Twickenham Choral Society

SACRED CHORAL MUSIC IN LATIN AND ENGLISH

The Landmark Arts Centre 9 April 2011 FUTURE CONCERTS

Summer 2011 TCS 90th Anniversary Concert VERDI: Requiem with the Brandenburg Sinfonia Soloists: Orla Boylan, Hetna Regitze Bruun, Ulric Andersson, Richard Wiegold 7pm Sunday 19th June, Rose Theatre,

Winter 2011 SCHÖNBERG: Friede auf Erden DVOŘÁK: Te Deum BRAHMS: Requiem with the Brandenburg Sinfonia Soloists: Sophie Bevan, Lukas Kargl 7.30pm Saturday 10th December, Kingston Parish Church

Spring 2012 First half: music by living composers: PÄRT: Which was the Son of… PÄRT: The Beatitudes New Commission(s) Second half: 20th Century French Music: VILLETTE: O sacrum convivium VILLETTE: Notre Père VILLETTE: Tu es Petrus LANGLAIS: Messe Solennelle 7.30pm Saturday 31st March, St Mary's Church Twickenham

Summer 2012 A Concert of Music by J.S.Bach Cantata: Nun ist das Heil Cantata: Ich hatte viel Bekümmernis Magnificat with the Brandenburg Baroque Soloists 7.30pm Saturday 30th June, Landmark Arts Centre

The use of photographic, video or audio recording equipment during the performance is not permitted without the prior approval of the Twickenham Choral The cover is based on an original Society. However photos taken before or after the design by Eric Fraser who also performance are welcome, particularly if emailed designed the Society’s logo afterwards to [email protected] SACRED CHORAL MUSIC by

William Byrd (1540-1623) ~ Thomas Weelkes (1576-1623) Orlando Gibbons (1583-1625) ~ Henry Purcell (1659-1695) (1839-1901)

