UN
re
2
al
National Symphony Or chestra
“À
Conductor:
Barbara Hofling
Soloists:
Alexandra Stevenson (soprano)
Fraser Ellson (tenor)
Timothy Nelson (bass)
Saturday
15 Nov 2025
Vivace
@ ho rus
Holy Trinity,
Guildford High Street.
HEADWAY
SURREY
Registered Charity No. 1207710
tit
PROSTATE
A message from Martin Davies
project
NRE
ue
Chairman of the Prostate Project
ER
eee
Over the last 25 years, the Prostate Project has raised more than £11 million,
money that has been used in the research, diagnosis and treatment of
prostate cancer.
Based at The Stokes Centre for Urology at Royal Surrey Hospital, our charity has
helped to establish Guildford as a world leading centre of excellence, supporting
research, sponsoring PhD studies, purchasing equipment, and raising awareness
of the need for more men to ‘Get Tested’.
The PSA blood test is an effective early indicator of potential problems for a
disease that usually presents no symptoms in its early stages. More than 14,000
men in the UK die each year from prostate cancer, and many of these deaths are
preventable because caught early enough, prostate cancer is usually curable.
oyhe Creation
Joseph Haydn
If you, or someone you know is a man aged between 50 and 70, has a family
history of the disease, or is black, you should ask your GP for a free PSA blood
test. It really is a simple fact that this quick test can save, and prolong the lives of
a great many men.
The Prostate Project is a volunteer led charity, and if you would like to know more
about our work or have any questions about the PSA Test, or prostate cancer,
please visit our website.
Thank you to the Vivace Chorus for allowing me the opportunity to say a few
words about the Prostate Project, together we can give men a better chance of
Alexandra Stevenson
Soprano
Fraser Ellson
Tenor
Timothy Nelson
Bass
beating prostate cancer.
Regards,
National Symphony Orchestra
Vivace Chorus
info@prostate-project.org.uk | www.prostate-project.org.uk
07724 465 883
Registered Charity No.1078523
Conductor: Barbara Höfling
The Creation
Joseph Haydn (1732 - 1809)
Until the year
probably
the
1790,
least
eighteenth
cosmopolitan
century
His
busy, and on an extremely short
leash, in his provincial outpost of
the Austrian Empire.
Portal by Thomas hearey. 478+.
rather
less
succession
cultured
to
the
son,
Prince
Antony had for Haydnithe fortunate
effect of reducing his obligations to his employer, so that he
was at last free to visit some of the musical centres around
Europe where his music had already earned him the
reputation of being, with Mozart, the greatest living composer.
In 1791, during the first of his two visits to London, Haydn
attended the Handel festival at Westminster Abbey, where
performances of Messiah and Israel in Egypt, given by
enormous choral and orchestal forces, made a huge
impression on him. When his London promoter Johann Peter
Saloman subsequently presented him with an oratorio libretto
entitled The Creation of the World, which was said to have
been written for Handel in the 1740s, Haydn was inspired to
turn his own creative energies towards composing an oratorio.
On his return to Vienna, Haydn gave the libretto to the
prominent music-lover and litterateur Gottfried van Swieten,
who translated it into German, and also adapted the English
version - it is impossible to be sure how much, as the original
libretto is lost. The process of composing the music lasted
2
Europe, and quickly became Haydn's most popular work.
There are three main sources for the text: Genesis chapter one,
the Book of Psalms and Milton's Paradise Lost. The structure of
the libretto is modelled on Book 7 of Milton's epic poem, in
Which the archangel Raphael describes to Adam and Eve how
God the Son set out from heaven, accompanied by hosts of
angels and archangels, to create the world in six days.
Esterhazy principality in 1790 of his
Joseph Haydn
performed. Haydn conceived the work bilingually, and it was
published, most unusually for the time, with both English and
Nicolaus Esterhazy, kept him very
the
it was first
German words. It was performed with great success all over
employer, the music-loving Prince
However,
late 1796 until the spring of 1798, when
was
Haydn
amongst the major composers of
the
from
Vivace Chorus
The part of Raphael in Haydn's oratorio is played by the bass
soloist. To achieve more musical variety, Haydn's librettist reallocates parts of the narrative to two more archangels, Uriel,
played
by the
tenor soloist,
and
Gabriel,
played
by the
soprano.
Before Creation, there was Chaos, which Milton describes as “a
vast, immeasurable abyss, outrageous as a sea, dark, wasteful,
Wild". The orchestra depicts this in the Introduction. Archangel
and chorus use the words of the book of Genesis to describe
the creation of light - the Big Bang. The tenor, Uriel, describes
the frightened reaction of the evil spirits to God's first act of
creation, then the chorus of angels proclaims what they have
witnessed:
"A
new-created
world
springs
up
at
God's
command.’ The first day ends.
This
pattern
continues:
at the
beginning
of each
day,
an
archangel announces, “And God said..”", quoting the book of
Genesis. The text and music elaborate on God's creative acts
on
that
day,
often
using
Milton's
memorably
picturesque
words (the “serpent error” of the rivers on day two, the fields “in
verdure clad" on day three, the earth “opening her fertile
womb" on day six), before the angels mark the end of each
Vivace Chorus
3
day in celebratory chorus. After the climax of the sixth day, the
creation of humankind, the angelic chorus announces the end
of the process of creation: “Achieved is the glorious work". The
concluding section of the oratorio is a description of life in
paradise, with the Soprano and Bass soloists now playing the
roles of Adam and Eve, which ends witha final chorus of praise.
Haydn was both inspired and moved by his subject matter. In a
letter he wrote:
Herschel (who was a keen amateur oboist, as well as the
discoverer of the
planet
Uranus). When,
four years
later,
Haydn came to set the words of Psalm 19 in “The Heavens are
telling’, the image of the stars and planets joining with the
mountains, rivers and seas of the earth in song to the Creator,
was as consonant with the discoveries of Newton, scientific
hero
of the
Enlightenment,
as
it was with
Haydn's
own
Catholic faith.
