Poulenc – Stabat Mater

with works by

Bach, Brahms and Purcell

Soloist: Rebecca Lea Conductor: William Petter Accompanist: Paul Ayres

St John the Divine Saturday 22 nd March 2014 at 7.30pm

Registered Charity No 1112448 Jesu Meine Freude J S Bach (1695 – 1750) Programme Jesu, meine Freude has been called a “priceless treasure” of choral music and is Bach’s longest and most complex motet. By the 18 th Century, the term motet Jesu Meine Freude Bach had come to mean a sacred choral work, sung in either Latin or German, with optional instrumental accompaniment. Each of Bach’s motets consists of several movements of varying textures, including chorales, fugues, free choruses, but no Schicksalslied Brahms arias or recitatives.

In 1723, Bach was appointed cantor at the Thomaskirche in Leipzig and in the Geistliches Lied Brahms subsequent four years he composed six motets, to be sung at funeral services for prominent members of the congregation. It is thought that Jesu Meine

Freude dates from this time. In spite of their purpose, the motets are not Interval funereal in character, and contain some radiant and celebratory music. 18 th Century Lutherans viewed death as a blessed release from the pain and suffering of the world and certainly in this work, the emphasis is on confidence and faith, The Blessed Virgin Mary’s Expostulation Purcell not sorrow.

The motet is in eleven relatively short movements and is based on the chorale Stabat Mater Poulenc melody Cruger (1653) , set to words (c1650) by Johann Franck and interspersed with text from St Paul’s Epistle to the Romans: Chapter 8. The six verses of the chorale are ardent expressions of faith, praising Jesus and longing for His

comforting spirit, and the biblical texts speak of freeing man from sin and death. The movements form a symmetrical arch; the opening and closing chorales are Ralph Yell musically identical, the second and penultimate movements are very similar dramatic choruses and there is a correspondence between the fourth and eighth This evening’s concert is dedicated to the memory of Ralph Yell, a founder using, respectively, upper and lower voices in trios . At the centre is a lyrical 5- member of Concordia Voices who died last summer. We are delighted that part fugue . All the chorale settings are in E minor, with the exception of number Margaret and other members of his family have been able to join us for this 9, Gute Nacht, o Wesen – a poignant setting in A minor in which the altos are occasion. given the cantus fermus.