The four English composers represented in tonight’s concert are linked by their association with the Chapel Royal, the clergy and musicians who provided for the religious needs of the monarch. Byrd, Weelkes and Gibbons all belong to the late 16th and early 17th century “Golden Age” of English music. Byrd’s first works date from the reign of Mary I, and despite his increasingly Roman Catholic leanings, he remained in favour throughout the reign of Elizabeth. Largely retired from court life by the time of the accession of James I to the English throne, Byrd was succeeded by Gibbons and Weelkes as leading lights among the composers of the day, Gibbons living into the earliest days of the reign of Charles I. With the Restoration of Charles II the Chapel Royal was re-founded, with Purcell serving it first as chorister and later organist, right through the reigns of Charles II, James II and Mary II. William Byrd (c. 1540-1623) was born in the reign of Henry VIII. As a boy he sang in the Chapel Royal of the Protestant Edward VI, and then that of the Catholic Mary I from 1553. Under the tutelage of Tallis he also began to compose at that time, and remained as Tallis’s assistant after Elizabeth’s accession in 1558. During his time as organist at Lincoln Cathedral from 1563 can be seen the first signs of his later, personal, Catholicism, with the chapter stopping his salary over his “Popish” organ playing in 1569. He returned to the Chapel Royal in 1573, and began to build a network of aristocratic Catholic patrons who would protect him in later years. He also received direct royal favour, with Elizabeth granting a joint patent to Byrd and Tallis for the exclusive right to print music and manuscript paper in 1575. In 1570 the Pope had excommunicated Elizabeth: this, with the missionary activities of the Catholic priests sent from the continent, hardened attitudes in England, and increasingly stringent anti-Catholic laws were brought in. From 1577, first Byrd’s wife, then Byrd himself, appear in the recusancy lists of those not attending services at their parish church at Harlington, Middlesex. However, Byrd remained in favour at court, and may at this time have taught Weelkes, who was in the service of a minor courtier. From 1592, Byrd retired from court (though nominally retaining his Chapel Royal post) and settled in Essex, near one of his Catholic patrons. He continued to produce a stream of compositions, and published many anthologies of his work. Many of these works, such as the Ave verum and Haec dies were obviously composed for the use of his fellow Catholics in clandestine worship, and O quam gloriosum commemorates the martyrdom of executed Catholic priests. The early life of Thomas Weelkes (1576?-1623) is rather obscure: probably the son of a Hampshire clergyman, he published a fine set of madrigals in 1597, and the following year was appointed organist at Winchester College. Not particularly academic, he was not comfortable there and moved to Chichester Cathedral in about 1602. While Byrd’s life was made difficult by religion, Weelkes seems to have simply lacked self-control; he hurriedly married Elizabeth Sandham, the daughter of a local merchant, in 1603 – their first child arriving just four months after the wedding. In 1609 he (and other members of the choir) were accused of being frequently absent from their duties. Later, the accusations become more personal, with several accounts of Weelkes being drunk, and swearing, during services. He may have simply been frustrated by the lack of resources at Chichester, although it seems he was also an Extra-Gentleman of the Chapel Royal, singing there when large forces were required. Of his own compositions, several, including Gloria in excelsis Deo and When David heard appear to be on too large a scale for the Chichester choir to have performed, and despite their religious texts, were probably written for secular occasions. In contrast to the struggles of Byrd and Weelkes, the career of Orlando Gibbons (1583-1625) seems effortlessly smooth. Orlando’s father, William, was a musician employed by Cambridge town council and Orlando’s older brother, Edward, was appointed Master of the Choristers at King’s College in 1592. Orlando followed him there as a chorister from 1596-8, later becoming an undergraduate at the College. In 1603, Gibbons became an Extra Gentleman of the Chapel Royal, and full member in 1605; the rest of his life was spent in royal service, steadily accumulating additional posts. In 1611, his works, along with those of Byrd and John Bull were included in Parthenia, the first collection of purely keyboard works to be published in England. In 1615 he was first explicitly named as an organist of the Chapel Royal. In 1623 Gibbons became, in addition, organist of . James I died in March 1625, and the Royal accounts show that Gibbons played a leading musical role at his funeral. On 5 June, Gibbons suddenly fell into a coma and died. Cases of plague had already been reported in England, and the suddenness of his death, and closeness to Court, led to a full post-mortem being carried out which found he had died of apoplexy (cerebral haemorrhage). His eldest son, Christopher, also became an organist and composer; staying in England throughout the Commonwealth period, he was appointed to the Chapel Royal on the Restoration in 1660 and taught music to Purcell. Like Gibbons, Henry Purcell (1659-95) also came from a musical family. He is believed to have been the son of Henry Purcell senior, who became a Gentleman of the Chapel Royal at the Restoration. Henry senior died in 1664, the son passing into the guardianship of his uncle Edward. Edward too was a Gentleman of the Chapel Royal, and so young Henry was found a place as one of the Children of the Chapel Royal in around 1667. He is said to have begun composing around the same time; the earliest dated work we know to be his is from 1670. After his voice broke he studied at Westminster School, and received musical instruction from Christopher Gibbons and John Blow. In 1677 he was appointed “composer in ordinary [to the King] for the ”. In 1679 Blow resigned as organist of Westminster Abbey to allow Purcell to succeed him, and in 1682 Purcell became (in addition to his other posts) a Gentleman of the Chapel Royal, one of three organists then associated with the chapel. Purcell provided Hear my prayer for the funeral of Charles II, and I was glad for the coronation of James II. With the accession of the Catholic James II, the Chapel Royal declined in importance. However, James organised his court musicians into a proper orchestra, and much of Purcell’s output at this time was for this ensemble. The Glorious Revolution of 1688 led to James’s exile; he was succeeded by Mary II and her husband William III. Although the new monarchs were Protestant, there was no return to the previous standing of the Chapel Royal – in fact the use of string instruments there was banned in 1689. As a result, Purcell turned to works for the stage, like Dido and Aeneas, though he still composed a number of Odes for Court. His funeral in 1695 famously included works he had written for that of Queen Mary earlier in the year. The works by these composers which we perform tonight are divided between works with a penitential or lamenting theme, and those written for more joyful occasions. Both types abound in word painting, directly illustrating in music the meaning of the words. The penitential works in particular make free use of dissonance for expressive purposes, particularly through the use of false relations: where different voice parts will sing say, an F and an F sharp, or B flat and B natural, within a few notes of each other, and sometimes even within the same chord. There is also an obvious divide in the language of the texts set: in the first half we will sing predominantly Latin motets, although we close with a work by Weelkes whose text switches between Latin and English. In the second half we will perform English anthems. Byrd : Haec dies (published 1591) A motet for Easter Day, setting Psalm 118:24: the antiphon used as the gradual at Mass, and in place of a hymn at Vespers. This setting is in six parts, SSATTB. The opening, and concluding alleluia, are in a lively two-time; while the central section, exultemus et laetemur in ea – let us rejoice and be glad in it – illustrates the rejoicing with a syncopated three-time. Haec dies quam fecit Dominus: This is the day that the Lord made: exultemus et laetemur in ea. let us be glad and rejoice in it. Alleluia. Alleluia. Byrd : O quam gloriosum (1589) Motet for All Saints: the first part is an antiphon to precede the Magnificat at Vespers, and is based on Revelation 7:9, the second part is based on Revelation 7:12. Byrd’s setting is for a five part choir, SSATB. It has been suggested that several of Byrd’s motets from this time relate to the various seminary priests sent into England to support the recusant Catholic community, who were martyred for their faith, and that Byrd’s setting of this text is a reference to these “Saints”. O quam gloriosum est regnum, O how glorious is the kingdom, in quo cum Christo gaudent omnes sancti, in which all the saints rejoice with Christ, amicti stolis albis wrapped in white robes sequuntur Agnum quocumque ierit, they follow the Lamb wherever he goes, laudantes Deum et dicentes: praising God and saying: Benedictio et claritas et sapientia et gratiarum actio, Blessing and glory and wisdom and honor, virtus et fortitude thanksgiving, honour, power and strength Deo nostro in saecula saeculorum. Amen. [be] to our God for ever. Amen. Byrd : Ave verum Corpus (1605) A processional for the feast of Corpus Christi, the text is variously attributed to Popes Innocent II, IV and VI. This text is also often used at Mass, generally at the Elevation of the Host. The repeated words at the end, O dulcis, etc do not form part of the standard text, so it has been suggested that Byrd intended this for private devotional usage, rather than for within the liturgy. Ave, verum corpus, All hail, O true Body, natum de Maria Virgine: Of the blessed Virgin born, Vere passum, immolatum Which in anguish to redeem us in cruce pro homine: Did’st suffer upon the cross; Cujus latus perforatum, From whose side, when pierced by spear, unda fluxit sanguine: There came forth both water and blood: Esto nobis praegustatum Be to us at our last hour in mortis examine. The source of consolation. O dulcis, O pie, O loving, O holy, O Jesu, Fili Mariae, O Jesu, thou Son of Mary, Miserere mei. Amen O have mercy on me. Amen.

