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Messiah

A Sacred Oratorio, words by Charles Jennens

Mhairi Lawson soprano Stephen Harvey countertenor Nick Pritchard tenor Benjamin Bevan bass Wells Cathedral Oratorio Society Music for Awhile Orchestra (on period instruments) Maggie Faultless leader Stuart Beer conductor

This concert takes place in the Cathedral by kind permission of the Chapter of Wells Cathedral. The use of mobile telephones, photography, or recording of any kind is forbidden except by express permission of the Chapter.

We are grateful to Battens Charitable Trust for its support of this performance.

Printed music supplied by Somerset Libraries, Arts & Information. Wells Cathedral Oratorio Society is affiliated to Making Music. Programme by Neill Bonham

3 George Frideric Handel (1685-1759)

Messiah (1741) Handel has enjoyed a special place in the ceived the attention of Duke Johann musical life of our country for over 250 Adolf of Saxony who subsequently be- years. Most popular now is his Oratorio came his lifelong benefactor. He then had Messiah. Although well received when extensive training as assistant organist in premiered in Dublin in 1742, its first per- Halle where the organist, who had an formance a year later in London at Cov- extensive international music library, ent Garden, was greeted by the hostility expected Handel to compose weekly ser- of the critics who deplored the presenta- vices from the age of 11. When 18 he had tion of sacred music in a theatre. It was a post in a Hamberg opera company or- only in 1750, when Messiah began to be chestra and within two years had pro- presented in annual performances for a duced his first two operas. London charity at the Foundling Hospital During 1704 he was employed by the chapel, that the public embraced the Medicis, who wished to develop opera in work. Florence, and was also writing church Handel was born in 1685 in Halle, 30 music in Rome. There he signed his Dixit miles from Leipzig. His mother was the Dominus as G. F. Hendel (to help the Ital- daughter of a Lutheran pastor and his ians cope with the German ä). He was father an eminent surgeon serving the influenced there by the Baroque compos- court at Wiessenfels. They had him chris- ers, especially Corelli and Scarlatti. tened Georg Friedrich Händel. By the age Not wishing for a career writing church of 9 his playing on the palace organ re- music in 1712, at 27, Handel, decided to

4 settle in England. He lived in London for chance to hear works in their own lan- the rest of his life, becoming a natural- guage. When Handel continued this trend ised British subject in 1727 and there after writing Messiah he produced a se- signed himself George Frideric Handel. ries of 20 oratorios which helped him Within fifteen years he had worked with, regain his title as the country’s favourite or started, three opera houses and be- composer. tween 1711 and 1739 more than 25 of Handel’s operas were premiered at the In 1741 Handel was invited to visit Dublin Queen’s Theatre alone (now Her Majes- to stage a series of concerts. Shortly after ty’s Theatre). In all Handel wrote a total receiving this request, and in a period of of 42 Italian operas. just over three weeks (with much of the music borrowed from his operas) he cre- In 1737, aged 52, Handel suffered a ated Messiah, probably with his visit to stroke which left him with a disabled Ireland in mind. Every word is taken from right hand and some confusion. It was the King James 1611 version of the Bible. not expected that he would play again. However, after a stay at the spa in Aa- Credit for the ingenious way in which chen, he returned to London and turned such widely scattered texts have been his attention to oratorio. Public taste for welded into a perfect whole must go to Italian operas had declined and oratorio the compiler, a Leicestershire squire became popular, giving audiences a named Charles Jennens who was a close friend of Handel and had for a while tried to persuade him to write such a work. His preface to the libretto expresses the idea which inspired it: ‘And without controversy, great is the mystery of Godliness: God was manifest in the Flesh, justified by the Spirit, seen of Angels, preached among the Gentiles, be- lieved on in the world, received up in Glory. In whom are hid all of the Treasures of Wisdom and Knowledge.’ Messiah is unique among Handel’s oratorios in being entirely un- dramatic. The soloists do not repre- sent characters nor, except for the short nativity section, is there any narrative. The entire work is a med- itation on Our Lord as Messiah. It begins with the prophesies of Isaiah and other Old Testament writers. The Great Music Hall in Fishamble Street, Dublin, Christ’s Nativity, Passion and Resur- where Messiah was first performed rection follow in a majestic proces- sion of recitatives, arias and chorus-

