GOTHIC SPLENDOUR! The Winkleigh Singers directed by Roland Smith with Mark Hounsell - tenor Jonathan Wagstaff - bass Steven Martin - organ Saturday 27th March 2010 St Michael and All Angels Church, Torrington PROGRAMME Glorious and powerful God Charles V Stanford (1852 -1924) O Thou the Central Orb Charles Wood (1866-1926) From the rising of the sun Frederick A G Ouseley (1825-1889) Ave verum Edward Elgar (1857-1934) God is a Spririt William Sterndale Bennett (1816-1875) O Saviour of the World John Goss (1800-1880) Round me falls the night melody by Adam Drese (1620-1701) harmonies: S S Wesley (1810-1876) Henry G Ley (1887-1962) J S Bach (1685-1750) My soul, there is a country Hubert Parry (1848-1918) Magnificat in Bb Charles V Stanford (1852 -1924) INTERVAL (approximately 15 minutes) The Crucifixion (1840-1901) words selected and written by the Reverend J. Sparrow-Simpson MA Mark Hounsell Mark was born in Northampton and received his early musical education as a chorister at All Saints, the parish church of Northampton. He was the first chorister to be awarded a music scholarship to St. Peters Independent school. At the age of 14 Mark’s voice broke and immediately started to sing Tenor. Following his gap year as a choral scholar in Truro Cathedral, he moved to be a Vicar Choral at Lichfield Cathedral while studying at Birmingham Conservatoire with Julian Pike. Mark then moved to St. Albans to be a . In September of this year he was appointed a Vicar Choral at Wells Cathedral. As well as singing with lots of Cathedral choirs, Mark has enjoyed singing with ensembles including Ex Cathedra and The Joyful Company of Singers, and is lucky enough to have sung on 10 CD recordings, toured across Europe and America and sung solos on both Radio 3 and 4. Recent engagements have included Mozart Requiem, Bach Magnificats (J.S. and C.P.E.), Handel & Dixit Dominus, Haydn Creation & Nelson Mass, Jepthe in Carissimi’s work of the same title, Acis in Acis and Galatea (Handel) and Aeneas in Dido and Aeneas (Purcell). When Mark isn’t singing he spends his time as a dispensing optician. His hobbies include most sports, cooking and walking and is looking forward to pursuing these hobbies in his new life in the West country.

Jonathan Wagstaff is a 26-year-old baritone. He grew up in Kent where he sang with the National Youth Choir before moving on to the Queen's College, Oxford to study for an a BA and MSt in Musicology and to sing as a lay clerk with the College Choir. He has sung as soloist on a number of recordings and broadcasts, including a 2007 performance on BBC Radio 3 as a cantor for a programme of renaissance Portuguese sacred works. His most recent solo recordings include Caeli Porta (Guild Records) with the Queen's College Choir and a forthcoming disk of works by the contemporary composer Phillip Moore (Delphian Records). As as choral singer Jonathan performed on ITV1 Television for HRH the Prince of Wales in a celebration for his 60th birthday on 15th November 2008. He works with a variety of sacred and secular ensembles in the United Kingdom such as St. Paul's Cathedral Choir and the Choir of the Chapel of St. George, Windsor Castle. Over the past 5 years he has worked with a number of renowned conductors and coaches including Sir John Eliot Gardiner, Christopher Cowell, James Gilchrist and Graham Johnson. Jonathan has sung as a soloist with a variety of British choral societies including the Tonbridge Philharmonic, the Chelmsford Singers and the Witham Singers. He is currently studying voice with Nicholas Powell and Russell Smythe (Royal College of Music), and holds a choral scholarship at Wells Cathedral. Roland Smith, founder of The Winkleigh Singers and the Choir's Musical Director, took up singing at the age of seven in the choir at Holy Trinity Church, Cookham-on-Thames, where he was joint head chorister before he took to the back row as a bass. In over twenty years at Cookham he took part in a number of first performances, recordings, radio and television broadcasts and sang in most of the cathedrals in the south of England. It was here that he had his first experiences of choir direction, regularly conducting the sung parts of services. On moving to Devon in 1984 he put foward the idea of a Winkleigh based chamber choir, which became The Winkleigh Singers. Singing in recent years has been with a number of distinguished choirs including Schola Aquae Sulis, The South West Cathedral Singers, Exeter Festival Chorus and The Richard Roddis Singers. He has sung in performances of Haydn Masses in Paris, Mozart’s Requiem in Salzburg and Britten’s War Requiem in Russia, and conducted The Winkleigh Singers on a number of tours in France and with Vox Hungarica at the Matthias Templon in Budapest to a capacity audience. Roland has attended conducting workshops and masterclasses led by a number of leading choral directors, including Mike Brewer, Bob Chilcott and Jane Glover. During an interregnum, he rehearsed and conducted Exeter Festival Chorus for performances at St James, Picadilly, (works by Ramirez) and Exeter Cathedral (off stage chorus in Holst’s The Planets with the Royal Philarmonic Orchestra). Roland now sings with Somerset Chamber Choir and is also the Director of the wedding choir, The Devonshire Company of Singers.