Josef Rheinberger (1839-1901) : Mass in E flat for double choir “Music is above words; it begins where words no longer suffice, therefore it would be futile to attempt to bring music closer to listeners by means of explanation.” Rheinberger, 1890 Although esteemed as a composer as a teacher of composition in his lifetime, little of the music of Josef Rheinberger – organ music apart – has been performed since his death in 1901. Like his contemporary Brahms, Rheinberger was dedicated to a conservative classical style of composition. His compositional output was diverse with nearly 200 published compositions, including sacred music, part songs, numerous piano works, orchestral works and two operas. Born in Liechtenstein to the Prince of Liechtenstein’s treasurer, Rheinberger spent nearly his entire life in Munich. A musical prodigy, he accepted his first organ position in Vaduz aged 7 and was admitted to the Academy of Music in Munich, later becoming a distinguished professor. His friend, the conductor Hans von Bülow, said of Rheinberger, “he is a truly ideal teacher of composition, unrivalled in the whole of Germany…in short, one of the worthiest musicians and human beings in the world.” Composed in 1878, the Mass in E flat major, op. 109 (also called Cantus Missae ex octo modulation vocum concinnatus) is composed in a stile antico, used by Palestrina and other Renaissance composers. The music is essentially contrapuntal, with a dialogue between the two SATB choirs, although Rheinberger retains his song-like approach to all vocal parts and the harmonic style often blossoms in to a rich Romanticism with moments of drama. In this way he signalled his independence from the prevailing orthodoxy headed by the Cecilian Society, a conservative grouping in the Catholic Church who expected church music to avoid all forms of self-expression. While Rheinberger was rewarded with vitriol in their journal, he earned the Order of St Gregory from the Pope! Kyrie Kyrie eleison. Lord, have mercy. Christe eleison. Christ, have mercy. Kyrie eleison. Lord, have mercy.