5 es, ending in the great hymn of praise performance and as the first notes of the from the Book of Revelation. The work triumphant ‘Hallelujah’ chorus rang out was first performed during Lent in prepa- he rose to his feet and remained standing ration for Easter, but it has become com- until the end of the chorus. The audience mon practice since Handel’s death to per- and orchestra also stood, initiating a tra- form Messiah during Advent, preparing dition that has lasted for two centuries. for the Christmas season. The exact reason why the King stood at Handel first staged a dozen successful that point is not known, but the most concerts in Dublin and then announced popular explanations include: with a fanfare that his new oratorio • He was so moved by the performance would receive its premiere on 13th April that he rose to his feet. 1742. With 26 boys and 5 men, from St Patrick’s and Christ Church cathedrals— • Out of tribute to the composer. plus soprano and contralto soloists who • He arrived late and the crowd rose as also helped with the choruses—he ar- he finally made an appearance. ranged for a public rehearsal to take place the day before. This caused a sensation • His gout acted up at that moment and and hundreds of eager listeners had to be he rose to find relief. turned away from the first performance. • He mistook the first few notes in the chorus for the national anthem and King George II attended the first London stood out of respect. It is still the accepted practice for the audience to stand for the ‘Hallelujah’ chorus. At the end of his life in 1754 Handel was the equivalent of a millionaire, leaving a large amount in his will to purchase a grand monument in Westminster Abbey. At his funeral there in 1759, there were more than three thousand mourners and he was given full state honours. Handel was much admired by Bach who was born a month after Handel and who had tried but failed to meet him in Halle. Beethoven said of Handel “the master of us all... the greatest composer that ever lived. I would uncover my head and kneel before his tomb”. Beethoven emphasised above all the simplicity and popular ap- peal of Handel's music when he said, “Go to him to learn how to achieve great Westminster Abbey during the 1784 effects, by such simple means.” Mozart Handel commemoration said of him: “Handel understands affect

6 better than any of us. When he chooses, edition of 1992 that he had worked on he strikes like a thunder bolt.” between 1957 and 1965. With access to The first published score of Messiah was many of Handel’s papers, including his issued in 1767, eight years after Handel’s conducting score from the first Dublin death, though this was based on relative- performance, this edition of Messiah ly early manuscripts and included none of revolutionised its interpretation, and has Handel’s later revisions. This evening’s been called ‘a landmark in what we now performance uses Watkins Shaw’s final know as the Early Music movement.’

1. Sinfonia (Overture) 4. Chorus 2. Recitative Tenor And the glory of the Lord shall be Comfort ye, comfort ye my people, revealed, and all flesh shall see it saith your God. Speak ye comfortably together: for the mouth of the to Jerusalem, and cry unto her, that Lord hath spoken it. (Isaiah 40: 5) her warfare is accomplished, that her 5. Recitative Bass iniquity is pardoned. The voice of him Thus saith the Lord, the Lord of hosts: that crieth in the wilderness; prepare Yet once a little while and I will shake ye the way of the Lord; make straight the heavens and the earth, the sea in the desert a highway for our God. and the dry land. And I will shake all (Isaiah 40: 1-3) nations; and the desire of all nations 3. Air Tenor shall come. The Lord, whom ye seek, Ev’ry valley shall be exalted, and shall suddenly come to His temple, ev’ry mountain and hill made low; even the messenger of the Covenant, the crooked straight and the rough whom ye delight in; behold, He shall places plain. (Isaiah 40: 4) come, saith the Lord of hosts. (Haggai 2: 6-7) (Malachi 3: 1)