Ralph’s fine bass voice contributed greatly to the and he was a versatile In Bach’s music, the stark contrasts between the images of heaven and hell are performer, equally happy singing early music, Bach, Bacharach and everything in vividly conveyed, resulting in a motet with an uncommonly wide dramatic range. between and beyond. He is much missed by us all. 1. Chorale 1. Chorale Before the interval the choir will sing ‘Geistliches Lied’ in his memory and there Jesu, meine Freude, Jesus, my joy, will be a moment’s silence beforehand as we remember the joy that singing meines Herzens Weide, my heart's pasture, brought to Ralph’s life and to all those who knew him. Jesu, meine Zier! Jesus, my treasure! Ach wie lang, ach lange, Ah, how long, ah long ist dem Herzen bange has my heart suffered und verlangt nach dir! and longed for you! 6. Chor 6. Chorus Gottes Lamm, mein Bräutigam, God's lamb, my bridegroom, Ihr aber seid nicht fleischlich, sondern You, however, are not of the flesh, but außer dir soll mir auf Erden besides You on earth geistlich, so anders Gottes Geist in rather of the Spirit, since the Spirit of nichts sonst Liebers werden. nothing shall be dearer to me. euch wohnet. Wer aber Christi Geist God lives otherwise in you. Anyone, nicht hat, der ist nicht sein. (Romans however, who does not have Christ's 2. Chor 2. Chorus 8:9) Spirit, is not His. Es ist nun nichts Verdammliches an Now there is nothing damnable in denen, die in Christo Jesu sind, die those who are in Christ Jesus, who do 7. Chorale 7. Chorale nicht nach dem Fleische wandeln, not walk after the way of the flesh, but Weg mit allen Schätzen, Away with all treasures, sondern nach dem Geist. (Romans 8:1) after the way of the Spirit. du bist mein Ergötzen, you are my delight, Jesu, meine Lust! Jesus, my joy! 3. Choral 3. Chorale Weg, ihr eitlen Ehren, Away, you vain honours, Unter deinen Schirmen Under your protection ich mag euch nicht hören, I don't want to listen to you, Bin ich für den Stürmen I am safe from the storms bleibt mir unbewußt! remain unknown to me! Aller Feinde frei. of all enemies. Elend, Not, Kreuz, Schmach und Tod Misery, want, torture, shame and Laß den Satan wittern, Let Satan rage, soll mich, ob ich viel muß leiden, death shall, although I must suffer Laß den Feind erbittern, let the enemy fume, nicht von Jesu scheiden. much, never part me from Jesus. Mir steht Jesus bei. Jesus stands with me. Ob es itzt gleich kracht und blitzt, Whether now it thunders and flashes, 8. Chor 8. Chorus Ob gleich Sünd und Hölle schrecken, whether sin and Hell terrify, So aber Christus in euch ist, so ist der However if Christ is in you, then the Jesus will mich decken. Jesus will protect me. Leib zwar tot um der Sünde willen; der body is dead indeed for the sake of sin; Geist aber ist das Leben um der but the spirit is life for the sake of 4. Chor 4. Chorus Gerechtigkeit willen. (Romans 8:10) righteousness. Denn das Gesetz des Geistes, der da For the law of the spirit, which gives lebendig machet in Christo Jesu, hat life in Christ Jesus, 9. Chorale 9. Chorale mich frei gemacht von dem Gesetz der has made me free from the law of sin Gute Nacht, o Wesen, Good night, existence Sünde und des Todes. (Romans 8:2) and death. Das die Welt erlesen! that cherishes the world! Mir gefällst du nicht. You do not please me. 5. Choral 5. Chorale Gute Nacht, ihr Sünden, Good night, sins, Trotz dem alten Drachen, Defiance to the old dragon, Bleibet weit dahinten, stay far away, trotz des Todes Rachen, defiance to the vengeance of death, Kommt nicht mehr ans Licht! never again come to light! trotz der Furcht dazu! defiance to fear as well! Gute Nacht, du Stolz und Pracht! Good night, pride and glory! Tobe, Welt, und springe; Rage, world, and attack; Dir sei ganz, du Lasterleben, To you utterly, life of corruption, ich steh hier und singe I stand here and sing Gute Nacht gegeben! be good night given! in gar sichrer Ruh! in entirely secure peace! Gottes Macht hält mich in acht; God's strength holds me in watch; Erd und Abgrund muß verstummen, earth and abyss must fall silent, ob sie noch so brummen. however much they might rumble.