Gloria Gloria in excelcis Deo Glory to God in the highest, Et in terra pax hominibus bonae voluntatis. And on earth peace to men of good will. Laudamus te, benedicimus te, We praise Thee, we bless Thee, Adoramus te, glorificamus te, We adore Thee, we glorify Thee, Gratias agimus tibi propter magnam gloriam We give thanks to Thee for Thy great glory. tuam, O Lord God, heavenly King, Domine Deus, rex coelestis, God the Father almighty. Deus Pater omnipotentens. O Lord, the only-begotten Son, Jesus Christ, Domine Fili unigenite, Jesu Christe, O Lord God, Lamb of God, Son of the Domine Deus, Agnus Dei, Filius Patris. Father. Qui tollis peccata mundi, Thou who takest away the sins of the world, Miserere nobis; Have mercy on us. Qui tollis peccata mundi, Thou who takest away the sins of the world, Suscipe deprecationem nostrum. Receive our prayer. Qui sedes ad dexteram Patris, Thou who sitteth at the right hand of the Miserere nobis. father, Have mercy upon us. Quoniam tu solus Sanctus, tu solus Dominus, For Thou only art holy, Thou only art the Tu solus Altissimus, Jesu Christe, Lord. Thou only, Jesus Christ, art most high, Cum Sancto Spiritu: in Gloria Dei Patris. With the Holy Ghost, in the glory of God Amen. the Father. Amen.

Credo Credo in unum Deum, I believe in one God, Patrem omnipotentem, The Father almighty, factorem cæli et terræ, Maker of heaven and earth, visibilium omnium et invisibilium. And of all things visible and invisible, Et in unum Dominum Iesum Christum, And in one Lord Jesus Christ, Filium Dei unigenitum, The only-begotten Son of God, et ex Patre natum, ante omnia sæcula. Born of the Father before all ages: Deum de Deo, lumen de lumine, God of God, light of light, Deum verum de Deo vero, True God of true God; genitum, non factum, Begotten, not made; consubstantialem Patri: Being of one substance with the Father; per quem omnia facta sunt. By whom all things were made. Qui propter nos homines et propter nostram Who for us men, and for our salvation, salutem descendit de cælis. Came down from heaven. Et incarnatus est de Spiritu Sancto And was incarnate by the Holy Ghost ex Maria Virgine, et homo factus est. Of the Virgin Mary, and was made man. Crucifixus etiam pro nobis sub Pontio Pilato; He was crucified also for us, under Pontius passus et sepultus est. Pilate, He suffered and was buried Et resurrexit tertia die, secundum Scripturas, And the third day He rose again according et ascendit in cælum, to the Scriptures, and ascended into heaven. sedet ad dexteram Patris. He sitteth at the right hand of God the Et iterum venturus est cum gloria, Father. And He shall come again with glory iudicare vivos et mortuos, To judge both the living and the dead, cuius regni non erit finis. Of whose kingdom there shall be no end. Et in Spiritum Sanctum, And in the Holy ghost Dominum et vivificantem: The Lord and giver of life, qui ex Patre Filioque procedit. Who proceedeth from the Father and the Qui cum Patre et Filio simul adoratur, Son; Who together with the father and the et conglorificatur: son is adored and glorified; qui locutus est per Prophetas. Who spoke by the Prophets. Et unam, sanctam, And in one, holy, catholicam et apostolicam Ecclesiam. Catholic and apostolic Church. Confiteor unum baptisma I confess one baptism in remissionem peccatorum. For the remission of sins. Et expecto resurrectionem mortuorum, And I look for the resurrection of the dead, et vitam venturi sæculi. Amen. And the life of the world to come. Amen.

Sanctus Sanctus, Sanctus, Sanctus Holy, Holy, Holy, Domine, Deus Sabaoth. Lord God of hosts. Pleni sunt coeli et terra Heaven and earth Gloria tua. Are full of Thy glory. Osanna in excelcis. Hosanna to God in the highest

Benedictus Benedictus, qui venit in nomine Domini. Blessed is he that cometh in the name of the Lord. Osanna in excelcis. Hosanna to God in the highest.

