VIVACE CHORUS
AGM -4 JULY 2022
MUSIC DIRECTOR’S REPORT
My report starts back in September 2021 when we all returned tentatively to rehearsal, socially distanced,
masked, LFT'd, very much Covid aware and Covid careful. But back to full rehearsals it was and a great place
to be once again. Voices were rusty — it felt somewhat strange after such a long lay-off. Not everyone felt
sufficiently comfortable to return, but there was a goodly number who did and what a joy and relief it was
to get back to singing together.
The work was Elgar’s glorious Dream of Gerontius. It was wonderful to return to this magnificent work and
for those who had not sung it before, a fabulous journey of discovery! Rehearsals went Well and it was just
great to be back singing! The concert was at Dorking Halls on 20 November. | like the venue — it suits us well
and having the orchestra on the floor and the choir on the stage worked well. Facilities are good, but |
understand some people find it too far from Guildford. That and continuing Covid nervousness perhaps
accounted for a small-ish audience turnout. We tried out the West Forest Sinfonia for the first time as our
accompanying orchestra. We were using a pro/am band to try to reduce the costs of putting on concerts,
allowing us to spend more on pro orchestras for other concerts. | think it is fair to say that there was a big
improvement in the playing between rehearsal and concert. We had three young soloists of the highest
calibre in Rebekah Jones, Rhys Batt and Thomas NieRer. All in all it was a triumphant return to singing and
concert giving — it felt so good to be back and with such a powerful work, passionately sung throughout.
Next came our Christmas concert for the Mayor of Guildford’s charity on 12 December. Again, having had to
cancel the event in 2020, it was a relief to be able to return to Holy Trinity and once again to enjoy some
festive fun. With relatively few rehearsals to prepare for this concert, we did very well to put on such a fine
and spirited performance.
On Saturday 29 January this year we assembled again in this Baptist Church for a truncated ‘Come and Sing’,
looking at Elgar’s Coronation Ode and the Blest Pair of Sirens by Parry. It was a successful day and despite
some people getting caught out by the parking restrictions, there appeared to be little problem in
administering the day. Once more, | think people who were now corhing out to sing thoroughly enjoyed the
opportunity, and Millmead certainly helped us out.
And then into something completely different! This was our long-awaited ‘Best of Broadway’ show in G Live
on 26 March. Accompanied by the incredible and brilliant Friary Brass Band, it promised to be quite an
event and something outside the normal comfort zone of many people. It is only by staging these more
populist evenings that we can hope to get close to filling G Live. It was interesting to see how everyone
gradually embraced the music. There was a lot of it and it a good deal of it was quite tricky. But embrace it
we did and with some extra help and advice from the superb Kevin one week, we were ready to roll! As |
say, this may not have been everyone’s cup of tea, but | think it is fair to say that everyone who took part in
the show had a real ball! The audience absolutely LOVED it and there was a palpable buzz around the place
throughout the evening. It was fun and | think it’s a great way to demonstrate the extent of our
performance versatility. There will be another show like that before too long!
And then to our most recent concert: ‘Majesty’ in G Live on 28 May, an evening of celebration for our
Queen’s Platinum Jubilee. Again, we were joined by the West Forest Sinfonia and four young and
enthusiastic soloists from the Royal College of Music. On the menu were Elgar’s Coronation Ode, lots of
lovely Parry, the choral section from Beethoven 9. It was a tough sing and especially the bucket-loads of
vocal stamina required for the Beethoven. But we made a first-class job of it and despite there not being a
huge audience, the reaction of those who did attend was extremely positive. Thank you for working so hard
on the music and for giving of your very best.