It was
Darwin's
scientific work which
posed
fundamental
The Creation has always been considered the sublimest and
questions about a literal acceptance of the creation story told
most awe-inspiring image for mankind. To accompany this great
by Genesis, Milton, and Haydn, and it is a quirk of history that
work with appropriate music could certainly have no other result
the year of Haydn's death was also that of Darwin's birth.
than to heighten these sacred emotions in the listener's heart,
and to make him highly receptive to the goodness and
omnipotence of the Creator.
picturesque musical descriptions: thunder and lightning as the
sky is created, the foaming billows of the sea, the roar of the
lion and the bounding of the flexible tiger. Despite the work's
popularity
with
audiences
across
themes from the Enlightenment when they allude to “..what
we know of the laws impressed on matter by the Creator’,
Haydn's music in the oratorio is many-faceted. He delights in
instant
The closing paragraphs of The Origin of Species recapitulate
Europe,
these
literalistic descriptions attracted stern censure from music
critics, who felt that music should express the sensations and
feelings aroused in man by the natural world, not simply
imitate the noises it makes.
then, as a final coda, present a sketch of
„this view of life, with its several powers, having been originally
breathed by the Creator into a few forms or into one; and that,
whilst this planet has gone cycling on according to the fixed law
of gravity, from so simple a beginning endless forms most
beautiful and most wonderful have been, and are being evolved.
It may lack the poetry of "How many are thy works O God!
Who may their number tell?” But the meanings are not too far
In between these passages, both the angelic and earthly
creations unite in hymns of utmost sublimity to the Creator.
apart.
Programme note by kind permission of Dr. Peter Foster
Both of these aspects reflect the world view of Haydn's time:
Director of Music, Oxford High School
the beauties of nature were a preoccupation of many artists,
Director of Music, St. Helen's Church Abingdon
while Enlightenment philosophy held that the universe was an
orderly place, whose natural laws were an expression of the
divine Creator, as well as being the proper focus for scientific
inquiry. Haydn had been fascinated on his first visit to London
by the
4
forty-foot
telescope
of court
astronomer William
Vivace Chorus
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.
Vivace Chorus
5
Surrey
Mozart
Players
Saturday 6th
Part I
Dec 2025
The Representation of Chaos
The First Day
With soloists from the
Recitative (Raphael)
Yehudi Menuhin School
In the beginning God created the
heaven and the earth; and the
Conductor - Philip Ellis
earth was without form, and
Leader - Annmarie McDade
The murky, roiling, dissonant
orchestral
opening
of The
Creation is among Haydn’s
most famous and ingenious
innovations:
in
his
quest
to
depict the chaos of primordial
nothingnes,
he
ends
up
writing harmonic progressions
that won’t be seen again for
void; and darkness was upon the
nearly a hundred years. Out of
face of the deep.
this darkness emerge the first
stirrings
(told
And the Spirit of God moved
upon the face of the waters. And
God said, Let there be light: and
there was light.
of
by
divine
one
of
creativity
the
three
Archangels to whom the bulk
of the
oratorio’s
narration
is
entrusted), culminating in one
of the most celebrated musical
surprises in musical history; if
you're new to the work, we
won't spoil it for you.
Recitative (Uriel
And God saw the light, that it
was good: and God divided the
light from the darkness.
Gone with a sweep of God's
hand
is
Opening
the
tumult
movement,
by a “new-created
of
the
replaced
world” of
sunny A major, into which the
Menuhin Hall
stoke d’Abernon
RER ee
Tickets available at
menuhinhall.co.uk
Menuhin Hall me
or call the Box Office on: 01932 559400
Now vanish before the holy
chorus steps with the tentative
beams the gloomy shades of
wonder of Dorothy
ancient night. The first of days
The “despairing
appears. Now chaos ends, and
order fair prevails. Affrighted fly
hell’s spirits black in throngs:
Down they sink in the deep
abyss to endless night.
(10am-30m weekdays)
Adults - £21
21 & under - £5
Vivace Chorus
into
rage”
fallen spirits of hell
but
shortlived
-
Oz.
of the
is brutal
a
classic
example not only of Haydn’s
decisive text-painting, but also
of his chronic inability to stay
angry for very long ata stretch.
The Third Day
Despairing cursing rage attends
their rapid fall. A new-created
Recitative (Raphael)
world springs up at God’s
And God said, Let the waters
command.
under the heaven be gathered
The Second Day
Recitative (Raphael)
And God made the firmament,
and divided the waters which
were under the firmament from
the waters which were above the
firmament: and it was so. Now
furious storms tempestuous rage,
like chaff, by the winds impelled
are the clouds, by sudden fire
the sky is inflamed, and awful
thunders are rolling on high.
Now from the floods in steam
ascend reviving showers of rain,
As God creates weather in the
cosmos, so Haydn creates it in
the orchestra: furiously fastmoving notes for the “dreadful”
thunderstorms, gentle triplets
for the spring rain, aimless
tremolos for the “wasteful” hail,
and soft spiky quavers for the
snowfall. (In this recitative as in
others later in the oratorio,
Haydn illustrates the text in the
orchestra
before
the
singer
voices it, as if to invite the
audience into a guessing game.)
The dreary wasteful hail, the
When
Aria (Gabriel
Swieten took his editorial quill
to the work of The Creation’s
now-anonymous English author,
amazed the glorious hierarchy of
heaven; and to the ethereal
water
everywhere!
together to one place, and let the
Haydn follows the more staid,
Biblically-based recitative with
dry land appear: and it was so.
a
particularly
And God called the dry land
illustrated aria:
enthusiastically
earth, and the gathering of
The “boisterous sea” churns in
waters called he seas: and God
angry semi-quavers, but yields
saw that it was good.
midway through the aria to the
softly gliding brook.
Aria (Raphael)
Listen
Rolling in foaming billows,
painting,
uplifted, roars the boisterous sea.
Mountains and rocks now
emerge, their tops among the
clouds ascend. Through the
the
for
Haydn’s
most
text-
obviously
wandering
of
in
the
serpentine
too,
river, but subtly,
in the spiky “mountains
and rocks” poking through the
clouds.
open plains, outstretching wide,
in serpent error rivers flow. Softly
purling, glides on through silent
vales the limpid brook.
light and flaky snow.
