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Britten:
Four Sea Interludes
e
Howells:
. Sir Patrick Spens
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The Brandenburg Sinfonia
Conductor: Jeremy Backhouse
VI\C/f1ao$ues
D
Saturday
30“‘ Marc
h 2019
7-30 pm
vi_vace;horus.org
Registered Charity No. 1026337
Grand Hall,
D o'rk'i‘n g H a" S
b
NEW
TRANSPORT
ROUTES
7
mainteain l.flg
- Good Schools Guide
Cranmore School
[ndependent Preparatory School
for girls and boys 22 - 13
29
Sir Patrick Spens
HERBERT HOWELLS
4 Sea Interludes
BENJAMIN BRITTEN
A Sea Symphony
RALPH VAUGHAN WILLIAMS
Hazel Neighbour
Soprano
Niall Anderson
Baritone
Paul Grant
Baritone
The Brandenburg Sinfonia
Conductor: Jeremy Backhouse
TONIGHT'S PRE-CONCERT TALK
Once again, we are delighted to welcome
Dr
Steven
Berryman
for
tonight's
pre-
concert talk, which takes place in The Grand
Hall at 6.30pm.
Steven's
knowledge and
enthusiasm have been greatly appreciated
by the many visitors who have attended the
pre-concert
talks
previously
at
he
G
has
Live
given
and
for
us
Guildford
Cathedral.
Steven is Director of Music at City of London
School for
Girls
and
a Visiting
Research
Fellow in the School of Education, Communication & Society at
King's
College,
London.
He
regularly
contributes
to
education
projects with the Learning Departments of the Royal Opera House,
London Philharmonic Orchestra and NMC Recordings. You can read
more about his work at www.steven-berryman.com.
Printed music for this evening's concert has been obtained from
Surrey Performing Arts Library
The Bach Choir
Zinfonia
We are most grateful to these organisations.
Flash photography, audio and video recording are not permitted
without the prior written consent of the Vivace Chorus. Please
also kindly switch off all mobile phones and alarms on digital
watches. Thank you.
2
Vivace Chorus
Herbert Howells : Sir Patrick Spens
Baritone, Tenor, Chorus, Orchestra
When Herbert Howells's dramatic cantata
Sir Patrick
Spens
was
performed
and
recorded in 2006-7, after ninety years of
almost
total
among
neglect,
it
audiences:
caused
youthful
passionate,
with
a
superb
narrative,
vivid
characterisation
a
stir
and
handling
of
and
powerful musical evocations of sea, storm
and human conflict, the vigorous setting
of
an
anonymous
traditional
ballad
seemed a world away from the mystical
intensities
and
touching
personal
impulses that underlie his more familiar
Yet, as John Bawden has emphasised, “from the outset of his career
Howells was equally active in the orchestral, chamber and secular
vocal
and
choral
fields’,
and
some
listeners
have
identified,
especially at the end of the cantata, a foreshadowing of his later
style
-
at
the
same
time
closely
textured
and
miraculously
transparent, and already profoundly moving.
Howells was only twenty-five when he composed the work in 1917
and he had already been identified by Charles Villiers Stanford and
his other teachers at the Royal College of Music as the outstanding
young composer who would carry forward the traditions of English
music. Prevented by serious illness from joining up in the First World
War (in a note he once even referred to “so absolutely useless a
personage as myself’) he worked, as one commentator suggests,
"almost feverishly”,
and Sir Patrick Spens
is one of a group of
compositions in which he seems to have been aiming to prove
himself: he chose the longest available text of the old ballad, as if
deliberately looking for a broad, challenging canvas for his first
large-scale choral work.
Despite the magnificent result, and the fact that it was accepted for
publication, the piece only appeared in 1928, and there is only one
record of a contemporary performance. It has been suggested that
the delay was caused by Howells's repeated revisions of the score,
Vivace Chorus
3
his preoccupation with new work, or even a certain diffidence in his
character - but whatever the explanation, it is still quite possible that
this evening's performance is one of the earliest, even after more
than a century.
The text is a traditional Scottish Border ballad, written down from an
oral source, and Howells sets it with exceptional sympathy and skill.
There is a fine economy in the way he develops the emotional and
dramatic aspects of the story: the pace is swift, with hardly any
repetition of text, and he responds instinctively to the sudden
changes of scene, strong characterisation, clear but subtle morality,
vivid images (“the blood-red wine"), frank admiration for courage,
and controlled but powerful sense of pathos that are typical of the
genre,
The
story
is
simple
and
moving.
The
fierce,
autocratic
King
commands Sir Patrick to fetch the King of Norway's daughter from
across the wintry sea. The next moment we are with Sir Patrick
‘walking on the strand" as he reads the letter, first laughing and then
weeping at a dangerous mission that he cannot refuse. Angry but
loyal, he arrives safely with his men, but conflict breaks out when
the Norwegian lords accuse the Scots of wasting their hosts' gold.
Sir Patrick impulsively gives orders to leave for home, ignoring a
memorable warning from a nameless sailor (@ moment brilliantly
rendered by Howells). A great storm destroys the ship, despite the
heroic efforts of Sir Patrick and a “sailor bold", and everyone is
drowned. The ladies in Scotland are left to grieve for their lost lovers,
who now lie with Sir Patrick, fifty fathoms deep, at the bottom of the
North Sea.
A bold, angular theme from the brass, soon taken up by the chorus,
suggests the power of the sea as well as the King's fierce authority,
with turbulent, shifting rhythms to evoke the tricky currents that Sir
Patrick and
his men will have to navigate,
literally and
metaphorically: this is already a dangerous and unpredictable world.
Howells skilfully characterises Sir Patrick's contemptuous laughter,
then the tear that “blinded his e'e", as murky harmonies betray his
anxiety and a sinister melodic line crawls up from the lower strings:
this figure recurs throughout as a foreboding of disaster. The journey
to Norway, deceptively smooth and carefree, leads to an ironically
jaunty passage as guests and hosts first meet, but things turn ugly
4
Vivace Chorus
when the Norwegian lords grumble against the Scots while Sir
Patrick protests, first in short angry bursts and then in generous
arching phrases that demonstrate his good faith.
