TWICKENHAM5 CHORAL SOCIETY

Motets by J S Bach and Knut Nystedt suites by J S Bach and

Landmark Arts Centre, Teddington Saturday 21 March 2015

FUTURE CONCERTS AND EVENTS

8-12 April, TCS tour to Romania with concerts in Brasov, Bran Castle and Bucharest Saturday 13 June 2015, St Andrew’s Church, Surbiton, 10.30am-5pm Open workshop on choruses from Handel's Israel in Egypt led by Laurence Cummings, Musical Director of the London Handel Festival and Professor of Historical Performance at the Royal Academy of Music Saturday 4 July 2015, All Saints Church, Kingston, 7.30pm HANDEL: Israel in Egypt Brandenburg Baroque Sinfonia Soloists: Mary Bevan, Roderick Morris, Nathan Vale Thursday 10 September 2015, St Martin-in-the-Fields MOZART: Requiem Brandenburg Sinfonia Sunday 11 October 2015, Landmark Arts Centre, Teddington, 7.30pm A concert as part of the Richmond Festival of Music and Drama, celebrating the borough hosting several matches of the Rugby World Cup 2015 VIVALDI: Gloria MOZART: Requiem Brandenburg Sinfonia Saturday 12 December 2015, All Saints Church, Kingston, 7.30pm ROSSINI: Petite Messe Solennelle MENDELSSOHN: Hymn of Praise (in an arrangement by Iain Farrington) Iain Farrington and Freddie Brown, piano and organ

The use of photographic, video or audio recording equipment during the performance is not permitted without the prior approval of the Twickenham Choral Society. However photos taken before or after the performance are welcome, particularly if emailed afterwards to [email protected]

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motets by J S Bach and Knut Nystedt cello suites by J S Bach and Benjamin Britten

JOHANN SEBASTIAN BACH: Der Geist hilft unser schwachheit auf motet for double choir Cello Suite No 1 in G major Furchte dich nicht, ich bin bei dir motet for double choir KNUT NYSTEDT Immortal Bach for five choirs Miserere for 16-part a cappella choir BENJAMIN BRITTEN Cello Suite No 3

KNUT NYSTEDT Stabat Mater for choir and solo cello

Soloist and cello continuo: Adrian Bradbury Conductor: Christopher Herrick

Tonight’s concert pairs seminal works by J S Bach for unaccompanied choir and solo cello with modern imaginings by Knut Nystedt and Benjamin Britten. The Bach pieces are grouped together in the first half of the concert and second half opens with Nystedt’s take on Bach's chorale Komm süßer Tod. Britten was inspired to write his three cello suites for after hearing him perform Bach’s cello suites.

Motets by J S Bach (1685-1750) The motet was one of the pre-eminent polyphonic forms of Renaissance music. It advanced in the new language of the Baroque, particularly in the hands of Lully in France and in Germany, where Schütz developed the motet into a work of multiple movements. By the 18th century, the term ‘motet’ had largely come to signify a composition for chorus with a biblical text in the vernacular and often based on Lutheran chorales with which listeners would have been familiar. Bach wrote just six motets – a very small subset of his overall compositional output – all after his move to Leipzig in 1723 to take up his appointment as Cantor of St Thomas’s Church. As with his Passions and Cantatas Bach’s motets represent the pinnacle of the form and exemplify his capacity to depict words and convey emotion while demonstrating his mastery of contrapuntal writing in differing styles. Unlike his other music for chorus – with arias, recitative and often independent instrumental lines – Bach’s motets are exclusively choral, each in several well-defined sections. Most are for double choir, suggesting that, in each case, Bach had at his disposal additional singers besides his young school cantors. And although the voice parts are always complete in themselves, it is likely that, in accordance with the conventions of Bach’s time, they would have been sung with instrumental doubling. There are occasions when the tenor part goes below the bass part, implying that there must have been a continuo instrument doubling the bass line at the lower octave. Most of Bach’s motets were written as memorials to the recently departed and although there are parts which are meditative, the strongest impression is that they are radiant, brilliant and almost celebratory, seeming to belie anything funereal. However, the Lutheran idea of death was as a welcome release from the pains and difficulties of life’s suffering, representing a new beginning. The 18th-century perspective on death must surely have been affected by the frequency with which it was confronted. Bach himself buried more than ten of his children.

