Ein deutsches Requiem
ott: cantus Maris
Vorld premiere]
Philharmonia Orchestra
Vivace Chorus
The London Chorus
Conductor: Jeremy Backhouse
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Tormead School, Cranley”
Registered Charity No: 312057
BRAHMS
EIN DEUTSCHES REQUIEM
POTT
CANTUS MARIS
Claire Seaton
Sarah Fryer
Gareth Brynmor John
Soprano
Mezzo-soprano
Baritone
Vivace Chorus
The London Chorus
Philharmonia Orchestra
Conductor: Jeremy Backhouse
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Cranmore School
Independent Preparatory School
for girls and boys 2%2 - 13
Francis Pott (b. 1957)
Francis began musical life as
a chorister at New College,
Oxford. He held Open Music
Scholarships at Winchester
In 1992 his five-movement Passion Symphony for organ
solo, Christus, was acclaimed in the national press as
‘surely one of the most important organ works in our
century’. In 2004 he was awarded Honourable Mention in
the Barlow International Award for Composition (USA),
placed 2nd in a worldwide field of 362 professional
College and then at
Magdalene College,
Cambridge, where he studied
composition with Robin
Holloway and Hugh Wood
the BASCA Annual Composer Awards, staged in
while also pursuing piano
In August 1999, A Song on the End of the World, his
studies privately in London
with the distinguished British
The Times as ‘thrilling music, ...contemporary and
composers behind his friend and compatriot, Judith
Bingham. In 2006 and 2011 he was a nominated finalist in
association with the BBC.
oratorio for soloists, chorus and orchestra, was hailed in
original, ...impressive and profoundly affecting’, and in
After six years teaching in the independent secondary
sector, he became a tutor in composition for the University
of Oxford, gradually expanding his remit until he was
teaching for over half of its colleges. Throughout the 1990s
Francis was John Bennett Lecturer in Music at St Hilda’s
College, Oxford, and also a bass lay clerk in the Choir of
Winchester Cathedral, under the directorship of Dr David
Hill. In 2001 he relinquished these roles to become Head
of London College of Music, University of West London,
later leading Research across the University’s wider Faculty
of Arts and acceding in 2007 to its first ever Chair in
Composition. In addition to his current Professorship he
holds MA and MusB degrees from the University of
Cambridge, a PhD, a Fellowship of London College of
Music (FLCM) and a Principal Fellowship of the Higher
Education Academy (PFHEA).
Winner of four national and two international composition
awards, in 1997 Francis received First Prize in the piano
solo section of the S.S. Prokofiev Composing Competition
in Moscow, for his Toccata (dedicated to his friend, the
legendary French-Canadian virtuoso Marc-André Hamelin).
The Birmingham Post as ‘a stunning premiére,
...apocalyptic and luminous’. In 2006 his further oratorio
for tenor soloist, double chorus and organ, The Cloud of
Unknowing was acclaimed by Richard Morrison in The
Times: ‘A sincere, intelligent and admirably unsensational
meditation on the darkness at the heart of man. ...One
sometimes writes, hyperbolically, of a performance
moving one to tears. But at the end of Francis Pott's The
Cloud of Unknowing, genuine tears were shed'.
Francis’s recent output includes Word, a half-hour
meditative sequence for chorus and organ which
interrogates the meaning and message of the Gospels in a
postmodern age, and which intersperses five poems of
R.S.Thomas with verses from St John’s Prologue in the
New Revised Standard Version; also a large-scale Mass for
eight parts, recorded in 2011 on the Naxos label by its
dedicatees, the Oxford-based chamber choir Commotio
under their conductor, Matthew Berry. Concert music has
included a song cycle setting German translations of
Russian poems by Pasternak and Akhmatova and a halfhour Sonata for viola and piano; these two works were
released together on CD by the English Music
(EM Recordings) label in December 2014, to widespread
acclaim.
Recent works include a sequence of songs for the British
tenor James Gilchrist, and also The Lost Wand — an earlier
22-minute work for chorus and orchestra, with text in
German and English by Hermann Hesse, Karen Gershon
and Vernon Scannell, looking at the plight of children
caught up in the ravages of war. This was performed in
Winchester Cathedral and in Germany during January and
February 2016 by Hampshire County Youth Orchestra and
the choir of the Liebigschule from Giessen (twinned with
Winchester), under the baton of Carl Clausen. Among
current projects are concertos for violin and for cor anglais
and further works for organ. A large-scale orchestral
symphony is in the planning stages.
PMheoartgipy:
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Music by Francis Pott has been performed and broadcast
in over forty countries, widely recorded for CD (including
the Naxos, Hyperion, Signum, Meridian, Delphian and
Priory labels) and published by five major houses within
the UK. In December 2013 Francis signed a contract with
Edition Peters which will see publication of all his future
choral and organ works, and which has already led to
issue of the score of Cantus Maris.
Francis remains active as a piano soloist, accompanist and
chamber partner and maintains a particular research
y Goddard
ew Rupp
interest in the oeuvre of the émigré Russian composerpianist, Nikolai Medtner. He is married with two children
(both following him in musical directions) and lives in a
village on the outskirts of Winchester. He prizes his
lengthy association with the Vivace Chorus and also the
support and encouragement extended to him by the
University of West London over many years.
Saturday
Rebekah Jones
Brandenburg Sinfonia
17 June 2017 /pm
St James’s Church, 197 Piccadilly, London W1J 9LL
Tickets £18
VasariBMM.brownpapertickets.com
. Registered Charity No. 1071299
0800 411 8881
Cantus Maris
.........................................................
Commissioned by the Vivace Chorus
to celebrate its 70th anniversary.
Generously funded by a legacy from Enid Weston.
The impulse behind this music and the generous
commission which brought it to fruition sit some years
connecting of the dots integral to my life are what | seem
to try to do. You met James, he loved ships and the sea,
you love music and words, | am reading the words for
James and his community, you write music, | love the
psalms, you are a friend, | love attaching the magic of a
creative experience to human existence ...thus, were you
to set the verses of Psalm 107 in the way you do, so many
dots would be connected...
apart. In 2009 | wrote to my Canadian close friend, Peter
‘Think of us Saturday - and on Sunday James's ashes will
Butterfield, upon learning of the death of his father, James,
be scattered from a smallish boat, in a brief ceremony at
whom | had known. Peter and | had sung together in the
the entrance to Vancouver Harbour, where he sailed in
choir of Winchester Cathedral before he and his family
and out many times.’
moved back to his native British Columbia in 2001. The
reply | received makes an eloquent case in our email-
obsessed age for a revival in the civilized art of letter
writing, and | quote from it here with Peter’s blessing:
‘These have been the most changing of times, though it is
hard to articulate exactly what has happened. The sense of
loss is fundamentally altering.....where did they go?....how
could it all be so swift and inevitable, and yet appear to
drag on for decades and the end be utterly, shockingly
final. The mysteries are part of faith, | understand that, and
James, | believe, did as well. He marvelled at the universe
and its ways. His experience at sea (where a man learns to
pray ....) sorted out so much for him, and not least a
reliance on 'whoever is running this mud-ball'! (his
words).