Agnus Dei Agnus Dei, qui tollis peccata mundi: Lamb of God, who takest away the sins of the world: Miserere nobis. Have mercy on us. Agnus Dei, qui tollis peccata mundi: Lamb of God, who takest away the sins of the world: Miserere nobis. Have mercy on us. Agnus Dei, qui tollis peccata mundi: Lamb of God, who takest away the sins of the world: dona nobis pacem. Grant us peace. Weelkes : Gloria in excelsis Deo Little is known of why this large-scale full anthem was composed. Its text seems to make it suitable for Christmas, there being earlier tradition of macaronic carols (a mixed text of Latin and English), but it was probably not written for liturgical use. For a six part choir, SSAATB, the Gloria in excelsis text is used as a refrain around the English words. The two Glorias are essentially identical, but with the two soprano parts interchanged.

Gloria in excelcis Deo. Sing my soul to God the Lord All in glory’s highest key. Lay the Angels’ choir abroad, In their highest holy day. Crave thy God to tune thy heart unto praise’s highest part, Gloria in excelsis Deo. Amen.

INTERVAL DURING WHICH WINE AND SOFT DRINKS ARE AVAILABLE Gibbons : Hosanna to the son of David (1641) An anthem for Palm Sunday, the text is compiled from the various Gospel accounts of the crowd’s acclamation at Christ’s entry into Jerusalem riding on a donkey. It is set for seven part choir, SSAATTB. It is not clear when the work was composed: the earliest surviving manuscript is from about 1635, but it was not published until 1641. Hosanna to the son of David. Blessed be he that cometh in the name of the Lord. Blessed be the King of Israel, Blessed be the Kingdom that cometh in the name of the Lord. Peace in heaven, and glory in the highest places. Hosanna in the highest heavens. Weelkes : O Lord, arise (1617) This is a setting for seven part choir, SSAATBB, of Psalm 132:8-9, with the 22nd verse of the Te Deum (itself adapted from Psalm 28:9) interpolated between the psalm verses. The work contains some of the most extreme examples of simultaneous false relations of all those we sing tonight, 12 in 10 bars. Unexpectedly they occur in the final section of the piece, on the words joyfulness and Alleluia. Again the date and purpose for its composition is not known, although the earliest firmly dateable source is of 1617. O Lord, arise into thy resting place, Thou and the ark of thy strength. Save thy people good Lord, And bless thine inheritance. Let thy priests be clothed with righteousness, And thy saints sing with joyfulness. Alleluia. Gibbons : O Lord, in thy wrath A setting for six part choir, SSAATB of Psalm 6:1-4. The words are penitential in tone, suitable for Lent. O Lord, in thy wrath rebuke me not: My soul is also sore troubled: Neither chasten me in thy displeasure. But, Lord, how long wilt thou punish me? Have mercy upon me, O Lord: O save me for thy mercy’s sake. O Lord heal me, for my bones are vexed. Byrd : Sing joyfully (c. 1611-1615) A setting for six part choir, SSAATB, of Psalm 81:1-4. Its precise date of composition is unknown, but it bears many similarities with works Byrd included in his 1611 publication: Psalms, Songs and Sonnets. It was evidently very popular with contemporaries, appearing in around 100 different early 17th century sources. Given its lively setting, full of word painting, particularly on the words Blow the trumpet, its popularity is unsurprising. Sing joyfully unto God our strength. Sing loud unto the God of Jacob. Take the song and bring forth the timbrel, The pleasant harp and the . Blow the trumpet in the new moon, Ev’n in the time appointed, and at our feast day. For this is a statute for Israel, And a law of the God of Jacob. Purcell : Lord, how long wilt thou be angry? (early 1680s) Psalm 79:5, 8-9, 13, set for five parts SSATB. The style of the opening section harks back to the earlier composers featured tonight, but with Purcell’s own harmonies. We move from pleading intensity in the opening, through the three part verse section, and pleas for help as all five voices return, into a confident final section where the belief that since we are God’s people wins out, assuring us that He will indeed be merciful. There are many contemporary sources for this work, suggesting that it was widely performed in Purcell’s lifetime. Lord, how long wilt thou be angry? Shall thy jealousy burn like fire for ever? O remember not our old sins, But have mercy upon us, and that soon: For we are come to great misery. Help us O God of our salvation, For the glory of thy name; And be merciful unto our sins, For thy name’s sake. So we, that are thy people and the sheep of thy pasture, Shall give thee thanks for ever: And will always be shewing forth thy praise From one generation to another. Purcell : Hear my prayer O Lord Psalm 102:1, in eight parts, SSAATTBB. This short setting of just one psalm verse may have been sung at the funeral of Charles II. The fair copy manuscript which survives suggests that Purcell may have originally intended this as part of a longer work: the final double-bar lines are of the type elsewhere used for the end of a section, rather than the end of a whole work; and there are several blank pages following. The structure is deceptively simple, consisting of just two motifs: first a bald statement of the words Hear my prayer, O Lord using just two notes; then a second figure setting the remainder of the text, demonstrating Purcell’s use of word painting though the use of chromaticism on crying. Starting with just one voice, the texture steadily builds to the full eight-parts, building the emotional intensity, and producing frequent false relations between the voices. The piece ends on open fifths on C and G, giving a hollow feeling, as with no third in the chord, we cannot tell if it is minor or major. Hear my prayer O Lord, And let my crying come unto thee. Purcell : I was glad when they said unto me (1685) In contrast, this joyful and elaborate setting of Psalm 122:1, 4-7 and Gloria, in five parts SSATB was written for the coronation of James II. For many years it was attributed to Blow, but most now accept Purcell’s authorship. It falls into three clear sections, and it has been suggested that the opening section was for James’ procession up the nave of Westminster Abbey; then a break as he entered the quire, filled with the acclamations of Vivat! from the boys of Westminster School (Parry composed these into his setting of the same text); and then the anthem resumed with a triple-time section on the words O pray for the peace of Jerusalem as James took his seat on the throne in the chancel. The anthem then concludes with a return to four-time for the Gloria. I was glad when they said unto me: We will go into the house of the Lord. For thither the tribes go up, Ev’n the tribes of the Lord: To testify unto Israel, And to give thanks unto the name of the Lord. For there is the seat of judgement: Ev’n the seat of the house of David. O pray for the peace of Jerusalem: They shall prosper that love thee. Peace be within thy walls: And plenteousness within thy palaces. Glory be to the Father, and to the Son: And to the Holy Ghost; As it was in the beginning, is now and ever shall be: World without end, Amen.

