A Celebration of Bach Thursday 27 August And available for 30 days after viewing
St Martin's Voices Gabriella Noble Director Zeb Soanes Presenter Ben Giddens Organ Adrian Bradbury Cello
St Martin-in-the-Fields, Trafalgar Square London WC2N 4JJ Tel: 020 7766 1100 Online: www.smitf.org St Martin's Summer Online Festival 2020
St Martin’s is delighted to present St Martin’s Summer Online Festival. Our first concert series since March explores the musical heritage of St Martin’s and features a fresh look at our most-beloved repertoire. Although audiences will need to watch from home for now, all the concerts are recorded in St Martin’s and introduced by much loved BBC Radio 4 presenter and author Zeb Soanes. The performances are broadcast on Thursday evenings at 7.30pm, and available to watch for 30 days afterwards.
Tonight's programme includes of some of Bach’s most beautiful and virtuosic choral motets on themes of religious longing, comfort and praise, intertwined with the haunting for Cello Suite No 4 and the celebrated Suite for Cello No 1.
Please do keep an eye our final concert in our Summer Online Festival – The Glories of Venice (Thursday 3 September) – tickets are available through the St Martin’s website.
As the impact of COVID-19 takes hold, we need people like you to keep helping us and the musicians we work with. Each concert in our festival costs around £2,000 to produce. If you are able to make a donation, please visit www.smitf.org/give.
Thank you for helping to keep our doors open this year.
Dr Andrew Earis Director of Music PROGRAMME
Lobet den Herrn, alle Heiden – J.S. Bach (1685-1750)
Suite for Cello No 1 in G – J.S. Bach i. Prelude ii. Allemande iii. Courante iv. Sarabande v. Minuet I vi. Minuet II vii. Gigue
Komm, Jesu, komm – J.S. Bach
Suite for Cello No 4 in E flat – J.S. Bach i. Prelude ii. Allemande iii. Courante iv. Sarabande v. Bourrée vi. Gigue
Der Geist hilft unser Schwachheit auf – J.S. Bach PROGRAMME NOTES by Charlotte Marino
Johann Sebastian Bach was born into a large family of established musicians in Eisenach, Germany, in March 1685. His father and uncles were all professional musicians with formidable reputations and the young Johann Sebastian had ample opportunities to learn the family trade, studying music theory, violin and keyboard instruments with his father and older brothers. This seemingly idyllic musical upbringing, however, took a painful turn when Bach was nine years old and his parents both died within nine months of each other. Fortunately, the orphaned Bach was adopted by his uncle Johann Christoph, who oversaw his continuing development as a chorister, organist and – eventually – composer.
From the age of 18, Bach was engaged in a number of official positions as a church and court musician in the towns Arnstadt, Weimar and Anhalt-Cöthen, where he became experienced with the fashionable styles across both sacred and secular music. In May 1723, Bach moved to Leipzig to take up the prestigious role which he would occupy for the remaining 27 years of his life: Director of Choir and Music at St Thomas’ in Leipzig. It was here that he achieved his masterworks of sacred vocal music, including the majority of his 200+ cantatas, the St John Passion (1724), St Matthew Passion (1736-42) and Mass in B minor (1749).
Lobet den Herrn, alle Heiden J.S. Bach While Cantor at St Thomas’s Church in Leipzig, Bach wrote an array of vocal motet’s, largely as accompaniment to memorials of the recently departed. Many have a sombre quality, but others are more radiant and almost celebratory, perhaps indicating towards the era’s ideals that death released us from life’s sufferings. We wonder whether this perspective came from the frequency in which people of the 18th century faced death; Bach himself buried over ten of his children, so it is no surprise that his music is full of such contrasting emotions of passion and complexity, and high intensity followed by lighter honouring and praise of the Lord.
One of the most vibrant and fanfare-like of the motets is Lobet den Herrn, alle Heiden, each line of which is treated in a unique and colourful way. The text is taken from the more celebratory language of psalm 117, rather than usual mournful tones of burial music, and is a wonderful demonstration of impressive fugue writing and infectious counterpoint. Listen out for the opening which is trumpeted out in fiendish vocal movement, starting with the sopranos and working its way down to the basses.
Suite for Cello No 1 in G J.S. Bach Bach wrote six cello suites based around Baroque dance types and all six are widely considered to be some of his greatest musical achievements. The technical demands within the suites are fiendish, requiring a breathtaking amount of artistic depth and interpretation to perform, with some of the most emotionally intense passages composed within Baroque repertoire. It demands years – if not a lifetime – to master. One man who did just that was 13-year-old Catalan cello student, Pablo Casals, who discovered a printed copy of the suites at a second-hand bookseller in Barcelona in 1890. Up to this point, the suites were dismissed simply as study pieces for the instrument, but after dedicating nearly fifty years to the practice and performance of the works, Casals finally recorded them and ensured they were established firmly in the repertoire of masterworks.
