Saturday 7 December, 7.00pm 2019 Handel Messiah Elizabeth Atherton soprano Tim Morgan countertenor Peter Auty Ben McAteer bass Music for Awhile Orchestra (on period instruments) Jeremy Cole conductor

Saturday 28 March, 7.00pm 2020 Haydn Insanae et venae curae Haydn Symphony no 104 [The London] Mozart Alexandra Oomens soprano Helen Charlston alto James Oxley tenor Grant Doyle bass English Symphony Orchestra Jeremy Cole conductor

We strongly advise that bookings be made online at:- wcos.org.uk

COME AND SING Saturday 2 May 2020 Directed by John Rutter All singers are invited to study, rehearse, and perform with this inspiring musician in Wells Cathedral

2 Arvo Pärt Cantus in memoriam

Morten Lauridsen Lux aeterna

John Rutter Magnificat

Elizabeth Atherton soprano Wells Cathedral Oratorio Society English Chamber Orchestra Jeremy Cole 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 Before graduating from the Conservatory in 1963, he won first prize in the All-Union Young Composers’ Competition for a chil- dren’s cantata and an oratorio. In the old Soviet Union, Arvo Pärt had little access to contemporary Western music, but he was at the forefront of new methods of compo- sition, writing several symphonies using the serial technique and later collage tech- niques. Official judgement of Pärt’s music veered between some works being praised and others being banned. This led him, from 1970, to enter periods of contempla- tive silence. He used this time to study French and Flemish choral music from the 14th to 16th centuries: Machaut, Ockeghem, Obrecht and Josquin. His Symphony No 3 from 1971 is thus in the spirit of early Euro- pean polyphony. He also converted from Lutheranism to Orthodox Christianity; how- ever he continued to set Latin sacred texts. After a longer period of self-imposed si- lence, in 1976 he again started composing but following a transformation so radical as to make his previous music almost unrec- Arvo Pärt (b 1935) ognisable as that of the same composer. He calls the technique that he used Cantus in memoriam “tintinnabuli” (from the Latin, little bells). Benjamin Britten (1977) He describes it: “I have discovered that it is enough when a single note is beautifully During the past decade Arvo Pärt has been played. This one note, or a silent beat, or a the world’s most frequently performed moment of silence, comforts me. I work living composer. He was born near Tallinn, with very few elements—with one voice, the capital of Estonia, in 1944. For 50 years, two voices. I build with primitive materi- Estonia was occupied by the Soviet Union als—with the triad, with one specific tonali- and this had a profound effect on his life ty. The three notes of a triad are like bells and music. After serving his National Ser- and that is why I call it ‘tintinnabulation’.” vice as oboist and side-drummer in an army The principle behind tintinnabulation was band he joined the Tallinn Conservatory in composing two simultaneous voices as one 1957. Whilst there he also worked as a re- line—one voice moving stepwise from and cording engineer with Estonian Radio, and to a central pitch, first up then down, and wrote for the stage and film. the other sounding the notes of the triad.

4 Having found his voice, there was a subse- covered Britten for myself. Just before his quent rush of new works in 1977 that are death I began to appreciate the unusual still amongst his most highly regarded. His purity of his music – I had the impression of music began to be performed in the West the same kind of purity as in the ballads of but he continued to struggle against Soviet Guillaume de Machaut. And besides, for a officialdom and in 1980 was able to emi- long time I had wanted to meet Britten grate to the West, settling firstly in Vienna personally – and now it would not come to and then West Berlin, with a scholarship that.” from the German Academic Exchange. He wrote a meditation on death, beginning One of those new works in 1977 was this and ending with silence—written in the Cantus. Pärt later wrote: “Why did the date score. This silence frames the work sug- of Benjamin Britten’s death – 4 December gesting that we come from silence, and 1976 – touch such a chord in me? During return to silence. It is written for a bell this time I was obviously at the point where (tuned to A) and a string orchestra explor- I could recognise the magnitude of such a ing an A minor scale echoing the Greek loss. Inexplicable feelings of guilt, more Aeolian mode used in early church music. than that even, arose in me. I had just dis-