There follows a brilliantly dramatic moment in the score: Sir Patrick's
fatal decision to leave for home, ringing out at first against a tense
silence, is followed by a sudden pause; then the "danger” theme
rises again from the depths in
hollow woodwind tones, and a
melancholy cello solo introduces the nameless seaman and his
futile, weirdly hypnotic warning:
‘I saw the new moon late yestreen
Wi' the auld moon in her arm,
And if we gang to sea, master,
| fear we'll come to harm”
Through the economical interplay of sound and silence, voice and
accompaniment, Howells achieves a chilling effect,
The
great
storm
builds
up
with
terrifying
inevitability,
again
developing from the danger theme, and reaches a huge climax as
the anchors break away and the top-mast snaps. Sir Patrick has his
finest hour directing
first the
“sailor bold",
then the chorus,
in
desperate efforts to save the ship. They all show their loyalty by
following
his
influenced
broad,
sweeping
by Vaughan
melodic
Williams's
lines,
Sea
which
Symphony,
are clearly
until
he
is
overwhelmed and the ship sinks. Howells then “paints” the gradual
calming of the still-churning sea in a beautifully managed sequence
of orchestral and vocal colours and textures.
The final section
of the work
is an
extraordinary evocation
of
desolation and loss, at first through a delicate six-part chorus of
sopranos
and
altos
above
sympathetic
strings
and
a
touching
melody for the solo cello, with the characteristic triplet rhythms of
the score now suggesting the repetitive circling of grief. When
tenors and
basses join
in
it
becomes steadily more consoling,
building to a gentle, translucent ten-part lament, and after a pause
the end comes in heartbreakingly simple four-part harmony, the
music swelling, then dying away to nothing.
Vivace Chorus
5
Sir Patrick Spens
The King sat in Dunfermline town, drinking the blood-red wine.
'O where shall | get a skeely skipper to sail this new ship o' mine?”
O up and spake an eldern Knight,
Sat at the King's right knee,
"Sir Patrick Spens is the best sailor that ever sail'd the sea’,
Our King has written a braid letter,
And sealed it with his hand,
And sent it to Sir Patrick Spens,
Was walking on the strand.
"To Norroway, to Norroway, to Norroway o'er the faem,
The King's daughter of Norroway,
‘Tis thou maun bring her hame’’
The first word that Sir Patrick read,
So loud, loud laughed he.
The next word that Sir Patrick read
A tear blinded his e'e.
'O who is it has done this deed, and told the King of me?
To send us out at this time o' the year to sail upon the sea?
"Be it wind, be it weet, be it hail or sleet,
Our ship must sail the faem;
The King's daughter of Norroway 'tis we must bring her hame."
They hoysed their sails on Monenday morn,
Wi' a' the speed they may.
They have landed in Norroway upon a Wodensday.
They hadna been a week, a week, In Norroway but twae
When that the lords of Norroway began aloud to say,
"Ye Scottish men spend a' our King's goud and a' our queenis fee."
6
Vivace Chorus
"Ye lie, ye liars loud, ye lie | hear ye lie!
Fu' loud | hear ye lie!
"For | ha'e brought as much white money as gane my men and me;
And | ha'e brought a half fou' o' gude red goud
Out o'er the sea wi' me.
"Mak' ready, mak' ready, my merry men all,
Our gude ship sails the morn!*
"Now ever a-lack, my master dear, | fear a deadly storm,
| saw the new moon late yes-treen, wi' the auld moon in her arm,
And if we gang to sea, master, | fear we'll come to harm!"
They hadna sail'd a league, a league but barely three
When the lift grew dark, and the wind blew loud.
The ankers brak, and the top masts lap,
It was sic a deadly storm,
And the waves came o'er the broken ship, till all her sides were torn.
'O where will | get a gude sailor to take the helm in hand
Till I get up to the tall top-mast to see if | can spy land".
'O here am |, a sailor bold, to take the helm in hand,
Till you get up to the tall top-mast, but | fear you'll not spy land".
They hadna gane a step, a step, a step but barely ane,
When a bolt flew out of the gudely ship and the salt sea it came in!
'Gae, fetch a web o' the silken claith, another o' the twine,
And wap them into the ship's side, and let 'na the sea come in!"
They fetch'd a web o' the silken claith, another o' the twine,
And they wapped them round that gude ship's side,
But still the sea came in.
O laith, laith were the gude Scots lords
To weet their cork-heel'd shoon!
But lang, lang ere a' the play was play'd they wat their hats aboon.
Vivace Chorus
7
And many were the featherbed that fluttered on the faem;
And many, and many were the gude lord's son,
That never mair cam hame.
The ladies wrang their fingers, wrang their fingers white,
The maidens tore their hair,
All for the sake of their true loves,
For them they'll see nae mair.
O lang may the ladies sit wi' the fans into their hand,
Before they see Sir Patrick Spens come sailing to the strand,
O lang may the maidens sit, wi' the gude kaims in their hair,
A" waiting for their own true loves,
For them they'll see nae mair.
Half-owre, half-owre to Aberdour
Tis fifty fathoms deep,
Ant there lies gude Sir Patrick Spens,
Wi' the Scots lords at his feet.
Vivace Chorus would like to thank the
Herbert Howells Trust
for their generous grant in support of tonight's concert.
8
Vivace Chorus
Britten planned from an early stage to
extract a concert piece from the score of
his opera Peter Grimes, and the premiere
the
Four Sea
Interludes
at
the
of
Cheltenham Festival in 1945 came only a
week
after
performance
Wells.
In
the
of
the
their
interludes form
triumphant
opera
original
an
at
first
Sadlers
context
the
integral part of the
drama, creating atmosphere, propelling
the plot and (perhaps most importantly)
developing both character and theme.
Dawn, for example, follows the opening
‘inquest” scene in which Grimes, the lonely fisherman suspected of
causing his apprentice-boy's death through neglect and brutality,
tries
to justify
townsfolk; the
himself against
a
hostile
crowd
interlude's wordless evocation
of judgmental
of nature's simple
beauty and detachment from the tormented human world makes a
powerful dramatic and moral point.
