Haydn THE CREATION

The Department of Music presents

Haydn THE CREATION

Sunday 8th March 2020 College Chapel

A performance given by the Maynooth University Choral Society with The Irish Choral Sinfonia.

Soloists: Claudia Boyle (Soprano Andrew Gavin (Tenor) Simon Morgan (Bass) Director: Dr John O’Keeffe

The Creation – 3 Maynooth College Chapel: An Anniversary Appreciation

With the building of the Pugin-designed St. Patrick’s and St. Mary’s (including the wing which houses Pugin Hall, the Russell Library and St. Mary’s Oratory), the college was left without a chapel which could house the entire seminary community.

Charles Russell (president 1857-80) architect employed by Maynooth and was anxious to bring it into existence the then president, Robert Browne and early in his presidency he (1885-1894) to undertake the interior campaigned for its construction. J.J. decoration of the college chapel. McCarthy was awarded the design of the chapel and the foundation stone It is this interior Hague decoration as was laid in 1875. McCarthy was a well as the spacious McCarthy design great admirer of Pugin and shared that helps make this the architectural Pugin’s commitment to the Gothic jewel we see today. This is greatly styles of the fourteenth and fifteenth assisted by the considerable work of centuries. McCarthy finished the restoration and lighting design which work on Pugin’s Killarney cathedral was undertaken prior to the college’s and also worked on the cathedrals at bicentennial in 1995. McCarthy also Monaghan and Thurles. Interestingly, designed the Senior Infirmary (1861- Monaghan cathedral remained 1862) now the Columba Centre. incomplete at his death and the task Hague was responsible for the Aula went to William Hague, who was the Maxima. Both buildings are very

4 – Haydn close to the north side of the chapel, which would have been sung in to left and right of the path to the the stalls below by the seminarians North Campus. – Magnificat (the hymn of Mary), Benedictus (the song of Zechariah) One major and one minor and the great hymn of praise, Te iconographic theme can be found Deum. The angels carry instruments in the chapel. The primary theme of the Passion and the Irish saints is Laus Deo, the praise of God. On representing the missionary, monastic the chapel’s mosaic floor (Burke of and pastoral traditions, among whom London) is the inscription, Laudate can be found St. Killian, Sr. Ciaran pueri Dominum/Psallite Deo/Psallite and Pope Celestine who sent St. quoniam rex omnis terrae Deus/ Patrick to Ireland. Like the Stations Psallite sapienter (Young men praise of the Cross, these panels were the Lord, Sing praise to God, Praise painted on to canvas and then stuck Him For God is King of all the earth, to the walls and ceiling. The gilding Praise him wisely). The theme of was subsequently done by another praise is continued in the decorative artist, Robert Mannix, about which flora and fauna, which hearkens the academic council complained, to the Canticle of Daniel and the thinking it too excessive. praise of God by all creation. The flora can be seen on the finials (the The minor theme, if it could be called decorative ends of the stalls), on the that is the iconography linked to the front of the stalls and around the preparation and education of students coats of arms on the panels above the for the priesthood. The angels at the stalls. The fauna can be seen on the Corbels (the stone which sticks out Strings – the line of carving above from the wall between the Strings the Stations of the Cross. A wide and which supports the ceiling) carry variety of animals, birds and reptiles objects associated with the minor can be found, including a monkey, and major orders of the pre-Vatican and ostrich and an Irish Setter. The II progression to priesthood and theme of praise continues onto the beyond – keys for Porter; candle ceiling. The heavenly procession of for Acolyte; dalmatic for Deacon; saints and angels are enclosed in a mitre for Bishop. Some of the saints circle of script, which contain the that populate the ends of the stalls words of the three great canticles, above the finials are linked with the