ESTABLISHED IN 1984 in one of the remotest parts of Devon, the Winkleigh Singers enjoy a broad repertoire from early to contemporary music. The choir has recently recorded works by John Byrt and Ira-Paul Schwarz and a CD of Christmas Music. The choir has performed with Devon Baroque, The British Chamber Orchestra, Bartholomew String Ensemble, and North Devon Sinfonia. They have a policy of encouraging talented young soloists, regularly employing students and recent graduates from the major music colleges. The Winkleigh Singers have enjoyed several tours in France, and in April 2003 the choir visited Hungary as guests of Vox Hungarica, performing at Matthias Church, Budapest, and at the Concert Hall of the Music Department of Budapest University, to capacity audiences. We were pleased to welcome Vox Hungarica here in Devon in the following September when, with them, we gave two memorable concerts of (mostly) Hungarian music. Workshops have been held in recent years to which other singers and choirs are always invited. Previous workshops have been led by, amongst others, Evelyn Tubb, Nigel Perrin and Mike Brewer. Over the years the choir has given several first performances, notably Colin Hodgett's Season Songs (with Evelyn Tubb as the soloist) and John Lane's Maggott, Sam Richards' Midwinter Ceremonies, these being commissioned by The Beaford Centre. In 1994, to celebrate The Winkleigh Singers' tenth anniversary, a competition was organised for young composers, and the winning work by Paul Holland, At a Lunar Eclipse, was given its first performance by the choir as part of their summer concert that year. Dr Simon Standing's Magnificat and Nunc Dimmitis were first performed by the choir in 1998. The Winkleigh Singers continue to support charity events, in recent years taking part in ‘Voices for Hospices’ and the Macmillan Cancer Relief ‘Celebration of Christmas’ at Castle Hill, Filleigh. We are at the early stages of planning an educational project involving local youth and school choirs. Please se back page for our plans for the remainder of 2010. Sir Charles Villiers Stanford was born in Dublin in September 1852 of parents who were both amateur musicians, and is particularly noted for his choral compositions. He went to London in 1862 to continue his musical studies and in 1870 won a scholarship to Queen’s College, Cambridge. He was appointed professor of composition at the Royal College of Music in 1883; was conductor of The Bach Choir from 1886 to 1902; and was professor of music at Cambridge from 1807. He was an exacting but respected teacher whose pupils included Samuel Coleridge- Taylor, Gustav Holst, Ralph Vaughan Williams, John Ireland, Frank Bridge, Charles Wood (who succeeded him as music professor), Geoffrey Shaw and Herbert Howells. Notoriously irascible, he quarrelled with many of his contemporaries, including Elgar and Parry. He was knighted in 1902.

Charles Wood, Irish composer and teacher, was the son of a tenor at St Patrick’s Cathedral, Armargh. He received his early education at the Armagh Cathedral Church School, in particular studying organ with Robert Turle and Thomas Marks. In 1883 he became one of fifty inaugural class members of the Royal College of Music, studying composition with Stanford and Parry. In 1889 he took up a teaching position at Gonville and Caius College, Cambridge, first as and then as fellow in 1894, becoming the first Director of Music and Organist. He was instrumental in the reflowering of music at the college, though more as a teacher and organiser of musical events than as composer. After Stanford died, Wood succeeded him as University of Cambridge Professor of Music in 1924. Wood is remembered mainly for his contribution to Anglican church music, he also composed chamber music, including a number of string quartets. His pupils included Ralph Vaughan Williams and Herbert Howells.

Sir Frederick Arthur Gore Ouseley was born in London to Sir Gore Ousely and started composing at a young age, completing his first opera at the age of eight. Known as a composer, organist and musiclogist, he succeeded to the baronetcy in 1844 and ordained in 1849. From 1855 to 1889 he was professor of muisc at Oxford, and at the same time precentor at Hereford Cathedral. A notable pupil of his was Sir John Stainer.