Similarly, the Storm interlude introduces an actual storm in the story
as Grimes's new apprentice is brought from the workhouse and
handed over to his driven and self-destructive master, but equally
importantly it embodies the terrible violence that lurks in the divided
nature of Grimes, a “tortured idealist” (Britten's phrase) whose fierce
ambition and uncontrolled harshness precipitate the boy's death
and his own. Thematically, it also images the malevolent hostility
and intolerance that a hypocritical society shows towards the
outsider - one of the key motifs that drive this extraordinary tragic
score,
Britten took four of the opera's six interludes for his concert suite,
rearranging them so that the Storm interlude formed a fittingly
vigorous and emphatic finale. Detached from their original context,
they bear out Ronald Blythe's affectionate comment on his friend:
"Benjamin Britten, Lowestoftian from day one, might be said to have
come out of the sea .. he was oceanic from the start. Tides
accompany his pulse” The evocation of the sea's different moods is
Vivace Chorus
9
so exact and inventive, and so profoundly rooted in Britten's love of
his native Suffolk coast, that the music can be appreciated without
detailed reference to the opera's story, despite the depth that this
undoubtedly adds.
In Dawn the early light steals delicately into the sky as waves ripple
across the shingly shore, while the swell of massive waters heaves
gently below. Sunday Morning, which Britten described simply in a
draft note as “"sunny, sparkling music’, is in a bright D major, with
church
bells
and
birdsong
briskly characterised
by
horns
and
woodwind before a contrasting, expansive melody on the strings
adds suggestions of warmth and freedom. In the opera, however,
this music is associated with Ellen Orford, the loving friend who
unsuccessfully tries to help Grimes achieve happiness, and towards
the end of the interlude a striking clock (the bells now represented
by ‘real’ bells in the percussion section) and darker harmonies
arguably add an element of danger and foreboding that in context
has a dramatic function - Ellen is about to discover a bruise on the
new apprentice’'s neck: “Well .. it's begun.”
Moonlight describes the sea at rest at night, surging gently but with
hints of its latent power as silvery flashes, brilliantly evoked by quick
‘Jabs” of orchestral colour from flute and harp, gleam on the surface.
At this point in the opera the second apprentice has already fallen to
his death, and the rage of the community is about to be turned on
Grimes. The power is unleashed in the superb Storm, the savagery of
nature breaking out in the aggressive braying of brass instruments
and tormented lines for the strings which start low, then rise higher
and higher until manic figures in the woodwind seem to threaten the
approach of some irreversible disintegration of the elements. An
arching phrase, identified in the opera with Grimes's longing for a
peaceful “harbour" where he can shelter from the malice and
misunderstanding directed at him, pleads eloquently and briefly, but
the ferocious energy of the storm soon returns, and with terrible
finality it obliterates all hope.
Interval
(20 minutes)
10
Vivace Chorus
Ralph Vaughan Williams : A Sea Symphony
Soprano, Baritone, Chorus, Orchestra
Vaughan Williams's Sea Symphony bursts
on the audience like a great ocean wave,
with a confident momentum that carries
the music irresistibly through passages of
ebb and flow, action and contemplation,
straight to its sublime conclusion
than an
hour later.
more
It is as if the work
sprang, fully armed, from the composer's
flery
imagination.
triumphantly
Yet
this
premiered
masterpiece,
at
the
Leeds
Festival in 1910, had been developing for
more
than
process
of
six
years
revisions
in
a
and
painstaking
adjustments
which also involved the selection and editing of passages from Walt
Whitman's “Leaves of Grass". The resulting text is in itself a testament
to Vaughan Williams's craftsmanship and powers of re-creation.
By
the
time
of
the
Sea
Symphony's
first
performance
British
composers had been setting texts from Whitman for at least twentyfive years. The great American poet consciously rejected what he
saw as the stale and restrictive conventions of Old World poetry,
and so
had a strong
appeal for young
composers
in the late
Victorian period, as he did for Vaughan Williams in the new century.
Stanford,
later
Vaughan Williams's teacher at the Royal College of Music,
In
1884
the
had
produced
a
thirty-two-year-old
Charles
substantial Elegiac Ode
on
Villiers
the
death
of Abraham
Lincoln, to a well-known text from Whitman, and Delius's Sea Drift
(1906)
was
a
compelling
contemporary
example.
Despite
its
reputation for eccentricity and obscurity, the potential of Whitman's
verse as material for musical development was firmly established.
Vaughan
Williams
was
introduced
to
Whitman's
poetry
at
Cambridge by Bertrand Russell, and he was immediately attracted
to its democratic radicalism and its recognition of the strengths and
virtues of “average” men and women (whenever Whitman uses the
word “average” it is a term of respect). This "“New World" perspective
is important for the Sea Symphony. Stanford's Songs of the Fleet, a
song cycle to texts by the patriotic poet, Henry Newbolt, was first
Vivace Chorus
11
performed at the same Leeds Festival of 1910 and belongs to the
lively
and
structural
popular tradition
and
thematic
of
British
parallels
to
“sea-music’.
the
It
has
Symphony,
clear
with
its
celebration of heroic seamanship, the exhilarating energy of tides
and storms and the mysterious beauty of a seascape seen by a
sailor on watch at night, but Newbolt's focus on Drake, Nelson and a
distinctly romanticised version of British (specifically English) naval
history, is very different from Vaughan Williams's perspective. In
Whitman, Stanford's great pupil had found a poet whose seas are
crowded
not with
British
battleships
but with
the
trading
and
exploring vessels of "all nations’, proudly individual yet signalling
constantly to each other, and his heroes are "all brave captains .. all
intrepid sailors and mates”. The Symphony goes far beyond a single
nation to embrace a whole world of human achievement - a world
ready to be united under “one flag" of resourcefulness and courage.
Movement |: A Song for all seas, all ships
The symphony's opening, with its rousing fanfare, thrilling tonal shift
from B flat minor to D major on the key word “sea’, and the great
arching melody that immediately evokes the majesty and power of
the ocean, plunges straight into the heart of the drama. While the
text repeatedly demands that we "see”, Vaughan Williams's brilliant
orchestration
breezes,
lets us
mysterious
hear the crash
ocean
depths
and swell of waves,
and
whistling
winds,
brisk
while
swirling triplets create the ebb and flow of great waters and swift
changes of tempo portray the bustling vessels that fill the sea lanes.