Morten Lauridsen (b 1943) Lux aeterna (1997)

“It was a natural thing for me to blend poetry and the human voice, which is the most wonderful and personal of all musical instruments. I ended up writing a great deal of choral music, and haven’t stopped.” To walk in the evergreen forests and along the waterways of the Pacific Northwest, as Morten Lauridsen loves to do, is to experi- ence infinite variations of light. Clouds of grey loom in the skies, and deft rays of sun- light filter through the trees and touch on water with an ever-changing chiaroscuro effect. Walking here with poetry in his mind and music in his heart, Lauridsen finds inspi- ration for his compositions, luminous with inner radiance.

5 Lauridsen composed the requiem Lux close Lux Aeterna. The second movement, Aeterna in 1997, the year his mother died. “In Te, Domine, Speravi” (Lord, I have She was the “muse” who introduced him to hoped in you), opens with a chant from the music, playing swing jazz and singing to him hymn “Herliebster Jesu” (Dearest Jesus) as a toddler. She also taught him to play published in a 1677 songbook, addressed the piano. The consolation for grief offered to the trusted Lord, to whom is directed by Lauridsen’s Lux Aeterna is often com- the gentle plea for mercy. pared to that of Fauré’s Requiem and The third movement, “O Nata Lux” (Oh Brahms’s Ein Deutsches Requiem, both light born [from light]) is the centerpiece works inspired by the deaths of the com- from which all of the other references to posers’ mothers. These works also have in light seem to emanate. The tempo changes common a deceptive simplicity, yet their are beautifully placed to linger on the inter- capacity to touch the listener reveals mas- play of voice parts in the style of Renais- tery at expressing through music the depth sance polyphony, creating a showpiece of a of human emotion. cappella choral singing. The five movements of Lux Aeterna are In “Veni, Sancte Spiritus” (Come, Holy Spir- based on various references to light from it), voices soar to high notes on both the sacred Latin texts: perpetual light, light words lucis (light) and fletu (grief). This risen in the darkness, Redeemer-born light pairing serves as a bridge that brings to- from light, light of the Holy Spirit, light of gether all who share the experience of hearts, most blessed light, eternal light — grief. Unison singing at the phrase O lux all supporting an earthbound spirit seeking beatissima (O most blessed light) encour- not only mercy, understanding, and conso- ages our hearts with the humble insight lation but also renewal. “This is music that necessary to petition on behalf of those we has absorbed the wondrous from our cen- have lost. tury. [Its] unequivocal generosity of spirit, its unfussy ecstatic tone comes not from The final movement, “Agnus Dei – Lux the past or rejection of the new but from Aeterna” (Lamb of God, Eternal Light), be- an openness to modern music.” gins with a long, whispered prayer on be- half of the dead, swells into full voice on In expressing a human journey to reclaim the phrase lux aeterna, and ends with an intimacy with the inner life, Lauridsen optimistic Alleluia. seamlessly integrates the musical essence of ancient modes, Renaissance polyphony, The 1998 recording of Lux Aeterna by the Romanticism, and modern dissonance. This Los Angeles Master Chorale, to whom the timelessness can bring home to the listener work is dedicated, received a Grammy the recognition of his or her own mortal nomination — a deserved tribute to the journey. Perhaps this embracing effect is a exquisitely matched union of Lauridsen’s reason that Lux Aeterna is widely known to lush music with sacred texts, which serves bring listeners to tears. as balm to our world-weary mortality. Lauridsen uses the beginning and ending of Carol Talbeck the traditional Requiem Mass to open and San Francisco Choral Society

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I. Introitus

Requiem Aeternam dona eis, domine: Rest eternal grant to them, O Lord, et lux perpetua luceat eis. and let perpetual light shine upon them. Te decet hymnus Deus in Zion A hymn befits thee, O God in Sion. et tibi redetur votum and to thee a vow shall be fulfilled in Jerusalem: in Jerusalem: exaudi orationem mean, hear my prayer, ad te omnis caro veniet. for unto thee all flesh shall come. Requiem Aeternam Dona eis, Domine: Rest eternal grant to them, O Lord, et lux perpetua luceat eis and let perpetual light shine upon them.