Weelkes : When David heard (c. 1612) In November 1612, Henry Frederick, Prince of Wales, eldest son of James I and VI, contracted typhoid fever and died. The 18-year-old was a popular figure, athletic, and already beginning to show a sure touch in international relations (unlike his younger brother Charles who would now become Prince of Wales). Following his death there was an outpouring of grief, not least from the leading composers of the day, several of whom set this text from 2 Samuel:18, 33. None of the settings are explicitly dedicated to Henry’s memory, though other music was, but the comparisons with the biblical story of David and his son Absalon seem too obvious to miss. Absalon had become more popular than his father, and risen up in rebellion against him (Henry hadn’t quite reached that point, but relations with his father were certainly very strained). David’s forces defeated those of Absalon, and although David ordered his generals to do no harm to his son, one of them found Absalon hanging from a tree by his hair (having become entangled as he rode underneath) and killed him, prompting David’s outburst of grief when the news was brought to him. Weelkes’s setting is in six parts, SSAATB, and, through false relations and other dissonances, fully expresses the grief apparent in the text. When David heard that Absalon was slain, He went up to his chamber over the gate, and wept; And thus he said: O my son Absalon, would God I had died for thee, O Absalon, my son. Gibbons : O clap your hands We finish tonight’s concert with Gibbons’s jubilant eight part (SSAATTBB) setting of Psalm 47 and Gloria, first performed for a University of Oxford degree ceremony on 17 May 1622, when Gibbons’s friend William Heyther, a well known singer, was made a Doctor of Music. Some sources suggest that Gibbons also received that degree at the same ceremony, but he is never subsequently referred to as Dr Gibbons as would have been expected. This joyful and triumphant setting (also suitable for use on Ascension Day) is a fine tribute to his friend. O clap your hands together, all ye people; O sing unto God with the voice of melody. For the Lord is high and to be feared; He is the great King of all the earth. He shall subdue the people under us, And the nations under our feet. He shall choose out an heritage for us, Ev’n the worship of Jacob, whom he loved. God is gone up with a merry noise, And the Lord with the sound of the trumpet. O sing praises unto our God: O sing praises unto the Lord our King. For God is the King of all the earth: Sing ye praises with the understanding. God reigneth over the heathen: God sitteth upon his holy seat. For God, which is highly exalted, Doth defend the earth, as it were with a shield. Glory be to the father, and to the Son, and to the Holy Ghost; As it was in the beginning, is now, and ever shall be, World without end. Amen Notes by David Underdown and Adrian Mumford.