The Creation – 5 education of seminarians – St. Charles the work he undertook in St. Joseph’s Borromeo, St. Augustine, St. John Catholic Church in Highgate. Chrysostom. The windows depict the life of Christ, The stalls are made from American although a number of different Oak, and I have it on good authority themes were suggested. Hague or that it is a very difficult wood to the college authorities must have carve, which makes the artistry of the established this as the theme because carvers all the more splendid. The the windows were commissioned firm of Connolly of Dominick Street and made as and when donors were employed to complete this work were found. Three stained glass after a design by Hague, which is in companies were involved – Mayer the college’s Russell Library. The stalls of Munich, Lavers and Westlake are divided into blocks and there of London and Cox Buckley of are a total of 454 individual seats, London. Each window depicts an making it the largest choir stall chapel event in the life of Christ, beginning in the world. The stalls face each with the Immaculate Conception on other for the public recitation of the the right as one faces the sanctuary. Divine Office. Psalms that are prayed Each window has a pediment and during the day – morning, evening canopy (which is the indicator as to and night prayer – are sung verse by which windows were designed at the verse back and forth. same time and by whom) and above the canopy is a small roundel or Above the stalls are the panels sexfoil with a story from the Hebrew containing the fourteen stations of scriptures related to the story from the Cross, St. Peter and St. Paul over the life of Christ: Jesus with the the pulpit, and the four messianic teachers in the Temple linked with prophets, Daniel, Isaiah, Jeremiah Daniel interpreting the Dreams of and Ezekiel. These are the work of Nebuchadnezzar; the Baptism in the Nathaniel Westlake (1833–1921) Jordan and Noah’s Ark; Jesus and and are reminiscent of the work of the widow of Nain coupled with the English pre-Raphaelite painters. Elijah and the widow of Zarephath. Westlake was also responsible for the Each of the donors are named on ceiling decoration, which is similar to the window, including James and

6 – Haydn Elizabeth Nelson, Cooldrinagh, Leixlip who are buried in Glasnevin close to the O’Connell monument.

In the apse the windows depict the final events in the life of Jesus, coupled with the depiction of Pentecost. In the sexfoils are images of the sacraments. The central window is a portrayal of the command of Jesus to “go out to the whole world….” and above the Trinity is show in a manner similar to that of Albrecht Dürer’s work. Above these windows, the apostles, the prophets and the patriarchs and below, depictions of the six principal patrons of Ireland – St. Laurence O’Toole protecting the people of Dublin from the Normans; St. Brigid and her companions in prayer; St. Malachy greeting St. Bernard of Clairvaux; St. Patrick preaching to the king; St. Columbanus building at Bobbio; and St. Colmcille heading to Iona.

The Creation – 7 Address of Welcome

On behalf of the Music Department it is my great pleasure to welcome you to this afternoon’s performance of Haydn’s The Creation, which is also part of the celebrations to mark the 225th anniversary of Maynooth College.

Performance constitutes a Making music together is a way to fundamental component within the express our sense of humanity; it is numerous activities of the Music because of this and because of the Department. Membership to one of commitment from all parts involved the Departmental Ensembles is part of that we have the possibility to share the experience that helps our students all together the joy of listening to to grow up as musicians, forging such a beautiful composition. friendships and memories that will remain with them even after their The concert would not be possible degree. The Choral Society reaches without the support of several out across Maynooth University, people and institutions. I thank St Patrick’s College and the local the Presidents of both Maynooth community. We are incredibly proud University and St Patrick’s College for of their commitment to the weekly supporting today’s event. rehearsals through the academic year.

8 – Haydn I should also like to pay a special tribute to Dr John O’Keeffe for his enthusiasm and musicianship in bringing together the energies of all performers – the members of the choir, the orchestra, and the soloists.

A thank you also to the Music and the President’s offices for the organisation of this event.

I hope that you will enjoy listening to the music of Haydn in the splendid surrounding of the College Chapel.

Dr Antonio Cascelli Head of Music Department

The Creation – 9 Programme Note The Creation

In 1790 Joseph Haydn, at 58 years of age, accepted an offer from a London concert promoter to make two extended visits to the city between 1791 and 1795.

In London of the 1790s, oratorio was in oratorio grew until, on his final the principal form in use by church return to Vienna in 1795 and fired composers, and Handel, though dead by the inspiration of Handel, he was for almost forty years, still dominated anxious to try an oratorio of his own. the genre through the influence of While in London, Haydn been given his music. Haydn attended a series an oratorio text which had been of memorial concerts devoted to the prepared for Handel but never used music of Handel in May 1791. He by him; a translation of it was now was shaken by the overwhelming produced by one Baron Van Swieten, power of the music and, at one point, along with financial backing. Haydn broke down completely, crying, set to work towards the end of 1796, “He is the master of us all!”. As he and by April 1798 The Creation was became further acquainted with the complete. music of Handel, his admiration and respect deepened and his interest