‘“You will be familiar with Psalm 107: They that go down to
the sea in ships... My inner preference is never to read a
psalm, as they resonate with the entire history of music,
It is Peter’s English wife, Sarah Fryer, who performs the
mezzo-soprano solo part of Cantus Maris tonight.
Aptly, given its unenviable proximity this evening to one of
the great masterpieces of western music, Cantus Maris is
conceived as a sort of miniature ‘Sea Requiem’ - and,
indeed, bore that working title until something else
suggested itself (Latin being by its nature timeless in
feeling and a common preserve of western cultures).
Within its opening bars occurs a fleeting idea whose sense
of harmonic tension and release fittingly suggested the
rising and breaking of a wave. Accordingly this recurs at
many points throughout the music, as do a number of
other recognisable motifs. The voice of the mezzo-soprano
soloist cannot be ascribed consistently to any single
presence; instead, there is a blurring of identities,
sometimes placing the soloist alongside those in peril on
the sea, sometimes narrating, sometimes articulating a
prayer for protection and, finally, conferring valedictory
and are infinitely more expressive when set. However, |
blessing. The music and the assembled words articulate
will be reading it at the memorial service. It did occur to
me that when you read this verse, great waves of melody
and harmonies will be forming in your mind. The
some existential, metaphorical journey across the sea of
life and through the dangers attending our human passage
on its ever-changing face. The central section seems at
‘lames drew his faith from the uncertainty of life at sea. A
times to celebrate the forces of nature in an exuberant,
fatalist at heart, perhaps like most sailors, he had no fear
pantheistic fashion, before giving way to mortal fear in the
of death — he simply ignored it. When it came, he would
teeth of an escalating elemental menace. The Epilogue
be ready. If the going got rough, there was one motto:
sees the mortal vessel safe home to its anchorage and
keep her afloat until morning.
bestows blessing upon life in the evening of its years,
before a final chord (appositely transplanted from the end
'So we ask you to think of James, sailing his boat Elsinore
of my earlier oratorio The Cloud of Unknowing, 2005)
in a stiff breeze, gunwales under, and singing at the top of
seeks to enfold all in the perpetual, disconsolate mystery
his lungs, a genuinely happy man:
of the sea. This section arises naturally from the scattering
of James Butterfield’s ashes in the entrance to Vancouver
Yesterday was full of trouble and sorrow
Harbour.
No-one knows what’s going to happen tomorrow
So give yourself a pat on the back, pat on the back, pat on
If Peter’s words cast a necessary light on Cantus Maris as
the back,
the fulfilment of an ancient promise, so too do those with
And say to yourself, your jolly good health,
which his brother concluded his address at that memorial
I've had a good day today.’
service in 2009:
© Francis Pott, 2017
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Cantus Maris
Orchestra, Mezzo-soprano
SOLO
Lord, thou hast searched me out and known me. Thou knowest my down-sitting and mine uprising.
Thou understandest my thoughts long before.
Thou art about my path, and about my bed, and spiest out all my ways.
If I climb up into heaven thou art there. If | go down into hell thou art there also.
If | take the wings of the morning, and remain in the uttermost parts of the sea,
Even there also shall thy hand lead me, and thy right hand shall hold me.
CHORUS
They that go down to the sea in ships, and occupy their business in great waters;
These men see the works of the Lord, and his wonders in the deep.
Here fare far out
Mariners and marauders, foragers and fishermen,
Tearing their treasure from the teeth of the waves, from the gullet of the gaping shores.
Over the heaped and heaving hills they return to the wistful harbours.
The snow falls like feathers, the hail like quills,
The sun sets, and the night rises like a sea mist,
And the fog is in the bones of the drowned.
So is the great and wide sea also, wherein are things creeping innumerable, both small and great beasts.
SOLO
For at his word the stormy wind ariseth, which lifteth up the waves thereof.
They are carried up to the heaven and down again to the deep. Their soul melteth away because of the trouble.
CHORUS
Wild winter has slain us.
It comes across the fierce sea,
the spear of the wild winter season.
Out of the deep have | called unto thee, O Lord. Lord hear my voice.
When the wind sets from the east the mettle of the wave is roused; it desires to pass over us westward to the spot where the
sun sets, to the wild broad green sea.
When the wind sets from the west across the salt sea of rapid currents, it desires to pass over us eastward to the Tree of the
Sun to seize it, to the wide long distant sea.
The ocean is full, the sea is in flood. ...The wave with mighty fury has fallen across each wide dark river-mouth; wind has
come, winter’s fury has slain us.
Out of the deep have | called unto thee, O Lord. Lord hear my voice.
Son of God, protect me from the horror of wild tempest! Only protect me from the horror of hell with towering tempest!
SOLO
So when they cry to the Lord in their trouble he delivereth them out of their distress.
For he maketh the storm to cease, so that the waves thereof are still.
Then are they glad, because they are at rest, and so he bringeth them unto the haven where they would be.
Over the heaped and heaving hills they return to the wistful harbours.
Whither shall | go then from thy Spirit, or whither shall I go then from thy presence?
CHORUS
Whither shall | go then from thy Spirit, or whither shall | go then from thy presence?
If I climb up into heaven thou art there. If | go down into hell thou art there also.
If | take the wings of the morning, and remain in the uttermost parts of the sea,
Even there also shall thy hand lead me, and thy right hand shall hold me.
SOLO
The compassing of the God of Life be on thee,
The compassing of the Christ of Love be on thee,
The compassing of the Spirit of Grace be on thee,
The three who are in the earth,
The three who are in the heaven,
The three who are in the great pouring sea.
CHORUS and SOLO
Amen.