7 6. Air Countertenor 13. Pifa (Pastoral Symphony) But who may abide the day of His 14a Recitative Soprano coming, and who shall stand when There were shepherds abiding in the He appeareth? For He is like a field, keeping watch over their flocks refiner’s fire. (Malachi 3: 2) by night. (Luke 2: 8) 7. Chorus 14b Recitative Soprano And He shall purify the sons of Levi, And lo, the angel of the Lord came that they may offer unto the Lord an upon them, and the glory of the Lord offering in righteousness. (Malachi 3: 3) shone round about them, and they 8. Recitative Countertenor were sore afraid. (Luke 2: 9) Behold, a virgin shall conceive and 15. Recitative Soprano bear a son, and shall call His name And the angel said unto them: Emmanuel, God with us. “Fear not, for behold, I bring you good (Isaiah 7: 14; Matthew 1: 23) tidings of great joy, which shall be to 9. Air and Chorus Countertenor all people. For unto you is born this O thou that tellest good tidings to day in the city of David a Saviour, Zion, get thee up into the high which is Christ the Lord.”(Luke 2: 10-11) mountain. O thou that tellest good 16. Recitative Soprano tidings to Jerusalem, lift up thy voice And suddenly there was with the an- with strength; lift it up, be not afraid; gel, a multitude of the heavenly host, say unto the cities of Judah, behold praising God, and saying: (Luke 2: 13) your God! Arise, shine, for thy light 17. Chorus is come, and the glory of the Lord is risen upon thee. (Isaiah 40: 9) “Glory to God in the highest, and peace on earth, good will towards 10. Recitative Bass men.” (Luke 2: 14) For behold, darkness shall cover the 18. Air Soprano earth, and gross darkness the people; but the Lord shall arise upon thee, Rejoice greatly, O daughter of Zion; and His glory shall be seen upon thee. shout, O daughter of Jerusalem! And the Gentiles shall come to thy Behold, thy King cometh unto thee; light, and kings to the brightness of He is the righteous Saviour, and He thy rising. (Isaiah 60: 2-3) shall speak peace unto the heathen. (Zecharaiah 9: 9-10) 11. Air Bass 19. Recitative Countertenor The people that walked in darkness have seen a great light; and they Then shall the eyes of the blind be that dwell in the land of the shadow opened, and the ears of the deaf un- of death, upon them hath the light stopped. Then shall the lame man leap as an hart, and the tongue of the shined. (Isaiah 9: 2) dumb shall sing. (Isaiah 35: 5-6) 12. Chorus 20. Air Countertenor and Soprano For unto us a child is born, unto us a son is given, and the government shall He shall feed His flock like a shepherd; be upon His shoulder; and His name and He shall gather the lambs with His shall be called Wonderful, Counsellor, arm, and carry them in His bosom, and the mighty God, the Everlasting gently lead those that are with young. (Isaiah 40: 11) Father, the Prince of Peace. (Isaiah 9: 6)

8 Come unto Him, all ye that labour, 21. Chorus come unto Him that are heavy laden, His yoke is easy, and His burthen is and He will give you rest. Take his light. (Matthew 11: 30) yoke upon you, and learn of Him, for He is meek and lowly of heart, and ye shall find rest unto your souls. (Matthew 11: 28-29)

Interval - 20 minutes Wine and soft drinks are available in the Transepts

22. Chorus for our transgressions, He was bruised Behold the Lamb of God, that taketh for our iniquities; the chastisement of away the sin of the world. (John 1: 29) our peace was upon Him. 23. Air Countertenor (Isaiah 53: 4-5) 25. Chorus He was despised and rejected of men, a man of sorrows and acquainted with And with His stripes we are healed. grief. He gave His back to the smiters, (Isaiah 53: 5) and His cheeks to them that plucked 26. Chorus off His hair: He hid not His face from All we like sheep have gone astray; shame and spitting. (Isaiah 53: 3, 6) we have turned every one to his 24. Chorus own way. Surely He hath borne our griefs, and And the Lord hath laid on Him the carried our sorrows! He was wounded iniquity of us all. (Isaiah 53: 6)