10 – Haydn The text of The Creation is a mixture Each day of creation is then rounded of scriptural excerpts, quotations and off by the chorus, who, for their adaptations from Milton’s Paradise part, represent the heavenly choirs Lost and original verse in the style of angels praising God and rejoicing of Milton. Rejected supposedly by at the beauty of each new created Handel, translated and rearranged by thing. Part II ends with the creation of Van Swieten and later re-translated by man; by part III the work is complete, him into English, this much-abused and Adam and Eve – represented by libretto became in Haydn’s hands the soprano and bass soloists – are the vehicle for a magnificent flow the focus of the universal prayer of inspiration and creativity. At 65 of worship offered by the whole of years of age, he was at the height of creation to God. Just once, there his creative powers; somewhat later comes into the bliss of the happy in life, he was to comment, “Musical couple an omen of darkness, as Uriel ideas pursue me to the point of warns that they “strive at more than torture, I cannot get rid of them; my granted is”; but this momentary imagination plays upon me as if I shadow is swept away in the joy of were a keyboard.” The entire work is the final chorus. pervaded by the sense of an unceasing flow of invention, a broad current The entire work is a marvellously whose power sweeps the listener sustained flight of the imagination along as Haydn’s vision of the newly- and of religious feeling. From the created earth unfolds in freshness and orchestral Representation of Chaos, vitality. in which one glimpses the billowing of an elemental nothingness, Parts I and II are concerned with the through the large arias, profuse actual work of creation. The main in musical ideas and yet perfect in characters are the archangels Raphael their architecture, to the sometimes (bass), Uriel (tenor) and Gabriel extreme simplicity of the choruses (soprano); day by day, they tell the with their pure, unaffected joy, The story of creation through a series of Creation moves on a dizzy plane of arias and recitatives. inspiration.

The Creation – 11 For Haydn himself, the writing of the work was a profoundly religious experience and, as he related after conducting the first performance,

One moment I was cold as ice all over, the next I was on fire; more than once I was afraid I should have a stroke.

Haydn’s Creation, summing up as it does the joy simply of being, stands as the masterwork of an artist whose own innate cheerfulness was tempered by unhappy circumstances. In religious practice, as in all things, Haydn exercised moderation and respectability: in The Creation, however, he allowed the intensity of his vision to take substance, to remain so that succeeding generations might be that much the richer.

Raymond O’Donnell

12 – Haydn Joeseph Haydn (1732-1809)

THE CREATION

13 – Haydn The Creation – 13 The Creation No. 3 Air (Uriel) Now vanish before the holy beams Part One The gloomy dismal shades of ancient night The first of days appears. Now Chaos ends and order fair prevails. Affrighted flee hell’s spirits black in throngs: Down they sink in the deep of abyss The First Day To endless night.

No. 1 Introduction Chorus (Representation of Chaos) Despairing cursing rage attends their rapid fall. No. 2 A new-created world springs up at Recitative (Raphael) God’s command. In the beginning God created the heaven and the earth. And the earth was without form, and void; and darkness was upon the face of the deep. The Second Day

Chorus And the spirit of God moved upon the No. 4 Recitative (Raphael) face of the waters. And God said, Let And God made the firmament, and there be light: and there was light. divided the waters which were under the And God saw the light, that it was good: firmament from the waters which were and God divided the light from the above the firmament: and it was so. darkness. Now furious storms tempestuous rage, Like chaff, by the wind impelled are the clouds. By sudden fire the sky is inflamed, And awful thunders are rolling on high. Now from the floods in steams ascend reviving showers of rain, The dreary, wasteful hail, the light and flaky snow. 14 – Haydn No. 5 Solo (Gabriel) No. 8 Recitative (Gabriel) The marv’lous work beholds amazed And God said, Let the earth bring The glorious hierarchy of heav’n; forth grass, the herb yielding seed, And to th’ethereal vaults resound and the fruit-tree yielding fruit after The praise of God, and of the his kind, whose seed is in itself upon second day. the earth: and it was so.

Chorus No. 9 Air (Gabriel) And to th’ethereal vaults resound With verdure clad the fields appear The praise of God, and of the Delightful to the ravished sense; By second day. flowers sweet and gay Enhanced is the charming sight. Here fragrant herbs their odours shed; Here shoots the healing plant. The Third Day With copious fruit the expanded boughs are hung; In leafy arches twine the shady No. 6 Recitative (Raphael) groves; O’er lofty hills majestic forests And God said, Let the waters under wave. the heavens be gathered together to one place, and let the dry land No. 10 Recitative (Uriel) appear: and it was so. And God And the heavenly host proclaimed the called the dry land third day, praising God, and saying: Earth; and the gathering of waters called he Seas: and God saw that it No. 11 Chorus was good. Awake the harp, the lyre awake! And let your joyful song resound. Rejoice No. 7 Air (Raphael) in the Lord, the mighty God; For he Rolling in foaming billows, Uplifted both heaven and earth roars the boist’rous sea. Mountains Has clothed in stately dress. and rocks now emerge: Their tops among the clouds ascend. Through th’open plains, outstretching wide, In serpent error rivers flow. Softly purling, glides on Through silent vales the limpid brook. The Creation – 15