Suite for Cello No 1 in G is possibly the most recognisable of the collection. For the listeners, Bach offers a spectacle of the widest range of complex playing techniques, composing the music in the key of G so that the lowest two strings release the most amount of natural resonance when bowed. The result is a rocking, undulating pattern of open harmony that feels powerful and pure toned. There is no accompaniment, so this resonance is important - the split chords have been so cleverly composed that our brains are presented with single notes, but are able to sense and construct far more colour around just the one monophonic line.
Komm, Jesu, komm J.S. Bach Although the form of ‘motet’ was starting to be considered outdated at the time when Bach was composing, these choral works became the only vocal pieces which remained in repertoire between Bach’s death in 1750 and the Bach Revival of the 19th century. We are unsure as to the exact number of motets that Bach wrote, because scripts have been lost, but we know it is an awful lot. As well as Church music, some scholars believe Bach wrote a selection of his motets with a pedagogical use, for the benefit of his younger sisters whom he taught theory and voice.
Komm, Jesu, komm, is an example of Bach’s more funereal style of motet writing, as opposed to the joyous alternative. Filled with gorgeous suspensions, the effect of his writing is hypnotic to the listener. Bach intricately weaves between two choirs and colours the repeated text with dramatic intervals and melismatic semi-quaver passages. A striking set of text ends the first stanza – "I am the way, the truth and the life" – with most of the motet being devoted to these words. The second stanza is set as a simple chorale which finishes the motet in calm contemplation.
Suite for Cello No 4 in E flat J.S. Bach During the period in which Bach composed his cello suites (1717-1723), the composer had a virtuoso chamber ensemble at his disposal for the only period in his life, hence a lot of his instrumental works — including the Brandenburg concertos, the partitas and sonatas for violin and almost certainly the cello suites — date from these years. Sadly, the original manuscripts of his cello works never survived, so musicians work from a copy made by Bach’s wife, Anna Magdalena. There is speculation as to whether Anna Magedalena contributed to the composition of the series of suites, alongside many other questions around the interpretation of articulation, bowings and dynamics, whether Bach wrote an accompaniment to the single line, and even which instrument he originally scored for. The cello suite journey increases in its virtuosity and development of imagination. The Suite No 4 in E flat is thought-provoking and philosophical, but manages to avoid venturing towards a melancholic tone. In the first three suites, the cellist frequently plays open strings, giving an open resonance and allowing the extremes of register to sound freely. But in the Suite in E flat, the sound is far more strained and yearning. The work champions the warm, deep and wooden sonority of the cello, and somehow embraces a world of stimulation within relative simplicity.
Der Geist hilft unser Schwachheit auf J.S. Bach We end with a final motet and one of Bach’s most ravishing harmonisations – the lightest, most radiant and most gracious of all of his motet compositions, Der Geist hilft Unser Schwachheit auf. Full of vivacity and joy, the theme of mourning is not focused on, instead the text spins around the Spirit and salvation, with Bach’s signature melismas and melodic ‘sighs’ comforting the listener of their faith in Jesus Christ. Bach’s colourful writing is the truest form of musical word painting and his compositional complexity is as thrilling to sing as it is to listen to. In the final fugue, Bach reduces the double choir back to a single collective, and brings the piece to a close with a feeling of calmness, resolution and grounding for the listener.
TEXTS & TRANSLATIONS
Lobet den Herrn, alle Heiden
Lobet den Herrn, alle Heiden, Praise the Lord, all ye nations: und preiset ihn, alle Völker! praise him, all ye people. Denn seine Gnade und Wahrheit For his merciful kindness and truth waltet über uns in Ewigkeit. endureth for ever. Alleluja. Alleluia.
(Psalm 117)
Komm, Jesu, komm
Komm, Jesu, komm, Come, Jesus, come, Mein Leib ist müde, My body is weary, Die Kraft verschwindt je mehr und mehr, My strength fails me more and more, Ich sehne mich I am longing Nach deinem Friede; For your peace; Der saure Weg wird mir zu schwer! The bitter way is becoming too difficult for me! Komm, ich will mich dir ergeben; Come, I shall give myself to you; Du bist der rechte Weg, You are the right way, die Wahrheit und das Leben. the truth and the life. Drum schließ ich mich in deine Hände Therefore I put myself in your hands Und sage, Welt, zu guter Nacht! And bid goodnight to the world! Eilt gleich mein Lebenslauf zu Ende, If my life’s course hastens onto the end, Ist doch der Geist wohl angebracht. My soul is then well-prepared. Er soll bei seinem Schöpfer schweben, It will rise up to be with its creator, Weil Jesus ist und bleibt For Jesus is and remains Der wahre Weg zum Leben. The true way to life.