The marvellous work behold
Water,
Baron
he
brought
unmistakably
regrettably)
Gottfried
von
with
(and
him
an
sometimes
Teutonic
sense
of
vaults resound the praise of God,
syntax; hence the confusing first
and of the second day.
And to the ethereal vaults
clause of this charming number,
which means to say that the
hierarchy of heaven - i.e. the
heavenly host — beholds (with
resound the praise of God, and
amazement!)
of the second day.
progress, not vice versa.
God’s
work-in-
Recitative (Gabriel)
And God said, Let the earth
With lyricism and lilt the plant
bring forth grass, the herb
kingdom
yielding seed, and the fruit-tree
entrance into the new world.
makes
its
soothing
yielding fruit after his kind,
It's
whose seed is in itself, upon the
young twisting vine searching
earth: and it was so.
for
Aria (Gabriel)
With verdure clad the fields
appear, delightful to the ravished
Vivace Chorus
not
hard
to
imagine
a
sunlight
at
the
long
melismas that end the phrase
“..Shoots the healing plant.”
sense; by flowers sweet and gay
Recitative (Uriel)
enhanced is the charming sight.
In splendour bright is rising now
Here fragrant herbs their odours
the sun, and darts his rays; a
shed; here shoots the healing
joyful, happy spouse, a giant
plant. With copious fruit the
proud and glad to run his
expanded boughs are hung; in
measured course. With softer
leafy arches twine the shady
beams, and milder light, steps on
groves; over lofty hills majestic
the silver moon through silent
forests wave.
night. The space immense of the
Alas,
the
text
represents
the
that
follows
height
of
Enlightenment-Era overwriting,
yet it’s easy to forgive, both for
its earnest eagerness and for its
felicitous
position
between
two
of
the
work’s
memorable moments.
most
azure sky a countless host of
Recitative (Uriel)
radiant orbs adorns. And the
And the heavenly host
The chorus returns to exhort
sons of God announced the
proclaimed the third day,
the
masses
(of
angels —
humans
haven't
yet
been
created, technically) to
lift
their voices and instruments in
praise
of God’s_
unfolding
works.
fourth day, in song divine,
praising God and saying,
Awake the harp, the lyre awake,
in shout and joy your voices
raise. In triumph sing the mighty
God. For he both heaven and
earth has clothed in stately dress.
Haydn gives us the oratorio’s
first fugue at the text “For he
both heaven and earth has
clothed in stately dress.”
proclaiming thus his power:
Chorus with Trio
The heavens are telling the glory
movement, well known to
displays the firmament. To day
church-choir singers
that is coming speaks it the day,
worldwide, concludes Part | in
the night that is gone to
following night. In all the lands
The Fourth Day
resounds the word, never
unperceived, ever understood.
Recitative (Uriel)
And God said, Let there be lights
in the firmament of heaven, to
divide the day from the night,
and to give the light upon the
earth; and let them be for signs,
Is
there
a
more
glorious
passage in all of Classical-Era
music than the sunrise Haydn
evokes at the midpoint of
The Fifth Day
these
And God said, Let the waters
two
recitatives?
Never,
and for seasons, and for days,
perhaps, has a harmonized Dmajor scale been so expansive
and for years. He made the stars
or so expressive.
also.
The oratorio’s most excerpted
of God, the wonder of his work
Part II
Recitative (Gabriel
bring forth abundantly the
moving creature that hath life,
and fowl that may fly above the
earth in the open firmament of
heaven.
Vivace Chorus
full C-major splendour, with
God’s word transformed into a
verdant, vibrant new planet
ready for habitation.
Aria (Gabriel)
On mighty pens uplifted soars
the eagle aloft, and cleaves the
air, in swiftest flight, to the
blazing sun. His welcome bids to
morn the merry lark, and cooing
calls the tender dove his mate.
From every bush and grove
resound the nightingale’s
delightful notes; no grief affected
yet her breast, nor to a mournful
tale were tuned her soft,
enchanting lays.
The birds are the first of the
fauna to arrive, by means of
one of the most elaborately
virtuosic arias in the oratorio.
Haydn’s
text-painting
gets
a
full workout here: Listen for
the soaring and hovering of
the eagle, the trills of the
cooing dove, and the sweet
song of the nightingale, who
in these young, fresh days of
the earth has not yet acquired
the mythological mournfulness
that will come to define her
symbolically later on.
Most beautiful appear, with
The abundance and diversity
verdure young adorned, the
of God’s blessings find voice
gently sloping hills; their narrow,
sinuous veins distil, in crystal
drops, the fountain fresh and
bright.
and every living creature that
moveth; and God blessed them,
saying, be fruitful all, and
multiply. Ye winged tribes, be
multiplied, and sing on every
tree; multiply, ye finny tribes,
and fill each watery deep; be
In lofty circles play, and hover in
closes with a rousing chorus of
the air, the cheerful host of birds;
and as they flying whirl their
glittering plumes are dyed as
See flashing through the deep in
thronging swarms the fish a
thousand ways around.
The violins sit silent while the
lower strings, divided
into
multiple parts, slither and
writhe like great watery beasts.
Upheaved from the deep, the
immense Leviathan sports on the
foaming wave.
fruitful, grow, and multiply, and
How many are thy works, O
God! Who may their numbers
tell?
Recitative (Raphael)
And the angels struck their
Chorus with Trio
immortal harps, and the wonders
The Lord is great, and great his
of the fifth day sung.
might. His glory lasts for ever
and for evermore.
Vivace Chorus
(the melody recalls the famous
“La ci darem la mano” from
creativity:
in your God and Lord rejoice.
continues into a charming trio
Mozart’s Don Giovanni), and
Recitative (Raphael)
In the depths of the ocean we
find a classic example of
Haydn’s blend of humour and
expository recitative,
Uriel
rainbows by the sun.
And God created great whales,
in this rapturous sequence,
which opens with an
Vivace Chorus
praise, lit thrillingly by vocal
fireworks from the soloists.