untroubled life of the deity. Suddenly the tone changes and we hear an 10. Chor 10. Chorus anguished outcry bewailing the fate of mankind. Jagged rhythms, wide-leaping So nun der Geist des, der Jesum von Therefore now since the Spirit of Him intervals and a relentless accompaniment reflect the tormented human den Toten auferwecket hat, in euch who raised Jesus from the dead dwells condition. wohnet, so wird auch derselbige, der in you, that same who raised Christ Christum von den Toten auferwecket from the dead will make your mortal It is known that Brahms struggled with the overall form of Schicksalslied, and hat, eure sterblichen Leiber lebendig bodies living, for the sake of His spirit particularly with its conclusion. He had difficulty accepting an ending of darkness machen, um des willen, daß sein Geist that dwells in you. and desolation, but was concerned that if he changed the mood of the original in euch wohnet. text, he would compromise the author’s vision. The challenge took three years (Romans 8:11) to resolve, with Brahms attempting an alternative version in which the chorus repeat the first stanza. Eventually, accepting the advice of Hermann Levi (the 11. Chorale 11. Chorale conductor of the work’s premiere in 1871), the composer concluded the piece Weicht, ihr Trauergeister, Hence, you spirits of sadness, with a reprise of the instrumental prologue. denn mein Freudenmeister, for my Master of joy, Jesus, tritt herein. Jesus, comes here. Ihr wandelt droben im Licht You wander above in the light Denen, die Gott lieben, For those who love God, Auf weichem Boden, selige Genien! on soft ground, blessed genies! muß auch ihr Betrüben even their troubles Glänzende Götterlüfte Blazing, divine breezes lauter Zucker sein. must be pure sugar. Rühren Euch leicht, brush by you as lightly Duld' ich schon hier Spott und Hohn, Though I endure mockery and shame Wie die Finger der Künstlerin as the fingers of the player dennoch bleibst du auch im Leide, here already, nevertheless you stay Heilige Saiten. on her holy strings. Jesu, meine Freude. with me even in sorrow, Jesus, my joy. Schicksallos, wie der schlafende Fateless, like sleeping Säugling, atmen die Himmlischen; infants, the divine beings breathe, Keusch bewahrt chastely protected Schicksalslied Johannes Brahms (1833 – 1897) in bescheidener Knospe, in modest buds, Blühet ewig blooming eternally Born in Hamburg, Brahms is known to most listeners for his orchestral and Ihnen der Geist, their spirits, chamber music, but he also composed for voices, including works for choir and Und die seligen Augen and their blissful eyes . The latter are relatively brief, with texts by German Romantic poets, Blicken in stiller gazing in mute, chosen by Brahms for their spiritual intensity. Schicksalsied , or Song of Destiny, Ewiger Klarheit. eternal clarity. is taken from a poem by Friedrich Hölderlin (1770-1843), a contemporary of Göethe and Schiller who was most active in the 1790’s and early 1800’s. Doch uns ist gegeben, Yet there is granted us Hölderlin takes his theme from classical odes in which the effortless existence of Auf keiner Stätte zu ruhn; no place to rest; the gods is contrasted with the trials and tribulations of human destiny. Brahms Es schwinden, es fallen we vanish, we fall - first came upon the text in 1868, was deeply affected by its message and Die leidenden Menschen the suffering humans - immediately started working on the music. Blindlings von einer blind from one Stunde zur andern, hour to another, The work was to prove a challenge, however. Beginning with a quiet Wie Wasser von Klippe like water thrown from cliff instrumental prologue evoking a mood of eternal peace and beauty, the chorus, Zu Klippe geworfen, to cliff, led by the altos, contemplates in a hymn-like passage the charmed and Jahrlang ins Ungewisse hinab. for years into the unknown depths. Geistliches Lied Johannes Brahms (1833 – 1897) The Blessed Virgin Mary’s Expostulation Henry Purcell (1659 – 1695)