And so to the tour to Northern Spain ... what a great tour it has been! After two years’ wait, we finally
boarded the plane to Bilbao full of excitement, only saddened to be leaving Becky behind us, she having
tested positive for Covid in the couple of days before leaving — cruel luck! Little.did we know that so many
were to be affected whilst on tour and immediately afterwards. Such a shame for those whose tour was
spoiled. The first concert was in the magnificent cathedral of Burgos —a brilliant first concert, in a large side
chapel, with decent little organ and a huge and appreciative audience. Don Felix also did us proud! On to
Palencia, where we sang in a massive church which was again packed with enthusiastic listeners. It was the
best of the three concerts for me for the singing and communication with the audience. Sadly, the organ,
despite being a fine instrument, was too far away. We were both inaudible and invisible to Willow
Northeald, our valiant organist. Instead, we resorted to the Yamaha electronic keyboard, which, whilst it
made life considerably easier, didn’t do much to create quite the right atmosphere! Willow was in heaven
however for the third concert in San Sebastian — a gorgeous Cavaillé-Coll instrument. It sounded
Magnificent and finally Willow had an instrument which their talents deserved. The audience was pretty
good, but definitely more touristy and there was less connection between them and us, which made for a
slightly less special atmosphere. Nonetheless, three fabulous concerts with passionate and polished singing
throughout, supported by faultless playing from our very own Willow. When off duty, we also had huge
amounts of fun: Plenty of sight-seeing and culture, loads to eat and drink, fiesta and fireworks,
and loads
more besides. All this was brilliantly organised by the incomparable and indefatigable Tour Captain, James
and ably assisted by the wonderful Tessa. A very special tour and | am working hard on James to do it one
more time before | retire!
This year also saw my announcement that | was going to retire as your Music Director in the summer of
2025. By then | will have done 30 years in front of you and will be 68, and | think that is probably a good
time to hang up my baton! When we announced that decision, we also put before the choir a 3-year plan of
concerts so you could see what we had in mind to perform. We have made some changes to that plan since
then, mainly because we feel we need to be aware of smaller audiences since the pandemic and the need to
adapt to that. We also cannot continue hiring G Live, which is very expensive and not filling it. So venues
need to be chosen more judiciously and the repertoire that might fill those venues also more carefully
considered.
With that in mind, | reproduce at the end of this report our latest thoughts on the season to come from
November 2022 to July 2023.
So, in summary, it has been a year of re-establishing ourselves and getting back to singing together again -
of gradually beginning to feel more comfortable with our rehearsal surroundings, less fearful perhaps of
singing in concerts, close up and unsocially distanced; of the re-engagement with one another socially and
musically; of feeling part of a choral team again; of remembering how good it can be to make music
together - the joy of singing to a live audience. Gerontius was our magnificent “we’re back” concert; ‘Best of
Broadway’ was brilliant and such a blast; ‘Majesty’ a great celebration of a great monarch. Plenty of variety
and versatility. All magic concerts in their own way!
My personal thanks, as ever, to Francis for his unique, virtuoso and invaluable support at the piano, and to
Peter and the whole committee for guiding us through a tricky year of getting ourselves up and running
again. Thank you too to you all once again for sticking with it despite continuing challenges and coming out
the other end so engaged and happy.
Jeremy Backhouse, July 2022
19 November 2022
G Live
with the National Symphony Orchestra
75" Anniversary Concert - also celebrating 150" anniversary of the birth of Vaughan Williams.
Vaughan Williams: O clap your hands/The Lark Ascending/Five Mystical Songs
Holst: The Perfect Fool (orchestra only)
Walton: Belshazzar’s Feast
2+1.2+1.2/Eb+1.2+1 - Asax - 4.3.3.1 - 4 timps - 4 percussion - 2 harps - strings
optional piano and organ - 2 brass bands of 0.3.3.1 each
FULL NUMBER OF PLAYERS = 80
(10.8.6.5.3) -
11 December 2022 - date tbc
Mayor of Guildford’s Christmas Carol Concert
18 March 2023
G Live
with a locally fixed band (to attract more audience and to tap into the local jazz network)
Bob Chilcott: A Little Jazz Mass (chorus, piano, drums, bass)
Will Todd: Songs of Peace (chorus, piano, drums, bass)
15.00
23.00
INTERVAL
Duke Ellington: Sacred Concert
For Jazz Band, Choir, Soprano soloist, Dancer
approx. 55.00
Jazz band (17 players):
2 x Alto sax in Eb(doubling Bbclarinet)
1 x Tenor sax in Bb(doubling Bbclarinet)
1 x Tenor sax in Bb
1 x Baritone sax in Eb(doubling Bass clarinet)
4 x trumpets in Bb
4 x trombones
1 x piano
1 x double bass
1 x drums (snare drum, bass drum, tom-toms, suspended cymbal, hi-hat)
1 x percussion
FULL NUMBER OF PLAYERS =17
20 May 2023
Holy Trinity Church
with a JH-B fixed orchestra
‘The Italian Job’- working title!