The Fourth Day No. 14 Chorus The heavens are telling the glory of God, The wonder of his works No. 12 Recitative (Uriel) displays the firmament And God said, Let there be lights in the firmament of heaven to divide Trio (Gabriel, Uriel, Raphael) the day from the night, and to give Today that is coming speaks it the light upon the earth; and let them the day, The night that is gone, to be for signs, and for seasons, and for following night. days, and for years. He made the stars also. Chorus The heavens are telling the glory No. 13 (Uriel) of God, The wonder of his works In splendour bright is rising now the displays the firmament. sun, And darts his rays; a joyful happy Trio spouse, In all the land resounds the word, A giant proud and glad Never unperceived, ever understood. To run his measured course. With softer beams, and milder light, Chorus Steps on the silver moon through The heavens are telling the glory silent night. of God, The wonder of his works The space immense of th’ azure sky displays the firmament. A countless host of radiant orbs adorns. And the sons of God announced the fourth day, In song divine, proclaiming thus his pow’r: INTERVAL

16 – Haydn The Creation No. 17 Recitative (Raphael) And God created great whales, and Part Two ev’ry 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,

The Fifth Day And fill each wat’ry deep; Be fruitful, grow, and multiply, And in No. 15 Recitative (Gabriel) your God and Lord rejoice. And God said, Let the waters bring forth abundantly the moving creature No. 18 Recitative (Raphael) that hath life, and fowl that may fly And the angels struck their immortal above the earth in the open firmament harps, and the wonders of the fifth of heaven. day sung.

No. 16 Air (Gabriel) No. 19 Trio On mighty pens uplifted soars Gabriel The eagle aloft, and cleaves the air, Most beautiful appear, with verdure In swiftest flight, to the blazing sun. young adorned, His welcome bids to morn the merry The gently sloping hills; the narrow, lark, sinuous veins And cooing calls the tender dove his Distill, in crystal drops, the fountain mate. fresh and bright. From ev’ry bush and grove resound The nightingale’s delightful notes; No Uriel grief affected yet her breast, In lofty circles play, and hover in the Nor to a mournful tale were tun’d air, The cheerful host of birds; and as Her soft enchanting lays. they flying whirl Their glitt’ring plumes are dyed as rainbows by the sun.

The Creation – 17 Raphael No. 22 Accompanied Recitative See flashing through the deep in (Raphael) thronging swarms Straight opening her fertile womb, The The fish a thousand ways around. earth obey’d the word, Upheaved from the deep, th’immense And teem’d creatures numberless, In Leviathan perfect forms, and fully grown. Cheerful, Sports on the foaming wave. roaring, stands the tawny lion. With sudden leap the flexible tiger appears. Gabriel, Uriel, Raphael The nimble stag bears up his branching How many are thy works, O God! head. Who may their number tell? Who, O God? With flying mane, and fiery look, Who may their numbers tell? impatient neighs the noble steed; The cattle, in herds, already seek their No. 20 Trio and Chorus food The Lord is great, and great his On fields and meadows green. might, His glory lasts for ever and for And o’er the ground, as plants, are evermore. spread The fleecy, meek, and bleating flocks. Unnumber’d as the sands, in swarms arose the hosts of insects. The Sixth Day In long dimension creeps, with sinuous trace, the worm.

No. 21 Recitative (Raphael) No. 23 Air (Raphael) And God said, Let the earth bring Now Heav’n in fullest glory shines; forth the living creature after his kind, Earth smiled in all her rich attire; cattle, and creeping thing, and beast The room of air with fowl is filled; of the earth, after his kind. The water swelled by shoals of fish; By heavy beasts the ground is trod.