9 27. Recitative Tenor 35. Chorus All they that see Him laugh Him to Let all the angels of God worship Him. scorn; they shoot out their lips, and (Hebrews 1: 6) shake their heads, saying: (Psalm 22: 7) 36. Air Countertenor 28. Chorus Thou art gone up on high; Thou hast “He trusted in God that He would led captivity captive, and received deliver Him; let Him deliver Him, gifts for men; yea, even from Thine if He delight in Him.” (Psalm 22: 8) enemies, that the Lord God might 29. Recitative Tenor dwell among them. (Psalm 68: 18) Thy rebuke hath broken His heart: 38. Air Soprano He is full of heaviness. He looked for How beautiful are the feet of them some to have pity on Him, but there that preach the gospel of peace, and was no man, neither found He any to bring glad tidings of good things. comfort him. (Psalm 69: 20) (Isaiah 52: 7; Romans 10: 15) 30. Air Tenor 40. Air Bass Behold, and see if there be any sorrow Why do the nations so furiously rage like unto His sorrow. together, and why do the people (Lamentations 1: 12) imagine a vain thing? 31. Recitative Tenor The kings of the earth rise up, and the He was cut off out of the land of the rulers take counsel together against living: for the transgressions of Thy the Lord, and against His anointed. people was He stricken. (Isaiah 53: 8) (Psalm 2: 1-2) 32. Air Tenor 41. Chorus But Thou didst not leave His soul in Let us break their bonds asunder, hell; nor didst Thou suffer Thy Holy and cast away their yokes from us. (Psalm 2: 3) One to see corruption. (Psalm 16: 10) 42. Recitative Tenor 33. Chorus He that dwelleth in Heav’n shall laugh Lift up your heads, O ye gates; and be them to scorn; ye lift up, ye everlasting doors; and the King of Glory shall come in. The Lord shall have them in derision. Who is this King of Glory? The Lord (Psalm 2: 4) strong and mighty, The Lord mighty 43. Air Tenor in battle. Thou shalt break them with a rod of Lift up your heads, O ye gates; and be iron; thou shalt dash them in pieces ye lift up, ye everlasting doors; and like a potter’s vessel. (Psalm 2: 9) the King of Glory shall come in. 44. Chorus Who is this King of Glory? The Lord of Hallelujah: for the Lord God Omnipo- Hosts, He is the King of Glory. tent reigneth. The kingdom of this (Psalm 24: 7-10) world is become the kingdom of our 34. Recitative Tenor Lord, and of His Christ; and He shall Unto which of the angels said He at reign for ever and ever. King of Kings, any time: “Thou art My Son, this day and Lord of Lords. Hallelujah! have I begotten Thee”? (Hebrews 1: 5) (Revelation 11: 15; 19: 6 & 16)

10 45. Air Soprano 48. Air Bass I know that my Redeemer liveth, and The trumpet shall sound, and the dead that He shall stand at the latter day shall be raised incorruptible, and we upon the earth. And though worms shall be changed. destroy this body, yet in my flesh shall (I Corinthians 15: 52-53) I see God. (Job 19: 25-26) 52. Air Soprano For now is Christ risen from the dead, If God be for us, who can be against the first fruits of them that sleep. us? Who shall lay anything to the (I Corinthians 15: 20) charge of God’s elect? It is God that 46. Chorus justifieth, who is he that condemneth? Since by man came death, by man It is Christ that died, yea rather, that is came also the resurrection of the risen again, who is at the right hand of dead. For as in Adam all die, even so God, who makes intercession for us. in Christ shall all be made alive. (Romans 8: 31, 33-34) (I Corinthians 15: 21-22) 53. Chorus 47. Recitative Bass Worthy is the Lamb that was slain, Behold, I tell you a mystery; we shall and hath redeemed us to God by His not all sleep, but we shall all be blood, to receive power, and riches, changed in a moment, in the twinkling and wisdom, and strength, and of an eye, at the last trumpet. honour, and glory, and blessing. (I Corinthians 15: 51-52) Blessing and honour, glory and power, be unto Him that sitteth upon the throne, and unto the Lamb, for ever and ever. Amen. (Revelation 5: 12-14)

11 MHAIRI LAWSON soprano Mhairi Lawson has performed in opera houses and concert halls worldwide with such companies as English National Opera, The Gabrieli Consort & Players, The Acade- my of Ancient Music, Philharmonia Baroque and The Scottish Chamber Orchestra. Whilst still a student at the Guildhall School of Music and Drama, she won the Interna- tional Early Music Network Young Artists Prize with the fortepianist Olga Tverskaya, which led to her first CD recording of Haydn’s English and Scottish Songs. Mhairi has enjoyed working with the Gabrieli Consort and Players for many years and pro- jects with them include Bach’s St John Pas- sion and St Matthew Passion, the and the Wedding Cantata, Handel’s La resurrezione, and Acis and Galatea, and Pur- cell’s Dido and Aeneas, King Arthur and The nor mass with the Gabrieli Consort, Venus and Fairy Queen. With Les Arts Florissants, Mhairi Adonis with the Dunedin Consort, Mozart’s has performed dramatic music by Purcell, Mass in C Minor with the Scottish Chamber Charpentier, Landi and Monteverdi throughout Orchestra and Raphaël Pichon, Haydn’s Crea- Europe. At Wigmore Hall, she has performed tion with the Arctic Philharmonic, residencies operas by Purcell, Handel and Hasse with the at the Carmel Bach Festival in the USA, a recital Early Opera Company, and Handel’s Messiah with lutenist Elizabeth Kenny as part of the St with the Bach Society and the Magnus International Festival. Scottish Chamber Orchestra. Mhairi continues her recital collaboration with Recital engagements include songs from the Eugene Asti and also features on Les Arts Floris- British folksong tradition and Lieder by sants’ recent release of Monteverdi Madrigals Haydn, Mozart, Schubert, Schumann, vol. 3 ‘Venezia’ for Harmonia Mundi. Strauss and Wolf with appearances in the Edinburgh Festival, Newcastle and York Uni- versities, and recordings for BBC Radio 3. Recent and future highlights include perfor- STEPHEN HARVEY counter- mances of Handel’s Messiah with the Hallé Orchestra, the Bournemouth Symphony Or- tenor chestra and also the Oxford Philharmonic, Pur- Stephen Harvey studied singing at the Royal cell’s King Arthur with the Academy of Ancient Academy of Music in London with Nicholas Music at the Barbican Centre, the title role in Clapton and Iain Ledingham and was formerly Semele with the City of Birmingham Symphony a student at the Royal Welsh College of Music Orchestra, Acis and Galatea and Bach’s B mi-