Allegri: Miserere mei
SSAB soloists — SATB choir - unaccompanied
Pergolesi: Magnificat in B flat
SATB soloists — SATB choir
12.00
15.00
continuo (organ) - strings (4.4.0.2.1) there are no viola parts
Gabrieli: Jubilate Deo (ESM 16/118)
SATB choir only with organ accompaniment (optional strings)
Monteverdi: Beatus vir (1641)
SSTTB soloists (soloist could be from choir) — SATB choir
6.00
10.00
continuo (organ) - strings (4.4.2.2.1)
INTERVAL
Handel: Dixit Dominus (written when in Rome)
SSATB soloists — SATB choir
43.00
40.00
continuo (organ) - strings (4.4.2/2.2.1) there are 2 viola parts
FULL NUMBER OF PLAYERS = 16
40.00
23-25 June 2023 - date tbc
Tour in UK - Bath and Wells ???
Treasurer’s report
After eighteen months of cancelled concerts due to the pandemic, Vivace Chorus returned in
November 2021 with Dream of Gerontius at Dorking Halls. Unfortunately, due to the slow
return of audiences, ticket sales were disappointingly low and, despite the lower costs of
using the excellent West Forest Sinfonia, the concert made a loss of £9,647. The other
concert of the year, Best of Broadway at GLive, had considerably better ticket sales and
made a much smaller loss of £455. The Committee and Jeremy Backhouse continue to
review future programming in light of the trend of ticket sales, suitability of venues, and the
cost and quality of accompanying ensembles. The choir has reserves to cover some
loss-making concerts but not indefinitely. The Come and Sing made a small loss due to a
reduced number of attendees mainly associated with the pandemic.
Subscriptions for this financial year have not yet returned to pre-pandemic levels, due to the
subs holiday which ended during the year, but with Gift Aid and patrons, these covered
rehearsal costs with a small surplus £2,473 towards the year's concert losses.
During the year, for reasons of prudence the stock (uniform items and folders) held on the
balance sheet was written off so future stock sales will be classed as income.
Vivace Chorus received a legacy payment of £7,545 from the estate of Laurence James,
from which we received an interim payment in 2018. This legacy was instrumental in
covering the concert losses, giving us an overall much smaller loss for the year of £1,725.
On the balance sheet, Advance Income of £62,367 and prepaid expenditure £25,084 relates
to the once again postponed Spain tour. The remaining £898 prepaid expenditure relates to
venue deposits and publicity for future concerts.
Overall, Vivace Chorus' return to live rehearsals and performances has been positive
following a lot of uncertainty caused by the pandemic but undoubtedly the choir is reliant on
the members’ and patrons’ subscriptions, along with the generosity of those who leave
legacies to allow it to continue to perform its choice of music with strong ensembles in local
venues where all associated costs are increasing.
I'd like to thank Marjory Stewart and Chris Newbery as the finance team, and Jeremy
Johnson as Independent Examiner for their continuing support in making the role of
Treasurer easier.
CHAIRMAN'’S REPORT: AGM 2022
What a bounce-back year. After the enforced absence of lock-downs, we have had a full and
energetic return to big concert singing, and more importantly the wonderful community of
getting back together every Monday evening and focussing on singing together. The
camaraderie and sense of community has been palpable.
It hasn’t been plain sailing, with covid protocols enforcing distance-singing at Millmead and
restricting attendance for some — especially heart-breaking for those unlucky enough to
miss a concert (or the Tour)- but we’ve successfully sung a full year of concerts and events.
Special thanks to our Membership Secretary Becky Kerby, and her helpers and the voice
reps, who have done an heroic job in organising our rehearsals and dealing with all the covid
issues that have arisen. Thanks also to our Zoom team (mainly Kate & Chris Peters) who
helped us mitigate the impact of covid precautions. From September we expect to have
returned to normal rehearsals.
Singing The Dream of Gerontius was, for me, a dream start, and a pleasure to be joined by
some members of Epsom Chamber Choir. Best of Broadway took us into new territory that
we ended up embracing energetically —and | can only say that Kevin Cripps’s ‘aaaple’ has
left both an indelible mark and a hunger for more such coaching experiences. Returning to
some traditional big choral pieces in our Majesty concert was an exhausting but exhilarating
close to our major concert singing. As for the Tour, the programme worked beautifully and |
can only call the venues, audiences and organ playing by Willow Northeald as unforgettable
— a legendary tour, and huge thanks to our Tour Manager, James Garrow. I'm delighted that
the upcoming Cherry Trees concert gives everyone a chance to enjoy this lovely programme.