Text:
Extracts from Psalms 107, 130, 139
Caedmon reproduced by permission of the estate of Norman Nicholson
~
Anon, Irish 11th cent. and two Celtic blessings from Carmina Gadelica (collected by Alexander Carmichael, 1900)
INTERVAL
(Twenty minutes)
Launching Vasari's recording of Rachmaninov's All-Night Vigil
vasarl
Ingers
Saturday 21st October 2017
St Luke's Church, Battersea
Concert followed by launch party
The Vivace Chorus 'Adopt a Musician' Scheme
Conductor
Orchestra
Jeremy Backhouse
Philharmonia leader
Vivace Walkers
Richard and Mary Broughton
Andrea and Gunter Dombrowe
Soloists
Claire Seaton
Jo Glover
Sarah Fryer
Vivace Chorus Altos
Gareth Brynmor John
Lilly Nicholson
Violins
Harold, Amelia, Arnold and
Xanthe Greenfields
Andrea Malhobra
Violas
Tony Chantler
Harp
Flute
Pam Alexander
Chris Renou and Henrik
Double Bass
Robin Privett
Horn
In memory of Frank Masters
Peter Butterworth
Piccolo
Jo Stokes
Trumpet
'
Marie-Claire Arthur
Clarinet
Peter Morcom
Ewan Bramhall
ObOfi
Cello
Bassoon
Rachel Underwood
Bl
Pauline Higgins
Bass Clarinet
Trombone
lona Arthur
Percussion
Mo Kfour
Sue Norton
Malcolm Munt
John and Margaret Parry
vivacechorus.org
Vivace Chorus: Registered Charity No. 1026337
Johannes Brahms (1833 - 1897)
Ein deutsches Requiem Op.45
from the head of Zeus”, and went on to claim that this
young man had now arrived and that his name was
Johannes Brahms.
It was at the end of September
1853 that the twenty-year-old
Brahms' interest in choral music began early and there are
Johannes Brahms travelled to
Diisseldorf to call on the
composer Robert Schumann and
his wife Clara. Schumann had for
become conductor of a choral society in Detmold, a
some time been looking forward
to meeting this young, Hamburgborn musician who had been
recommended to him by his
friend the Hungarian violinist
Joseph Joachim. He was not to
reports of him conducting a choir in a small town near
Hamburg when he was just fifteen. Later he was to
ladies' choir in Hamburg and the Singakademie in Vienna.
For his various choirs he wrote much music both sacred
and secular, motets and part-songs, accompanied and
unaccompanied. In his sacred music, Brahms tended to
look for inspiration in the works of JS Bach and also those
of Schiitz and Gabrieli.
In September 1862 Brahms travelled for the first time to
Vienna, the city that before long was to become his home.
Almost as soon as he had set foot in the house, Brahms sat
down at the piano and began to play the Sonata in C
major which was to become his Op.1. After only a few
bars, Schumann asked him to stop so that he could go and
fetch his wife (who was a renowned pianist and talented
composer in her own right) so that she could share with
him this exciting experience. “My dear Clara, you will
hear such music as you never heard before”, he told her as
he demanded that Brahms should go back to the
beginning and play the piece right through. Various other
pieces followed and left the Schumanns spellbound. Soon
they were inviting him to stay with them which “the young
eagle”, as Robert called him, did for several weeks.
Within a month, Robert had written an article entitled
Neue Bahnen (New Paths) for the journal Neue Zeitschrift
fiir Musik. In it he explained that he had for some time
been expecting a musican to appear who would “give the
highest and most ideal expression to the tendencies of our
Everything about the Austrian capital appealed to him; its
abundance of good restaurants, its friendly and welcoming
inhabitants and the enthusiasm shown by its musicians for
his compositions. He was acutely aware of Vienna's
musical history and was proud to tell his friends that he
was drinking wine in the same establishment that
Beethoven had frequented. Soon his new-found Viennese
colleagues helped him to put on a concert of his own
works and although some of the critics needed more time
to be won over, Brahms was encouraged by the favourable
response of the public, both to his compositions and to his
expertise as a pianist.
It was during the Spring of 1863 that he was invited to
become the director of the Vienna Singakademie, a society
dedicated to the singing of oratorios and the like. This
appointment helped in part to alleviate the acute distress
that he had felt at not being offered the post of conductor
of the Philharmonic concerts in his native Hamburg.
time, one who would not show his mastery in a gradual
As well as oratorios, Requiems have been performed and
development but, like Athene, would spring fully armed
beloved by choral societies throughout the world for many
years. The ‘Mass for the Dead’ (Missa pro defunctis) of the
told her, then she could expect something miraculous but
Roman Catholic Church takes its name from the first word
if it did not he would hardly be surprised as he was a man
of its introit — Requiem aeternam dona eis, Domine (‘Give
who rarely got what he desired. In the event, the
them eternal rest O Lord’) and is celebrated in memory of
performance was a great success and marked an important
the faithful departed on All Souls’ Day which falls on 2
turning point in Brahms’ career as a composer. Clara
November. Musical settings of this Mass date back to the
described how, “after the performance there was a supper
fifteenth century, the oldest extant example being that
in the Ratskeller, at which everyone was jubilant — it was
composed by Johannes Ockeghem in about 1470. Ever
like a music festival”.
since then, many composers have found themselves drawn
to this text, some of the most notable being Mozart,
In July 1856 Robert Schumann had died in an asylum at
Cherubini, Berlioz, Verdi, Dvofék, Bruckner, Liszt, Saint-
Endenich, near Bonn. A year or so later, Brahms, who was
Saéns and Fauré. Twentieth- century composers, such as
devastated by the death of his friend and mentor, set to
Duruflé, Ligeti, Lutostawski, Penderecki, Pizzetti, John
work on a cantata based on the words Denn alles Fleisch
Rutter and Carl Riitti, continued to add Requiems to the
es ist wie Gras from the the Epistle of St Peter. Musically,
repertoire setting all or some of the Latin text, sometimes,
he took as his starting point a movement he had originally
as in the case of Benjamin Britten’s War Requiem
composed for inclusion in his first piano concerto but had
juxtaposing this with vernacular poetry.
subsequently rejected. During the next few years Brahms
Nowadays it is more likely to hear a musical setting of the
the death of his mother in 1865, so that by the summer of
added five more movements, possibly inspired to do so by
‘Mass for the Dead’ in the concert hall than in church or
1866 all but the present fifth movement had been
cathedral, not all composers of such works intending them
composed.
for liturgical use. There are also several so-called ‘German
Requiems’, which derive their texts from the Lutheran
Brahms showed the score to his friend and fellow
Bible, or from a variety of Protestant sources, by
composer, Albert Dietrich, who in turn showed it to Dr
composers such as Schiitz, Schubert and Brahms.