12 and Drama in Cardiff. Stephen currently stud- NICK PRITCHARD tenor ies with Isobel Buchannan. Nick Pritchard read music as a choral scholar at Stephen and his family moved to Wells, Som- New College, Oxford and studied at the Royal erset, in 2008, where he currently sings as a College of Music International Opera School. Vicars' Choral in the Cathedral Choir. Besides Last year, he won the 2017 Whatsonstage this, Stephen continues his work as a soloist Opera Poll award for Breakthrough Artist in UK with various choirs and choral societies Opera. throughout the UK and Europe working under such directors as William Christie, Laurence Previous concert work includes King Arthur for Cummings, Matthew Halls and Jeffery Skid- the Early Opera Company under Christian more and performs with the period instrument Curnyn, Bach's Mass in B minor with the Mon- ensembles The King's Consort, Retrospect and teverdi Choir and Sir John Eliot Gardiner, per- The Cecile Consort. On the concert platform, formances of Handel’s Messiah with the Eng- highlights thus far include solo performances at lish Festival Orchestra under Brian Kay at the the Wigmore Hall for The King's Consort, a fully Royal Albert Hall, Instruments of Time and staged Baroque restoration project of Purcell's Truth with Edward Higginbottom and the Orpheus Brittanicus with Mercurius Company Nieuwe Philharmonie, Haydn’s Paukenmesse at Cadogan Hall, performing the cantata for with Stephen Cleobury, the Choir of King’s alto and soprano Amarilli Vezzosa at the Lon- College, Cambridge and the Orchestra of the don Handel Festival under Laurence Cummings Age of Enlightenment, Mozart’s Requiem for and performing duets with James Bowman at the Three Choirs Festival with Simon Halsey the Lichfield Festival. Stephen was also chosen and the Philharmonia Orchestra and with the as one of The King's Consort young artists in Gabrieli Consort, Bach’s St Matthew Passion 2008. with the St Paul Chamber Orchestra under

13 Paul McCreesh, Coridon’s Acis and Galatea with John Butt and the Dunedin Consort, Bach Cantatas with Ensemble Pygmalion and Rapha- el Pichon, amongst others. Recent and future engagements include Ly- sander A Midsummer Night’s Dream for the Aldeburgh Music Festival, Amphinomus in Il ritorno d’Ulisse in patria for the Royal Opera House, Ferrando in Così fan tutte for Opera Holland Park, Henry Crawford in Mansfield Park for The Grange Festival, Acis in Acis and Galatea for the London Handel Festival under Laurence Cummings, John/Angel 3 in Written on Skin with Melos Sinfonia under Oliver Zeff- man, Britten’s Les Illuminations and Serenade with L’Orchestre de Chambre de Paris under Adrien Perruchon, Charpentier’s Te Deum with the Early Opera Company at Wigmore Hall, a Schubert recital with Graham Johnson at Wig- more Hall, Handel’s Messiah with De Nieuwe Getty. He went on to sing Lescaut for the Philharmonie, Utrecht, Bach’s B Minor Mass Royal Danish Opera and the Ferryman in and Bach Cantatas with Curlew River for Opéra de Dijon. In London, under Harry Bicket and at the Al Bustan Festi- Benjamin created the role of Nameless Man val in Beirut, Bach’s with the in Faust, Alberta by Simone Spagnolo as part Saint Paul Chamber Orchestra and with the of Opera in the City to great critical acclaim. BBC National Orchestra of Wales under John Butt (arias), Polyphony and the OAE under Recent recordings include Beethoven’s Mis- Stephen Layton (Evangelist), and in New York sa Solemnis with Bach Collegium Japan con- with the Choir of New College, Oxford. ducted by , premiere record- ings of the St Mark Passion by John Joubert and Gerald Barry’s opera The Importance of BENJAMIN BEVAN bass Being Earnest, conducted by Thomas Adès Benjamin Bevan won a scholarship to the in the Barbican Hall, London and three well Guildhall School, London and made his de- reviewed discs of Handel with London Early but at the Royal Opera House, Covent Gar- Opera. den singing Henry Cuffe in Gloriana by Ben- Concert performances include Vaughan jamin Britten and returned there to sing The Williams’s Hodie for MDR live on Christmas Speaker in Die Zauberflöte. Day from the Leipzig Gewandhaus, Handel’s In 2018, he made his debut at English Na- Messiah for Bach Collegium Japan, The Eng- tional Opera as Baron Douphol in La traviata lish Concert, The Royal Liverpool Philharmin- and at Welsh National Opera Benjamin sang ic, The Royal Northern Sinfonia, The Royal Lescaut in Boulevard Solitude by Henze fol- Scottish National Orchestra, The Colorado lowed by Roderick Usher in Usher House by Symphony and many others. He has sung