II. In Te, domine, Speravi

Tu ad liberandum suscepturus hominem To deliver us, You became human, non horruisti Virginis uterum. and did not disdain the virgin’s womb. Tu devicto mortis aculeo, Having blunted the sting of death, aperuisti credentibus regna coelorum. You opened the Kingdom of heaven to all believers. Exortum est in tenebris lumen rectis. A light has risen in the darkness for the upright. Miserere nostri, Domine Have mercy upon us, O Lord, miserere nostri. have mercy upon us. Fiat misericordia tua, Domine, super nos Let thy mercy be upon us, O Lord, quemadmodum speravimus in te. as we have trusted in thee. In te Domine, speravi: In thee, O Lord, I have trusted: non confundar in aeternum. let me never be confounded.

III. O Nata Lux

O nata lux de lumine, O born light of light, Jesu redemptor saeculi, Jesus, redeemer of the world, dignare clemens supplicum mercifully deem worthy and accept laudes preces que sumere. the praises and prayers of your supplicants. Qui carne quondam contegi Thou who once deigned to be clothed in flesh dignatus es pro perditis. for the sake of the lost ones. Nos membra confer effici, Grant us to be made members tui beati corporis. of your holy body.

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IV. Veni, Sancte Spiritus

Veni, Sancte Spiritus, Come, Holy spirit, et emitte coelitus send forth from heaven lucis tuae radium. the ray of thy light. Veni, pater pauperum, Come, Father of the poor, veni, dator munerum, come, giver of gifts, veni, lumen cordium. come, light of hearts.

Consolator optime, Thou best of consolers, dulcis hospes animae, sweet guest of the soul, dulce refrigerim. sweet refreshment. in labore ruquies, In labor, thou art rest, in aestu temperies, in heat, the tempering, in fletu solatium. in grief, the consolation.

O lux beatissima, O light most blessed, reple cordis intima fill the inmost heart tuorum fidelium. of all thy faithful. Sine tuo numine Without your grace, nihil est in homnie, there is nothing in us, nihil est innoxium. nothing that is not harmful. Lava quod est sordidum, Cleanse what is sordid, riga quod est aridum, moisten what is arid, sana quod est sucium, heal what is hurt, flecte quod est rigidum, flex what is rigid, fove quod est frigidum, fire what is frigid, rege quod est devium. correct what goes astray. Da tuis fidelibus, Grant to thy faithful, in te confidentibus, those trusting in thee, sacrum septenarium. thy sacred seven-fold gifts. Da virtutis meritum, Grant the reward of virtue, da salutis exitum, grant the deliverance of salvation, da perenne gaudium. grant everlasting joy.

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V. Agnus Dei - Lux Aeterna

Agnus Dei, Lamb of god, qui tollis peccata mundi, who takest away the sins of the world, dona eis requiem. grant them rest. Agnus Dei, Lamb of god, qui tollis peccata mundi, who takest away the sins of the world, dona eis requiem. grant them rest Agnus Dei, Lamb of god, qui tollis peccata mundi, who takest away the sins of the world, dona es requiem sempiternam. grant them rest everlasting. Lux aeterna luceat eis, domine: Light eternal shine upon them. O Lord cum sanctis tuis in aeternum: in the company of thy Saints forever quia pius es. for thou art merciful. Requiem aeternam dona eis, Domine, Rest eternal grant to them, O Lord, et lux perpetua luceat eis. and let perpetual light shine upon them. Alleluia. Amen. Alleluia. Amen.