Karl Reinthaler, the organist and choirmaster at Bremen
Cathedral, and before long, the Good Friday performance
"The Requiem has taken hold of me as no sacred music
ever did before.” So wrote Clara Schumann after hearing
for the first time the German Requiem (Ein deutsches
Requiem) by Brahms. “As | saw Johannes standing there,
baton in hand”, she continued, “I could not help thinking
of my dear Robert’s prophesy — ‘let him but once grasp the
magic wand and work with orchestra and chorus' - which
is fulfilled today”. Brahms had written to Clara in February
1868 encouraging her to attend this performance in
Bremen Cathedral on Good Friday (10 April) and telling
her how he hoped that his interpretation would
correspond to his hopes for the work. If all went well, he
had been arranged. In the meantime, however, Johann von
Herbeck obtained permission to give the first three
movements at a concert of the Gesellschaft der
Musikfreunde to be held in Vienna on 1 December 1867.
Unfortunately, this performance, which was intended as
tribute to the memory of Franz Schubert, was not well
received, indeed there was some hissing to be heard when
the composer appeared on the platform at the end of it.
The main trouble had been that the timpanist had played
his repeated Ds so loudly during the fugue in the third
movement that neither the chorus nor the rest of the
despite all his efforts, the Brahms Requiem prospered and
orchestra could be heard at all.
its reputation grew.
It was soon after the performance in Bremen Cathedral
that Brahms composed Ihr trabt nun Traurigkeit, with its
In his Requiem Brahms chose to concentrate on the
radiant soprano solo, and added it to the existing six
consolation of the living rather than offering prayers for the
movements. The first performance in this, its final form,
departed. Even on Judgement Day when the last trumpet
took place at the Leipzig Gewandhaus on 18 February
(or trombone, as it is in German) is sounded it is soon
1869 when it was conducted by Carl Reinecke. Other
overtaken by great shouts of joy that death is being
performances followed and soon Ein deutsches Requiem
swallowed up in victory. Brahms carefully selected the
was being added to the repertoire of choirs and choral
words from the Lutheran Bible himself and it is perhaps
societies all over Europe. This fact did not please
significant that they contain no mention at all of the name
everybody, however. George Bernard Shaw was no lover
of Christ. Whereas at the outset, it was they who mourn
of Brahms at the best of times but about the Requiem he
who were to be blessed and to be in receipt of comfort, in
was positively vitriolic. In his concert reviews he never
the final movement, to the accompaniment of similar
missed an opportunity to savage the work, even it if was
music (this time with the violins, which had been silent at
not being performed on that particular occasion. “Mind, |
the beginning of the work, joining the rest of the orchestra)
do not deny that the Requiem is a solid piece of music
it is the dead who are blessed as they find rest from their
manufacture”, he wrote after a performance of it by the
earthly labours.
Bach Choir in May 1890, “you feel it could only have
come from the establishment of a first-class undertaker”.
© Peter Avis 2017
Fortunately, Shaw’s was not the prevailing opinion and,
Future Vivace Chorus concerts include:
23rd Jun
2017
Cathedral, including music by Parry,
Vivace
Chorus
Lunchtime concert in Gloucester
Mendelssohn and Brahms
24th Jun
2017
Fauré Requiem at Tewkesbury Abbey
11th Nov
2017
Bruckner Mass in E Minor,
Mahler Symphony No. 2
|
Guildford Cathedral
|
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Ein deutsches Requiem
I. Selig sind, die da Leid tragen
Chorus
Selig sind, die da Leid tragen,
Blessed are they that mourn:
denn sie sollen getrostet werden.
for they shall be comforted.
Die mit Tranen sden,
They that sow in tears
werden mit Freuden ernten.
shall reap in joy.
Sie gehen hin und weinen
und tragen edlen Samen,
und kommen mit Freuden
und bringen ihre Garben.
They that go forth and weep,
bearing precious seed,
shall doubtless come again with rejoicing,
bringing their sheaves with them.
Il. Denn alles Fleisch, es ist wie Gras
Chorus
Denn alles Fleisch, es ist wie Gras
For all flesh is as grass
und alle Herrlichkeit des Menschen
and all the glory of man
wie des Grases Blumen.
as the flower of grass.
Das Gras ist verdorret
The grass withereth,
und die Blume abgefallen.
and the flower falleth away.
So seid nun geduldig, lieben Briider,
Be patient therefore, brethren,
bis auf die Zukunft des Herrn.
unto the coming of the Lord.
Siehe, ein Ackermann wartet
Behold, the farmer waiteth
auf die kostliche Frucht der Erde
for the precious fruit of the earth
und ist geduldig dartber,
bis er empfahe den Morgenregen
und Abendregen.
and hath long patience for it,
until he receive the morning
and evening rain.
Aber des Herrn Wort bleibet in Ewigkeit.
But the word of the Lord endureth for ever.
Die Erléseten des Herrn
And the redeemed of the Lord
werden wiederkommen
shall return,
und gen Zion kommen mit Jauchzen;
and come to Zion with songs
ewige Freude wird iiber ihrem Haupte sein;
and everlasting joy upon their heads;
Freude und Wonne werden sie ergreifen,
they shall obtain joy and gladness,
und Schmerz und Seufzen wird weg miissen.
and sorrow and sighing shall flee away.
Ill. Herr, lehre doch mich
Baritone, Chorus
Herr, lehre doch mich,
Lord, make me to know
dal8 ein Ende mit mir haben muR,
mine end, and the measure of my days,
und mein Leben ein Ziel hat,
what it is: that | may know
und ich davon mulB.
how frail | am.
Siehe, meine Tage sind einer Hand breit vor dir,
Behold, Thou hast made my days as an handbreadth;
und mein Leben ist wie nichts vor dir.
and mine age is as nothing before Thee.
Ach wie gar nichts sind alle Menschen,
die doch so sicher leben.
Sie gehen daher wie ein Schemen,
und machen ihnen viel vergebliche Unruhe; sie sammeln
und wissen nicht
wer es kriegen wird.
Nun Herr, wes soll ich mich trosten?
Ich hoffe auf dich.
Der Gerechten Seelen sind in Gottes Hand und keine
Qual riihret sie an.
All men that still walk the earth are
hardly as anything.
They go hence like a shadow:
And all their noise comes to nothing;
They heapeth up riches, and knoweth not
who shall inherit them.
And now, Lord, how shall | find comfort?
My hope is in Thee.
The souls of the righteous are in the hand of God and no
torment shall touch them.