Sir Edwrad Elgar To precis the life of Elgar within these notes would almost certainly add little to what the reader already knows. What is probably less known is Elgar’s love of chemistry (he had a laboratory at his home in Hereford, as witnessed by stains on the manuscript of the Prelude to “The Kingdom”), cycling (his Sunbeam machine bought in 1903 was named “Mr Pheobus”) and of the motor car — his skills as a driver were evidently somewhat less than his capability as a composer, there being a number of reports of incidents involving his 1924 Lea Francis, a car bought after very careful research by the composer. He later made the wise decision to employ a chauffeur.

The English composer, William Sterndale Bennett, was born in Sheffield, the son of an organist. Orphaned at the age of three, he was brought up by his uncle in Cambridge, where he became a chorister at King’s Collegeand then accepted, at the age of only ten, to the , to study piano, violin and composition. He remained at the Academy for ten years. Following an invitation by Mendellsohn to to perform in Germany, Bennett made four visits to Leipzig, returning to London in 1842. In 1856 he was elected Professor of Music at Cambridge University and in 1866 appointed Principal of the Royal Academy of Music. Among his pupils were Sir and Sir Hubert Parry.

Sir John Goss was born in Fareham, . He was a chorister of the and then studied composition under Thomas Attwood, organist at St Paul’s Cathedral. On Attwoods death in 1838, Goss was appointed organist at the cathedral. He is remembered for his compositions for the church including Anglican Chants and the well known tune for the hymn “Praise my soul, the King of Heaven”. In 1872 he was succeeded as organist at St Paul’s by Sir John Stainer.

Samuel Sebastian Wesley, born in London, was a boy chorister at the Chapel Royal and became organist at Hereford Cathedral in 1832. He moved to Exeter as cathedral organist in 1835. Wesley was known as a fine organist in his time and his compositions were almost exclusively for the church. One of his most well-known anthems is the extended setting of “Blessed be the God and father” written at Exeter on Holy Saturday for the reduced forces expected in the choir at Exetr on Easter morning. He subsequently held appointments at Leeds Parish Church, and Winchester and Gloucester Cathedrals. Dr Henry G Ley, English composer, organist andteacher was born in Chagford, Devon. Following time as a chorister at St George’s Chapel, Windsor, he was organ scholar at Keble College Oxford. He returned to Oxford in 1909 when he was appointed organist at Christ Church Cathedral, and was also professor of organ at the Royal College of Music in London from 1919. He is best known for his setting of the Founder’s Prayer of King Henry VI.

J S Bach It is not known to the writer who brought togather a seventeenth century melody, harmonies by three different composers and a hymn by William Romanis (1824- 1899), but to conclude it with the work of the great master is a stroke of genius. As with the well-known hymn-book harmony by Layriz (1844), the first two variations here are in three time; Bach adds real interest in his version by setting the melody in four time.

THE CRUCIFIXION The Rev. J Sparrow Simpson (1859-1952) – whose father was a colleague of Stainer as Succentor and Librarian of St Paul's – attended Trinity College, Cambridge, became an Anglican deacon in 1882, and priest in 1883. He was a high churchman and one of the most learned clerics of his day. He was also a prolific writer. In 1888 he was appointed vicar of St Mark’s, Prince Albert Road, Regents Park, London and in 1904 he became chaplain to St. Mary’s Hospital, Great Ilford. According to a survey of parishes in the North London area published in 1902: “Not one is ever more than half full, unless it be St. Mark’s, to which many people are drawn from a distance, attracted by the extreme High Church practices adopted”. According to the same source, Sparrow-Simpson was “one of the finest preachers I have heard, who drew large congregations every Sunday to hear his sermons…”