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

9 John Rutter (b 1945) The Magnificat (1990) The composer writes: “The Magnificat – a poetic outpouring of praise, joy and trust in God, ascribed by Luke to the Virgin Mary on learning that she was to give birth to Christ – has always been one of the most familiar and well- loved of scriptural texts, not least because of its inclusion as a canticle in the Catholic office of Vespers and in Anglican Evensong. Musical settings of it abound, though sur- prisingly few of them since J.S. Bach's time give the text extended treatment. I had long wished to write an extended Magnifi- cat, but was not sure how to approach it until I found my starting point in the associ- ation of the text with the Virgin Mary. In countries such as Spain, Mexico and Puerto Rico, feast days of the Virgin are joyous opportunities for people to take to the streets and celebrate with singing, dancing and processions. These images of outdoor a composer during his student years; much celebration were, I think, somewhere in my of his early work consisted of church music mind as I wrote, though I was not fully con- and other choral pieces including Christmas scious of the fact till afterwards. I was con- carols. From 1975–79 he was Director of scious of following Bach’s example in add- Music at his alma mater, Clare College, and ing to the liturgical text – with the lovely directed the college chapel choir in various old English poem ‘Of a Rose’ and the prayer recordings and broadcasts. Since 1979 he ‘Sancta Maria’ (both of which strengthen has divided his time between composition the Marian connection) and with the inter- and conducting. polated ‘Sanctus’, sung to the Gregorian Today his compositions, including such chant of the Missa cum jubilo in the third concert-length works as Requiem, Magnifi- movement. The composition of Magnificat cat, Mass of the Children, The Gift of Life, occupied several hectic weeks early in and Visions are performed around the 1990, and the première took place in May world. His music has featured in a number of that year in Carnegie Hall, New York.” of British royal occasions, including the two John Rutter, the Society’s Patron, was born most recent royal weddings. He edits the in London and studied music at Clare Col- Oxford Choral Classics series, and, with Sir lege, Cambridge. He first came to notice as David Willcocks, co-edited four volumes of

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Carols for Choirs. In 1983 he formed his own The second branch was great of might, choir the Cambridge Singers, with whom he That sprang upon Christmas night; has made numerous recordings, and he ap- The star shone over Bethlem bright, pears regularly in several countries as guest That man should see it both day and night. conductor and choral ambassador. He holds a Lambeth Doctorate in Music, and in 2007 The third branch did spring and spread; was awarded a CBE for services to music. Three kinges did the branch gan led Unto our Lady in her child-bed; Into Bethlem that branch sprang right. 1 Magnificat anima The fourth branch it sprang to hell, Magnificat anima mea Dominum: The devil’s power for to fell: et exsultavit spiritus meus in Deo salutari That no soul therein should dwell, meo. Quia respexit humilitatem ancillae The branch so blessed fully sprang. suae; ecce enim ex hoc beatam me dicent omnes generationes. The fifth branch it was so sweet, (My soul doth magnify the Lord; It sprang to heav’n, both crop and root, and my spirit hath rejoiced in God my sav- Therein to dwell and be our bote: (salvation) iour. For he hath regarded the lowliness of So blessedly it sprang. his hand-maiden: for behold, from hence- Pray we to her with great honour, forth all generations shall call me blessed.) She that bare the blessed flow’r, To be our help and our succour, And shield us from the fiends bond. 2 Of a Rose, a lovely Rose 15th century English Of a Rose, a lovely Rose, Of a Rose is all my song. 3 Quia fecit mihi magna Hearken to me, both old and young, Quia fecit mihi magna qui potens est; How this Rose began to spring; et sanctum nomen eius. A fairer rose to mine liking (For he that is mighty hath magnified me: In all this world ne know I none. and holy is his name.) Five branches of that rose there been, Sanctus, Sanctus, Sanctus Dominus Deus The which be both fair and sheen; Sabaoth. Pleni sunt caeli et terra Gloria tua. The rose is called Mary, heaven’s queen. Hosanna in excelsis. Out of her bosom a blossom sprang. (Holy, Holy, Holy, Lord God of hosts. The first branch was of great honour: Heaven and earth are filled with thy glory. That blest Marie should bear the flow’r; Hosanna in the highest.) From the Ordinary of the Mass There came an angel from heaven’s tower To break the devil’s bond.