J S BACH: Der Geist hilft unser Schwachheit auf, BWV 226 (1729) Of all Bach’s motets Der Geist hilft is the lightest and most gracious, and the only one that can definitively be assigned to a particular occasion. It was composed, as Bach himself wrote on the manuscript, ‘for the burial of the late professor and rector [Johann Heinrich] Ernesti’ (headmaster of the Thomasschule) in Leipzig in October 1729. It is also the only one for which Bach provided a full orchestral accompaniment given that the funeral service was held in St Paul’s, the University Church of Leipzig, where an orchestra was both available and allowed for a burial service. The motet needed to be composed rapidly and there is evidence that parts of the piece may have been adapted from previous material. The text comes from the longest of the Pauline Epistles, Romans, chapter 8 verses 26-27, plus the third stanza of the chorale Komm, Heiliger Geist, Herre Gott, composed in 1524 by Martin Luther. It is structured in three movements and scored for two four-part choirs although they sing together in movements 2 and 3. The first movement, barcarolle-like in a buoyant 3/8 meter, evokes the gracious ease with which the Spirit stands in for those in grief, ‘with sighs too deep for words.’ Bach exploits the antiphonal possibilities to both dramatic and virtuosic effect with rapid semi-quavers on the word ‘Geist’ [Spirit] that seem intended to surround the listener with the comfort and aid of the Spirit. The next movement, alla breve, is a double fugue in stile antico with the two choirs joined into one. The theme accentuates the off-beats, with stresses placed by Bach in unusual places. The two subjects are first explored in turn, then in combination. The concluding movement is one of Bach’s most ravishing four-part harmonisations of a chorale by Luther that perfectly fits the tone of the motet.

Der Geist hilft unser Schwachheit auf, The Spirit helps us in our weakness; denn wir wissen nicht, was wir beten sollen, for we know not what we should pray, as we ought; wie sichs gebühret; sondern der Geist selbst rather the Spirit himself intercedes on our behalf, vertritt uns aufs beste for the best, mit unaussprechlichem Seufzen. with sighs beyond expression.

Der aber die Herzen forschet, der weiß, Yet he who searches hearts knows was des Geistes Sinn sei; what the Spirit means, denn er vertritt die Heiligen that he intercedes for the saints nach dem, das Gott gefället. according to the will of God.

CHORALE Du heilige Brunst, süßer Trost, You holy ardour, sweet solace, nun hilf uns, fröhlich und getrost help us now joyfully and confidently in deinem Dienst beständig bleiben, to remain constant in your service, die Trübsal uns nicht abtreiben. tribulation not impeding us. O Herr, durch dein Kraft uns bereit O Lord, prepare us by your power und stärk des Fleisches Blödigkeit and bolster the weakness of the flesh daß wir hie ritterlich ringen, that hence we might wrestle like knights durch Tod und Leben zu dir dringen. through death and life, to reach your presence. Halleluja. Hallelujah.