Sir John Stainer Like that of some other distinguished writers of church music, the life of Sir John Stainer centred on the church and a university – in his case Oxford. Born in London, he was already a competent sight- reader when he joined the choir of St Paul's Cathedral at the age of seven, and before he reached his teens he had already deputised for the organist John Goss. At the age of 14, he was appointed organist at the church of St Benedict and St Peter in London and two years later was chosen to be the organist of the newly-founded St. Michael's College in Tenbury, Herefordshire. He entered Christ Church, Oxford, in 1859 and during his time there he gained several degrees and became University organist. In addition, he founded the Oxford Philharmonic Society and conducted its inaugural concert in 1866. In 1872, he took over from his old master the post of organist at St. Paul's Cathedral, where he remained until failing sight obliged him to retire in 1888. Stainer was both a musical reformer and a careful scholar and researcher. At St Paul's, he obtained salary increases for the choir and boosted its numbers. He also instituted regular rehearsals and extended the cathedral's musical repertoire. In 1876 he joined the staff of the National Training School as organist, later becoming professor of harmony and (in 1881) principal. A busy teacher, he also found time to conduct research into medieval music. Stainer was too preoccupied with his many appointments and with musical research to be a prolific composer, but nevertheless, in addition to a considerable number of hymns and services, he wrote four works on a larger scale. The Crucifixion is the last and best-known of these works. It was composed in 1887 and was first performed under the composer's direction in the parish church of St. Marylebone in London, where it is still sung each Good Friday. It is described modestly as a "Meditation on the Passion of the Holy Redeemer" and is a setting for tenor, baritone, choir and organ of a text chosen from the New Testament, interspersed, as in the Bach Passions, with hymns with which the congregation may join. It depends for its effect on comparatively simple but mellifluous and effective harmonic patterns. The Crucifixion is often criticised for its Victorian sentimentality and its sub- Mendelssohn style. The congregational hymns are perhaps unfamiliar to many of the present generation. Yet it is a heartfelt work, whose beauties are many – consider especially the unaccompanied chorus "God so loved the world" – and whose sincerity and restrained nobility cannot be doubted. 1 And they came to a place named Gethsemane. 2 The Agony. 3 Processional to Calvary. 4 And when they were come. 5 * The mystery of the divine humiliation. 6 He made himself of no reputation. 7 The majesty of the divine humiliation. 8 And as Moses lifted up the serpent. 9 God so loved the world. 10 * Litany of the Passion. 11 Jesus said "Father, forgive them". 12 So thou liftest thy divine petition. 13 * The mystery of the intercession. 14 And one of the malefactors. 15 * The adoration of the crucified. 16 When Jesus therefore saw his mother. 17 Is it nothing to you? 18 The appeal of the crucified. 19 After this, Jesus knowing that all things were now accomplished. 20 * For the love of Jesus.

* The audience is invited to join in the marked verses of the hymns. Please see separate leaflet.

Programme Notes: The note on John Stainer was supplied through the Programme Note Bank of Making Music, the National Federation of Music Societies. All other notes by Roland Smith. TOUR OF NORTH DEVON Summer Song - Four Events A diverse menu starting with a little early music, flavoured with some part-songs and madrigals, a taste of choral classics from composers of all the last five centuries, and interspersed with a peppering of fun and amusement.

Venues: Chulmleigh: Parish Church Friday 25th June 2010 at 8.00pm

Ilfracombe: St Peter's Church Saturday 26th June 2010 at 7.00pm

Chittlehampton: Parish Church Sunday 27th June 2010 6.30pm Choral , 7.30pm Concert

Admission to Choral Evensong at Chittlehampton will be free, although there will be a collection for the Church. Tickets at £6.00 for each of the concerts above will be available soon from our website or directly from the venues.

Saturday 18th December 2010 TRADITIONAL CHRISTMAS CONCERT Further details in the summer! PLEASE NOTE Holders of pre-booked tickets will be offered preferential seating

We look forward to entertaining you

From time to time the choir has vacancies. There is no audition, but a three week trial period needs to be completed for full membership. A good standard of sight-reading and tuning, a pleasant voice with the ability to blend, and a positive attitude towards creating high quality music is required. Rehearsals are extremely enjoyable, with a social break, and take place in Winkleigh on Monday evenings. If you are interested in joining us, please have a word with any member of the choir this evening, or contact us via our website http:// www.winkleighsingers.org.uk, or by phone on 01363 83515.

Friends of the Winkleigh Singers We hope you have enjoyed this concert. If you did, we would like to invite you to become a Friend of the Winkleigh Singers. Friends enjoy advance notice of choir activities, discounts on concert tickets, opportunities to join in choir activities and social events. To apply to become a Friend, there are forms available at all our concerts and on our web site at http://www.winkleighsingers.org.uk, or write to Doreen James, Bramble Cottage, Atherington, EX18 7BQ. Mrs W Baldwin Mr & Mrs R Paynter Mrs K Barton Mr & Mrs P J Paynter Mr G Cameron Mrs M Ramsden Miss R M Diggle Rev M R Stevens Mr & Mrs D Ivory Mr & Mrs J S Weaver Mr A Jury Rev C C B Willis Mr M Ogden Mrs S R Wood