14 live broadcasts of Bach’s Passions for the BBC Philharmonic and RTE in Dublin, Bach’s Christmas Oratorio with the Stavanger Sym- phony Orchestra under John Butt, and Bach’s B Minor Mass at The Three Choir’s Festival. He sang the role of Pontius Pilate in a new staging of Bach’s St John Passion for the Na- tionale Reisopera in the Netherlands, The Dream of Gerontius at Snape Maltings, Bach’s St John Passion with the Irish Cham- ber Orchestra under Stephen Layton, Han- del’s Messiah with The Irish Baroque Orches- tra (RTE Broadcast), Bach Christmas Oratorio in Monaco and Nice and Carmina Burana with the BBC Concert Orchestra. He has also sung in two performances of Bach Cantatas in Australia at the Perth International Festi- val (ABC Broadcast). A move to teaching took him to the special- ist music departments of Wells Cathedral WCOS is extremely grateful to School and then to Chetham’s School of Stuart Beer who has stepped in Music in Manchester. Soon after this, still in for final rehearsals and to his mid-twenties, he was invited to become conduct tonight’s performance Master of the Choir and subsequently Direc- in place of Matthew Owens tor of Music at Manchester Cathedral, a post he held for seventeen years, together with who is unavailable. that of Musical Director of the Cathedral Cantata Choir, an able choral society of about 100 amateur singers. From modest STUART BEER Conductor beginnings he oversaw the musical growth of the Cathedral creating singing opportuni- Stuart has enjoyed a varied career in music as a singer, conductor, teacher and compos- ties for men and women, boys and girls. The er. After a degree in music and a Choral Cathedral Choir sang the music for five cho- Scholarship at Magdalen College, Oxford he ral services each week together with a pro- won a scholarship to the Royal Academy of gramme of concerts, recordings, broadcasts Music to study singing with Roy Henderson. and tours; the Cathedral Cantata Choir sang As a young professional singer in London, four major concerts a year, most often with Stuart was a Vicar Choral at St Paul’s Cathe- the Manchester Camerata, performing dral and sang both as an ensemble member much of the great choral repertoire, old and and soloist alongside all the great singers new. and conductors of the emerging early music Alongside this Stuart continued to teach movement at that time. academic music at Chetham’s, was a visiting