Aria (Raphael)
The Sixth Day
Now heaven in fullest glory
The
Recitative (Raphael)
shone; Earth smiled in all her
contrast, is majestic and regal
And God said, Let the earth
rich attire; the room of air with
bring forth the living creature
fowl is filled; the water swelled
after his kind, cattle and
by shoals of fish; by heavy beasts
creeping thing, and beast of the
the ground is trod: but all the
earth after his kind.
work was not complete; there
and fully grown. Cheerful,
roaring, stands the tawny lion.
With sudden leap the flexible
tiger appears. The nimble stag
bears up his branching head.
With flying mane, and fiery look,
impatient neighs the noble steed.
The cattle, in herds, already seek
their food on fields and
own
very
his
writes
He
“camival
of
the.
animais,”
complete with roaring lion,
bounding tiger, rearing horse,
lowing
cattle,
and
baaing
sheep (notice that the sheep
don’t have their own melodythey
merely
duplicate
the
cattle’s tune, because they’re
sheep), but saves the best for
last with an irritating swarm of
insects and a slimy worm.
(except for the comic relief of
the thunderous footfall of the
“heavy
the
beasts”),
celebrating
near-complete
animal
kingdom. All that’s missing is
the human creature, who will
that, grateful, should God’s
Straight opening her fertile
numberless, in perfect forms,
by
make his-and-her entrance in
power admire, with heart and
word, and teemed creatures
follows,
the next movement.
voice his goodness praise.
womb, the earth obeyed the
that
wanted yet that wondrous being,
Recitative (Raphael)
Haydn must have_ practically
drooled in anticipation when
he saw all the opportunities
this recitative offered him.
aria
Recitative (Uriel)
And God created Man in his
The
own image, in the image of God
strength,” and “wisdom” of the
created he him. Male and female
created he them. He breathed
into his nostrils the breath of life,
and Man becamealiving soul.
“beauty,
courage,
newly-created
Adam_
reflect
the
qualities
most
human
prized
in
Enlightenment-era
philosophy, and Eve embodies
that age’s ideal of womanhood
with her grace and deference.
In native worth and honour clad,
with beauty, courage, strength,
(Listen to the lingering “joy” at
the end of the movement; is it
a suspended moment of pure
adorned, erect, with front serene,
happiness,
he stands a man, the lord and
foreshadowing
fleecy, meek, and bleating flocks.
king of nature all. His large and
come, or both?)
Unnumbered as the sands, in
arched brow sublime of wisdom
This aria may well have been
swarms arose the hosts of
deep declares the seat! And in
among the last works
insects.
his eyes with brightness shines
ever
meadows green. And over the
ground, as plants, are spread the
In long dimension
creeps, with sinuous trace, the
the soul, the breath and image of
worm.
his God. With fondness leans
upon his breast the partner for
him formed, a woman, fair and
Vivace Chorus
Vivace Chorus
or
heard
a
melancholy
of the
fall
to
Haydn
performed:
A
soldier in Napoleon’s invading
army sang it for Haydn several
days
before
the
composer's
death in 1809, as a gesture of
appreciation and respect.
graceful spouse. Her softlysmiling virgin looks, of flowery
spring the mirror, bespeak him
love, and joy, and bliss.
Thou sendest forth thy breath
Achieved is the glorious work;
again, and life with vigour fresh
our song let be the praise of God.
returns; revived earth unfolds
glory to his Name for ever. He
new strength and new delights.
sole on high exalted reigns.
Hallelujah!
Recitative (Raphael)
And God saw every thing that he
Part
had made, and behold, it was
sequence
very good. And the heavenly
choir, in song divine, thus closed
the sixth day.
Il
concludes
that
with
a
sandwiches
a
beautifully reflective trio — the
last joint
three
statement
Archangels
from
-
the
between
The
the Lord beholds it, and is
inhabitants of the earth of the
rejoice, our song let be the praise
of God.
Trio
“God
trio
reminds
giveth
and
the
God
new
taketh
away” rules under which their
new
world
operates
—
especially the bass’s chilling
entrance at “But when from
them thy face is hid.”
On thee each living soul awaits;
The
from thee, O Lord, all seek their
major, gives no quarter to such
fillest all with good.
chorus,
conflict;
in
joyous
please give generously to support their vital work
note
Gabriel and Uriel
food; thou openest thy hand, and
Refreshments will be available at the back of the church
two mighty choral movements.
Achieved is the glorious work;
pleased. In lofty strains let us
Interval (20 minutes)
HEADWAY
SURREY
B-flat
Haydn ends the first
choral
Supporting Surrey’s adult
sections with a bright and busy
brain injury community to
(and
shorter)
of
the
fugue, and the second with an
even
more
ingenious
double
But when thy face, O Lord, is
fugue. Creation is complete —
hid, with sudden terror they are
but the story is not.
live well and thrive
struck; thou takest their breath
away, they vanish into dust.
Vivace Chorus
& 01483 454433
Part III
Recitative (Uriel)
Proclaim in your extended
The chorus of angels encourages
In rosy mantle appears, by music
course the almighty power and
sweet awaked, the morning,
praise of God.
them along the way, first
hushed
tones
and
then
sprightly counterpoint.
young and fair. From heaven's
angelic choir pure harmony
Eve
descends on ravished earth.
And thou that rulest the silent
Behold the blissful pair, where
night and all ye starry hosts,
hand in hand they go: their
everywhere spread wide his
glowing looks express the thanks
praise in choral songs about.
that swell their grateful hearts. A
Adam
louder praise of God their lips
shall utter soon; then let our
Ye mighty elements, by his
voices ring, united with their
power your ceaseless changes
song.
make; ye dusky mists, and dewy
streams, that rise and fall through
the air;
Duet (Adam and Eve)
By thee with bliss, O bounteous
Part
Lord, both heaven and earth are
movement in the oratorio: the
three-part
Hymn
sung
by
Adam, Eve, and the chorus of
stored. This world so great, so
wonderful, thy mighty hand has
framed.
Ill
angels.
gives
In
us
the
the
longest
adagio
that
begins the movement, we can
imagine the newly-created pair
exploring their new home with
For ever blessed be his power,
his Name be ever magnified.
all the awe and delight of a
young
couple
on
"Grand
Designs",
Adam
Of stars the fairest, pledge of day,
that crownest the smiling morn;
and thou, bright sun, that
reviewing
(and
marvelling at) the chronological
catalogue of God’s creations as
described in Part I and Part Il of
the work.