J S Bach: Suite No 1 in G major for cello, BWV 1007 (?1717-1723) 1. Prelude 3. Courante 5. Galanteries: Menuet 1, Menuet 2 2. Allemande 4. Sarabande 6. Gigue J S Bach composed his Six Suites for unaccompanied cello during the period between 1717 and 1723, whilst he was Kapellmeister at the court of Prince Leopold of Anhalt-Cöthen. As the Court Chapel was Calvinist, there was no elaborate music in the liturgy, such as was common in the Lutheran tradition, so Bach devoted much of his time to composing instrumental music. His sonatas and cello suites date from this period, as do his Brandenburg Concertos and his Orchestral Suites. Bach also completed the first book of The Well-Tempered Clavier around this time. Unlike Bach’s solo violin sonatas of 1720, no autographed manuscript of the cello suites survives, only a hand-written score, copied by his second wife, Anna Magdalena. This explains the difficulty assigning dates to the works, although the cello suites are widely held to predate the violin sonatas. The Prelude of Suite No 1 is possibly the most immediately recognisable solo work for the cello. It begins with an arpeggiated figure that makes the most of the natural resonances of the instrument. The harmonies are implied by the notes occurring in one bar, with occasional use of chords at significant cadence points. The Allemande opens with a solid chord, followed by a melodic line in scale form. The Courante is a spirited movement in triple time with alternating phrases of detached quavers and slurred groups of semiquavers. The Sarabande is short and harmonically direct, with the emphasis on the second of the three beats in a bar. The gentle, lilting character of the first Menuet contrasts with the dark mood of the second, in the minor key. The suite concludes with an energetic Gigue in 6/8 time with a duple-time feel.

J S Bach: Fürchte dich nicht, ich bin bei dir, BWV 228 (1726) Text: Isaiah 41: 10 and 43: 1 and a hymn by Paul Gerhardt. Fürchte dich nicht is in two movements for double chorus. The earliest of the motets, it is thought to have been performed at a memorial service in Leipzig in 1726 although no original sources are available and scholars believe some of the material is stylistically closer to earlier work by Bach. The text takes two extracts from the book of Isaiah, as well as two verses from Paul Gerhardt’s chorale Warum sollt ich mich denn grämen which Bach uses in the fugue (also used in the Christmas Oratorio). The text seeks to reassure, although repetitions throughout the piece suggest that the listener may need some convincing. From the start, there is quick interplay between the choruses in block chords often overlapping and alternately taking the lead. The third line of text 'Ich stärke Dich' [I strengthen you] awes rather than comforts with flamboyant solo outbursts surrounded by massive diminished chords from both choruses. Halfway through the work the text changes to Isaiah 43 with a three-part chromatic fugue sung by the combined lower voices of the two choirs. It takes the form of a chorale-prelude with two verses where the chorale is sung by the sopranos. With a strongly chromatic accompaniment, the fragmented chorale seems hard-pressed to maintain its integrity. The piece ends abruptly with just a few bars of the opening material that contrasts with the grandeur of what precedes it. Notes by Adrian Mumford

Fürchte dich nicht, ich bin bei dir; Be not afraid, I am beside you; weiche nicht, denn ich bin dein Gott! waver not, for I am your God! Ich stärke dich, ich helfe dir auch, I will strengthen you, yea, and help you, ich erhalte dich durch die rechte Hand I will uphold you by the right hand of my meiner Gerechtigkeit. righteousness. Fürchte dich nicht, denn ich habe dich erlöset, Be not afraid, for I have redeemed you, ich habe dich bei deinem Namen gerufen, I have called you by your name, du bist mein! you are mine! Chorale in soprano voice Herr, mein Hirt, Brunn aller Freuden, Lord, my shepherd, fount of all joy, du bist mein, ich bin dein, you are mine, I am yours, niemand kann uns scheiden. no one can separate us. Ich bin dein, weil du dein Leben I am yours, for you have given und dein Blut mir zu gut your life and your blood, in den Tod gegeben. in death, for my good. Du bist mein, weil ich dich faße, You are mine, for I will hold to you und dich nicht,O mein Licht, and let you not go, O my light, aus dem Herzen lasse. out of my heart. Laß mich, laß mich hingelangen, Let me, let me be sufficient, da du mich und ich dich when you me, and I you, lieblich werd umfangen. will lovingly embrace. Fürchte dich nicht, du bist mein. Be not afraid, you are mine.