But all the work was not complete; There wanted yet that wondrous being, That, grateful, should God’s power admire, With heart and voice his goodness praise. 18 – Haydn No. 24 Recitative (Uriel) No. 27 Chorus So God created Man in his own Achieved is the glorious work; image, in the image of God created The Lord beholds it, and is pleased. In He him. Male and female created he lofty strains let us rejoice, them. He breathed into his nostrils Our song must be the praise of God! the breath of life, and Man became a living soul. No. 28 Trio Gabriel and Uriel No. 25 Air (Uriel) On thee each living soul awaits; In native worth and honour clad, From thee, O Lord, they seek their With beauty, courage, strength, food; Thou openest thy hand, adorned, And fillest all with good. Erect, with front serene, he stands A man, the lord and king of nature Raphael all. His large and arched brow But when thy face, O Lord, is hid, sublime With sudden terror they are struck; Of wisdom deep declares the seat! Thou tak’st their breath away, And in his eyes with brightness shines They vanish into dust. The soul, the breath and image of his God. Gabriel, Uriel, Raphael With fondness leans upon his breast Thou sendest forth thy breath again, The partner for him formed, And life with vigour fresh returns; A woman, fair and graceful spouse. Revived earth unfolds Her softly-smiling virgin looks, New strength and new delights. Of flowr’y spring the mirror, Bespeak him love, and joy, and bliss. No. 29 Chorus Achieved is the glorious work; Our song let be the praise of God. Glory No. 26 Recitative (Raphael) to his Name for ever. And God saw every thing that he He sole on high exalted reigns. had made, and behold, it was very Hallelujah! good. And the heavenly choir, in song divine, thus closed the sixth day.

The Creation – 19 The Creation Adam Of stars the fairest, pledge the day, Part Three That crowns the smiling morn; And thou bright sun, that cheer’st the world Thou eye and soul of all;

Chorus No. 30 Recitative (Uriel) Proclaim in your extended course In rosy mantle appears The glorious power and praise of By music sweet awaked God. The morning, young and fair. From the heaven’s angelic choir Pure Eve harmony descends on ravish’d earth. And thou that rul’st the silent night Behold the blissful pair, And all ye starry hosts, Where hand in hand they go: their Ev’rywhere spread wide his praise glowing looks In choral songs about. Express the thanks that swell their grateful hearts. Adam A louder praise of God their lips Ye mighty elements, by his power Shall utter soon; then let our voices Your ceaseless changes make; ring, United with their song. Ye dusky mists, and dewy streams, Who rise and fall thro’ th’ air: No. 31 Eve, Adam Eve, Adam and Chorus By thee with bliss, O bounteous Lord, Resound the praise of God our Lord. Both heav’n and earth are stored. Great is his name, and great his This world so great, so wonderful. might. Thy mighty hand has framed. Eve Chorus Ye purling fountains, tune his praise; For ever blessed be his pow’r! His And wave your tops, ye pines! name be ever magnified! Ye plants, exhale, ye flowers, breathe At him your balmy scent!

20 – Haydn Adam Eve Ye that on mountains stately tread, O thou for whom I am, my help, my And ye that lowly creep; shield, Ye birds that sing at heaven’s gate, My all, thy will is law to me: And ye that swim the stream; So God our Lord ordains: and from obedience Eve, Adam and Chorus Grows my pride and happiness. Ye creatures all, extol the Lord! Him celebrate, him magnify! No. 33 Duet Adam Eve, Adam Graceful consort, at thy side Ye valleys, hills, and shady woods, Softly fly the golden hours; Made vocal by our song, Ev’ry moment brings new rapture, From morn to eve you shall repeat Ev’ry care is put to rest. Our grateful hymns of praise. Eve Chorus Spouse adored, at thy side Purest joys Hail! bounteous Lord! Almighty, hail! o’erflow the heart; Life and all I am Thy word called forth this wondrous is thine; frame, My reward thy love shall be. The heavens and earth thy power adore; We praise thee now and Both evermore. The dew-dropping morn, O how she quickens all! No. 32 Recitative (Adam) The coolness of even, O how she all Our duty we have now performed, in restores! offering up to God our thanks. Now How grateful is of fruits the savour follow me, dear partner of my life. sweet! Thy guide I’ll be; and every step pours How pleasing is of fragrant bloom the new delights into our breasts, shows smell! wonders everywhere. Then mayst thou feel and know the high degree of bliss the Lord allotted us, and with devoted heart His bounty celebrate. Come, follow me, thy guide I’ll be.

The Creation – 21 But, without thee, what is to me The morning dew, the breath of even, The sav’ry fruit, the fragrant bloom? With thee is every joy enhanced, With thee delight is ever new, With thee is life incessant bliss, Thine, thine it all shall be.

No. 34 Recitative (Uriel) O happy pair! and happy still might be If not misled by false conceit, Ye strive at more than granted is; And more desire to know, than know ye should.

No. 35 Chorus Sing the Lord, ye voices all, Magnify his name thro’ all creation. Celebrate his power and glory, Let his name resound on high. Praise the Lord. Utter thanks. Jehovah’s praise forever shall endure. Amen.