Chorus with Duet
Resound the praise of God our
Lord. Great his name, and great
his might.
Eve
Ye purling fountains, tune his
praise; and wave your tops, ye
pines. Ye plants, exhale, ye
flowers, breathe to him your
balmy scent.
cheerest the world, thou eye and
Ye that on mountains stately
soul of all;
tread, and ye that lowly creep;
ye birds that sing at heaven's
Vivace Chorus
Vivace Chorus
in
in
gate, and ye that swim the
allotted us. And with devoted
stream;
heart His bounties celebrate.
Come, follow me, thy guide I'll
Haydn doesn’t miss this; listen
to the spring in the step of the
accompaniment at these words.)
be.
Ye creatures all, extol the Lord;
Eve
O thou for whom | am, my help,
Ye creatures all, extol the Lord;
my shield, my all, thy will is law
him celebrate, him magnify.
to me; so God our Lord ordains;
and from obedience grows my
joy and pride.
Ye valleys, hills, and shady
woods, made vocal by our song,
from morn to eve you shall
Graceful consort, at thy side
repeat our grateful hymns of
softly fly the golden hours; every
praise.
moment brings new rapture,
every care is lulled to rest.
Hail! bounteous Lord! Almighty,
The
movement
hail! Thy word called forth this
with
a
wondrous frame, the heavens
statement
and earth thy power adore; we
praise thee now and evermore.
Adam
massive
of
culminates
homophonic
praise
and
another of Haydn’s masterful
fugues.
Having
admired
their
performed, in offering up to God
turn
our thanks. Now follow me, dear
other. (In Adam’s opening line
delights into our breasts, shows
all | have is thine; my reward thy
new
surroundings,
be; and every step pours new
joys overflow the heart; life and
love shall be.
Our duty we have now
partner of my life, thy guide l'Il
Spouse adored, at thy side purest
their
“Our
Adam
attention
duty
we
and
Eve
to
each
have
now
The dew-dropping morn, O how
The happy couple’s love duet
she quickens all! The coolness of
is reminiscent of Mozart opera
even, O how she all restores!
in its lyricism and wit, and the
performed / In offering up to
How grateful is of fruits the
God our thanks / Now follow
savour sweet! How pleasing is of
me....”
fragrant bloom the smell! But,
—
there
is
almost
a
wonders everywhere. Then
sense of crossing off an item
mayest thou feel and know the
on his to-do list in order to get
high degree of bliss the Lord
to the exciting stuff.
without thee, what is to me the
morning dew, the breath of even,
the savoury fruit, the fragrant
Vivace Chorus
Vivace Chorus
hunting-horn
calls
orchestra
at
second
section
the
movement the feel
from
the
quicker
give
the
of a folk
dance at a country wedding.
bloom? With thee is every joy
Alexandra Stevenson
enhanced, with thee delight is
ever new, with thee is life
Blink
during
this
recitative,
incessant bliss, thine, thine, it all
and
shall be.
that the story of Adam and Eve
you
might miss the fact
does not, in fact, have a happy
ending.
Recitative (Uriel)
O happy pair! and happy still
might be if not misled by false
How typical that the
eternally
optimistic
should
freeze
couple
in
Haydn
the
loving
A
graduate
of
the
Edinburgh
and
London,
trained
the
Associated
on
Alexandra
Studios
Opera Programme.
Concert
engagements
in
UK
and
Europe have included the works of
with only the barest hint of the
Symphony
recently
transgression
Cadogan Hall, Bach Jauchzet Gott in
know, than know ye should.
come!
permanent
and
bliss,
eviction
to
No.
9
(most
in
allen Landen, Mozart Mass in C Minor,
Rossini
Stabat
Mater
Symphony no. 4.
Sing the Lord, ye voices all,
One more powerful hymn of
magnify his name through all
praise;
one
more
robust
creation, celebrate his power and
double fugue; one last flare of
glory, let his name resound on
virtuosity
praise shall last for aye. Amen.
of
Beethoven
granted is; and more desire to
thanks. The Lord is great, his
Universities
Strauss Four Last Songs,
conceit. Ye strive at more than
high. Praise the Lord. Utter
Soprano
from
the
soloists
(plus a heretofore unused alto)
- and the “glorious work” is
achieved. Amen!
and
Mahler
Photo © Jane Stevenson
A champion of contemporary repertoire, Alexandra has given
several world premieres including Patrick Hawes Te Deum
(conducted by the composer) and works by Cecilia McDowell.
Alexandra has recently performed as a soloist on BBC Radio 3
and has been a Partner Solo Artist for Classic FM, for whom
she has performed at the Royal Opera House, and marked
national occasions such as the coronation of King Charles Ill.
She has given recitals at Smith Square Hall in London and the
Usher Hall in Edinburgh, and has regularly appeared as a guest
soloist with the Band and Orchestra of HM Royal Marines.
Alexandra's operatic performances include Rosalinde in Die
Fledermaus, Tatyana in Eugene Onegin, Monica in The Medium,
Le Feu and Le Rossignol in L'enfant et les sortileges and Anne
Trulove in The Rake's Progress. She has also sung jazz at the
Side notes © 2012 by Eliza Rubenstein
eliza@ocwomenschorus.org
Pigalle Club, London.
Used with permission.
An experienced singing teacher and choir director, she has
taught singing at Charterhouse School for over a decade.
22
Vivace Chorus
Vivace Chorus
23
Fraser Ellson
Tenor
aw
Fraser is a professional Lay Clerk
and music educator who has been
based in Surrey for the past two
years.
He
attended
Kimbolton
School, took a BA in Music at the
University of Nottingham and was
then selected as a member of the
Genesis
16
cohort
working
with
Harry
of
2020/21,
Christophers
and Eamonn Dougan. From there
he went to Whitgift School as a
Graduate Music Assistant, enjoying
u
+
Photo
© George Ellison
a fruitful year singing under Justin
Miller
and
taking
lessons
with
Nicholas Mulroy.