The
baritone's
cheerful
hornpipe
theme
is
soon
followed
enthusiastically by the chorus, so that the structure of the music
brings to life Whitman's great theme of "brave captains’ leading
‘unnamed heroes".
After a passage of radiant harmonies has celebrated the resilience
of "all intrepid sailors”, uniting the world’'s nations by their courage
and enterprise, a second fanfare summons the soprano, who has
been compared by the conductor Betsy Burleigh to “the figurehead
on the prow of a ship" commanding the sea to delight in the proud
variety of vessels. In a heart-lifting melody she introduces the “one
flag above all the rest’, which for Vaughan Williams and Whitman is
not
the
flag
of a
single
nation
but a
‘“spiritual woven
signal’
embodying the fearlessness and endurance of all nations, even in
12
Vivace Chorus
the face of death. There develops a massive choral tribute to those
who died doing their duty, and the baritone returns to lead a stately
tribute to the “pennant universal’. The end comes with a repetition of
the symphony's opening words, the chorus now singing in eerie
thirds
(marked
“misterioso’)
over
tremolando
strings
and
the
distinctive unearthly sound of woodwind, till the movement resolves
into a restful close, with the basses gently reaffirming the theme of
universal comradeship, “One flag above all the rest, for all nations’,
on their lowest note in the score.
Movement II: On the Beach at Night alone
In the slow movement the baritone and chorus meditate on the
beauty of the starlit sea, and this leads to a revelation of the unity of
“all living bodies” in the embrace of the universe. The mysterious
shifting harmonies of the orchestral opening evoke the ocean at
rest, and the semi-chorus of altos, responding to the soloist, sound
at first like distant spirits of the sea, their chant developing into a
restful rocking rhythm.
As the watcher on the beach begins to grasp the "vast similitude”
that encompasses and interlocks all things, past, present and future,
more voices are added and the music rises in wave-like arcs of
melody,
building
to
a
massive
triple
forte
climax
of glorious
harmonies to be sung con tutta forza before dying away. The soloist
returns to his tranquil musing and the orchestra to its wordless rise
and fall, now varied and enlightened by shimmering textures as if in
recognition of the loving reassurance that the “old husky nurse” has
revealed.
Movement lll: Scherzo - The Waves
A swift reminiscence of the opening fanfare launches the scherzo
like a sudden invigorating breeze, and from that moment the energy
never slackens - even the great evocation of the “stately and rapid
ship” in the central trio section, driving through the surge pursued by
frolicsome waves, keeps up the momentum that runs through this
movement and, on a larger scale, through the whole symphony.
The orchestra playfully characterises the sea's boisterous moods
with triumphant brass, churning and gurgling woodwind, shrill flute
and piccolo for the whistling winds, and delicate swirls on the harp
for the “liquid, uneven, emulous waves', while the rest of the string
Vivace Chorus
13
section
dramatise everything from the exultant laughter of the
bubbling surface to the massive underlying swell of the mighty
ocean itself. Virtuoso writing for the chorus means that they must
pursue
the
orchestra
and
each
other through
the
tumultuous
movement, coming together at its heart for the expansive passage
celebrating “the great vessel sailing”.
Movement |V: The Explorers
Vaughan Williams resists the traditional formal conventions for a
finale, following instead the narrative of mankind's history that he
extracted from Whitman's Passage to India, and finding dramatically
and emotionally appropriate music for each stage of the enigmatic
metaphysical argument that emerges from it. The opening evokes
the earth "swimming in space" with noble, expansive phrases, and
leads to a moving “wayfaring” motif as Adam and Eve and their
‘myriad progeny” descend from Eden to wander in search of the
meaning of life. The semi-chorus of sopranos and altos voice their
desolate questioning: What is the purpose of life? Why does it never
give us the satisfaction we are capable of imagining? Whitman's
answer is given with increasing confidence by other voices as they
acclaim the achievements of “great captains” and “noble inventors”
in exploring and uniting the world. A triumphant climax pays tribute
in long flourishing phrases to the “true son of God", the poet who
sees that humanity’'s alienation
is approaching
its end,
and
by
celebrating it in his songs can help to bring it about.
The swirling
music of the sea releases a passionate love-duet
between man and his soul as they prepare to set out on the ultimate
voyage of discovery, borne through “regions infinite" in search of the
being who is God of the whole world (and for Whitman of all
religions, Eastern and Western). A fragment of the sea-theme from
the
beginning
of the symphony introduces a sublime C
major
passage in praise of the “transcendent .. light of the light - shedding
forth
universes’
The
voyage
suddenly
begins
with
a
brilliant
hornpipe rhythm accompanying ‘Away, O Soul!", and man and soul
set forth on a journey of exploration, deep into the mysteries of time,
space and death, dauntless as the ocean itself.
14
Vivace Chorus
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THE OTHER SIDE OF THE SEASIDE
A trip to the seaside conjures up images
-
A
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mqune/
our
buckets
and
breath-taking
spades,
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Help protect our amazing but fragile seas, shores and wildlife. From
only £3.50 a month, you will receive a welcome pack including an
organic cotton shopper bag and seashore safari guide, along with
FREE subscription to the quarterly ‘Marine Conservation' magazine.
Joining
is easy. Simply visit www.mcsuk.org/join or call us on
0300 3300 704.
16
Vivace Chorus
A Sea Symphony
l.
ASONG FOR ALL SEAS, ALL SHIPS
Chorus
Behold, the sea itself,
And on its limitless, heaving breast, the ships;
See, where their white sails, bellying in the wind, speckle the green and
blue,
See, the steamers coming and going, steaming in or out of port,
See, dusky and undulating, the long pennants of smoke.
Behold, the sea itself,
And on its limitless, heaving breast, the ships.
Baritone & Chorus
To-day a rude brief recitative,
Of ships sailing the seas, each with its special flag or ship-signal,
Of unnamed heroes in the ships —
Of waves spreading and spreading far as the eye can reach,
Of dashing spray, and the winds piping and blowing,
And out of these a chant for the sailors of all nations,
Fitful like a surge.
Of sea-captains young and old, and the mates, and of all intrepid sailors,
Of the few, very choice, taciturn, whom fate can never surprise nor death
dismay,
Picked sparingly without noise by thee old ocean, chosen by thee,
Thou sea, that pickest and cullest the race in time, and unitest nations,
Suckled by thee, old husky nurse, embodying thee,
Indomitable, untamed as thee.