11 4 Et misericordia 7 Gloria Patri Et misericordia a progenie in progenies Gloria Patri, gloria Filio, timentibus eum. gloria et Spiritui Sancto! (And his mercy is on them that fear him (Glory be to the Father, and to the Son, throughout all generations.) and to the Holy Ghost.) Sancta Maria, succure miseris, iuva

5 Fecit potentiam pusillanimes, refove flebiles: ora pro populo, interveni pro clero, intercede pro Fecit potentiam in brachio suo: dispersit devoto femineo sexu: sentient omnes tuum superbos mente cordis sui. Deposuit po- iuvamen, quicumque tuum canctum im- tentes de sede et exaltavit humiles. plorant auxilium. Alleluia.

Antiphon at Feasts of the Blessed Virgin Mary (He hath showed strength with his arm: he hath scattered the proud in the imagination (Holy Mary, succour those in need, help the of their hearts. He hath put down the faint-hearted, console the tearful,: pray for mighty from their seat, and hath exalted the laity, assist the clergy, intercede for all the humble and meek.) devout women: may all feel the power of your help, whoever prays for your holy aid. Alleluia.) 6 Esurientes

Esurientes implevit bonis et divites dimisit Sicut erat in principio et nunc et semper inanes. Suscepit Israel puerum suum re- et in saecula saeculorum. Amen. cordatus misericordiae suae. Sicut locutus est ad Patres nostros, Abraham et semini (As it was in the beginning, is now, and ever eius in saecula. shall be, world without end. Amen.) (He hath filled the hungry with good things: and the rich he hath sent empty away. He remembering his mercy hath holpen his servant Israel. As he promised to our fore- fathers, Abraham and his seed for ever.)

12 Elizabeth’s debut was as Helena Midsummer Night’s Dream for English Touring . She subsequently became an Associate Artist at , performing roles including Mozart’s Countess, Donna Elvira and Pamina and Bizet’s Micaela and has since gone on to become a regular performer at enjoying much success with roles including Mozart’s Fiordiligi and Britten’s Gov- erness. In concert, Elizabeth has worked with Sir Rich- ard Hickox, Sir Andrew Davis, Sir Charles Mac- kerras, , Sir Neville Mariner, , Vladimir Jurowski, Harry Chris- tophers and Thierry Fischer. She appears fre- quently with BBC National Orchestra of Wales and other concert work includes performanc- es with BBC Symphony, LSO, Philharmonia, RLPO, Orchestra Sinfonica di Milano, Orches- tre de Paris, Ulster Orchestra, The Sixteen and The Hallé. Highlights range from Messiah with Paul McCreesh and the St. Paul Chamber Or- chestra in Minnesota to Beethoven’s Choral Symphony with the Philharmonia and Sir Elizabeth Atherton is one of Britain’s most , Handel’s Saul with Harry versatile and compelling lyric sopranos, per- Christophers at the Buxton Festival and the forming a wide range of repertoire in both Handel and Haydn Society in Boston to Brit- concert and opera. She read music at Trini- ten’s Les Illuminations with ty College, Cambridge before studying at the and the Hong Kong Philharmonic Orchestra; Royal Scottish Academy of Music and Drama also many song recitals and recordings with and is the winner of numerous prestigious Iain Burnside, Malcolm Martineau and Roger awards and prizes including the Maggie Teyte Vignoles. Prize. Equally at home on the opera stage or the concert platform, Elizabeth’s versatility as She broadcasts frequently on Radio 3, includ- a musician and an actress means that she has ing Mahler and Strauss Lieder with the BBC sung roles ranging from Monteverdi, Handel Symphony Orchestra and Jiri Belohlavek, and and Mozart through to Verdi, Bizet and Brit- her discography includes Liszt’s Via Cru- ten. She had the roles of Eurydice in Sir Harri- cis and Missa Choralis, Classic Children’s son Birtwistle’s opera , Medea in Songs with Roderick Williams and Iain Burn- The Cure, created for her to considerable criti- side, Saul with The Sixteen and Harry Chris- cal acclaim. tophers and Britten’s On this Island with Mal-