Schools
Schools
of
Singing
Programme
Surrey
teaching
-
for the Catholic
primary
school
Primary
music
has
become a real passion and continues to inspire him to become
a more well-rounded musician every day.
Baritone
Timothy Nelson gained a degree
in
Physiology
from
Cardiff
University before studying at the
Royal
College
of
Music
International Opera School, where
he was awarded the McCulloch
Prize
for
Bruce
Millar
Joan
Opera
and
won
the
Gulliver
Prize,
the
Chissell
Schumann
Competition
and
the
Moore Award
Singers
Gerald
Prize.
He
was also a Jerwood Young Artist
at the Glyndebourne Festival.
Photo © Olivia Da Costa
Operatic experience includes Belcore in The Elixir of Love for
He sings as Tenor Lay Clerk at Guildford Cathedral and runs
the
Timothy Nelson
He has recently
been appointed Musical Director of Liss Community Choir.
Alongside these commitments Fraser maintains a freelance
singing career (including BBC broadcasts) with the London
Contemporary Orchestra, Stag Consort, Worth Abbey Choir,
Croydon Minster Choir and Arundel Cathedral Choir (singing on
their recent album Jubilate Deo’). He has recently been away
on tour in Denmark with Guildford Cathedral, and Paris with
Worth Abbey (both these tours proving highlights of his career
English
National Opera,
Marcello
in
La Boheme for Opera
North, Nathan in the world premiere of Pleasure for Opera
North, Aldeburgh Music and the Royal Opera House, Sid in
Albert Herring at the Grange Festival, Antenor in Dardanus for
English Touring Opera, the title role in Eugene Onegin for Wild
Arts,
Falke in Die Fledermaus and Escamillo in Carmen for Diva
Opera.
Recent
solo
performances
include
Handel
Messiah
live-
streamed for the London Handel Festival, Rossini Petite Messe
Solennelle at The Three Choirs Festival, Haydn Creation with
the City of Birmingham Symphony Orchestra and the English
Haydn Festival, Bach St John Passion at Cadogan Hall and the
world premiere of Robert Taub's Some Call it Home with the
SO far).
Bournemouth Symphony Orchestra.
Aside from singing, Fraser is into his cars and will attempt a
Away from singing, Timothy is an avid rugby and cricket fan
round of golf from time to time!
24
and a keen golfer.
He can often be found on the golf course
trying to lower his handicap.
Vivace Chorus
Vivace Chorus
25
The orchestra continues its series of classical concerts at
National Symphony Orchestra
Smith Square Hall, as well as Cheltenham Town Hall where it
Leader: Matthew Scrivener
memorably performed Mahler's Symphony No. 4. The NSO
Principal Conductor: Paul Bateman
coordinated a video project for the Women's Global Orchestra
with Alicia Keys which achieved 5 million YouTube hits in its
first week.
In 2018, the orchestra topped the classical charts for weeks
collaborating with presenter Alan Titchmarsh and composer
Debbie Wiseman for a project named “The Glorious Garden".
In 2022, the NSO was chosen to perform for Queen Elizabeth
Photo © Edward Webb
in one of her final appearances, at the Platinum Jubilee
The National Symphony Orchestra (NSO) is one of the longest-
Celebration at Windsor Castle, watched by an audience of
established
millions.
and
most
versatile
professional
freelance
orchestras working in Britain today. Formed during the Second
World War
in
the
necessity,
young
1940s,
and_
the
NSO's
enthusiastic,
musicians
were,
and
dynamic
this
by
performing tradition continues to this day.
performances. The orchestra
is
admired for its versatility and the ability to communicate,
Whilst connecting with audiences with consistent commitment
and passion.
In
2024,
with
Rimma
Sushanskaya,
they
performed
and
including a performance of Beethoven's Choral Symphony at
Hall
Prince William and the Prime Minister.
In July 2023 the orchestra toured to the Riyadh Film Music
Festival for a series of concerts, immediately after completing
recording
projects
of
new
concertos
by
the
Argentine
composer, Polo Piatti, and a new English string music disc for
recorded a complete cycle of the Beethoven Symphonies,
Cadogan
handover to the nation of the new Defence and National
Rehabilitation Centre in Loughborough in the presence of
The NSO has a hugely impressive recorded legacy as well as a
busy diary of live concert
They have toured to Spain with Katherine Jenkins and Alfie
Boe and were proud to play at the ceremony marking the
on
May
7%,
which
was
the
exact
200!
anniversary, to the day, of the first performance. The NSO has
Quartz Records with Rimma Sushanskaya.
A live vinyl recording of Rimsky-Korsakov's Scheherazade was
made in May and released on the Chasing the Dragon record
label.
Saudi
The NSO prides itself on the huge audiences that regularly
Arabia and New York, performed film and video concerts at
support its concerts, and although based in London, the
the Barbican Centre, and recorded the scores for several BBC
orchestra performs throughout the United Kingdom, drawing
its fine players from all round the country.
recently
enjoyed
hugely
successful tours
to
China,
dramas, including Wolf Hall, Father Brown and Shakespeare
and Hathaway.
26
Vivace Chorus
Vivace Chorus
27
Barbara Höfling
Conductor
About Vivace Chorus
Barbara grew up in Hanover, Germany and
Barbara Höfling
Music Director
studied
Francis Pott
Accompanist
Richard Dacey
Chairman
violin,
singing
and
choral
conducting at the Hochschule fur Musik
und Theater.
She
then
split
her career
equally into solo singing work, including
recording
3
solo
chamber
music,
CDs
which
with
Lied
won
her
and
a
Supersonic Award for best Lied recording,
and choral singing, working for some of
the best choirs in the world, including RIAS
Chamber Choir, BBC Singers, Berlin Radio
FE
Choir and the Monteverdi Choir.
Photo © D. Gauweiler
-
e
RE
m
%
Eee
te
rT
Throughout her career she has directed choirs and orchestras in
Germany and later in the UK. She is the founder and MD of the
Vivace Chorus at the Royal Albert Hall, July 2025
Photo © Ash Mills
German Choir of London, which she took to perform at St. Peter's
Basilica in
Rome,
Notre Dame Paris, Westminster Abbey and St
Paul's Cathedral to name just a few.