Geistliches Lied, or Sacred Song, is an early work for choir and organ by Brahms This is a dramatic, recitative like aria for solo soprano inspired by Monteverdi's and dates from 1856. The text is a poem by the early 17 th Century writer Paul famous Lamento D’Arianna. The words are by Nahum Tate, and are the dramatic Fleming, known for his love poetry and hymn writing. Fleming’s writing was representation of the time that Mary couldn't find Jesus because he had stayed unique in its time for the sincerity and depth of feeling conveyed in the texts, behind at the temple to talk to the Elders. He was just a young boy, and the often contemplations on God’s consolation and solace in times of adversity. It is distress of his mother is well documented in this poem. Tate has Mary recalling possible that the choice of text reflected personal feelings in the composer’s the slaughter of the Innocents under Herod, and imagining all sorts of ills having own life as his dear friend, Robert Schumann, was close to death. befallen her son. Purcell gives the setting an appropriate amount of pictorial representation, but more importantly, he represents in the music all of the At the time of writing Geistliches Lied , Brahms was exchanging exercises in emotions passing through her during this scene. Of all Purcell's songs, it is the counterpoint with the violinist Joseph Joachim (to whom he dedicated his violin most operatic. concerto), their aim being to share expertise and advance their musical The opening is urgent and demanding as Mary cries out for some "pitying angel" scholarship. Geistliches Lied was one such “exercise” - an exceptionally clever to tell her what has become of her son. As usual, Purcell highlights words by double canon, the distance of imitation being the interval of a ninth between singing a single syllable of the text while moving through several notes in the soprano and tenors and the bass and alto lines. The work is in three sections succession (melisma), especially to highlight her remembrance of Herod's with short, Bach-like organ interludes and it concludes with a sublime Amen slaughter. The "wilderness" that they had to travel through to flee the slaughter section, evoking the Renaissance composers whom Brahms had studied and is highlighted. "Savages" are given a savage turn of phrase, and "tyrants" are revered. also treated accordingly. The emotional pitch builds as Mary begins to ask "Why, why, why?" in ever more On hearing of the piece, Clara Schumann had expressed concern that “the effect intense harmonies and angularity. "Where's Gabriel?" she cries, to signify her might prove stiff” but in Geistliches Lied , Brahms transcends the mastery of feeling of desertion by her former protector. "I call, I call , I call " she sings in a counterpoint with the sheer beauty of musical expression. like passage. Then she repeats his name again and again while the tension and the distress of the music builds. Finally, as if overcome by despair, Laß dich nur nichts nicht dauren mit Do not be sorrowful or regretful; she almost whispers "He comes not." The section is repeated for emphasis, and Trauren, sei stille, wie Gott es fügt, Be calm, as God has ordained, even more dramatic the second time through. so sei vergnügt mein Wille! and thus my will shall be content. There is an emotional breath taken on the next few lines of text. In triple time, Mary sings in hopeful strains of how blessed she is. But the finale of the setting Was willst du heute sorgen auf What do you want to worry about is even more pictorially dramatic, if that is possible. "How shall my soul its morgen? from day to day? motions guide?" is full of the soul's uncontrollable movement. And Mary's Der Eine steht allem für, There is One who stands above all "lab'ring thoughts" wander in an endless chromatic melisma. "But oh!" is the der gibt auch dir das Deine. who gives you, too, what is yours. final text, and it wanders hopelessly through to the end.

Sei nur in allem Handel ohn Wandel, Only be steadfast in all you do, Tell me, some pitying angel, quickly say, steh feste, was Gott beschleußt, stand firm; what God has decided, Where does my soul's sweet darling stay, das ist und heißt das Beste. that is and must be the best. In tiger's, or more cruel Herod's way? Amen. Amen O! rather let his tender footsteps press Unregarded through the wilderness, Interval Where milder savages resort: The desert's safer than a tyrant's court. Why, fairest object of my love, tone and style are typical of the composer and can also be heard in his Stabat Why dost thou from my longing eyes remove? Mater, in spite of its religious content. In the main, Poulenc’s music is devout, Was it a waking dream that did foretell occasionally even austere in character, but he certainly includes some more Thy wondrous birth? no vision from above? “worldy” passages. Writing to a friend about the work, he said “I feel very much Where's Gabriel now that visted my cell? at home with it and I hope I can touch those who like prayers”. The Stabat Mater I call; he comes not; flatt'ring hopes, farewell. was received with critical acclaim. Me Judah's daughters once caress'd, The piece is scored for a 5-part chorus, with the addition of a baritone line to Call'd me of mothers the most bless'd; the lower voices, a solo soprano in three of the movements and orchestral Now (fatal change!) of mothers most distress'd. accompaniment. The twelve relatively short movements alternate between fast How shall my soul its motions guide, and slow tempi and are almost symmetrically arranged around the sixth, Vidit How shall I stem the various tide, Suum, in which the soprano soloist makes her first appearance. Whilst faith and doubt my lab'ring thoughts divide? For whilst of thy dear sight I am beguil'd, I trust the God, but oh! I fear the child. Stabat Mater Dolorosa – The opening slow movement is accompanied by an almost sighing motif; the division of men’s voices into tenors, baritones and basses adding a gravity and warmth to the choral sound. Stabat Mater (1889 – 1963) Stabat mater dolorosa At the Cross her station keeping, Francis Poulenc was born and died in Paris. As a musician he was largely self- juxta Crucem lacrimosa, stood the mournful Mother weeping, taught and in his music can be heard influences of a wide range of styles from dum pendebat Filius. close to her Son to the last. Gregorian chant to popular. Poulenc’s early works, written after the First World War were appreciated for their high spirits and entertainment value. However Cujus animam - Here the tempo and energetic character of the music seem to by the 1930’s his music was beginning to show more introspection, seemingly represent anger as well as sorrow. triggered by the deaths of two close friends. Poulenc’s interest in Catholicism was renewed, resulting in a pilgrimage to the Sanctuary of Rocamadour known Cuius animam gementem, Through her heart, His sorrow sharing, for its wooden carving of the Black Madonna and its presumed capacity for contristatam et dolentem all His bitter anguish bearing, miraculous healing. The combination of these events led the composer to write pertransivit gladius. now at length the sword has passed a body of religious choral works, both ‘a cappella’ and accompanied. The origins of the Stabat Mater date back to a 13 th Century text, a hymn of great In O quam Tristis , the focus is on the chorus, either accompanied or ‘a cappella’, sanctity in the Roman Catholic Church and today an optional liturgy in Lent. This in gentle, shifting harmonies. devotional poem describes the Virgin Mary’s anguish at the foot of the cross. Poulenc’s Stabat Mater is dedicated to the artist Christian Bérard, a fashion O quam tristis et afflicta O how sad and sore distressed illustrator and theatre designer associated with Chanel and Cocteau, who died fuit illa benedicta, was that Mother, highly blest, suddenly in February 1949. Poulenc rejected the notion of writing a Requiem for mater Unigeniti! of the sole-begotten One. his friend and chose instead this “prayer of intercession” which he deemed to be a more fitting tribute. The work was apparently written very quickly in 1950, just after the completion of a which Poulenc had described as being “in a very irreverent style” and which had not been well-received by the critics. Contradictions in Quae Moerebat - A graceful movement, and musically surprising given the stark Eja Mater is a very good humoured and dance-like movement with an unusual, content of the text. slightly flippant ending.