22 – Haydn BIOGRAPHICAL NOTES

23 – Haydn The Creation – 23 Claudia Boyle Soprano

Claudia Boyle has secured her stellar Claudia received particular critical reputation on the world-wide stage as praise for her performances as Mabel one of the finest Irish opera singers of with the opera being broadcast live her generation. Having just returned in cinemas across Europe. “The real from singing the title role in La Travi- discovery here is Claudia Boyle, who ata at London’s Coliseum and the role brings tremendous presence to the of Adina at Oslo Opera House, she is part of Mabel, and dispatches the now looking forward to making her dizzy bel canto parodies in her arias main stage debut at The Royal Opera with impressive assurance.” House Covent Garden in 2020. In recent seasons, important role Claudia has won both the First Prize and house debuts have included and the Critics Award at The Maria Konstanze (Die Entführung aus dem Calla Competition in Verona where Serail) for Komische Oper Berlin, the Callas Estate presented her with Adina (L’elisir d’amore) at Semper- the miraculous medal once owned oper Dresden under Matteo Beltrami, and worn by the legendary singer. Leila (The Pearl Fishers) conducted This precious gift, which Maria Cal- by Roland Böer for English Nation- las brought to all of her performances al Opera, Tytania (A Midsummer has encouraged and inspired Claudia Night’s Dream) conducted by James greatly in her career. Conlon at Teatro dell’Opera di Roma, and Lucia (Lucia di Lammermoor) Claudia was chosen by esteemed with Danish National Opera under film director Mike Leigh to star in Martin André. As a testament to her his first ever venture for the operatic linguistic strengths, Boyle made her stage as the leading heroine Mabel debut as Verdi’s Gilda (Rigoletto) in Gilbert & Sullivan’s (The Pirates at Teatro dell’Opera di Roma under of Penzance) in London’s West End. Renato Palumbo to overwhelming

24 – Haydn audience and critical acclaim. She cre- Hannover under Eivind Gullberg ated the role of May-Shan in Chris- Jensen. Claudia joined Kent Nagano tian Jost’s opera Rote Laterne under and Ensemble Modern as Dede for Alain Altinoglu for Opernhaus Zürich the premiere performances of a new and performed the role of Alice in chamber version of Bernstein’s A Qui- Barry’s Alice’s Adventures Under et Place at Konzerthaus Berlin, Ground with the RTÉ Concert Or- subsequently joining Nagano and chestra conducted by Thomas Adès. l’Orchestre symphonique de Montréal Claudia recently performed with for further performances and a CD the New York Philharmonic at the recording for DECCA. Metropolitan Opera’s Lincoln Centre, singing the role of Cecily Cardew in Barry’s The importance of Being Earnest.

Her blossoming concert career has taken her further afield to Tokyo, Sao Paolo and Ankara among other places, culminating in her perfor- mance at the G20 summit last year. She has appeared at the Salzburger Festspiele in Cherubini’s Chant sur la mort de Joseph Haydn under Riccardo Muti, with NHK Symphony Orchestra in Mahler’s Symphony No.8 under Paavo Järvi, and in Henze’s Nachtstücke und Arien with NDR Radiophilharmonie

The Creation – 25 Andrew Gavin Tenor

Andrew completed his master’s in Ulysses, Ormindo in L’Ormindo, music performance at the Royal Andrés, Cochenille, Pitichinaccio Irish Academy of Music in 2016, and Franz in Offenbach’s The Tales achieving First Class Honours of Hoffmann, and the roles of Bob under the tuition of Mary Brennan. Doran, Mr. Alleyne and O’Halleran A graduate of the National in the world premiere of Andrew University of Ireland, Maynooth, Synnott’s Dubliners. Andrew attained First Class Honours in English Literatur. He Notable oratorio engagements also holds an M. Phil in Children’s include the Evangelist in Bach’s Literature from Trinity College, St. John Passion and Christmas Dublin. Oratorio, Rossini’s Stabat Mater, Liszt’s Coronation Mass, In 2016 Andrew was awarded Beethoven’s Symphony No. 9, the PwC Wexford Festival Opera Handel’s Messiah, Mendelssohn’s Emerging Young Artist bursary Symphony No. 2 (Lobegesang), and is currently a member of C.P.E. Bach’s Magnificat, Mozart’s the Irish National Opera ABL Requiem, Haydn’s The Creation, Aviation Studio. Operatic highlights Beethoven’s Mass in C and the include Tamino and Monostatos complete Mozart mass series of the in Die Zauberflöte, Arbace in Dún Laoghaire Choral Society. Idomeneo, Acis and Damon in Acis and Galatea, Don Curzio in Andrew is delighted to perform Mozart’s The Marriage of Figaro, once again with the Maynooth M. Vogelsang in Mozart’s Der University Choral Society after Schauspieldirektor, Telemachus celebrating the 50th anniversary in Monteverdi’s The Return of of the society in 2019 with the