(John 14.6)
Der Geist hilft unser Schwachheit auf
Der Geist hilft unser Schwachheit auf, The Spirit helpeth our infirmities, denn wirwissen nicht, was wir beten sollen, for we know not what we should pray for wie sich’s gebühret; as we ought sondern der Geist selbst vertritt uns but the Spirit itself maketh intercession for us aufs beste mit unaussprechlichem Seufzen. with groanings that cannot be uttered.
Der aber die Herzen forschet, But he that searcheth the hearts der weiß, was des Geistes Sinn sei; knoweth what is the mind of the Spirit, denn er vertritt die Heiligen nach dem, because he maketh intercession for the saints das Gott gefället. according to the will of God.
Du heilige Brunst, süßer Trost O heavenly ardour, sweet comfort, nun hilf uns, fröhlich und getrost help us now with joy and confidence in deinem Dienst beständig bleiben, to remain steadfast in thy service, die Trübsal uns nicht abtreiben. and not to be deflected by affliction. O Herr, durch dein Kraft uns bereit O Lord, prepare us by Thy might und stärk des Fleisches Blödigkeit, and strengthen the feeble flesh dass wir hie ritterlich ringen, that we may strive valiantly here durch Tod und Leben zu dir dringen. to attain to Thee through death and life. Halleluja, halleluja. Alleluia, Alleluia!
(Romans 8: 26-27) Translation (Martin Luther (1483-1546)) Richard Stokes © 1999 PERFORMERS
St Martin's Voices Adrian Bradbury Cello Ben Giddens Organ Gabriella Noble Director Zeb Soanes Presenter
St Martin's Voices Soprano Isabella Gibber & Rachel Haworth Alto Sophie Overin & Lydia Ward Tenor James Botcher & Sam Leggett Bass George Cook & Adam Jarman
St Martin’s Voices is an exciting and dynamic professional vocal ensemble, primarily made up of talented past and present choral scholars who come together to sing concerts and special events at St Martin-in-the-Fields and beyond. Recent performances have included Mozart Requiem and Vaughan Williams Serenade to Music with the Academy of St Martin in the Fields, and Beethoven Mass in C with Southbank Sinfonia. St Martin’s Voices regularly broadcast on the BBC, including Radio 3 Choral Evensong and BBC Radio 4 Sunday Worship and Daily Service. They also make regular national and international tours, including recent performances at Greenbelt Festival and visits to the USA – Minneapolis, Washington DC, New York – and Johannesburg, South Africa. This evening’s concert is given by this year’s group of St Martin’s Voices Fellows. The Fellowship scheme provides an opportunity for eight outstanding singers to enjoy an intensive, focused period of training and is an integral part of the exciting choral music programme at St Martin-in-the-Fields.
We are grateful to the many supporters of the St Martin’s music scholarship programmes. Adrian Bradbury was principal cello in the National Youth Orchestra of Great Britain before winning scholarships to Churchill College, Cambridge (where he read Veterinary Science and Music) and then to the Royal Academy of Music. After further study in Berlin he developed an international career in chamber music as the cellist in Composers Ensemble (winners of the Royal Philharmonic Society Chamber Award, 2002), Jane’s Minstrels, Trio Gemelli, Touchwood Piano Quartet and Chamber Domaine, giving world premieres of solos, duos, trios and quartets by Thomas Adès, Judith Bingham, Tansy Davies, Dai Fujikura, Hugh Wood and John Woolrich.
Adrian is a regular guest principal player with orchestras including London Sinfonietta, Royal Philharmonic Orchestra, BBC Scottish Symphony Orchestra, Ulster Orchestra, Bournemouth Symphony Orchestra, English National Opera and Welsh National Opera and is Cello Tutor for the National Youth Orchestra of GB.
His research into ensemble synchronisation, in collaboration with Professor Alan Wing, was published by the Royal Society and led to invitations to curate the ‘Music and Brain’ series at the 2010 Aldeburgh Festival and to appear as speaker on BBC Radio 4’s ‘PM’ and ‘Today’ programmes and as soloist on BBC Radio 3’s 2015 ‘Why Music?’ weekend.
Together with pianist Oliver Davies, Adrian has recently recorded the complete operatic fantasies of the 19thcentury cello virtuoso Alfredo Piatti on the Meridian label, a 2 CD project scheduled for release on 1 July 2020.