13 colm Martineau: a “superb account” - The Guardian; “lustrous and dramatic” - The Times. Recent and future engagements include the title role in the world première of Tom Coult’s new opera Violet (Music Theatre Wales/ London Sinfonietta), Donna Elvira Don Gio- vanni (Opera North), Barber’s Knoxville with RLPO/Robert Spano (Philharmonic Hall, Liver- pool), Beethoven’s 9th Symphony with BBCSO/Richard Farnes (Dubai Opera House), Gorecki’s Symphony of Sorrowful Songs with London Sinfonietta/David Ather- ton (Royal Festival Hall), Dvorak’s Stabat Ma- ter with Prague Symphony Orchestra/Jac van Steen (Smetana Hall, Prague) and Stravinsky’s Threni with LPO/Vladimir Jurowski (Royal Fes- tival Hall).

JEREMY COLE Conductor mand and as a repetiteur for solo singers and Jeremy Cole was organ scholar at Trinity Col- instrumentalists and as a continuo player. lege, Cambridge, where he studied the organ with Colin Walsh, Stephen Farr, and David Jeremy is artistic director of Illuminare Choir, a Briggs, and conducting with Stephen Layton. professional ensemble which he founded in He was closely involved in the world-famous 2012 and which has performed to great ac- choir’s routine of services and concerts, and claim in venues across London. The choir has features on several of their recordings on the championed new music and recently commis- Hyperion label. sioned and performed the premiere of The Temptations of Christ, a substantial contem- Whilst in London, Jeremy held positions at St porary cantata written by Barnaby Martin for Paul’s Knightsbridge and St Martin-in-the- two choirs, soloists, tubular bells and organ. Fields in Trafalgar Square, where he was the principal organist, playing for all regular and Jeremy is currently Acting Organist and Mas- special services, as well as concerts and special ter of the Choristers at Wells Cathedral, hav- events, in one of London’s busiest churches ing been Assistant Organist since 2017. He is and concert venues. He combined this role responsible for the Cathedral Choir’s busy with a busy freelance career as an organist, schedule of nine sung services each conductor and piano accompanist. While in week, as well as its broadcasts, concerts and London he was assistant conductor and ac- tours. companist of the Holst Singers, and worked Jeremy is delighted to be taking on the role of regularly with leading choirs such as Polypho- Musical Director of the Wells Cathedral Orato- ny and the City of London Choir. He is in de- rio Society for the 2019-20 season.