26 – Haydn world premiere of Martin O’Leary’s Psalmus Invitatorius and Mozart’s Requiem in 2019. Upcoming engagements include the Evangelist in Bach’s St. Matthew Passion, Pedrillo in Mozarts Die Entführung aus dem Serail and Jupiter in Händel’s Semele.

The Creation – 27 Simon Morgan Bass

Belcore in Cosi Fan Tutte, at the in Werther and Candide, Orestes National Concert Hall of Ireland; in Iphegenie in Tauride, Guglielmo Marcello in La Boheme with in Cosi Fan Tutte, Marcello in La Loughcrew Opera; Silvio in I Boheme, High Priest and Hercules Pagliacci with Wonderland in Alceste, Melisso in Alcina, Productions and with The Silvio and Tonio in I Pagliacci, Everyman Palace Theatre (winner Scarpia in Tosca and the title of Best Opera Production at the role in Eugene Onegin. He has Irish Times Theatre Awards); performed with Opera Ireland Aeneas in the Cork Opera House in Boris Godonov, Aida, Lady production, and subsequent Macbeth of Mtsensk, The Flying touring production, of Dido Dutchman, The Silver Tassie, and Aeneas. For the Limerick and Carmen, has recorded extracts City of Culture celebrations, from Martinu’s Mirandolina for Simon played the role of Noye in Wexford Festival Opera. Britten’s Noyes Fludde. Oratorio performances in At Dublin’s Gate Theatre, Simon Ireland and the UK include played the role of Antony in their Schubert and Haydn Masses, acclaimed production of Stephen Bach’s B Minor Mass, Christmas Sondheim’s Sweeney Todd (also a Oratorio, and a number of winner of best Opera Production cantatas, Mozart’s Requiem, at the Irish Times Theatre Awards). Saint-Saens’ Oratorio De Extended highlights with Opera in Noel and the Chichester Psalms by The Open, Dublin, include Danilo Bernstein. in The Merry Widow, title roles

28 – Haydn A regular soloist with the RTE Concert Orchestra, Simon’s first solo album “I’ll Be Seeing You” debuted at number one in the Irish iTunes charts, and his latest project “Thomas Moore Reimagined” was album of the week on RTÉ Lyric FM, reached number one in the Irish Album Charts and had its debut in the Abbey Theatre, Dublin in 2019.

The Creation – 29 John O’Keeffe Director

John O’Keeffe is Director of Sacred Performance (UL) and his doctoral Music at the National Seminary of thesis The Masses of Seán and Peadar St. Patrick’s College, Maynooth, Ó Riada: Explorations in Vernacular where his duties include lecturing, Chant was recently published by training of cantors, choir and Cork University Press. organists, and the preparation of music for college liturgies. As Active also as a liturgical music Maynooth University’s Director composer (his Mass of Saint Mel was of Choral Groups, he conducts commissioned in 2015 to mark the the University Choral Society restoration of Longford Cathedral) and oversees the activities of the and editor (the second volume of Maynooth University Chamber his church music series, Feasts and Choir, Schola Gregoriana Seasons, has just been published), Maynooth (a joint SPCM/MU he directs postgraduate and diploma project) and the Maynooth courses in liturgical music and chant University female choir, ‘Altus’. at both St. Patrick›s College and Maynooth University. In 2018, he Prior to his appointment to was appointed Director of Music Maynooth, he was Choirmaster at St. for the Papal Mass, held in Dublin’s Mel’s Cathedral, Longford, having Phoenix Park, to mark the visit of already served as Organ Scholar of Pope Francis to Ireland. Westminster Cathedral and Dublin’s Pro-Cathedral. His organ teachers have included Rev. Frank McNamara, David Sanger, Ben Van Oosten and Gerard Gillen. He holds Master’s degrees in Organ (MU) and Chant