William Byrd Thomas Weelkes Orlando Gibbons

Henry Purcell Josef Rheinberger CHRISTOPHER HERRICK has been the Conductor of Twickenham Choral Society since 1974. He began his career while an at Oxford, directing the Exonian Singers and Orchestra, and subsequently won a Boult Scholarship to the Royal College of Music to study under Sir . During his many years with TCS he has been ambitious for their development, working with them to perform a huge range of repertoire from Renaissance music to up-to- the-minute commissioned works alongside top-class instrumentalists and vocal soloists. Many of Christopher Herrick’s conducting appearances have been in top London venues such as the Royal Albert Hall (including Verdi’s when he gave over two hundred solo recitals Requiem with 500 singers), Westminster Abbey in the Abbey itself and played for countless (Berlioz’s Te Deum, Bach’s St Matthew Passion, important occasions, including the funeral Handel’s Messiah), Westminster Cathedral services of Herbert Howells and William (Monteverdi’s Vespers), Barbican Hall Walton. He also played at Walton's 80th (Mendelssohn’s Elijah), Wigmore Hall birthday concert in Westminster Abbey when (Handel's Messiah) and Queen Elizabeth Hall his complete church music repertoire was (twenty concerts covering the whole gamut of performed with Simon Preston conducting the the choral repertoire). Abbey Choir in the composer’s presence. He has directed a number of concerts with TCS Since 1984, to complement his solo organ in St Martin in the Fields, including the first concerts and concertos worldwide, he has London performance of Iain Farrington's The recorded over forty CDs for Hyperion Burning Heavens in January this year. Also, in Records, including Bach's complete organ Guildford Cathedral, he has conducted Elgar’s works recorded over a ten-year period on Dream of Gerontius, Britten’s War Requiem, Metzler organs in Switzerland, fourteen Organ Walton’s Belshazzah’s Feast and Janáček’s Fireworks and four Organ Dreams discs, as Glagolitic Mass. well as recordings on period instruments of the Christopher has successfully combined his work works of Daquin, Sweelinck and as a conductor with his life as a busy Buxtehude. Of the five projected CDs in the international concert organist. This aspect of complete Buxtehude organ works series, four his career was fully launched during his ten have been recorded, three of which are years as an organist at Westminster Abbey, already released. TWICKENHAM CHORAL SOCIETY

President: Tristan Fry Chairman: Adrian Mumford Hon. Treasurer: Jo Underdown Hon. Secretary: Monica Darnbrough