15 lecturer in harmonic techniques at Man- tures the music of J. S. Bach. The ensemble chester University, musical director for a regularly expands to form a larger orchestra number of ‘Songs of Praise’ programmes for enabling it to perform major choral works in BBC television, he composed for church and venues such as Westminster Abbey and cathedral and continued to sing when time Gloucester, Hereford and Bristol Cathedrals. and opportunity allowed. It also has its own chamber music series, For twelve years, until retirement in 2012, held in smaller venues appropriate to the Stuart enjoyed a more rural (but no less repertoire. Music for Awhile has established busy) lifestyle as Director of Music at contacts with schools and groups of young musicians in order to attract children to re- Benenden School in Kent, leading a large hearsals and concerts, and provides im- and active department in this prestigious portant access to live music for the local girls’ boarding school. rural community. Now back in Wells, Stuart retains a wide interest in music, particularly in the cathe- Violin 1 dral and choral world. Now that teaching Maggie Faultless, Rachel Stroud, duties have diminished, he travels as an Claudia Norz, Olivia Jarvis, examiner for Trinity College London and Marguerite Wassermann enjoys more opportunity for composition, Violin 2 responding to commissions chiefly for choral Anna Curzon, Elise Van Der Wel, and church music. It has been a particular Ellen Bundy, Louise Ayrton, joy to be asked to write for the Cathedral May Robertson Choir here in Wells. The best of this work is Viola currently in the process of publication by the Royal School of Church Music. Nick Logie, Jam Orrell, Alice Poppleton, Hannah Gardiner Cellos MUSIC FOR AWHILE Andrew Skidmore, Jon Rees, Emily Ashton Bass ORCHESTRA Jan Spencer, Marianne Schofield Artistic Director: Maggie Faultless Oboe Bethan White, Nicola Barbagli Since its first performance in 1996, Music for Awhile has continued to inspire audiences Bassoon and performers with concerts in a variety of Zoe Shevlin venues, and at its own Summer Festival in Trumpet the magical setting of All Saints, Alton Priors. Paul Bosworth, Darren Moore Musicians from Europe’s most acclaimed Timpani ensembles come together to perform a wide range of repertoire spanning over two Barnaby Archer centuries. Music for Awhile specialises in Harpsichord performing English opera from Purcell’s Benedict Williams time, and thanks to sponsorship from the Organ Cecil King Memorial Foundation it also fea- Luke Fitzgerald

16 Patron: John Rutter, CBE President: The Dean of Wells Chairman: Robin Duys

Wells Cathedral Oratorio Society Britten’s War Requiem and Saint (WCOS) was founded in 1896 and Nicholas; Elgar’s Dream of Geron- is one of the Southwest’s leading tius; Fauré’s Requiem; Handel’s choral societies. It performs the Four Coronation Anthems; Men- great choral works with some of delssohn’s Elijah; Mozart’s Requi- the UK’s finest soloists and pro- em and C Minor Mass; Orff’s Car- fessional orchestras in the glori- mina Burana; Verdi’s Requiem; ous surroundings of ‘The Queen and major works by Finzi, Purcell, of English Cathedrals’. Numbering Rutter, and Vaughan Williams. around 160 voices, WCOS gives The Society also presents Han- three concerts a year, under the del’s ever-popular Messiah, each direction of the distinguished December. WCOS hosts an annu- conductor, Matthew Owens, Or- al Come and Sing day each spring, ganist and Master of the Choris- to which any singers are welcome ters at Wells Cathedral. to learn and perform a work from scratch, in just a few hours. Under Owens it has performed Bach’s St John Passion, B minor For further details about WCOS, Mass, and Christmas Oratorio; including how to join, please visit: Brahms’s German Requiem; www.wcos.org.uk