Soprano & Chorus
Flaunt out, O sea, your separate flags of nations!
Flaunt out visible as ever the various flags and ship-signals!
But do you reserve especially for yourself and for the soul of man one flag
above all the rest,
A spiritual woven signal for all nations, emblem of man elate above death,
Vivace Chorus
17
Token of all brave captains and all intrepid sailors and mates,
And all that went down doing their duty,
Reminiscent of them, twined from all intrepid captains young or old,
Emblem of man, elate above death.
Baritone, Chorus & Soprano
A pennant universal, subtly waving all time, o'er all brave sailors,
One flag, one flag above all the rest,
Behold the sea itself,
And on its limitless heaving breast, the ships.
All seas, all ships,
O'er all brave sailors
One flag above all the rest, for all nations.
Behold the sea itself.
S
Il. ON THE BEACH AT NIGHT ALONE
Baritone & Chorus
On the beach at night alone,
As the old mother sways her to and fro, singing her husky song,
As | watch the bright stars shining, | think a thought of the clef of the
universes and of the future.
A vast similitude interlocks all,
All distances of space however wide,
All distances of time,
All souls, all living bodies though they be ever so different,
All nations, all identities that have existed or may exist,
All lives and deaths all of the past, present, future,
This vast similitude spans them, and always has spanned,
And shall forever span them and compactly hold and enclose them.
18
Vivace Chorus
I1l. (SCHERZO) THE WAVES
Chorus
After the sea-ship, after the whistling winds,
After the white-gray sails taut to their spars and ropes,
Below, a myriad, myriad waves hastening, lifting up their necks,
Tending in ceaseless flow toward the track of the ship,
Waves of the ocean bubbling and gurgling, blithely prying,
Waves, undulating waves,
Liquid, uneven, emulous waves,
Toward that whirling current, laughing and buoyant, with curves,
Where the great vessel sailing and tacking displaced the surface,
Larger and smaller waves in the spread of the ocean, yearnfully flowing,
A motley procession, with many a fleck of foam and many fragments,
Following the stately and rapid ship, in the wake following.
SN
IV. THE EXPLORERS
Chorus
O vast Rondure, swimming in space,
Covered all over with visible power and beauty,
Alternate light and day and the teeming spiritual darkness,
Unspeakable high processions of sun and moon and countless stars above,
Below, the manifold grass and waters,
With inscrutable purpose, some hidden prophetic intention,
Now, first, it seems my thought begins to span thee.
Down from the gardens of Asia descending,
Adam and Eve appear, then their myriad progeny after them,
Wandering, yearning, with restless explorations,
With questionings, baffled,formless, feverish, with never-happy hearts
Vivace Chorus
19
With that sad incessant refrain,
‘Wherefore unsatisfied soul?
Whither O mocking life?"
Ah who shall soothe these feverish children?
Who justify these restless explorations?
Who speak the secret of the impassive earth?
‘Wherefore unsatisfied soul?
Whither O mocking life?'
Yet soul be sure the first intent remains, and shall be carried out,
Perhaps even now the time has arrived.
After the seas are all crossed,
After the great captains have accomplished their work,
After the noble inventors,
Finally shall come the poet worthy that name,
The true son of God shall come, singing his songs.
Soprano & Baritone
O we can wait no longer,
We too take ship O Soul,
Joyous we too launch out on trackless seas,
Fearless, for unknown shores, on waves of ecstasy to sail,
Amid the wafting winds (thou pressing me to thee, | thee to me, O Soul),
Caroling free, singing our song of God,
Chanting our chant of pleasant exploration.
O Soul thou pleasest me, | thee,
Sailing these seas or on the hills, or walking in the night,
Thoughts, silent thoughts, of Time and Space and Death, like
water flowing,
Bear me indeed as through regions infinite,
Whose air | breathe, whose ripples hear, lave me all over,
Bathe me, O God, in thee, mounting to thee,
| and my soul to range in range of thee.
20
Vivace Chorus
Soloists & Chorus
O thou transcendent,
Nameless, the fibre and the breath,
Light of the light, shedding forth universes, thou centre of them.
Baritone
Swiftly | shrivel at the thought of God,
At nature and its wonders, Time and Space and Death,
But that I, turning, call to thee, O Soul, thou actual me,
And lo, thou gently masterest the orbs,
Thou matest Time, smilest content at Death,
And fillest, swellest full the vastnesses of Space.
Chorus
Greater than stars or suns,
Bounding O Soul thou journeyest forth;
Soloists & Chorus
Away O Soul! hoist instantly the anchor!
Cut the hawsers - haul out - shake out every sail!
Sail forth - steer for the deep waters only.
Reckless O Soul, exploring, | with thee, and thou with me,
For we are bound where mariner has not yet dared to go,
And we will risk the ship, ourselves and all.
O my brave Soul!
O farther, farther sail!
O daring joy, but safe! are they not all the seas of God?
O farther, farther, farther sail!
All programme notes by Jon Long
Vivace Chorus
21
Hazel Neighbour - Soprano
British
soprano
currently
on
Hazel
the
is
Academy
of
Royal
Music
Opera
course
Nuccia
Focile
and
generously
Neighbour
studying
Ingrid
supported
by
with
Surgenor,
the
Maria
Callas Award and the Josephine Baker
Trust.
She
completed
Performance
with
her
Master
distinction
at
of
the
Royal College of Music, where she was
a Cuthbert Smith Scholar supported by
a
Helen
Before
Marjorie
studying
Tonks
singing,
Scholarship.
Hazel
read
Chemistry at Imperial College London.
At the Royal Academy of Music, Hazel has performed the roles of
Cupid in Semele by Handel and Brigitta in /olanta (Tchaikovsky). She
has also performed the Marschallin (Der Rosenkavalier - Strauss)
and the Governess (Turn of the Screw - Britten) in opera scenes. At
the Royal College of Music, she performed the roles of Mimi (La
Boheme - Puccini) and Marenka (The Bartered Bride - Smetana) in
opera scenes and Cock/Cricket/Franzl in The Cunning Little Vixen by
Janacek. Other operatic roles she has performed include Gretel,
Polly
Peachum,
Dorabella
and
Papagena
and
Rosalinde
(Die
Fledermaus), Konstanze (Die Entfuhrung aus dem Serail) and the
Countess in scenes.