IV. Wie lieblich sind deine Wohnungen
Chorus
Wie lieblich sind deine Wohnungen, Herr Zebaoth!
How lovely are Thy tabernacles, O Lord of hosts!
Meine Seele verlanget und sehnet sich
My soul longeth, yea, even fainteth
nach den Vorhofen des Herrn;
for the courts of the Lord;
mein Leib und Seele freuen sich
my body and soul rejoice
in dem lebendigen Gott.
for the living God.
Wohl denen, die in deinem Hause wohnen, die loben
Blessed are they that dwell in Thy house:
dich immerdar.
they praise Thee evermore.
V. Ihr habt nun Traurigkeit
Soprano, Chorus
Ihr habt nun Traurigkeit;
And ye now therefore have sorrow:
aber ich will euch wieder sehen
but | will see you again,
und euer Herz soll sich freuen,
and your heart shall rejoice,
und euer Freude
and your joy
soll niemand von euch nehmen.
no man taketh from you.
Ich will euch trosten,
Thee will | comfort
wie einen seine Mutter trostet.
As one whom his mother comforts.
Sehet mich an: Ich habe eine kleine Zeit
Look on me: for a short time
Mitihe und Arbeit gehabt
| have had sorrow and labour,
und habe groBBen Trost funden.
and have found great comfort.
VI. Denn wir haben hie keine bleibende Statt
Baritone, Chorus
Denn wir haben hie keine bleibende Statt
For here have we no continuing city,
sondern die zukiinftige suchen wir.
but we seek one to come.
Siehe, ich sage euch ein Geheimnis:
Behold, | tell you a mystery:
Wir werden nicht alle entschlafen,
we shall not all sleep,
wir werden aber alle verwandelt werden;
but we shall all be changed,
und dasselbige plétzlich, in einem Augenblick,
zu der Zeit der letzten Posaune.
Denn es wird die Posaune schallen,
und die Toten werden auferstehen unverweslich,
und wir werden verwandelt werden.
Dann wird erfiillet werden
das Wort, das geschrieben steht:
Der Tod ist verschlungen in den Sieg.
Tod, wo ist dein Stachel?
Holle, wo ist dein Sieg?
Herr, du bist wiirdig zu nehmen
in a moment, in the twinkling of an eye,
at the last trumpet.
For the trumpet shall sound,
and the dead shall be raised incorruptible,
and we shall be changed.
Then shall be brought to pass
the saying that is written:
Death is swallowed up in victory.
Death, where is thy sting?
Hell, where is thy victory?
Preis und Ehre und Kraft,
Thou art worthy, O Lord, to receive
denn du hast alle Dinge erschaffen,
glory and honour and power:
und durch deinen Willen haben sie
for Thou hast created all things,
das Wesen und sind geschaffen.
and by Thy will they were
created and have their being.
VII. Selig sind die Toten
Chorus
Selig sind die Toten
Blessed are the dead,
die in dem Herren sterben von nun an.
which die in the Lord, from henceforth.
Ja, der Geist spricht,
dal sie ruhen von ihrer Arbeit;
denn ihre Werke folgen ihnen nach.
Yea, says the Spirit,
that they may rest from their labours;
and their works do follow them.
Sarah Fryer
Claire Seaton
Mezzo-soprano
Soprano
Sarah Fryer has appeared on
Claire studied at the
concert platforms throughout
Europe and in Canada, the
Birmingham School of Music,
and as a postgraduate at the
United States, Mexico, and
Singapore. She made her
Glyndebourne Festival Opera
professional debut as mezzo
debut singing Vitellia (La
Royal Academy and made her
soloist in Mozart's Requiem
Clemenza di Tito). Further
Mass in Wells Cathedral, aged
engagements at
Glyndebourne included
sixteen. Major career
highlights include six years as a soloist at the Bayreuth
covering Ellen Orford (Peter Grimes) and the Countess
Festival (James Levine), and roles in opera productions in
(Le Nozze di Figaro), followed by contracts with Opéra de
Nantes, Turin, Dublin, and at La Scala, Milan (Riccardo
Lyon and Opera Europa.
Mutti).
Claire made her BBC Proms debut in Handel’s Dixit
Sarah has recorded for BBC and CBC radio, and for the
Dominus and is known for her performances of the
Naxos and Nimbus record labels. She has been a soloist at
soprano solos in Allegri’s Miserere. Claire’s oratorio
many prestigious festivals including Taormina Arte, and
experience is broad and she is renowned for her
The Aldeburgh Festival. Concert highlights include Elgar’s
performances of Verdi’s Requiem, Brahms’ Requiem and
Dream of Gerontius with the Bournemouth Symphony
Mozart’s C Minor Mass. Recent repertoire ranges from
Orchestra, Mahler’s Eighth Symphony with the Vancouver
these regularly performed favourites to less common works
Symphony Orchestra, directed by Bramwell Tovey,
such as Symanowski’s Stabat Mater and Elgar’s The Light
Mozart’s Requiem with the Royal Liverpool Philharmonic,
of Life.
directed by David Hill, and Richard Strauss’s opera Elektra
(Dritte Magd) with the Singapore Symphony Orchestra,
Claire’s discography includes The Believer in Rutland
directed by Kent Nagano.
Boughton’s Bethlehem for Naxos, Brahm'’s Ein deutsches
In 1999, Sarah was the mezzo soloist in the first
Guild, and the world premiere of Jonathan Dove’s The Far
Requiem with Jeremy Backhouse and the Vasari Singers for
performance of Francis Pott’s powerful oratorio A Song on
Theatricals of Day with Nicholas Cleobury. Claire has also
the End of the World at the Three Choirs Festival,
recorded the Pergolesi Stabat Mater with the counter tenor
Worcester. Her upcoming engagements include
Andrew Watts.
performances of Beethoven’s Missa Solemnis and Bach’s
Mass in B minor.
Claire recently created the role of Matriarch for the world
premiere of Paul Mealor’s cantata The Farthest Shore with
the BBC singers, broadcast live on Radio 3.
Gareth Brynmor John
Baritone
...supporting the arts..helping community...
Winner of the Kathleen Ferrier
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rhw solicitors
Award, baritone Gareth
01483 302000
Brynmor John studied at
Cambridge, the Royal
Academy of Music where he
won the Patrons’ Award. and
the National Opera Studio
where he was supported by the
Corporate Law
@&Wills&
Inheritance
Wills, Powers of Attorney & Probate
Royal Opera House. He made
his debut with Welsh National Opera singing Schaunard
Divorce & Family Law
(La Boheme) this Spring, and is currently touring the show
in the UK and abroad.