Ben Giddens is currently Associate Organist at St Martin-in-the- Fields, London. His duties involve accompanying the various choirs and performing at services, concerts and broadcasts. Ben combines this with a portfolio of freelance work of teaching and performing in London and Berkshire. Between 2015-2017, Ben held the post of Director of Music at Queen Anne’s School, Caversham.
Between 2014-2015 Ben held the post of Organist at St Bartholomew the Great, London. Whilst at St Bart's, Ben had the opportunity to work closely with Nigel Short and the professional choir.
From 2009-2012 Ben held the post of Sub-Organist at Magdalen College, Oxford where he featured on recordings and toured to Belgium and the Netherlands with the Chapel Choir. Prior to this Ben held the position of Acting Assistant Organist at St. George’s Chapel, Windsor Castle, where he performed live on BBC Radio 3 and performed at many Royal occasions.
In 2008 Ben graduated from the University of East Anglia with a first class honours degree in Music. Whilst studying for his degree, he held the organ scholarship at Norwich Cathedral. Here his notable performances included recording for ITV with the Cathedral Choirs and touring to Malta (2005) and the USA (2006). Ben currently maintains an active schedule of freelance performing and holds the post of accompanist at the University of Reading as well as deputising regularly at The Tower of London, St Bride’s Fleet Street, St James', Sussex Gardens and St Paul’s Knightsbridge.
Gabriella Noble is a conductor and singer based in London. In 2017 she graduated with a First Class degree in Music from Oxford University, where she conducted Oxford University Chorus and held a conducting scholarship with Schola Cantorum of Oxford. She went on to study solo voice ensemble singing under Robert Hollingworth at York University, where she conducted new music with the Chimera Ensemble.
As a Fellow of the National Youth Choir, Gabriella enjoys leading workshops with young musicians and taking part in outreach work. She is a founding member of Judith Collective, a group seeking to give early music a contemporary impact through concerts, productions, and collaborations that have an interdisciplinary focus. The group will be hosting a new festival in 2020. Their flagship project is a staging of Elisabeth Jacquet de la Guerre’s cantata Judith, for soprano, violin, viola da gamba and harpsichord.
Gabriella conducts the Kingston Singers and Port Meadow Sinfonia, an amateur orchestra she co-created for musicians who have chosen to work in other fields.
Zeb Soanes is a trusted newsreader and reassuring voice of the Shipping Forecast to millions of listeners on BBC Radio 4. He is a regular on The News Quiz, has reported for From Our Own Correspondent, presented BBC Radio 3’s Saturday Classics and read for Poetry Please. Sunday Times readers voted him their favourite male voice on UK radio. On television he launched BBC Four, where he presented the BBC Proms.
He studied Creative Writing and Drama at UEA and has written for The Observer, Country Life and The Literary Review. His best-selling first book for children, Gaspard the Fox, illustrated by James Mayhew began a series of stories based on a real urban fox that visited him at home in London.
He trained as an actor and has earned a reputation as ‘the go-to person for music narration’ (Daily Telegraph) performing favourite orchestral works for children including Peter and the Wolf, Babar the Elephant and Paddington; his third book in the Gaspard series, Gaspard’s Foxtrot, has been adapted as a major new concert work by Jonathan Dove and will be touring the UK in 2021.
In recognition of his efforts to culturally rehabilitate the urban fox he was made the first patron of the Mammal Society. Our thanks to supporters of the St Martin-in-the-Fields Trust, who have funded the St Martin’s Summer Online Festival.
As the impact of COVID-19 takes hold, we need people like you to keep supporting us and helping the musicians we work with. Each concert in our festival costs around £2,000 to produce. To help us keep playing on, please consider making a donation today.
Join us for our final concert of St Matin's Summer Online Festival.
The Glories of Venice Thursday 3 September
A portrait of Venice in the Baroque period, with a performance of Vivaldi’s Gloria sung by an all-female vocal ensemble, just as in Vivaldi’s first performance at the Ospedale della Pietà. The concert also features one of the many solo vocal introductions he composed for the work, as well as madrigals by Barbara Strozzi, one of the most illustrious singers and composers of her time.
Or catch up on our previous concert:
A London Sketchbook Thursday 20 August
We opened our summer online festival with this journey through the heart of musical London, including pieces performed in and around the church in the 17th and 18th centuries. Featuring well-known movements from Purcell’s Abdelazer and Handel’s Water Music, alongside part of Mozart’s London Sketchbook composed during his childhood London residency together with music by Joseph Boulogne, Chevalier de Saint-Georges, an extraordinary composer, violinist and conductor born in 1745 in Guadeloupe.
Tickets are available for £10 per concert. Each concert will be available for 30 days after the initial broadcast, and can be viewed as many times as you wish.
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