Hazel also specialises in contemporary opera. She covered the role
of the Bride in British Youth Opera's production of The Vanishing
Bridegroom by Judith Weir in the Peacock Theatre and played the
lead soprano role in The Butt, an opera by Susie Self adapted from
the
book
by
Will
Self,
at
the
contemporary
music
festival
Musiktheatertage in Vienna.,
Highlights of Hazel's concert experience include Berg's Sieben frihe
Lieder with Cambridge Sinfionetta and soprano soloist in Mozart's
Vesperae solemnes de confessore at West Road Concert Hall in
Cambridge.
22
Vivace Chorus
Niall Anderson - Baritone
Originally from Fife, Niall Anderson now
studies at the Royal Academy of Music
under
the
tutelage
of
Hargreaves and Jonathan
include
Aeneas
(Dido
Glenville
Papp.
and
Roles
Aeneas),
Figaro (Le nozze di Figaro), Escamillo (La
Tragedie de Carmen) Somnus (Semele),
and
Marcello
(La Boheme)
as
part of
Royal Academy Opera Scenes. Niall is a
member of Royal Academy Opera.
Niall
has
performed
globally
most
notably singing the role of Christus in
Bach's St Johannes Passion in Wurselen,
Germany. On the oratorio stage, Niall has sung Mozart's and Faure's
Requiem amongst many others in the genre. Niall has experience
performing in venues such as St Andrew's Cathedral, Cowdray Hall,
St John's, Smith Square and Haddo House. Niall is also a member of
the prestigious Royal Academy of Music Song Circle where he
performed in their annual Schubertiade event this year.
A keen performer of hew music, Niall sang the baritone solo in the
Welsh premier of Paul Mealor's Symphony No.1, '‘Passiontide’. Recent
engagements
include
Haydn's
Nelson
Mass,
Mozart's
Requiem,
Rossini's Petite Messe Solenelle and the role of Escamillo in RAO's
production of La Tragedie de Carmen. Niall made his Wigmore Hall
debut in November in a recital with Julian Prégardien and Christoph
Schnakertz. Niall also featured as a soloist in the Royal Academy of
Music/Kohn Foundation Bach Cantata Series in 2018 led by lain
Ledingham.
Upon graduating from the University of Aberdeen in 2016, Niall was
awarded the Carlaw Music
Prize for his services to the
music
department and was also a finalist in the Ogston Music Prize in 2015
and 2016. In spring 2017, Niall was very highly commended in the
Elena Gerhardt Lieder Prize at the Royal Academy of Music.
Vivace Chorus
23
Paul Grant - Baritone
Paul Grant was born in Edinburgh and is
studying with Glenville Hargreaves and
Jonathan Papp at the Royal Academy of
Music where he is a member of the
Academy Song Circle and was a soloist
for the RAM/Kohn Foundation Bach
Cantata Series. He is a Britten Pears
Young Artist, won the 2018 Richard
Lewis/Jean Shanks Award and was a
finalist in the 2018 RAM Club Prize and
2017
Joan
Chissell/Rex
Stephens
Schumann Lieder Prize.
Performance highlights include a gala
concert at Victoria Hall, Geneva, recitals at The Queen's Gallery
Buckingham Palace, Wigmore Hall, Edinburgh Festival Fringe,
Aberdeen International Youth Festival, Leeds Lieder and Oxford
Lieder Festivals, masterclasses with Thomas Quasthoff and Simon
Keenlyside and attending the Georg Solti Accademia di Bel Canto.
Recent operatic performances include Robert in Tchaikovsky's
lolanta, Minsk Man in Jonathan Dove's Flight and Le Podestat in
Bizet's Le Docteur Miracle with Royal Academy Opera as well as
covering the title role in Don Giovanni with British Youth Opera.
Upcoming engagements include Garsington Opera as an Alvarez
Young Artist and a recital in Japan before joining the Accademia
Teatro alla Scala in Milan.
Paul is very grateful for the generous support from The Carr-Gregory
Scholarship, The Robertson Scholarship Trust and The Leverhulme
Trade Charities Trust.
‘
Vivace Chorus is grateful to The Josephine Baker Trust
for the sponsorship of tonight's soloists.
24
Vivace Chorus
1
Jeremy Backhouse is one of Britain's
leading choral conductors. He began his
musical career in Canterbury Cathedral
where he was Senior Chorister.
Jeremy has been the sole conductor of
the internationally-renowned chamber
choir, Vasari Singers, since its inception in
1980. Since winning the prestigious Choir
of the Year competition in 1988, the
Vasari Singers has performed regularly at
major concert venues and cathedrals
throughout the UK and abroad. Jeremy
and
the
Vasari
Singers
broadcast
frequently on Classic FM and BBC Radio
3 and have a discography of over 25 CDs on EMI, Guild, Signum and
Naxos. Their recordings have been nominated for a Gramophone
award, received two Gramophone Editor's Choice awards, the top
recommendation on Radio 3's ‘Building A Library' and two recent
CDs both achieved Top Ten status in the Specialist Classical Charts.
He is totally committed to the performance of contemporary music
and, with Vasari, he has commissioned over 25 new works.
In January 1995 Jeremy was appointed Music Director of the Vivace
Chorus. Alongside the standard classical works, Jeremy has
conducted the Vivace Chorus in some ambitious programmes
including Howells' Hymnus Paradisi, Szymanowski's Stabat Mater,
Mahler's ‘Resurrection’ Symphony, Prokofiev's Alexander Nevsky and
Ivan the Terrible, then Mahler's ‘Symphony of a Thousand' and Verdi's
Requiem in the Royal Albert Hall with the Royal Philharmonic
Orchestra.
In January 2009 Jeremy became the Music Director of the Salisbury
Community Choir. In 2013 the choir celebrated its 21st Anniversary
with a concert in Salisbury Cathedral, premiering a speciallycommissioned work by Will Todd, The City Garden, which they
toured to Lincoln (2014) and Guildford (2015) cathedrals. A new work
from Alexander LEstrange was premiered in Winchester Cathedral
in November 2018.