Our marketing and publicity returned in top-notch form, bolstering the quality of the choir
with professional imagery and smart marketing campaigns — increasingly digital — thanks to
our smart team of Hilary Trigg, Gill Perkins and Michelle Mumford.
I've had fun this year introducing the use of the projection system at Millmead to
communicate to the choir— especially the voice-part competition to sell tickets to Best of
Broadway (Choir members did a fantastic job of selling over 300 tickets). And we’ve made a
real digital transformation, with so much of the operational side going on-line — thank you
Phil Stanford and others for working this change. | certainly have noticed very little queuing
or bits of paper.
Recruitment of new members has been very pleasing, with 15 singers joining us through the
year, and total membership at 134 has held up well in this uncertain return-to-singing
year.
It’s understandable that some members opted out of concerts this year, leaving us with
only
100 committed to each concert, but going ahead we really need members to sign-up for
every concert and support each other. Be seen and be heard!
This year we have also resumed our position in Guildford civic life: singing on Remembrance
Sunday at the War Memorial with the robed and chained Guildford dignitaries, Armed
Forces representatives, and youth groups; performing the Mayor’s Carol concert at Holy
Trinity for the 70" year running; singing at the Investiture Ceremony of The Order of St.
George who added a little colour to Guildford life; and having Guildford Borough Council
support our Majesty concert. It was also a pleasure to sing at the Memorial Service for
Michael Jeffrey, a stalwart of the choir for eons, under the emergency and appreciated
baton of Roy Rashbrook.
A satisfying part of Choir Life is being able to raise funds for local charities through
collections at concerts and events, and I’'m delighted to say that amounted to almost £6000
this year (including one collection for the DEC Ukraine fund). We have very generous
audiences, and it is good to connect with and support local volunteers in our community.
Having bounced back, we can now look forward to a brilliant programme of concerts in our
next year. It starts with a grand celebration of 75 years of great singing, music and
companionship with a Feast! — Belshazzar’s Feast to be precise, on 19t" November. In March
we get a new experience with Duke Ellington’s Sacred Concerts, adding another dimension
to our singing breadth. And in May we have a lovely programme of Italian music, featuring
Handel’s Dixit Dominus, which we will perform at Holy Trinity. It’s not confirmed yet, but we
are hoping to have a mini tour 23 to 25" June to sing in Wells Cathedral and Bath Abbey.
The May concert in Holy Trinity is a refinement to the programme we set out in March, and
gives us the opportunity to rehearse wonderful music and perform it in a lovely setting with
a small professional orchestra, without the pressure of high costs and the effort for
everyone to bring in a very large audience. We aim to field a full choir, so audience capacity
will be reduced, but it will be good to find ways to make the venue work for us and to have
on our roster.
As the Treasurer has said, while the Choir’s financial position is sound, we cannot absorb
deficits indefinitely and the Committee and Music Director will continue to revue future
concert programmes and venues to best match our resources. Legacies are a generous and
thoughtful boost, but are somewhat unpredictable. Our most reliable source of funds is
subscriptions, which have remained unchanged for four years. After careful consideration by
the Committee, next year’s membership subscription fee has been increased to £180,
equivalent to £60 per term.
| have had a busy year getting to grips with what it means to be Chairman of Vivace Chorus,
and | like what | see. A large number of members contribute to the operation of the choir,
making myjob possible, from small occasional tasks through to more regular and larger
ones, and on behalf of us all | thank them. The Committee, of course, deserve a big thank
you for all the work and thought they put in, year round, and I’'m very grateful for the
support they have given me. But it is also good that Committee members are allowed a rest,
and that others step in, and I'd like to thank Mary Moon, Simon Dillon and Suzanne
Cahalane for their extensive contributions to the Committee as they step down. | am
delighted that both Mary and Simon are continuing as Patrons Secretary and Concert
Manager respectively.
During the year we 3,'5:‘341?3 a successful handing-on of the Librarian baton from Catherine
Middleton to Fiona \/\fll-l-étt. Bravo to Catherine for some 7 years in such a vital role that she
has carried off so effectively, and bravo to Fiona who has picked it up so gracefully and
smoothly. All our librarians (that includes Mary Clayton and Richard and Mary Broughton)
are unsung heroes that enable the choir to function. Ase Sovstr S thies un dookecg cockt
Vocad scoves -
And as a new Chairman, let me say that planning the future and taming the present has
been made immeasurably easier by Jeremy’s friendly support and deep expertise as Music
Director, and as a singer let me also say how much | and the choir appreciate both Jeremy
and Francis who make making music such a joy.