Vivace Chorus is a flourishing, ambitious and adventurous choir
based in Guildford, Surrey. We enjoy singing traditional choral
In 2022 she was appointed Associate Chorus Director and Head of
classics alongside the challenge of contemporary and newly
Vocal
commissioned
Development
of the
London
Symphony
Chorus.
In
this
capacity she worked regularly with LSO conductors such as Simon
Rattle, Lionel Sow and Francois Xavier Roth.
music - there's something for everyone at
Vivace!
The choir began in 1946 as the Guildford Philharmonic Choir
In 2024 she became the MD of the Winchester Festival Choir.
and was rebranded as Vivace Chorus in 2005. We have an
Barbara has worked with numerous choirs in the UK and abroad,
enviable reputation for performing first-class concerts across a
including the London Philharmonic Choir, Chineke Voices, Coventry
wide range of musical repertoire. Particular successes include
and Canterbury Cathedral Choirs, CBSO Chorus and Cologne Radio
a sell-out performance in May 2011 of Mahler's Symphony No. &,
Choir.
the "Symphony of a Thousand", at the Royal Albert Hall, a highly
She
runs
regular
Workshops
and
Masterclasses
on
Choral
Repertoire, Consort Singing and Vocal technique.
Barbara is a keen supporter of contemporary music and has to date
commissioned more than 80 choral and solo works.
acclaimed performance in November 2012 of Brittens War
Requiem and another Royal Albert Hall success in May 2014
when we performed the Verdi Requiem. In 2017 we celebrated
our 70!" birthday with the Philharmonia Orchestra in the Royal
Festival Hall and 2018 saw a sell-out performance at G Live
In her free time she is a keen cyclist and tries to keep the brambles
Guildford for our "Concert for Peace".
in check in the garden.
28
Vivace Chorus
Vivace Chorus
29
In July 2025, we returned again to the Royal Albert Hall, where
we were joined by other local choirs, the Royal Philharmonic
Concert Orchestra and internationally renowned soloists Nicky
Spence and Lucy Crowe, to perform Ravel's Daphnis and Chloe
Suite No. 2, Poulenc's Gloria and the spectacular Te Deum by
Hector Berlioz.
That concert marked the end of an era, as it was our last with
Jeremy Backhouse, who has now retired after 30 years of
FT
KILL,
IHRTCT
ae
| <A
r
Peter Hicks -S ©
a
dedicated service to Vivace - his passion for choral music and
sheer enthusiasm for music-making were evident at every
rehearsal and performance.
We are delighted now to welcome Barbara Hofling as our new
Music Director, and look forward to working with her over the
years to come, to build on Jeremy's legacy, and take Vivace on
to new heights.
She is supported by Francis Pott, who is an academic and a
composer
of
international
repute,
and
an
accomplished
concert pianist - who better to accompany our rehearsals?
We have also enjoyed successful European and UK tours,
including trips to France, Italy, Germany, Austria, the Baltic
states and, most recently, northern Spain.
We are always happy to welcome new members, so if you
faa Church
would like to try us out, do come along to any of our regular
=)
rehearsals on Monday evenings at 7.15 in the Guildford Baptist
Church, Millmead, Guildford.
Just
contact
our
membership
secretary,
Becky
Kerby,
ve
at
membership@vivacechorus.org or pay a visit to our website,
vivacechorus.org.
You
can
also
follow
us
on
Facebook,
Instagram (@Vivace_Chorus) and X (Twitter) - @VivaceChorus.
Tickets: £18 (16 and under: #2) |
Scan the QR code or phone
07969 906 439
30
Vivace Chorus
Registered Charity No. 1128357
DFA
Kt+
Ta
Vivace Chorus Patrons
Vivace Chorus Singers
The Vivace Chorus is extremely grateful to all patrons for their support.
FIRST SOPRANO
Mary Somerville
Marjory Stewart
SECOND TENOR
Sandra Adamson
Sarah von
Julia Stubbs
Drew Alcott
Amelia Atkinson
Schweinitz
Valerie Thompson
Geoff Johns
Jan Barklem
Samantha Wilkins
Hilary Trigg
Stephen Linton
Helen Beevers
Christine Wilks
Anna Williams
Charles Martin
Mary Broughton
Eiri Williams
Jo Haviland
Lesley Worrall
Isabel Holdaway
Isobel Humphreys
Becky Kerby
Claudia Loiacono
Fran MacKay
Suzie Maine
Sue Norton
Robin Onslow
Sian Prentice
Gillian Rix
Sarah Smithies
Barbara Tansey
Joan Thomas
Hilary Vaill
Georgie von
Schweinitz
Miriam White
SECOND ALTO
Geraldine Allen
Honorary and Life Patrons
Jeremy Backhouse
John and Jean Leston
John Britten
John Trigg MBE
James Garrow
Graham Vincent
Tim Wray
Patrons
FIRST ALTO
Evelyn Beastall
FIRST BASS
Richard & Mary Broughton
Peter Norman
Anna Arthur
Mary Clayton
Phil Beastall
Amanda Burn
Robin Privett
Barbara Barklem
Liz Curry-Hyde
Richard Broughton
Humphrey Cadoux-Hudson CBE
David & Linda Ross
Jackie Bearman
Sheena Ewen
Richard Dacey
Norman Carpenter
Geoffrey Johns & Sheila Rowell
Catherine & Brian Shacklady
Jane Brooks
Liz Hampshire
Mick De Pomerai
Andrea & Gunter Dombrowe
Amanda Burn
Pauline Higgins
Jeremy Johnson
Rosemary & Michael Dudley
Prue & Derek Smith
Philippa Curtis
Penny Macfarlane
Andrew Linden
Geoffrey Forster
Dennis & Marjory Stewart
Valentina Faedi
Lois McCabe
Malcolm Munt
Susan Hinton
Idris & Joan Thomas
Pam Usher
Anna Griffiths
Kay McManus
Chris Newbery
Stephen Linton
Lynne Hargreaves
Val Morcom
David Protheroe
John McLean OBE & Janet McLean
Rob and Susie Walker
Sheila Hodson
Pamela Murrell
Andrew Skinner
Ron & Christine Medlow
Anthony J T Williams
Sheena Kaighin
Sonja Nagle
Philip Stanford
Jean Leston
Lucy Schonberger
Rob Walker
Kerry Manning
Jo Stokes
Kieron Walsh
Lis Martin
Rosey Storey
Charlotte
Esther Van Rooyen
Mathieson
Alison Vincent
SECOND SOPRANO
Penny McLaren
Gill Backhouse
Rosalind Milton
Sarah Badger
Lilly Nicholson
Scarlett Close
Elinor Pinnegar
Ann Fuller
Linda Ross
Alex Nash
Catherine
Kate Peters
Shacklady
Helen Seeley
Heather Shepherd
BECOME A VIVACE PATRON
If you have enjoyed this concert, why not become one of our patrons? We
SECOND BASS
have a loyal band of followers whose regular presence at our concerts is
Peter Andrews
greatly appreciated. With the valued help of our patrons, we are able to
Stuart Gooch
perform a wide range of exciting music, with world-class, professional
FIRST TENOR
Nick Gough
Bob Bromham
Neil Martin
musicians in venues such as G Live, Dorking Halls, the Royal Albert Hall and
the Royal Festival Hall.