Dental, Vets & Care Home Sector
Most recently, he sang Sharpless for Bury Court Opera and
at the Anghiari Festival. With ETO, he sang Edoardo in
Law Soclety Accredited
Residential & Commercial Property
Donizetti’s Siege of Calais, and understudied Marcello. He
has also understudied Silvio, Cecil (Maria Stuarda) and
Man/Ephraimite (Moses und Aron) for WNO. Concert
performances include Elijah at Birmingham Town Hall
with Brian Kay; Dido and Aeneas with the Hong Kong
Philharmonic, Carmina Burana with the Bach Choir at the
Royal Festival Hall, and at the Barbican; Handel’s Messiah
“ Their designs are
innovative and their
print prices are very
competitive.”
|
iy
SOUTHBAN
CENTRE
and Faure’s Requiem at the Royal Albert Hall with
Jonathan Willcocks and Dream of Gerontius with the
Leeds Philharmonic Chorus.
Gareth is part of the Songsmiths, and sings in the London
English Song Festival. He has given recitals at St John's,
Smith Square, Wigmore Hall, Barber Institute, King’s
Place, King’s Lynn Festival, North Norfolk Music Festival,
Haddo Festival, Buxton Festival and Leeds Lieder.
Plans this season include performances in the St Endellion
Festival, London Song Festival, Ryedale Festival, Bath
Festival, and a recital at lain Burnside's Ludlow Song
Weekend.
> "N
for design., print and promotional
01483 560735
%
Jeremy Backhouse
Conductor
Jeremy is one of Britain’s
leading choral conductors. 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, but now pursues his
career as a freelance conductor.
Jeremy has been the sole conductor of the internationallyrenowned 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 the many of the
cathedrals and abbeys of the UK. Jeremy and the Vasari
Singers broadcast frequently on Classic FM, BBC Radios 3
and 4, and have a discography of over 25 CDs on the EMI,
Guild, Signum and Naxos labels.
Recordings with the Vasari Singers have been nominated
for a Gramophone award (Howells and Frank Martin),
received two Gramophone Editor’s Choice awards (Marcel
Dupré choral works), a top recommendation on Radio 3’s
‘Building A Library’ (Vaughan Williams Mass in G minor),
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, then Mahler’s ‘Symphony ofa Thousand’ (No.
8) and Verdi’s Requiem in the Royal Albert Hall with the
Royal Philharmonic Orchestra.
He is totally committed to contemporary music and to the
commissioning of new works. He and Vasari have
commissioned over 25 new works; this enthusiasm has
spread to the Vivace Chorus who, in May 2009,
commissioned and performed the premiere of local
composer Will Todd's Te Deum.
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, the Salisbury Vespers, by Bob Chilcott. In October 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 in subsequent years they toured to
Lincoln (2014) and Guildford (2015) cathedrals. A
commission for a major new work from Alexander
L'Estrange is planned for November 2018.
and two recent CDs (Gabriel Jackson’s Requiem and A
Jeremy has also worked with a number of the country's
Winter’s Light, a disc of Christmas carols) both achieved
leading choirs, including the BBC Singers, the
Top Ten status in the Specialist Classical Charts. Their
Philharmonia Chorus, the London Chorus and the
recording of Rachmaninov's 'All-Night Vigil' is due for
Brighton Festival Chorus. For 6 years, to the end of 2004,
release in October 2017 on their recently launched
Jeremy was the Music Director of the Wooburn Singers, in
VasariMedia label.
succession to Richard Hickox and Stephen Jackson.
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The Philharmonia Orchestra, founded in 1945, is
Bartok (2011) were followed in 2016 by the major, five-
one of the world’s great orchestras. Widely acknowledged
concert series Stravinsky: Myths & Rituals.
for its pioneering approach to the role of an orchestra in
the 21st century, the Philharmonia leads the field for the
quality of its playing and its innovative work with
residencies, music education, audience development and
the use of new technology to reach a global audience.
Together with its relationships with the world’s most
sought-after artists, most importantly its Principal
Conductor and Artistic Advisor Esa-Pekka Salonen, the
Philharmonia is at the heart of British musical life.
The Philharmonia performs more than 160 concerts a year,
as well as recording music for films, video games and
commercial audio releases. The Orchestra’s home is
Southbank Centre’s Royal Festival Hall in the heart of
London, where the Philharmonia has been resident since
1995 and performs 40 concerts a year. Under Esa-Pekka
Salonen a series of flagship, visionary projects at Royal
Festival Hall have been critically acclaimed. Projects
including City of Light: Paris 1900-1950 (2015), City of
Dreams: Vienna 1900-1935 (2009), Bill Viola’s Tristan und
Isolde (2010) and Infernal Dance: Inside the World of Béla
The Orchestra is committed to presenting the same worldclass, live music-making in venues throughout the country
as it does in London, especially at its UK residencies:
Bedford’s Corn Exchange (since 1995), De Montfort Hall in
Leicester (since 1997), the Marlowe Theatre in Canterbury,
Three Choirs Festival and The Anvil in Basingstoke, where
it has been Orchestra in Partnership since 2001.
A busy international touring schedule takes the Orchestra
all over the world. Projects in 2016/17 include a major
West Coast US tour (October 2016) and a tour to Japan
and Taiwan (spring 2017), both with Esa-Pekka Salonen.
Recent highlights include the 2016 Festival International
d'Art Lyrique d'Aix-en-Provence, where the Orchestra and
Esa-Pekka Salonen were in residence.
Central to the Philharmonia and Esa-Pekka Salonen’s work
in London, the UK and internationally are their digital
projects, all of which are designed to communicate the
thrill of the experience of a live orchestra to audiences
outside the concert hall. In September 2016, in partnership
specially programmed concert at the venue. The project
with Southbank Centre, the Orchestra presented The
featured 360 Experience, the first major Virtual Reality
Virtual Orchestra, a free two-week series in the public
presentation from a UK symphony orchestra, and a giant
spaces of the Royal Festival Hall, culminating with a
audio-visual installation, Universe of Sound: The Planets.