And finally, we come to June Windle who is stepping down as Honorary Secretary after 10
years in the job. She has done so much for the choir, and | am particularly grateful for her
considerable role in helping me navigate my first year. She is calm, efficient, knowledgeable
and comes with a great sense of humour and commendable lack of drama — great attributes
for the role — and its been a joy to work with her. | am delighted that she has agreed to put
herself forward for another year on the committee.
In conclusion, a most satisfactory year, successfully navigating a difficult environment, with
some really high moments. | feel we are ready to tackle a big year next year with our
customary Vivace verve — after a well deserved summer break.
Peter Norman
Chairman, Vivace Chorus
Vivace Chorus Income and Expenditure accounts
2021/22
Income
£
2020/21
£
£
£
Unrestricted fund
Concert deficits:
-
(337)
(9,647)
(282)
Sub-total, concert deficits
(10,102)
(619)
Rehearsal costs
(24,025)
May
November
March
(455)
:
(17,975)
(34,127)
Net concert deficit (per Concert Income and Expenditure report)
(18,594)
Income from charitable activities:
Subscriptions
19,685
17,706
Patrons
2,704
2,804
Gift Aid
4,109
3,060
Come and Sing deficit
(148)
;
614
630
Fundraising
Other
Total income from charitable activities
Interest received
Total income
25
:
26,989
24,200
17
73
(7,122)
5,678
368
¢
Expenditure
Insurance
Stock write down
Other
Total expenditure
Net surplus/(deficit) for the year, unrestricted fund
1,400
391
947
2,158
947
(9,280)
4,731
Legacy fund
Income
Legacies
Interest received
Total income
7,545
L
10
25
7,555
25
Expenditure
Total expenditure
Net surplus/(deficit) for the year, Legacy fund
Total net surplus/(deficit) for the year
7,555
25
(1,725)
4,756
Vivace Chorus Balance Sheet
Stock of Goods
Debtors
As at 30 April 2021
As at 30 April 2022
11,228
1,442
-
Accrued Income
Prepaid expenses
95
25,983
3,238
24,803
Cash at bank
Petty Cash and floats
Current Assets
130,515
167,821
110,803
31
140,317
Accrued Expenses
Advance Income
Current Liabiities
5,362
62,367
67,729
45
38,455
38,500
Net Current Assets
100,092
101,817
Opening Other Reserves
Result for the Year
Closing Other Reserves
64,699
(9,280)
55,419
59,968
4,731
64,699
Opening Legacy balance
37,117
37,092
Represented by:
Interest income
Legacies
10
7,545
-
Closing Legacy balance
44,673
37,117
CLOSING RESERVES
100,092
101,817
Vivace Chorus
Concert Income and Expenditure
For the year ending 30 April
2022
Cancelled
Cancelled
£
£
2021
Dream of Gerontius | Best of Broadway
£
£
Carols
Rehearsals
Total
Total
£
£
£
£
Income
Ticket sales
3,588
11,228
275
110
14,816
-
385
Other income
-
-
-
-
-
Total income
3,863
-
11,338
-
15,201
-
1,325
1,325
-
2,650
=
-
-
-
-
-
Orchestra / other musicians
6,340
850
-
7,190
-
Soloists
1,350
-
-
1,350
-
Venue
2,598
4,680
-
7,278
-
Staging
724
372
-
1,096
”
Publicity
312
536
-
848
619
-
Net programme income
-
Expenditure
Conductor
Instruments
Scores
-
1,000
%
1,000
861
3,030
-
3,891
-
Total expenditure
13,509
11,794
-
25,303
619
Net direct concert income/{expenditure)
(619}
Miscellaneous
{9,647)
{455)
-
(10,102)
Donations
-
-
-
-
-
Rehearsal costs
-
-
{24,025)
{24,025)
{17,975)
{9,647}
{455)
{24,025)
(34,127}
(18,594)
-
-
{24,025)
{24,025)
{17,975)
Total concert income/{expenditure)
Rehearsal costs of which are legacy expenditure
Rehearsal costs
5