17 Soprano Pamela Pye ¶ Janet Johnson Bernard North Sarah Allen Margaret Raynes Deborah Jonas Andrew Phillips Dora Almy Marion Robinson ¶ Jessica Leach Colin Rendell Ann Baker Gill Round Alex Lemanski Sarah Villiers Pam Booth Frances Rowe Barbara Leuwer Peter Wagstaff X Helen Bowen ¶ Maggie St Quintin Riches Robin Walker ¶ Kate Brown Janet Saxon Jennifer Mackenzie Stacey Williams Denise Bush Margaret Sutton Philippa Mains Barbara Calverley Pamela Tomlinson Mary Massey Bass Felicity Chapman Emma Trantham Della Menday ¶ David Abels Katherine Constable Christine Tudor Liz Metcalfe David Bevan † Vanessa Coode Helen Wade Mary Newman Christopher Boddie Julie Costley-White X Jan Weaver Claire Pennack Michael Calverley Cheryl Evans-Jones Lucy Williams Janet Ravenscroft John Castree Heather Forgham Jane Withey Margaret Rayfield Geoffrey Clarke Sandra Freeborn Janet Rundle Harrison Cole X Carolyn Fussell Alto Mary Sage Peter Farrell Sue Gould Jenny Abraham Celia Smith Niall Garden Maureen Grant Christine Barker Sue Stoughton- Adrian Grey Jane Hancock Maureen Boylan Harris ¶ Wesley Hallam Susan Hanson Vivienne Burgess Celia Townend Stephen Hamnett X Sarah Hare Louise Burton Lynn Waldron Michael Harris Sally Harvey Liz Clay Ginny Waters Trevor Hazelgrove Frances Henderson X Rosemary Cooke Sue Wells Richard Henderson Jenny Henderson Polly Corbishley Olivia Wilkinson Derek Hiller Rachel Hewson Sarah Curl Fenella Williams Tony Iveson Dorothy Hunter Sue Curragh Kate Wilson Chris Jenkins ¶ Deborah Jenkins Gill Deamer Jo Wright Dennis Johnson Eleanor Jolley Sian Decamp John King Marion Jones Joan Dovey Tenor Richard Lander Carolyn Legg Robin Duys ¶ Neill Bonham ¶ Michael Leach Ruth Lickfold Kate Fielder Edmund Le Brocq † Brian Marshall Della Luetchford Barbara Green Ian Bynoe Alan Rayfield Jennie Lunnon Shelley Gudgin Samuel Clarke X David Rosser Nancy McGiveron ¶ Faith Guest Ben Clay ¶ Robert Smallcombe Donna-Marie Elizabeth Hand Andrew Cruickshank William Truscott Macpherson Catherine Hay Alexandra de Kenneth Wade Sarah May Gilly Hayward Glanville ¶ Committee Louise Palmer Mary I’Anson Martin Godfrey † Choral Scholar Ann Parsons Jane James Martin Lovell X Guest Singer Maureen Pickford Lynne Jarman Nigel Lloyd - Jane Jarratt John Morton ¶

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Your continued support as a Friend of Wells Cathedral Oratorio Society is greatly appreciated and we look forward to seeing you at our concerts. The Society gives three concerts each year which include an annual performance of Handel’s Messiah in December. The other two concerts are in early November and in the Spring. The main features of the Friends’ scheme are: • Priority booking in March 2019 of up to four prime Nave seats for each of the November and December concerts • Priority booking in September 2019 of up to four prime Nave seats for the Spring concert in 2020 • Names of Friends acknowledged in concert programmes • Annual Newsletter • Invitation to a social event with the Choir and Conductor each year • Annual subscription of £24 for the season which runs from 1st September to 30th May. Subscription renewal is in March 2019 alongside priority booking for the November and December concerts. Please contact our Friends Secretary at: [email protected]

The Society is most grateful to its Corporate Patrons, Chalmers HB, Chartered Accountants, of Chamberlain Street, Wells, and Battens Solicitors, of Princes Street, Yeovil for their support of the Society under our Corporate Patrons scheme.

Companies willing to join this scheme will be assured of a warm welcome. For further information, please contact Robin Duys at 01749 871105.

19 Mr Iain and Prebendary Helen Ball Mr John Iddles Mr David Bollington Mr Chris Jenkins Mr Alan and Mrs Jo Brown Mr Dennis (Mrs Janet) Johnson Mr Robert C Brown Mr Anthony Jonas Mr Michael J Cansdale Mrs Amanda Karpinski Mr Geoff Clarke Mr Anthony Kaye Miss Beulah J Connolly Mrs Susan Kaye Mr David Corp Mr Richard Lander Mr Charles Crawfurd Mrs Alex Lemanski Mrs Sheila Crease Mr Nigel Lloyd Dr & Mrs A Crossland Mr & Mrs Martin Lovell Mr Andrew Cruickshank Mrs Rosemary Lunn Mrs Jennifer Davies Mrs Nancy McGiveron Mr Niels Doble Mrs Suzanne Metters Mrs Kate Fielder Mr John Morton Revd Frank Fisher Mrs Judith Oliver Mrs Carolyn Fussell Mr Gerald and Mrs Rosemary Parsons Mr Walford Gillison Mr John and Mrs Joy Rattenbury Mrs Sue Gould Mr Alan Rayfield Mr Nigel Hamilton QC Mr Philip Hugh Roberts Mrs Susan (Mr Keith) Hanson Mr Brian Roberts-Wray Mrs Sarah Hare Mr David Rosser Captain and Mrs Patrick A C Harland Ms Frances Rowe Mr Michael and Mrs Catherine Hay Mr Alan Rowntree Mrs Myra Higgins Mrs Maggie St Quintin Mr Derek and Mrs Susan Hiller Mr Christopher R Stonehouse Mrs Dot Hunter Mrs Margaret Sutton Mrs Mary I’Anson Mr David Williams

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