14 ENGLISH CHAMBER tracks, and has taken part in a variety of other film and television projects. ORCHESTRA The ECO is proud of its outreach programme, Leader: Stephanie Gonley Close Encounters, which takes music into com- The English Chamber Orchestra is the most munities and schools around the UK and recorded chamber orchestra in the world, its abroad. Earlier this year the ECO became the discography containing nearly 900 recordings Professional Orchestra in Partnership at of over 1,500 works by more than 400 com- Christ’s Hospital School in West Sussex, a col- posers. laboration involving side-by-side performance and one-to-one tuition. The ECO has also performed in more countries than any other orchestra and played with many of the world’s greatest musicians. The Violin 1 American radio network CPRN has selected John Mills Michael Trainor ECO as one of the world’s greatest ‘living’ or- Richard George Katerina Nazarova chestras. The illustrious history of the orches- Jonathan Storer Gaëlle-Anne Michel tra features many major musical figures. Ben- Violin 2 jamin Britten was the orchestra’s first Patron Marcus Barcham-Stevens and a significant musical influence. The ECO’s Natasha Hall Julia Burkert-Milone long relationship with such great musicians as André Pereira Caroline Bishop Slava Rostropovich, Pinchas Zukerman, and earlier with Daniel Barenboim led to an ac- Viola claimed complete cycle of Mozart piano con- Roger Chase Yukiko Ogura certos as live performances and recordings, Lydia Lowndes-Northcott Jake Walker followed later by two further recordings of the Cello complete cycle, with Murray Perahia and Jessie Anne Richardson Mitsuko Uchida. Morwenna del Mar William Clark-Maxwell Recent tours have included Bermuda, China, Bass Mexico, Finland, France, Turkey, Switzerland, Stephen Williams, Paul Sherman Italy, Germany (including Hamburg’s Elbphil- Clarinet Bassoon harmonie), Slovenia and Austria (culminating in a concert at Vienna’s Musikverein) as well Anthony Pike Julie Price as concerts across the UK and at London’s Horn Royal Festival Hall, Queen Elizabeth Hall, Kings Jonathan Williams Andrew Sutton Place and Cadogan Hall. In the 2019-2020 Bass Trombone Timpani Season, the ECO will be working with artists Ian Moffat David Corkhill including Christian Zacharias, François Leleux and Xian Zhang. Harp Percussion Helen Tunstall Scott Bywater The Orchestra has recorded many successful film soundtracks including Dario Marianelli’s Organ prizewinning scores for Atonement and Pride David Stevens and Prejudice, and several James Bond sound-

15 Patron: John Rutter, CBE President: The Dean of Wells Chairman: Marion Robinson Conductor: Jeremy Cole

Wells Cathedral Oratorio Society Nicholas; Elgar’s Dream of Gerontius; (WCOS) was founded in 1896 and is Fauré’s Requiem; Handel’s Four Corona- one of the Southwest’s leading choral tion Anthems; Mendelssohn’s Elijah; societies. It performs the great choral Mozart’s Requiem and C Minor Mass; works with some of the UK’s finest Orff’s Carmina Burana; Verdi’s Requi- soloists and professional orchestras em; and major works by Finzi, Purcell, in the glorious surroundings of ‘The Rutter, and Vaughan Williams. In 2018 it Queen of English Cathedrals’. sang ’s For an Unknown Soldier on the 100th anniversary of the Numbering around 160 voices, WCOS ending of the 1st World War. gives three concerts a year and is now singing under Jeremy Cole. From 2004 The Society also presents Handel’s to 2018 it was under the direction of ever-popular Messiah, each December Matthew Owens who was then Organist and hosts an annual Come and Sing day and Master of the Choristers at Wells each spring, to which any singers are Cathedral. welcome to learn and perform a work from scratch, in just a few hours. Under Owens it performed Bach’s St John Passion, B minor Mass, and Christ- For further details about WCOS, mas Oratorio; Brahms’s German Requi- including how to join, please visit: em; Britten’s and Saint www.wcos.org.uk