INTERVAL DURING WHICH WINE AND SOFT DRINKS WILL BE AVAILABLE

KNUT NYSTEDT (1915-2014) is one of few Norwegian composers to find recognition abroad. Brought up as a regular church-goer and influenced by church music, he studied with Arild Sandvold in Oslo and with Aaron Copland in the USA, where his choral music is widely performed. He became Norway’s leading organist, choral conductor and composer. Living to almost 100, he collected many significant honours, not least Knight of the Order of St Olav in recognition of his contribution to Norwegian music. Although Nystedt has written in most genres, it is his more than 300 works of sacred choral music that form the bulk of his output. These were often written for his own chamber choir, the Norwegian Soloists’ Choir, which he founded in 1950 and directed for over 40 years. Nystedt mainly set Biblical texts or other sacred writings and, whilst he was often experimental in his tonal language, his musical style was strongly influenced by plainchant and Renaissance polyphony.

IMMORTAL BACH, arr Knut Nystedt (1988) Text: Komm, süßer Tod, author: Anon (1725), Chorale melody: J S Bach (?) BWV 478 (1736) Immortal Bach begins with the first three phrases of a chorale harmonisation by J S Bach. Nystedt then divides the choir into five groups, each of which sings the chorale melody at a different speed. Each phrase begins harmoniously and then becomes more and more distorted before gradually coming back in to focus at the end of the phrase. It is a hauntingly atmospheric piece in which Bach’s music somehow becomes timeless. Notes by Adrian Mumford Komm, süßer Tod, komm, sel’ger Ruh‘! Come sweet death, come blessed repose! Komm, führe mich in Friede. Come, lead me into peace.

Notes taken from the book of Nystedt’s music by Andrew Smith: In Miserere, Op. 140 (1993) for 16-part mixed choir, Nystedt contrasts unison Plainsong-like recitation with diatonic note-clusters. Most of the sections consist of the staggered entry of the parts in close imitation, creating a dynamic and textural crescendo which amplifies the content of the preceding recitation. The Stabat Mater, Op. 111 (1986) for mixed choir and cello convincingly conveys the desolation and hope in the beautiful medieval poem. Nystedt contrasts gentle melodic lines with harsh, dissonant passages, the whole work centring around a dramatic cello solo.

Knut Nystedt: Miserere, Psalm 51 1 Miserere mei Deus, 1 Have mercy upon me, O God, Secundum magnam misericordiam tuam. According to thy loving-kindness. 2 Et secundum multitudinem miserationum 2 And according to the multitude of thy tender tuarum, dele iniquitatem meam. Blot out my transgressions. [mercies, 3 Amplias lava me ab iniquitate mea: 3 Wash me thoroughly from mine iniquity: Et a peccato meo munda meam. And cleanse me from my sin. 4 Quoniam iniquitatem mea ego cognosco: 4 For I acknowledge my transgressions: Et peccatum meum contra me est semper. And my sin is ever before me. 5 Tibi soli peccavi, et malum coram te feci: 5 Against thee only have I sinned, and have done evil Ut justificaris in sermonibus tuis, et vincas in thy sight: That thou mayest be justified when cum judicaris. thou speakest, and be clear when thou judgest. 6 Ecce enim in iniquitatibus conceptus sum: 6 For behold, I was shapen in iniquity: Et in peccatis concepit me mater mea. And in sin did my mother conceive me. 7 Ecce enim veritatem dilexisti: 7 For behold, thou desirest truth in the inward parts: Incerta et occulta sapientiae tuae And in the hidden parts thou shalt make me to manifestasti mihi. know wisdom. 8 Asperges me hyssopo, et mundabor: 8 Purge me with hyssop, and I shall be clean: Lavabis me et super nivem dealbabor. Wash me, and I shall be whiter than snow. 9 Auditui meo dabis gaudium et laetitiam: 9 Make me to hear joy and gladness: [rejoice. Exultabunt ossa humiliata. That the bones which thou hast broken may 10 Averte faciem tuam a peccatis meis: 10 Hide thy face from my sins: Et omnes iniquitates meas dele. And blot out all mine iniquities. 11 Cor mundum crea in me, Deus: 11 Create in me a clean heart, O God: Et spiritum rectum innova in visceribus meis. And renew a right spirit within me. 12 Ne projicias me a facie tua: 12 Cast me not away from thy presence: Et spiritum sanctum tuum ne auferas a me. And take not thy holy spirit from me. 13 Redde mihi laetitiam salutaris tui: 13 Restore unto me the joy of thy salvation: Et spiritu principali confirma me. And uphold me with a willing spirit. 14 Docebo iniquos vias tuas: 14 Then will I teach transgressors thy ways: Et impii ad te convertentur. And sinners shall be converted unto thee. 15 Libera me de sanguinibus, Deus, Deus salutis 15 Deliver me from blood-guiltiness, O God, Excultabit lingua mea justitiam tuam. [meae: thou God of my salvation: And my tongue shall sing aloud of thy righteousness. 16 Domine, labia aperies: 16 O Lord, open thou my lips: Et os meum annuntiabit laudem tuam. And my mouth shall show forth thy praise. 17 Quoniam si voluisses sacrificium dedissem 17 For thou delightest not in sacrifice, else would utique: Holocaustis non delectaberis. I give it: Thou hast no pleasure in burnt offerings. 18 Sacrificium Deo spiritus contribulatus: 18 The sacrifices of God are a broken spirit: Cor contritum et humiliatum Deus non A broken and a contrite heart, O God, thou wilt despicies. not despise. 19 Benigne fac, Domine, in bona voluntate tua 19 Do good in thy good pleasure unto Zion; Sion: Ut aedificentus muri Jerusalem. Build thou the walls of Jerusalem. 20 Tunc acceptabis sacrificium justitiae 20 Then shalt thou delight in the sacrifices of oblationes et holocausta: righteousness, oblations and whole burnt offerings: Tunc imponent super altare tuum vitulos. Then shall they offer calves upon thine altar. Miserere mei, Deus, Have mercy upon me, O God, Secundum magnam misericordiam tuam. According to thy loving-kindness.