Quae mœrebat et dolebat, Christ above in torment hangs, Eia, Mater, fons amoris O thou Mother! fount of love! pia Mater, dum videbat she beneath beholds the pangs me sentire vim doloris Touch my spirit from above, nati pœnas inclyti. of her dying glorious Son. fac, ut tecum lugeam. make my heart with thine accord:

Quis est Homo - In this movement, a frenetic tempo, constantly changing metre Fac ut ardeat - With its ardent and passionate words, this movement is scored and unsettled tonality contribute to a sense of hysteria and confusion. Poulenc for mostly ‘a cappella’ choral singing with minimal accompaniment. stipulates a long silence between this and the next movement in which the solo soprano sings. Fac, ut ardeat cor meum Make me feel as thou hast felt; in amando Christum Deum make my soul to glow and melt Quis est homo qui non fleret, Is there one who would not weep, ut sibi complaceam. with the love of Christ my Lord. matrem Christi si videret whelmed in miseries so deep, in tanto supplicio? Christ's dear Mother to behold? Sancta Mater - In this movement we hear dramatic word-painting, using a variety of musical ideas, and some luscious harmonies. Quis non posset contristari Can the human heart refrain Christi Matrem contemplari from partaking in her pain, Sancta Mater, istud agas, Holy Mother! pierce me through, dolentem cum Filio? in that Mother's pain untold? crucifixi fige plagas in my heart each wound renew cordi meo valide. of my Savior crucified: Pro peccatis suæ gentis For the sins of His own nation, Tui Nati vulnerati, Let me share with thee His pain, vidit Iesum in tormentis, She saw Jesus wracked with torment, tam dignati pro me pati, who for all my sins was slain, et flagellis subditum. All with scourges rent: pœnas mecum divide. who for me in torments died.