Jeremy has also worked with a number of the country's leading
choirs, including the BBC Singers, the London Symphony Chorus,
the Philharmonia Chorus, and the Brighton Festival Chorus.
Vivace Chorus
25
-_
@
Oow
A\
rg’ Artistic Director: Robert Porter
Associate Music Director: Sarah Tenant-Flowers
The Brandenburg Sinfonia is one of the most dynamically versatile
musical organisations in the country, renowned for its special quality
of sound and poised vivacity in performance. The orchestra
performs regularly in most major venues across the country, and in
London at the Barbican, Royal Albert Hall, Queen Elizabeth Hall,
Fairfield Halls and St John's, Smith Square. The Brandenburg
Sinfonia is also in great demand abroad and has visited France, USA,
Bermuda, the Channel Islands, Barbados, Russia, Germany, Japan
and Hong Kong. In 1999 the orchestra established a major concert
series at both St Martin-in-the-Fields and the Crystal Palace Bowl
Violin 1
Bass
Horn
Richard Milone
David Brown
Nick Korth
Hilary Jane Parker
David Ayre
Charis Jenson
Finlay Bain
Jonathan Eddie
Katarina Nazarova
Harp
John Dickinson
Alice Hall
Susan Blair
Jason Koczur
Flute
Trumpet
Anna Szabo
lan Mulllin
Robin Totterdell
Violin 2
Eleanor Parry-Dickinson
Kate Walter
Ryan Linham
Chloe Vincent
Rebecca Crawshaw
Alicia Berendse
Oboe
Trombone
Eleanor Gilchrist
Richard Simpson
Susan White
Felicity Broome-Skelton
Rachel Broadbent
Jacob Ventura
Cecilia Romero
Nicole Stokes
Viola
Matthew Quenby
Milena Simovic
Joseph Fisher
Lowri Thomas
Clarinet
Hugh Sisley
Rory Cartmel
Dougal Prophet
Andrew Harper
Tuba
Rosemary Taylor
Nick Etheridge
George Sleighthome
Bassoon
Luke Tucker
Cello
Elizabeth Trigg
Adrian Bradbury
Robert Porter
Ben Rogerson
Rosie Cow
Timpani
Tristan Fry
Percussion
James Crook
Ben Brooker
Kirsten Jenson
Patrick Johnson
Vivace Chorus
About Vivace Chorus
Jeremy Backhouse
Music Director
Francis Pott
Accompanist
James Garrow
Chairman
The choir has come a long way since it began in 1946 as the
Guildford Philharmonic Choir and now has an enviable reputation for
performing first-class concerts across a wide range of musical
repertoire. Particular successes include a sell-out performance in
May 2011 of Mahler's Symphony No. 8, the ‘Symphony of a Thousand!,
at
the
Royal
Albert Hall, a highly acclaimed performance in
November 2012 of Britten's War Requiem and another Royal Albert
Hall success in May 2014 when we performed the Verdi Requiem. In
2017
we
celebrated
our
70th
birthday
with
the
Philharmonia
Orchestra in the Royal Festival Hall.
Since 1995, Vivace has thrived under the exceptional 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 performance. He is supported by
Francis Pott, who is not just a very fine rehearsal accompanist, but is
also an academic and composer of international repute and an
accomplished concert pianist.
Vivace Chorus
27
In addition to our own concerts in
Guildford and London, we also sing
in
various
with
our
charity
concerts
and,
regular
orchestra,
the
Brandenburg Sinfonia, take part in
the
each
Brandenburg
year
in
Choral
St
Fields. We also
Festival
Martin-in-the-
like to take our
music-making overseas and have
toured to France,
ltaly, Germany,
Austria and the Baltic States, with a trip to Northern Spain planned
for 2020.
We're a friendly and sociable choir that enjoys singing traditional
choral classics alongside the challenge of contemporary and newlycommissioned
music.
We
are
always
happy to
welcome
new
members, so if you would like to try us out, do come along to any of
our regular rehearsals on Monday evenings at 715 in the Millmead
Centre, Millmead, Guildford.
Just
contact
our
membership
secretary
Jane
Brooks
at
membership@vivacechorus.org and for more information, visit our
website, vivacechorus.org, and follow us on Facebook and Twitter @VivaceChorus.
SING WITH THE BEST
It's official: singing
= Makes you feel happier
» Reduces stress
= Improves memory
= Strengthens the lungs and
iImmune system
But most of all, it's just great fun!
Apart
from
singing
in
local
venues, we also tour abroad and
have
a
events,
full
calendar
including
of
social
walks
and
parties.
If you're tempted to join us, just
drop an email to our membership
secretary,
Jane
Brooks
at
membership@vivacechorus.org.
VIVACE CHORUS and GUILDFORD
GUILDFORD
COMMUNITY LOTTERY
5
COMMUNITY LOTTERY :
.
Guildford Borough Council has recently set up the Guildford
Community Lottery to help provide much-needed funding for :
local community projects.
:
:
You can buy lottery tickets online for a minimum of £1 per week,
:
.
of which 50p goes directly to your chosen cause, e.g. Vivace
: Chorus. Each ticket gives you a 1 in 50 chance of winning a prize,
.
:
:
:
with a top prize of £25,000 for matching 6 numbers.