The Philharmonia’s Principal International Partner is Wuliangye
ORCHESTRA
FIRST VIOLINS
Duncan Riddell
Carol Hultmark
Linda Kidwell
Rebecca Chan
Michael Turner
Fabrizio Falasca
Joseph Fisher
Nathaniel Anderson-Frank
Rebecca Carrington
Eugene Lee
Karin Tilch
Soong Choo
Victoria Irish
Eleanor Wilkinson
Eunsley Park
Grace Lee
CELLOS
Karen Stephenson
Eric Villeminey
Richard Birchall
Ella Rundle
Deirdre Cooper
OBOES
TROMBONES
Gordon Hunt
Byron Fulcher
Timothy Rundle
Philip White
COR ANGLAIS
BASS TROMBONE
Timothy Rundle
CLARINETS
Mark van de Wiel
Katy Ayling
BASS CLARINET
David Stewart
TUBA
Peter Smith
TIMPANI
Katy Ayling
Antoine Siguré
Erzsebet Racz
Ashok Klouda
David Edmonds
BASSOONS
PERCUSSION
SECOND VIOLINS
Christopher Graves
Jonathan Davies
Emmanuel Curt
Annabelle Meare
Samantha Reagan
Nuno Carapina
Susan Hedger
Julian Milone
Sophie Cameron
Gideon Robinson
Helen Cochrane
Anna Brigham
Sarah Thornett
VIOLAS
Yukiko Ogura
Nicholas Bootiman
Amanda Verner
DOUBLE BASSES
Dominic Tyler
Neil Tarlton
CONTRA BASSOON
Michael Fuller
Luke Whitehead
Adam Wynter
Gareth Sheppard
FRENCH HORNS
Simon Oliver
Rebecca Hill
FLUTES
Andrew Budden
Kira Doherty
Samuel Coles
Jonathan Maloney
June Scott
Daniel Curzon
PICCOLO
TRUMPETS
Keith Bragg
Jason Evans
Peter Fry
Cameron Sinclair
HARPS
Heidi Krutzen
Patrizia Meier
PIANO & ORGAN
Alistair Young
Mark Calder
Alistair Mackie
Names in bold denote Principal
Vivace Chorus is a flourishing, ambitious and
adventurous choir based in Guildford, Surrey, which aims
to have fun making and sharing great choral music.
In addition to our own concerts in Guildford and London,
The choir has come a long way since it began in 1946 as
we also sing in various charity concerts and, with our
the Guildford Philharmonic Choir, and now has an
regular orchestra, the Brandenburg Sinfonia, take part in
enviable reputation for performing first-class concerts
the Brandenburg Choral Festival each year in St Martin-in-
across a wide range of musical repertoire. Particular
the-Fields. We also like to take our music-making overseas
successes include a sell-out performance in May 2011 of
and have toured to France, Italy, Germany and, in 2016, to
Mahler’s Symphony No. 8, the ‘Symphony of a Thousand’,
Austria where we performed concerts in both Salzburg and
at the Royal Albert Hall, a highly acclaimed performance
Vienna. This year, we are touring closer to home, with a
in November 2012 of Britten’s War Requiem and another
weekend’s singing at Tewkesbury Abbey and Gloucester
Royal Albert Hall success in May 2014 when we
Cathedral.
performed the Verdi Requiem. We are delighted to be
returning to London tonight with our 70th birthday
celebration concert here in the Royal Festival Hall.
Since 1995, Vivace has thrived under the exceptional
For further information, visit our website vivacechorus.org
where you can also sign up to receive news about our
future concerts, email us at info@vivacechorus.org or
follow us on Facebook or Twitter @VivaceChorus.
leadership of this evening’s conductor, Jeremy Backhouse.
Jeremy’s passion for choral works and his sheer
enthusiasm for music-making are evident at every
rehearsal and every performance. He is supported by
Francis Pott, who is not just a very fine rehearsal
Vivace Chorus
Music Director:
Jeremy Backhouse
Chairman:
James Garrow
Alto 2
Tenor 1
Malcolm Munt
Kate Peters
Valerie Adam
Mike Bishop
Chris Newbery
Soprano 1
Paula Sutton
Geraldine Allen
Bob Bromham
Chris Peters
Selam Adamu
Barbara Tansey
Evelyn Beastall
Bob Cowell
Robin Privett
Pam Alexander
Valerie Thompson
Sylvia Chantler
Owen Gibbons
Allan Rose
Amelia Atkinson
Christine Wilks
Mary Clayton
Rosie Jeffery
David Ross
Frances Bamber
Fiona Wimblett
Sheila Cooper
Nick Manning
Philip Stanford
Helen Beevers
Frances Worpe
Andrea Dombrowe
Martin Price
Kieron Walsh
Sheena Ewen
Chris Robinson
Valerie Garrow
Peter Smith
Jo Glover
John Trigg
Vivace Chorus
Alison Palmer
Joanna Bolam
Mary Broughton
Suzanne Cahalane
Elaine Chapman
Rachel Edmondson
Hannah Gregory
Rebecca Kerby
Mo Kfouri
Alex Nash
Emily Nash
Susan Norton
Robin Onslow
Gillian Rix
Sarah Smithies
Joan Thomas
Hilary Vaill
Alto 1
Grace Beckett
Monika Boothby
Jane Brooks
Amanda Burn
Kate Emerson
Valentina Faedi
Jojo Hart
Sheila Hodson
Jean Leston
Lois McCabe
Penny MclLaren
Kay McManus
Christine Medlow
Rosalind Milton
Mary Moon
Soprano 2
Jacqueline Alderton
Anna Arthur
Ginny Heffernan
Isobel Humphreys
Krystyna Marsden
Isabel Mealor
Michelle Mumford
Alison Newbery
Lilly Nicholson
Linda Ross
Liz Hampshire
Norman Carpenter
Beth Jones
Geoffrey Forster
Christine Lavender
Roz Marshall
Catherine Middleton
Val Morcom
Pamela Murrell
Sonja Nagle
Jacqueline Norman
Beryl Northam
Prue Smith
Rosey Storey
Tenor 2
James Garrow
Ewan Bramhall
Stuart Gooch
Peter Butterworth
Tony Chantler
Nick Gough
Eric Kennedy
Simon Dillon
Mark Lewis
Geoff Johns
Keith Long
Stephen Linton
Neil Martin
Peter Norman
Adrian Oxborrow
Arnfinn Overas
Jon Scott
Pamela Usher
Anne Whitley
Bass 1
June Windle
John Bawden
Elisabeth Yates
Phil Beastall
Lesley Scordellis
David Brassington
Catherine Shacklady
Richard Broughton
Carol Sheppard
Michael Dudley
Ann Smith
Brian John
Marjory Stewart
Jeremy Johnson
Nicola Telcik
Paul Lewis
Hilary Trigg
Jon Long
Maggie Woolcock
Bass 2
Michael Taylor
Richard Wood
The London Chorus started life in 1903 as London Choral Society,
THE
LONDON
created by Arthur Fagge to give the first London performance of Elgar's The
Dream of Gerontius. Since then it has established itself as one of London’s
leading choirs, renowned for its versatility. Members enjoy a busy schedule
of concerts and events and are happy to work for other promoters in
addition to their commitment to TLC’s own promotions.