Vidit Suum - In this central movement, the choral sopranos are silent, giving Fac me tecum pie flere, Let me mingle tears with thee, way to the soloist whose style Poulenc described as being “in a very human crucifixo condolere, mourning Him who mourned for me, style, very expressive...” The music is sensual and sinuous, with audacious chord donec ego vixero. all the days that I may live: progressions and a dramatic instrumental outburst before the final pianissimo bars. At the end of this movement, the composer’s instruction is another “long Juxta Crucem tecum stare, By the Cross with thee to stay, silence”. et me tibi sociare there with thee to weep and pray, in planctu desidero. is all I ask of thee to give. Vidit suum dulcem Natum She beheld her tender Child, moriendo desolatum, Saw Him hang in desolation, Virgo virginum præclara, Virgin of all virgins blest!, dum emisit spiritum. Till His spirit forth He sent. mihi iam non sis amara, Listen to my fond request: fac me tecum plangere. let me share thy grief divine;

Fac ut portem - In a contrasting style, the music (in a "tempo de sarabande" and Rebecca Lea with double-dotted rhythms) alludes to Bach. The following movements are then performed without a break. Rebecca graduated from the Royal Northern College of Music, The Queen’s College, Oxford, and the Royal Academy of Dramatic Art. Fac, ut portem Christi mortem, Let me, to my latest breath, passionis fac consortem, in my body bear the death She has appeared as a soloist in concert and on BBC Radio 3 with Manchester et plagas recolere. of that dying Son of thine. Camerata, Northern Sinfonia, Royal Liverpool Philharmonic Ensemble 10/10 and the NDR Radio Choir, Hamburg. Recent performances include Purcell’s King Fac me plagis vulnerari, Wounded with His every wound, Arthur in the Laieszhalle, Hamburg, Poulenc’s at the Purcell fac me Cruce inebriari, steep my soul till it hath swooned, Room , Louis Andriessen’s Dances with Ensemble 10/10 in Liverpool, Judith et cruore Filii. in His very Blood away; Weir’s The Consolations of Scholarship at The Sage, Gateshead , King Harald’s Inflammatus et accensus - With its opening driving rhythms, changing metre Saga at the Wigmore Hall, recitals at the Lake District and Chester Summer and dynamic contrasts, the music here evokes a sense of terror. Music Festivals and William Bolcom’s Cabaret Songs at the Royal Albert Hall as part of the BBC Proms Lates Series. Inflammatus et accensus, Be to me, O Virgin, nigh, per te, Virgo, sim defensus lest in flames I burn and die, She also works as a consort and ensemble singer with various groups including in die judicii. in His awful Judgment Day. the BBC Singers, The Sixteen, Britten Sinfonia Voices, The Choir of the Enlightenment, Cries of London , the NDR Radio Choir in Hamburg, Platinum Christe, cum sit hinc exire, Christ, when Thou shalt call me hence, Consort and Howard Goodall’s Enchanted Voices. da per Matrem me venire be Thy Mother my defense, ad palmam victoriæ. be Thy Cross my victory; Forthcoming engagements include solo appearances with contemporary group Psappha in Burgess’s The Wasteland in Manchester, concerts in Germany and In Quando Corpus , there is a feeling of ecstasy and transcendence when the the UK with the NDR Choir performing Handel’s Joshua, Birtwistle’s Meridian solo soprano joins the choir to sing the words “Paradisi ”. The piece ends with Exaudi at the BBC Proms and performances of The Schubert Salon, a new with an affirming Amen from the choir. play featuring arrangements of Schubert songs with Re:Sound at the 2014 Oxford Lieder Festival. Quando corpus morietur, While my body here decays, fac, ut animæ donetur may my soul Thy goodness praise, William Petter paradisi gloria. Amen. Safe in Paradise with Thee. Amen. William Petter is a freelance choral director, tenor and singing teacher based in London. He began his musical life as a chorister at New College, Oxford, under the direction of Edward Higginbottom. Whilst studying for a degree in Neuroscience at University College, London, he started singing as a tenor, and went on to study as a postgraduate at the Royal Academy of Music, for which he gained the highest award, distinction with DipRAM.

