try to restrain from coughing; a handkerchief
placed over the mouth while coughing assists greatly in limiting the noise.
Thank you.
Once the concert starts entry
will only be permitted between pieces.
The Crypt Gallery and Café in the Crypt can be hired for private functions.
Phone 020 7839 4342.
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