Benjamin Britten: Cello Suite No 3, Op 87 (1971) Dedication: for Slava 1. Introduzione: Lento 4. Barcarolla: Lento 7. Recitativo: Fantastico 2. Marcia: Allegro 5. Dialogo: Allegretto 8. Moto perpetuo: Presto 3. Canto: Con moto 6. Fuga: Andante espressivo 9. : Lento solenne Benjamin Britten composed his three cello suites for Mstislav Rostropovich over the period 1964-1971. The original inspiration had been hearing him perform Bach’s suites for unaccompanied cello. While Britten had modelled his First Cello Suite quite closely on the six-movement structure of the suites of Bach (interspersed with four restatements of a Canto), the third cello suite was based on three Russian folk songs, Under the apple tree, Autumn and The grey eagle, taken from a collection arranged by Tchaikovsky. The concluding Passacaglia had as its theme the Orthodox Kontakion, or Prayer for the Departed (With the Saints you will find peace). Britten delivered the manuscript of the Third Cello Suite to Rostropovich in 1971, but it was neither published nor performed until 1974, when Rostropovich was at liberty to travel to Britain. Having offended the Soviet authorities by speaking in defence of the dissident author Aleksandr Solzhenitsyn, Rostropovich was prevented from leaving Russia for three years. The third suite is intense, both in the intellectual and emotional sense. There is an air of distraction in the opening bars of the Introduzione, then fragments of Russian folk melody, and variations upon them, begin to break through the texture. The Marcia references the “anapest” rhythm used by Shostakovich in his symphonies, a homage to the Russian composer long admired by Britten and who had first introduced him to Rostropovich. The beginning of the Barcarolla appears to quote directly from the Prelude of Bach’s first cello suite, the performance by Rostropovich that had made such an impact on Britten. The Fuga seems to portray Rostropovich’s character and articulate the musical understanding that had grown up between the two men. With the economy of expression that characterises Britten’s late works, the suite progresses inexorably towards the spare and deeply moving statement of the three folk songs in turn at the end of the Passacaglia, culminating in a passionate and beautiful rendition of the hymn tune that subsides finally into silence. Rostropovich counted himself Russian Orthodox, so he would have found the Passacaglia a particularly poignant tribute from his friend. Such was the emotion and significance contained within the music that Rostropovich said he could not play the suite without weeping, and felt unable to play it at all after Britten’s death in 1976.