Twickenham Choral Society draws its membership from a wide area of west London. The Choir, founded in 1921, has a proud tradition of performing a broad and enterprising repertoire from every age - Monteverdi, through Bach, Mozart, Brahms and Verdi to more modern composers such as Janáček, Britten, Schoenberg and Tippett, and living British composers, Robin Holloway, Iain Farrington and Anna Meredith. The Choir always works with excellent professional soloists and orchestras, aiming to produce the highest quality performances. Concerts are staged three times a year in local venues and over the past few years we have also been invited to perform with the Brandenburg Sinfonia at St Martin in the Fields. Since 2000 the Choir has performed in Prague, Budapest, Barcelona, Istria and Mallorca. The Choir will be taking the music performed in this concert to the Rhineland in Germany next month. The concert programme is planned on a two year cycle. Full details can be found on our web-site www.twickenhamchoral.org.uk. The members of Twickenham Choral Society are: sopranos: Cathy Almond, Catherine Black, Liz Butler, Carol Caporn, Sarah Cheshire, Julia Coomes, Kathryn Doley, Annette Duffy, Catherine Gash, Sally Goodman, Nickie Hallam, Jane Hansell, Melissa Hartshorn, Sarah Herrick, Catherine Hogan, Elizabeth Honer, Jessica Horscroft, Wendy Johnson, Christabel King, Nancy Lee, Katrina Lidbetter, Margaret Lord, Joanna Marsden Evans, Lesley Mildon, Ruth Parker, Julia Primarolo, Fiona Rowett, Oda Rudiger, Mary Somerville, Adrienne Tallents, Sarah Taylor, Bronwen Thompson, Becky Thurtell, Margaret Valentine, Nancy Vickers, Sylvia Walker, Nicola Whiteside, Candy Williamson, Joanna Woodward, Gill Zettle altos: Carol Almand, Gillian Beauchamp, Lisa Colclough, Barbara Cook, Maggie Crisell, Anna Cunnyngham, Monica Darnbrough, Fiona de Quidt, Mary Egan, Rosemary Fulljames, Margaret Garnham, Jan Gow, Libby Grace, Ann Gray, Julie Hall, Margaret Hamilton, Margaret Harvey, Eve Houseman, Susan Jacobs, Emma Jay, Clare Jeffery, Rosemary Jeffery, Catherine Jones-Healey, Emily King, Kate Larcombe, Sarah Martin, Susan McCarty, Catherine McManus, Jane Newman, Barbara Orr, Rachel Pickering, Anne Rowett, Sue Sabourin, Nikoletta Selymes, Penelope Skinner, Caroline Slater, Anne Stephens, Anne Sutton, Jo Underdown, Lindsey Waine, Felicity Williams tenors: Tony Alderton, David Amos, Hadley Baldock, Simon Bartlett, Chris Britton, John Dewhurst, Colin Flood, Michael Gilbert, Andy Godfrey, Clive Hall, Chris Hardy, Bill Hartree, Simon Lambourn, John Mullinar, Kit Peck, David Underdown, Chris Waine basses: Chris Bennett, Alan Brookes, Tony Caporn, Adrian Hunter, Tim Lidbetter, Keith Long, Richard Metcalfe, Peter Midgley, Adrian Mumford, Andrew Nesbitt, John Orr, Pip Rowett, John Saunders, John Tatam, Michael Turner, Bob Vickers, David Wallis, Richard Welton, Ian Williamson, Philip Wright WHAT’S ON AT THE MARY WALLACE THEATRE THIS SPRING This Story of Yours Gormenghast by John Hopkins by John Constable adapted from the novel by Mervyn Peake 11th to 16th April th st This is a gripping powerful, neglected gem of British 14 to 21 May theatre. Police Detective Sergeant Johnson is a man in Experience the world of Gormenghast, Mervyn extremes, with a failed marriage, recurrent memories of Peake's famous gothic novel. all the terrible crimes he has witnessed, and despair with a world that allows such things to be. This hugely successful adaptation allows the epic, ghostly world to develop before our eyes and inside Now all his frustration and anguish are unleashed. our own minds, as Steerpike and Titus Groan battle Convinced he has caught the man responsible for a for control of the castle and the dukedom in this series of attacks on little girls, a suspect is brought in for great story of fantasy and revenge. the questioning. During the interrogation dark emotions rise to the surface with appalling results.

BOX OFFICE 020 8744 0547 Also William Shakespeare’s Romeo and Juliet & Membership Enquiries Open Air Theatre 25 to 31 July The Embankment Twickenham www.richmondshakespeare.org.uk

To receive advance notice of Twickenham Choral Society concerts, and to have the opportunity of booking tickets early, visit the Future Concerts page of our website at www.twickenhamchoral.org.net and click on Join Mailing List TCS is affiliated to Making Music, which represents and supports amateur performing and promoting societies throughout the UK Twickenham Choral Society is a registered charity, number 284847

Visit www.twickenhamchoral.org.uk for more information about TCS and future plans. Christopher Herrick’s web-site is at www.christopherherrick.org

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