Ff you would like to support Vivace Chorus and be in with the
chance of winning a cash prize at the same time, please visit the
: Guildford Community Lottery website:
:
www.guildfordlottery.org/support/vivace-chorus
Vivace Chorus
29
:
:
Vivace Chorus Singers
FIRST SOPRANO
FIRST ALTO
Margaret Grisewood Tony Chantler
Sel Adamu
Barbara Barklem
Liz Hampshire
Simon Dillon
Amelia Atkinson
Jackie Bearman
Pauline Higgins
Geoff Johns
Jane Barnes
Jane Brooks
Beth Jones
Stephen Linton
Helen Beevers
Amanda Burn
Joanna Bolam
Kate Emerson
Mary Broughton
Valentina Faedi
Rebecca Kerby
Elaine Harris
Fran MacKay
Sheila Hodson
Suzie Maine
Jean Leston
Sue Norton
Liz Martin
Robin Onslow
Penny McLaren
Gillian Rix
Christine Medlar
Joan Thomas
Rosalind Milton
Hilary Vaill
Mary Moon
Lilly Nicholson
SECOND SOPRANO
Linda Ross
Jacqueline Alderton
Catherine Shacklady
Anna Arthur
Carol Sheppard
Philippa Curtis
Isobel Humphreys
Mo Kfouri
Harriet Lavis
Isabel Mealor
Marjory Stewart
Jo Stokes
Nicola Telcik
Sue Thomas
Maggie Woolcock
Sonia Morris
Michelle Mumford
SECOND ALTO
Alex Nash
Geraldine Allen
Sarah Palmer
Evelyn Beastall
Gill Perkins
Kate Peters
Valerie Thompson
Hilary Trigg
Christine Wilks
Fiona Wimblett
Frances Worpe
Diana Butcher
Sylvia Chantler
Mary Clayton
Andrea Dombrowe
Sheena Ewen
Valerie Garrow
Mary King
Christine Lavender
Lois McCabe
Kay McManus
Peter Norman
Mark Sayer
Jon Scott *
FIRST BASS
Catherine Middleton Paul Barnes
Val Morcom
Phil Beastall
Pamela Murrell
David Brassington
Sonja Nagle
Richard Broughton
Jacqueline Norman
Mike Dudley
Sheila Rowell
Brian John
Prue Smith
Jeremy Johnson
Rosey Storey
Jon Long
Pamela Usher
Malcolm Munt
Anne Whitley
Chris Newbery
June Windle
Chris Peters
Elisabeth Yates
Robin Privett
Andrew Skinner
FIRST TENOR
Philip Stanford
Bob Bromham
Bob Cowell
Rosie Jeffery
Michael Krzyzaniak
Barbara McDonald
Nick Manning
Martin Price
Chris Robinson
John Trigg
SECOND BASS
Peter Andrews
Norman Carpenter
Geoffrey Forster
James Garrow
Stuart Gooch
Nick Gough
Roger Penny
Richard Wood
SECOND TENOR
Ewan Bramhall
* Tenor soloist in
Peter Butterworth
Sir Patrick Spens
VivaceChorus
Vivace Chorus Patrons
The Vivace Chorus is extremely grateful to all patron
s for their support
Honorary Life Patrons
Mr John Britten
Dr John Trigg MBE
Life Patrons
Carol Hobbs
John and Jean Leston
Mrs Joy Hunter MBE
Platinum Patrons
Alan & Elizabeth Batterbury
Roger Muray
Mr & Mrs Peter B P Bevan
Peter Norman
Robin & Jill Broadley
John Parry
Roger & Sharon Brockway
Robin & Penny Privett
Richard & Mary Broughton
Gillian Rix
Humphrey Cadoux-Hudson CBE
Geoffrey Johns & Sheila Rowell
Jean & Norman Carpenter
Jonathan Scott
Andrea & Gunter Dombrowe
Catherine & Brian Shacklady
Rosemary & Michael Dudley
Prue & Derek Smith
Robert Glossop MBE
Dennis Stewart
Susan & Cecil Hinton
Idris & Joan Thomas
Michael & Anna Jeffery
Pam Usher
Dr Stephen Linton
Anthony J T Williams
John McLean OBE & Janet Mclean
Bill & June Windle
Ron & Christine Medlow
Maggie Woolcock
Lionel & Mary Moon
BECOME A VIVACE PATRON
If you have enjoyed this concert, why not becom
e one of our patrons? We
have a loyal band of followers whose regular presen
ce 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 Cathedr
al, 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 contact
Mary Moon on 01372 468431 or email: patrons@vivace
chorus.org.
Vivace Chorus dates for your diary
Mozart Clarinet Concerto and Requiem
Saturday2sthMay 7.30 pm
G Live, Guildford
We're delighted to welcome internationally-renowned clarinettist,
Michael Collins, to G Live to play the hugely popular Mozart Clarinet
Concerto. Also on
Requiem,
the
one of the
programme will be
best-known
pieces
Mozart's
in
much-loved
the classical music
repertoire, together with Mahler's Ave Maria, a choral setting of the
Adagietto from his Symphony No. 5. Get your tickets early for this
sell-out occasion!
In the Mood for Summer
Saturday 6th July
7.30 pm
Holy Trinity Church, Guildford
Join us at the beautiful Holy Trinity Church on Guildford's historic
High
Street
for
a
light
summer
concert,
full
of easy-listening
favourites. Our programme includes Gershwin, Cole Porter, George
Shearing and John Rutter - the perfect soundtrack to a summer
evening.
Todd Mass in Blue and Palmeri Misa Tango
Saturday 9th November
7.30 pm
G Live, Guildford
There's plenty to get your hips swaying in our sultry Latin-American
and jazz concert at G Live this November. We'll be singing Mass in
Blue by acclaimed international composer and Guildford resident,
Will Todd. This has fast become one of the most popular modern
choral works in the world, and we're delighted to be joined by LatinAmerican
music
specialists,
the
Santiago
Quartet,
international
bandoneon player Julian Rowlands and Tango bass player, Tom
Mason for this, and our other programmed work, Misatango by
Palmeri. And if that's not exciting enough, there will be live Tango
dancing from duo Richard Manuel and Paula Duarte, who performed
in Guildford to huge acclaim in the 2018 Spring Music Festival.
Further details at vivacechorus.org
Printed by WORDCRAFT
15 Merrow Woods, Guildford, Surrey GU1 2LJ. Tel : 01483 560735
Vivace Chorus is a Registered Charity No. 1026337
32
Vivace Chorus
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plus far too little protection.
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Join Vivace Chorus
in Guildford for our
other 2019 concerts
May GlLive
Mozart’s Requiem and
Clarinet Concerto with
world famous soloist,
Michael Collins, and
Mabhler’s Ave Maria, all
written in Vienna — the
birthplace of some of the
most magical musicin
the worl
July Holy Trinity
From jazz to madrigals
—your perfect summer’s
evening concert.
I
Holy TrinityGufldfofd
November GlLive
Tango dancers, a
bandoneon player, a
Latin American quartet
and a jazz trio. Vivace is
singing, too!
MISA TANGO
Palmerj ;
Will Todd Trio
Santiago Quarte;
““““““““
vivacechorus.org
Registered Charity No. 1026337