Knut Nystedt: Stabat Mater, Op 111 (1986) for mixed choir and cello 1 Stabat mater dolorosa 1 The mother stood sorrowing Juxta crucem lacrymosa by the cross, weeping Dum pendebat Filius. while her Son hung there; 2 Cujus animam gementem 2 Whose soul, lamenting, Contristatam et dolentem sorrowing and grieving, Pertransivit gladius. had been pierced by the sword. 3 O quam tristis et afflicta 3 O how sad and afflicted Fuit illa benedicta was that blessed Mater unigeniti. Mother of her only-begotten Son. 4 Quae moerebat et dolebat 4 The pious mother who wept Pia Mater, dum videbat and grieved to behold Nati poenas inclyti. the torment of her glorious child. 5 Quis est homo, qui non fleret 5 What man would not weep Matrem Christi si videret if he saw the Mother of Christ In tanto supplicio? in such torment? 6 Quis non posset contristari 6 Who could not be sorrowful Christi Matrem contemplari to behold the Mother of Christ Dolentem cum Filio? grieving with her Son? 7 Pro peccatis suae gentis 7 For the sins of His people Videt Jesum in tormentis she saw Jesus in torment Et flagellis subditum. and subjected to the whip.

8 Vidit suum dulcem natum 8 She saw her sweet Son Moriendo desolatum, dying, forsaken, Dum emisit spiritum. as He gave up the spirit. 9 Eja Mater fons amoris! 9 Ah Mother, fount of love! Me sentire vim doloris Let me feel the force of grief, Fac, ut tecum lugeam. that I may grieve with you. 10 Fac, ut ardeat cor meam, 10 Make my heart burn In amando Christum Deum with the love of Christ, the God, Ut sibi complaceam. that I may be pleasing to Him. 11 Sancta Mater istud agas 11 Holy Mother, bring this to pass, transfix Crucifixi fige plagas the wounds of Him who is crucified Cordi meo valide. firmly onto my heart. 12 Tui nati vulnerati 12 Of your wounded Son, Tam dignati pro me pati who deigns to suffer for my sake, Poenas mecum divide. let me share the pains. 13 Fac me tecum pie flere 13 Make me truly weep with you, Crucifixo condolere grieving with Him who is crucified Donec ego vixero. so that I may live. 14 Juxta crucem tecum stare 14 To stand by the cross with you, Te me tibi sociare to be joined with you In planctu desidero. in lamentation, I desire. 15 Virgo, virginum praeclara 15 Virgin, of virgins resplendent, Mihi jam non sis amara do not now be harsh towards me: Fac me tecum plangere. let me weep with you. 16 Fac, ut portem Christi mortem 16 Let me carry Christ's death, Passionis fac consortem the destiny of his passion, Et plagas recolere. and meditate upon his wounds. 17 Fac me plagis vulnerari 17 Let me suffer the wounds Fac me cruce inebriari of that cross, steeped Et cruore Filio. in the love of your Son. 18 Inflammatus et accensus 18 Fired and excited Per te, Virgo, sim defensus by you, O Virgin, let me be defended In die judicii. on the day of judgement. 19 Christe, cum sit hinc exire, 19 O Christ, when I must depart from this world, Da per Matrem me venire Grant, through Your Mother, Ad palmam victoriae. That I may attain the palm of victory 20 Quando corpus morietur 20 When my body dies, Fac ut animae donetur let my soul be given Paradisi gloria. Amen. the glory of paradise. Amen.