Rosie Jeffery
Chris Peters
We are also now offering benefits for Corporate Patrons, with packages
Audrey Kueh
Andrew Robertson
including advertising in our concert programmes, choir website and social
media, and free concert tickets.
Martin Price
John Trigg
If
Susie Walker
you
are
interested,
please
contact
Anna
Arthur
by
emailing:
patrons@vivacechorus.org. or visit vivacechorus.org/vc/content/patrons
Vivace Chorus
Vivace Chorus
33
RE
À
a Chorus
=~»
Vivace Chorus dates for your diary
The Mayor of Guildford's Christmas Concert
Sunday 14!" Dec. 2025 7:00pm
Holy Trinity Church, Guildford
Join Vivace Chorus and the Mayor of Guildford for the season's most
popular carol concert, attracting a capacity audience at Holy Trinity
Church on Guildford High Street. This concert is a festive mix of
traditional
and
contemporary
music,
along
with
your
favourite
audience carols, all in aid of the Mayor's Local Support Fund.
Come and Sing: Join us for a day of a cappella singing!
Saturday 24'* Jan 2026
10:00am
Guildford Baptist Church
Our popular Come and Sing is back for 2026! Join our new Music
Director, Barbara Hofling for a day exploring beautiful a cappella
music by composers including Schumann, Bruckner, Whitacre and
ESenvalds. Learn how to blend your voice with other singers to
create a choir that’s an instrument all by itself - and of course,
Vivace
Vivace Chorus present
Rotaryin Guildford and
CHRISTMAS
AAYOR OF GUILDFORD'S
-ONCERT.
tor: Barbara Höfling
in aid of
The Cheryl King Trust
& The Phyllis Tuckwell Hospice
there's the famous Vivace lunch!
A Symphony of Voices
Saturday 21° March 2026
7:30pm __ Holy Trinity Church, Guildford
There's something about the sound of voices that's uplifting for the
soul. That's why our spring concert is a programme of beautiful a
cappella (unaccompanied) songs from a wide range of composers from Schumann to Whitacre.
We'll also be joined by internationally renowned organist, Stephen
Farr, who
has
held
many cathedral appointments,
Guildford
Cathedral, where
he was Organist and
including
at
Master of the
Choristers from 1999 to 2007.
Join us for this wonderful concert that puts the choir front and
centre, introducing you to new favourites and old friends.
Sunday
14 Dec 2025
at 7pm
Holy Trinity Church, Guildford.
Further details at vivacechorus.org
Printed by IMPRINT COLOUR LTD
Pegasus Court, North Lane, Aldershot GU12 4QP. Tel: 01252 330683
Vivace Chorus is a Registered Charity No. 1026337
Tickets: £18 (Adults); £8 (Child/Student).
Includes programme. Tickets available online at
rotaryinguildford.org or vivacechorus.org
34
Vivace Chorus
Registered Charities: Rotary No.1201415 / Vivace No.1026337
=
Ewbank’s “a
SIPIE
geh
een
Ne a
The Sime Gallery Chris Ewbank’s
Memorial Annual Lecture:
Players of their day: Stars of
the Victorian and Edwardian Stage
Works by Bruckner,
Schumann, Whitacre
and others
with Barbara Höfling,
Vivace’s new and highly
respected conductor and
vocal health specialist.
Free
Parking
y
y
Tenors
come free
Find an more at
with
AN
Carmen Holdsworth-Delgado,
D= |
|
Curator and Researcher of theatrical art
Sunday 16°" November 2025
He
St Mary's Church, Worplesdon, GU3 3RE
For Further Information:
enquiries@sidneysimegallery.org.uk, 07951024220
vivacecnorus.org
Pr:
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2
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—
Saturday
24Jan 2026
10am - 4.30pm
Guildford Baptist Church
LE
Book online: vivacechorus.org
Registered Charity No. 1207710
FUTURE CONCERTS
esc
BC eMC CARTEL)
Vivace Chorus present
Chorus
=
AYOR OF GUILDFORD’S
HRISTMAS
ONCERT
Works by Whitacre,
Brahms, Schumann
and others
a Conductor: Barbara Héfling
<>
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22
in aid of
>
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with Barbara Höfling
Vivace's new and highly
The Cheryl King Trust
& The Phyllis Tuckwell Hospice
”
respected conductor and
vocal health specialist
2
Sunday
14 Dec 2025
at 7pm
Holy Trinity Church, Guildford.
Registered Charities: Rotary No. 1201415/ Vivace No. 1026337
SI
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Vivace
Chorus
Saturday
24 Jan 2026
Guildford Baptist Church
Registered Charity No. 1207710
Conductor
a cappella works by
Whitacre, Brahms, ”
Schumann and others
Barbara Hôfling
N
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Viva ce
Chorus
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Saturday
Sunday
20 June 2026
21 March 2026
Holy Trinity,
Guildford High Street.
Registered
Charity No.
1207710
Vivace
Chorus
Holy Trinity,
Guildford High Street.
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