16 Soprano Pamela Pye ¶ Jane Jarratt Robin Walker ¶ Sarah Allen Margaret Raynes Janet Johnson Stacey Williams Dora Almy Marion Robinson ¶ Deborah Jonas Ann Baker Gill Round Elaine Kinsella Bass Anna Bernard Frances Rowe Jessica Leach David Abels Pam Booth Maggie St Quintin Alex Lemanski Simon Ayres Helen Bowen ¶ Janet Saxon Jennifer Mackenzie David Bevan † Maureen Boylan Rebecca Shaw Philippa Mains Christopher Boddie Kate Brown Margaret Sutton Mary Massey Michael Calverley Mary Burton Pamela Tomlinson Della Menday ¶ John Castree Denise Bush Christine Tudor Liz Metcalfe Geoffrey Clarke Ruth Bush Lynn Waldron Mary Newman Michael Estall Barbara Calverley Ann Walton Margaret Rayfield Peter Farrell Felicity Chapman Jan Weaver Cathy Rowe Niall Garden Katherine Constable Lucy Williams Janet Rundle Adrian Grey Heather Forgham Celia Smith Michael Harris Sandra Freeborn Alto Sue Stoughton- Trevor Hazelgrove Sue Gould Jenny Abraham Harris ¶ Richard Henderson Jane Hancock Christine Barker Celia Townend Derek Hiller Susan Hanson Louise Burton Sue Wells Tony Iveson Sarah Hare Rosemary Cooke Olivia Wilkinson Chris Jenkins ¶ Chris Harris Penelope Cowman Kate Wilson Dennis Johnson Sally Harvey Polly Corbishley Chris Young John King Jenny Henderson Sue Curragh Richard Lander Dorothy Hunter Gill Deamer Tenor Michael Leach Lynne Jarman Sian Decamp Neill Bonham ¶ Brian Marshall Deborah Jenkins Joan Dovey Simon Bruce Alan Rayfield Eleanor Jolley Robin Duys Ian Bynoe Colin Rendell Marion Jones Anne Easton Horatio Carr-Jones † David Rosser Carolyn Legg Kate Fielder Ben Clay ¶ David Salmon Ruth Lickfold Wendy Gregory Richard Garstang Duncan Shaw Della Luetchford Shelley Gudgin Peter Lawrence William Truscott Jennie Lunnon Faith Guest Martin Lovell Richard Walton Donna-Marie Elizabeth Hand Nigel Lloyd Macpherson Jenny Harrow Barnaby Martin X Sarah May Catherine Hay Bernard North ¶ Committee Louise Palmer Helen Hazlewood Chris Ray X Guest Singer Maureen Pickford Jane James Sarah Villiers † Choral Scholar -

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

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 Marion Robinson [email protected] .

18 Mr Iain and Prebendary Helen Ball Mr Dennis and Mrs Janet Johnson Mr David Bollington Mr Anthony Jonas Mr Peter Bowen Mrs Amanda Karpinski Mr Robert C Brown Mr Anthony Kaye Mr Michael J Cansdale Mrs Susan Kaye Mr Geoff Clarke Mr Richard Lander Miss Beulah J Connolly Mrs Alex Lemanski Mr David Corp Mr Martin Lovell Mr Charles Crawfurd Mrs Nancy McGiveron Mrs Sheila Crease Mrs Suzanne Metters Dr & Mrs A Crossland Mr John Morton Mr Andrew Cruickshank Mrs Judith Oliver Mrs Jennifer Davies Mr Gerald and Mrs Rosemary Parsons Revd Frank Fisher Mr J Parsons Mrs Carolyn Fussell Mr John and Mrs Joy Rattenbury Professor T Gifford Mr Alan Rayfield Mr Walford Gillison Mr Philip Hugh Roberts Mrs Susan J Gould Mr Brian Roberts-Wray Mr Michael Groom Mr David Rosser Mr Nigel Hamilton QC Ms Frances Rowe Mr Keith Hanson Mr Alan Rowntree Mrs Sarah A Hare Mrs Maggie St Quintin Mr & Mrs Harris Ford Mr Christopher R Stonehouse Captain and Mrs Patrick A C Harland Mrs Margaret Sutton Mr Michael and Mrs Catherine Hay Mrs H Teape Mrs Dot Hunter Mr David Williams Mrs Mary I’Anson Mrs Collette Winfield Mr Chris R Jenkins

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