CHRISTOPHER HERRICK has been the Conductor of Twickenham Choral Society since 1974 He began his Gerontius, Britten’s career , while an Walton’s Belshazzah’s at Oxford, directing the Feast and Janáček’s Exonian Singers and Glagolitic Mass. Orchestra, and Christopher has subsequently won a successfully combined Boult Scholarship to his work as a the Royal College of conductor with his life Music to study under as a busy international Sir . concert organist. During his many years This aspect of his with TCS he has been career was fully ambitious for their launched during his development, working ten years as an with them to perform organist at a huge range of , repertoire from when he gave over two Renaissance music to hundred solo recitals up-to-the-minute in the Abbey itself and commissioned works played for countless alongside top-class important occasions, instrumentalists and including the funeral vocal soloists. services of Herbert Many of Christopher Howells and William

Herrick’s conducting Walton. appearances have been in top London venues He also played at Walton's 80th birthday concert such as the Royal Albert Hall (including Verdi’s in Westminster Abbey when his complete church Requiem with 500 singers), Westminster Abbey music repertoire was performed with Simon (Berlioz’s Te Deum, Bach’s St Matthew Passion and Preston conducting the Abbey Choir in the Handel’s Messiah), Westminster Cathedral composer’s presence. (Monteverdi’s Vespers), The Barbican Hall Since 1984, to complement his solo organ concerts (Mendelssohn’s Elijah), Wigmore Hall (Handel’s and concertos worldwide, he has recorded over Messiah), St John’s Smith Square (Haydn’s forty CDs for , including Bach's Harmoniemesse and Mahler’s Veni Creator complete organ works recorded over a ten-year Spiritus) and the Queen Elizabeth Hall – twenty period on Metzler organs in Switzerland, fourteen concerts covering the whole gamut of the choral Organ Fireworks and four Organ Dreams discs, as repertoire. well as recordings on period instruments of the He has directed a number of concerts with TCS in works of Daquin, Sweelinck and a complete St Martin-in-the-Fields, including the first London Buxtehude series. performances of Iain Farrington's The Burning His latest CD, Power of Life, recorded on the Heavens and An Old Belief. Also, in Guildford Metzler organ at Poblet Monastery in Catalonia, Cathedral, he has conducted Elgar’s Dream of will be issued by Hyperion in June. ADRIAN BRADBURY began playing the cello South Bank and Carnegie Hall. He has also taken at the age of seven. He progressed to become a part in major festivals (Cheltenham, Aldeburgh, principal player in the National Youth Orchestra City of London, Spitalfields, Huddersfield, of Great Britain. Orkney, Nuremberg, Turku and Aarhus) and the BBC Proms After studying Veterinary Chamber Music Season. He Science and Music at Churchill has recorded on CD with the College, Cambridge (where he is aforementioned groups now Artistic By-Fellow) he won gaining ‘Editor’s Choice’ in a scholarship to the Royal Gramophone, and ‘CD of the Academy of Music and later Month’ in the Daily Telegraph. continued his studies in Berlin with Berlin Philharmonic solo- Adrian has performed cellist Goetz Teutsch. concertos in seven European countries, and is in demand as He makes regular chamber guest principal with orchestras music broadcasts on BBC Radio such as the London with the Composers Ensemble, and the Royal Philharmonic. (winners of the 2002 Royal Philharmonic Society Chamber Adrian is regularly invited to be Cello Tutor for the National Music Award), London Sinfonietta, Jane’s Minstrels, Youth Orchestra of Great Chamber Domaine, Endymion, Trio Gamelli, Britain, and to teach and examine cello students Scottish Ensemble and Touchwood Piano at the Royal Academy of Music, London, where Quartet. Adrian has made numerous concert he is also an Honorary Research Fellow. appearances at the Wigmore Hall, London’s He has collaborated with neuroscientist Professor Alan Wing in conservatoire-based research into string playing, published by the Royal Society.