30 – Haydn Maynooth University Choral Society

Director: In 1995, on the occasion of the Dr John O’Keeffe College’s bicentenary, the choir joined forces with the National Symphony Assistant Director: Orchestra to perform John Buckley’s James Murphy Maynooth Te Deum at its premiere in the National Concert Hall. Its Section Leaders: repertoire includes the Requiems Soprano: James Murphy of Mozart, Brahms Dvorak and Alto: Tsz Lun Tang Verdi, Mozart’s Great C minor Mass Tenor: Jeffrey Moore (KV427), Haydn’s The Creation, Bass: James O’Malley Bach’s St John Passion and Elgar’s The Dream of Gerontius. Accompanist: David Grealy In 2019, to mark to mark its 50th anniversary, the choir commissioned and performed Psalmus Invitatorius, Founded by Father Noel Watson in a major new choral work by 1969 and directed by Professor composer, Martin O’Leary. Gerard Gillen from 1985 to 2007, this choir has gained widespread The première of the work was critical acclaim for its annual recently broadcast on Lyric FM, performances of major choral works. in addition to recordings specially Composed of some 100 students and selected by Lyric from last December’s staff of both universities on campus, 50th anniversary Maynooth Carol the choir has performed on French Services. Television (FR3) and on BBC and RTE television.

The Creation – 31 Maynooth University Choral List

Sopranos Altos Moira Bergin Anne Begley Samar Abou-Jaoude Sophie Brennan Cherise Boraski Theresa Clarke Odharnait Bourke Aine Cody Chloe Byrne Garance Convert Eileen Clarke Brid Cotter Laura Commons Mary Cronin Amanda Fitzgerald Mary Curran Orla Fitzgerald Karla Doherty Ann Guinea Bernadette Duffy Sofia Karagiorgis Caitlin Duke Elizabeth Kelly Timi Egbesakin Rachel McLaughlin Maria Gilmartin Pauline Murphy Roisin Gleeson Cait Ni Chorcora Aileen Harrington Lise O›Farrell Sophie Hayley Susan O›Leary Emma Higgins Erin Reilly Orla Kearney Heather Sammon Gwynn Lanning Aisling Sammon Rose Malone M. Galniela Serpi Sharon McEvilly Lacey Marie Smith Dervilla McKeith Tellez Danobeitia Orla McStravick Aitana Shauna Monaghan Tsz lun Tsang Deirdre Moran Pat Watson Patricia Mullen Meabh Ni Lochlainn

32 – Haydn Aoife Nic Thomais Michael Small Grace O›Shea Daire Turley Lucy Parke Ross Xanthopoulos Orla Quinn Gertie Ryan Abigail Scott Basses Valerie Seymour Frank Bergin Brid Shiel Peadar Breslin Sarah Tuite Dillon Corcoran Betty Wilson Simon Grogan Alex Hallahan Diarmuid Heneghan Tenors Joe Kinahan Cathal Aherne Joe Lane Jim Doyle Kevin Leavy Ian Fitzpatrick Paul Looney Liam Hickey Eoghan McGale Benoit Kufika Adam Moriarty John Paul Luby Gearard O›Floinn Eamonn McKeogh James O›Malley Jeff Moore Sean Quinn Cathal Nolan Michael Small Eoghan Noonan Eoin Toolan Roland Ntambang Daire Turley Jose Nunes Ken Whelan Diarmuid O›Brien Matthew Rice

The Creation – 33 Irish Choral Sinfonia

The Maynooth Sinfonia was formed Its members have collaborated in April 2014 to complement Irish with groups such as the Carlow choral performances. It comprises Choral Society, Tallaght Choral some of Ireland’s finest freelance society, Kilkenny Choral Singers, the musicians, many of whom perform Berkshire Choral Festival singers, and regularly with the RTE orchestras, perform regularly in their own right the Irish Chamber Orchestra, and the as soloists or as part of specialized Irish Baroque Orchestra. Its members ensembles all over the world. have collaborated with groups such as the Carlow Choral Society, Tallaght Choral society, Kilkenny Choral Singers, the Berkshire Choral Festival singers, and perform regularly in their own right as soloists or as part of specialized ensembles all over the world.

It comprises some of Ireland’s finest freelance musicians, many of whom perform regularly with the RTE orchestras, the Irish Chamber Orchestra, and the Irish Baroque Orchestra.

34 – Haydn Acknowledgements

The support and co-operation of Maynooth Campus Conference & Accommodation is gratefully acknowledged.

Maynooth Campus Conference & Accommodation, Maynooth, Co. Kildare,

Tel: 01 708 3533 Fax: 01 708 3534 www.maynoothcampus.com

The Creation – 35