He has been musical director of Concordia Voices since 2011, and also directs the professional choir of St Magnus the Martyr, and chamber choir Sine Nomine

Singers. He previously directed the Orpington and District Free Church Choir, performing many great works with them including Bach Easter Oratorio, Handel Concordia Voices Messiah, Stainer Crucifixion, Mendelssohn Elijah, as well as Mozart Requiem, Solemn Vespers K339, Piano Concerto no 23 in collaboration with Forest Soprano Alto Tenor Bass Philharmonic. He teaches singing at Orchard House School and St Michael and Jackie Allen Lindsey Baldwin Stuart Coldwell Alan Baldwin All Angels, Bedford Park, as well as having a flourishing private practice. Lynda Beament Rebecca Bevan Clive Hall Chris Edwards Anne Gooding Julie Hall Brain Leathard Jo Foley As a singer, he enjoys a busy oratorio career, working for groups including Anusha Hesketh Catherine Jones- David Taylor Martin Hinckley Oxford Bach Choir, Oxford Harmonic Society, Hull Bach Choir, Queens Park Prill Hinckley Healey Rodney Taylor Christopher Johnson Singers, Chigwellian Singers and Benson Choral Society. He gives recitals and has Julia Lavery Ramani Leathard James Loader performed Die Schöne Müllerin in Oxford, Petts Wood and Burgh House, Margaret Lord Jane Newman Tim Rice Hampstead, and an English song recital in Oxford, for which he was given an Rosie Oxborrow Anne Rowett Clive Richards award by the John Ireland trust. He also enjoys consort work, working with Ruth Parker Jane Purser groups including The Sixteen, the Choir of the Enlightenment, Philharmonia Fiona Rowett Janet Taylor Voices, Britten Sinfonia Voices, London Voices, Westminster Abbey Choir, Fiona Wimblett Shelagh Testar Westminster Cathedral Choir and other London church . He has recently recorded the St Magnus Choir’s first CD and led a choral workshop on Fauré’s Founded in 2000 as the Apocalypse Singers by Christopher Hodges, a founder Requiem for Arts Richmond. Future plans include singing the part of the member of The Sixteen, the choir was renamed Concordia Voices under the Evangelist in Bach St Matthew Passion for Carshalton Choral Society. musical directorship of Neil Ferris and is currently directed by William Petter. Our regular accompanist is the composer and arranger Paul Ayres. Paul Ayres The choir performs regularly in south-west London where it is based, and in St Paul Ayres was born in London, studied music at Oxford University, and now Luke’s Chelsea. We have also toured abroad and to other locations in the UK as works freelance as a composer & arranger, choral conductor & musical director, well as taking part in local musical events. Concordia Voices enjoy performing and organist & accompanist. His compositions usually involve words – solo music from a wide repertoire ranging over 4 centuries and the choir has a keen songs, choral pieces, music for theatre productions – and he is particularly interest in performing the work of contemporary composers, including Jonathan interested in working with pre-existing music, from arrangements of folksongs, Dove, James MacMillan, Morten Lauridsen, John Tavener and Naji Hakim. In the hymns, jazz standards and nursery rhymes to ‘re-compositions’ of classical last 4 years, we have performed specially commissioned works by Paul Spicer works, as in Purcell’s Funeral Sentence, 4A Wreck and Messyah. New pieces and Paul Ayres. have been commissioned by the BBC Singers, the London Festival of Contemporary Church Music, Concordia Youth Choir, The Esoterics, Texas Concordia Voices rehearse on Sunday evenings from 6:45 to 9pm in St. James’s Lutheran University, Wartburg College, Wheaton College and Alexandria Choral Church, Hampton Hill. We are a small, friendly choir and new singers are Society. Paul is the regular conductor of City Chorus, the London College of warmly welcome. If you are interested in joining us please contact our secretary Music choirs and the Walbrook Singers, and he is the associate accompanist of for more information at, Crouch End Festival Chorus. He has led many education workshops for children, played piano for improvised comedy shows and musical theatre, and has given [email protected], solo organ recitals in the UK, Scandinavia, Europe, North America and Australia. Please visit www.paulayres.co.uk to find out more. or visit

www.concordiavoices.org

Future Concerts:

Saturday July 5 th 2014, St John the Divine, Richmond “Night and Day” Music by Ayres, Bairstow, Brahms, Gardiner, Lauridsen, Rheinberger, Schumann, Whitacre and Wood.

Saturday November 22 nd 2014, St Luke’s, Chelsea.

Saturday March 14 th 2015, St John the Divine, Richmond.