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TWICKENHAM CHORAL SOCIETY

Chris Britton, Chairman Sarah Herrick, Box Office Manager Monica Darnbrough, Secretary Rosemary Fulljames, Music Librarian Tim Lidbetter, Treasurer Ruth Parker, Publicity Officer Barbara Orr, Membership Secretary Jan Gow, Social Secretary Ian Williamson, Concert Manager Freddie Brown, Assistant Conductor

Twickenham Choral Society (TCS) is a friendly thriving choir of over a hundred voices, drawing singers of a good standard from a wide area of West London. Programmes are chosen to provide the opportunity to sing great works from the choral repertoire as well as to explore less familiar music, from the Renaissance period up to the present day. Members are regularly canvassed for ideas and preferences. The choir always works with excellent professional soloists and orchestras, aiming to produce the highest quality performance. The partnership of TCS with Brandenburg Sinfonia, Brandenburg Baroque Soloists and Brandenburg Classical Players has for some years been a much-valued relationship. Concerts are staged at least three times a year, usually in local West London venues but sometimes in Central London or further afield in Britain, such as Lichfield, Ely and Guildford Cathedrals. The choir has toured in France, the Czech Republic, Hungary, Spain, Croatia, Mallorca, Germany and Belgium. TCS will take tonight’s programme on tour to Romania in April. Recent concerts have included the first performance of Mahler’s Veni Creator Spiritus (the first movement of his 8th symphony) arranged by Iain Farrington for usual-sized choir and orchestra with four soloists, Bach’s St Matthew Passion, Lauridsen’s Madrigali, and a WW1 remembrance concert in which the choir performed Scarlatti’s Stabat Mater and The Burning Heavens by Iain Farrington.

For more information about Twickenham Choral Society visit our website: www.twickenhamchoral.org.uk or find us on Facebook soprano: Judy Britton, Carol Caporn, Sarah Cheshire, Kathryn Doley, Annette Duffy, Catherine Gash, Jane Hansell, Victoria Herrera-Nurse, Sarah Herrick, Jessica Horscroft, Vivien Jordan, Christabel King, Nancy Lee, Katrina Lidbetter, Margaret Lord, Isabel Newton, Ruth Parker, Fiona Rowett, Dinah Shoults, Mary Somerville, Adrienne Tallents, Sarah Taylor, Becky Thurtell, Mariann Tischner, Emily Toon, Harriet van der Vliet, Nancy Vickers, Bessie White, Nicola Whiteside, Dorothea Willerding, Alison Williams, Candy Williamson, Elizabeth Woodgyer, Gill Zettle alto: Carol Almand, Catherine Almond, Gillian Beauchamp, Francesca Burbidge, Debbie Chawner, Lisa Colclough, Barbara Cook, Julia Coomes, Helen Coulson, Maggie Crisell, Anna Cunnyngham, Monica Darnbrough, Fiona de Quidt, Mary Egan, Rosemary Fulljames, Margaret Garnham, Jan Gow, Ann Gray, Julie Hall, Margaret Hamilton, Erica Hamnett, Evelyn Houseman, Susan Jacobs, Emma Jay, Emily King, Catharine Larcombe, Sarah Martin, Catherine McManus, Deborah Meyer, Jane Newman, Barbara Orr, Rachel Pickering, Lina Rodriguez-Otero, Anne Rowett, Penelope Skinner, Anne Stephens, Elaine Thawley, Jo Underdown, Lindsey Waine, Felicity Williams tenor: Tony Alderton, David Amos, Chris Britton, John Dewhurst, Colin Flood, Michael Gilbert, Andy Godfrey, Clive Hall, Bill Hartree, Martin Killick, Simon Lambourn, John Mullinar, Kit Peck, David Underdown, Chris Waine bass: Robert Bell, Chris Bennett, Tony Caporn, Brian Elliott, Christopher Flook, Paul Hehir, Adrian Hunter, Tim Lidbetter, Keith Long, Richard Metcalfe, Peter Midgley, Adrian Mumford, Pip Rowett, John Saunders, John Tatam, Bob Vickers, David Wallis, Richard Welton, Ian Williamson

A Catholic school warmly welcoming girls of all faiths, age 3 – 18 Visits to Prep and Senior Departments on alternate Wednesdays. Please call us on 020 3261 0139 Email: [email protected] www.stcatherineschool.co.uk

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visit the choir web-site at or Christopher Herrick’s web-site www.twickenhamchoral.org.uk at www.christopherherrick.org

Programme design by Diana Wilson

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