In recent years the choir has performed many major choral works —
Mozart's Mass in C minor in Southwark Cathedral, Verdi's Requiem in
Musical
Director
RONALD
CORP
Beverley Minster, Carmina Burana, Messiah, African Sanctus and Vaughan
Williams' A Sea Symphony in the Royal Festival Hall, Mahler's Symphony
No. 8 and Berlioz' Te Deum in Royal Albert Hall, Brahms' A German
Requiem, Haydn Masses, Bach's St John Passion and Handel's Israel in
Egypt in Cadogan Hall, Bach's St Matthew Passion in The Fairfield Halls, Croydon, Beethoven's Symphony No. 9 and El-
gar's The Music Makers in St John’s, Smith Square.
The London Chorus performs and records compositions by its Musical Director, Ronald Corp. These include The Hound of
Heaven, Forever Child and Dhammapada. In 2016, it performed his world premiere Behold the Sea in the Royal Festival
Hall. Most recently it performed Corp’s musical settings of some of Shakespeare’s verse from The Tempest and A Winter’s
Tale. The London Chorus enjoys a close relationship with the New London Orchestra.
Other premiéred works include William Dougherty Ripples of Hope and Anne Collis Heroes. Members of the choir sing in
charity concerts throughout the year, recently for the Royal Hospital for Neuro-disability in Putney, and for Parkinson’s UK
in Dorchester Abbey. They also appear in Christmas concerts for Raymond Gubbay in Royal Albert Hall and The Barbican.
Their most recent concert has been Mozart Missa Brevis K192 and Elgar Sea Pictures, specially arranged for choir and
orchestra by Donald Fraser.
Tours abroad have included France, Portugal, Estonia, South Africa and Italy. In the autumn of 2017, the choir will visit
Warsaw in Poland where it will perform Mozart’s Requiem and Handel’s Coronation Anthems. The choir has also had
some more unusual experiences — Disney songs in the Hyde Park Festival, Songs of Praise for Christmas Day and New
Year’s Day for the BBC and participation in the Paralympic Opening Ceremony in the Olympic Stadium.
The Chorus is available for hire for concerts or in smaller groups for corporate or charity events. Please contact Prue Corp,
Concert Manager, on 07710 275331.
London Chorus
Soprano 1
Heather Rayner
Tenor 2
Clare Walters
Chris Beels
Hannah Williams
Peter Tanner
Angela Botha
David Waters
Mary Dickinson
Alto 1
Michael Whitehouse
Barbara Duffy
Melanie Brown
Jeni Dugdale
Jean Buck
Bass 1
Vivienne Dunwoody
Susan Clarke
Clive Barger
Gill Evans
Nicky Dean
Hugh Closs
Jeremy Colwill
Kate Frigerio
Jann Grant
Jill Guest
Anne Howick
Matthew Green
Pat Harris
Clare Marwood
Alan Kershaw
Sue Haycock
Justine Pare
Edward Lyndon-Stanford
Kirstan Herriot
Cassandra Pearson
David Morris
Sally Johnston
Deborah Phelan
Charles Robertson
Alice Kumpfert
Marilyn Wales
John Somerville
Hilary Lock
Anthony Thornburn
Marie Myerscough
Philip Whalley
Nicole New
Alto 2
Micki Rogers
Anne Ambrose
Jane Self
Jill Holland
Bass 2
Debbie Slade
Jane Hodgson
Peter Cheshire
Sue Vincent
Karen Le Ball
Eugene Chang
Janice Wain
Lydia Jones
Anthony Murley
Angela Wardle
Alison Rudge
David Stanton
Angela Walker
Roger Stuart
Soprano 2
Anthony Wills
Peggy Watson
Mary Beaney
Margaret Beels
Jane Gregory
Tenor 1
Carolin Harvey
Marc Doe
Stella-Marie Mai
Chris Phelan
Jennifer Moore
Donald Skinner
Naomi Morgan
Michael Strachan
Jane Noulton
Photo credits
Francis Pott
Rumen Mitchinov
Jeremy Backhouse
Ash Mills
Philharmonia
Felix Broede
Vivace Chorus
Ash Mills
Vivace Patrons
The Vivace Chorus is extremely grateful to all patrons for their support.
Honorary Life Patrons
Life Patron
Mr Bill Bellerby MBE
Mrs Joy Hunter MBE
Dr John Trigg MBE
Mr John Britten
Premier Patrons
Robin & Penny Privett
Platinum Patrons
Mr & Mrs Peter B P Bevan
Ron & Christine Medlow
Richard & Mary Broughton
Mr Lionel Moon
Mr & Mrs G Dombrowe
Dr Roger Muray
Mr & Mrs Joseph Durning
John & Margaret Parry
Celia & Michael Embleton
Idris & Joan Thomas
Susan & Cecil Hinton
Mr Tony Thompson
Mrs Carol Hobbs
Mrs Pamela Usher
Mr Michael Jeffery
Bill & June Windle
John MclLean OBE & Janet McLean
Gold Patrons
Robin & Jill Broadley
Dr Stephen Linton
Roger & Sharon Brockway
Brenda & Brian Reed
Jane Kenney
Sheila Rowell
Mr Geoffrey Johns
Prue & Derek Smith
Silver Patrons
Bob & Maryel Cowell
If you have enjoyed this concert, why not become one of our patrons? We have a loyal band of followers whose regular
presence at our concerts is greatly appreciated. With the valued help of our patrons, we are able to perform a wide range of
exciting music, with world-class, professional musicians in venues such as Guildford Cathedral, G Live, the Royal Albert
Hall and the Royal Festival Hall. For an annual donation, patrons can have unlimited tickets at a 10% discount.
If you are interested, please send an email to: patrons@vivacechorus.org.
Visit
Guildfzrd
77
H-om% $ GAYAMs
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INTRODUCING
ENGLAND’S
MICHELANGELO
George Frederic Watts (1817-1904)
Monumental Murals
G F Watts: England’s Michelangelo
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Until 5 November
Opening 20 June
|
= | Celebrating Englaimeo ==1ora. Surrey
O
&
N | Michelangelo
40 minutes from Waterloo
wattsgallery.org.uk