W ELCOME to this evening’s concert. We are delighted to present a joint performance of the powerful and moving Requiem by Verdi. Our conductor Cathal Garvey is Musical Director of both choral societies, Newbury and Billingshurst, so it is with pleasure we join forces to create what we hope will be a memorable evening of great music making.

For more information about our choirs, either about future concerts or about joining us, please see the displays in the foyer, go to our websites or talk to any member of the choirs.

Liz Wallace - Chair, Newbury Choral Society & David Eckford - Chair, Billingshurst Choral Society

CATHAL GARVEY - MUSICAL DIRECTOR

Cathal Garvey joined Newbury Choral Society as Orchestra and Morley Musical Director in September 2009 and College Choir. He is also Billingshurst Choral Society in March 2015. Musical Director of Newbury Choral Society He began his career in Ireland where he made his and for two seasons was name as a choral and orchestral conductor. As an Chorus Master and Chorus Master, he worked for most of Assistant Conductor at Ireland’s major opera companies, including Opera Grange Park Opera. He Ireland, Opera Theatre Company, Anna Livia Opera is currently on the Festival, Opera South and Lyric Opera. For these conducting staff of the Royal Academy of Music. companies he worked on over fifty opera productions and has acted as Assistant Conductor Cathal began violin and piano studies in his native for several of them. He has also conducted several Cork at an early age, continuing at the Cork School musicals in Cork and Dublin. During his ten years of Music and later reading music at University in Dublin, Cathal conducted the National College Cork. After completing his Masters Degree Symphony Orchestra of Ireland, the RTÉ Concert in Conducting he studied for two years at the Orchestra, the Orchestra of St Cecilia, Irish prestigious College of Moscow Conservatory. As a Sinfonia, the Dublin Baroque Players, the Royal violinist, he has played with the National Youth Irish Academy of Music Wind Ensemble, Dublin Orchestra of Ireland and with numerous Concert Band, the RTÉ Philharmonic Choir, Bray professional orchestras, including the National Choral Society and from 2001 to 2006 was Symphony Orchestra of Ireland, the RTÉ Concert Principal Conductor of the Dublin Orchestral Orchestra and the German-based Philharmonia of Players. the Nations. He currently works as a freelance player in London. He has sung and toured with From 2004 to 2009 he was Musical Director of the many choirs, among them the Irish Youth Choir, Dun Laoghaire Choral Society with whom he had a University College Cork Choir, Madrigal '75 and highly successful tenure, covering a wide range of the College of Moscow Conservatory Choir. sacred music and oratorios. During this time he was a noted champion of British music, conducting In 2015, he founded the Ulysses Symphony many works by Elgar, Delius, Britten, Tippett, Orchestra and, more recently, its sister-orchestra the Stanford (Irish!) and Vaughan Williams. London Ulysses Orchestra, which he took on a six-city tour of China in 2017, including a Since moving to London in 2009, he has conducted performance at the Great Hall of the People in Southern Sinfonia, London International Orchestra, Beijing. Covent Garden Chamber Orchestra, I Maestri, London Repertoire Orchestra, London Medical Orchestra, King's College London Symphony

Tonight’s Concert

1. REQUIEM & KYRIE ELEISON

2. DIES IRAE Dies irae Tuba mirum Liber scriptus Quid sum miser Rex tremendae Recordare Ingemisco Confutatis Lacrymosa

3. OFFERTORIO: DOMINE JESU

4. SANCTUS

5. AGNUS DEI

6. LUX AETERNA

7. LIBERA ME

In order to enable all of us to enjoy the music in tonight’s concert, please ensure that your mobile phone is switched off, or set to silent mode. You are reminded that audio or video recording by any method is not permitted. ELIZABETH DONOVAN SOPRANO

Elizabeth Donovan was the 2002 Welsh Singer of the Year and represented Wales at BBC Cardiff Singer of the World in 2003. A graduate of the Royal Northern College of Music she completed her studies at the National Opera Studio in London.

A former Welsh National Opera Associate Artist, roles for the company included Blumenmädchen Parsifal, Erste dame Die Zauberflöte, Echo Ariadne auf Naxos, Berta Il barbiere di Siviglia, Barbarina Le nozze di Figaro & Zerlina . She covered roles including Micaëla , Valencienne The Merry Widow and Susanna Le nozze di Figaro.

Other roles include Héro Béatrice & Bénédict, Marzelline , Konstanze Die Entführung aus dem Serail (all for Welsh National Opera); several roles in the world premiere of Under Milk Wood: an opera, written by John Metcalf; Pamina Die Zauberflöte, Fiordiligi Così fan tutte, Donna Anna Don Giovanni & Ortlinde Die Walküre (all for Longborough Festival Opera); Norina Don Pasquale (Diva Opera); Konstanza The Seraglio (English Touring Opera) and Clorinda La Cenerentola (Scottish Opera).

Most recently Elizabeth has performed Countess Almaviva in Le nozze di Figaro for Diva Opera and covered the title role in Jenůfa, in Czech and English, for Scottish Opera and Opera North.

HANNAH PEDLEY MEZZO SOPRANO

Hannah has recently returned from playing the title role in Bizet’s Carmen in Dublin and London. Last year she recorded Elina Firsova’s Night Songs with the Marsyas Trio for Meridian Records and made her US debut singing Mozart’s Requiem with Harry Christophers and the Boston Handel and Haydn Society. She also performed St Matthew Passion with Harry Christophers and Streetwise Opera which was televised on BBC4.

In 2015 she toured the UK with the Warsaw Symphony Orchestra performing Beethoven’s 9th Symphony and Szymanowsky’s Stabat Mater and again sang Carmen for ROH2 at the front of The , Covent Garden.

Other roles have included Olga - , Cherubino - Nozze Di Figaro, Lola - Cavalleria Rusticana and Rita the Rat - Fantastic Mr Fox all for Opera Holland Park. Romeo - I Capuleti e i Montecchi for Grange Park, Ottavia - Coronation of Poppea and Medea - Giasone for English Touring Opera, Nancy - Albert Herring for New Kent Opera, Melissa - Anna Nicole (cover) Royal Opera House and the title role in the Rape of Lucretia in Oxford. She has performed as a soloist many times for Buxton Festival, ROH2 and the Dynamic Second Movement.

On the concert platform highlights include Beethoven Missa Solemnis, 9th Symphony and Handel Messiah with City of Birmingham Symphony Orchestra, Messiah with Manchester Camerata and Les Agremens (Brussels and Namur) and Verdi Requiem at The Lighthouse Poole. She has performed galas in Italy, Russia and South America and recitals for Opera Diversa in Prague, Wexford and Buxton Festivals. DAVID JUNGHOON KIM TENOR

A 2017 graduate of the Jette Parker Young Artist Programme, Korean tenor David Junghoon Kim is the winner of the much coveted Francisco Viñas, Voci Verdiane and Toulouse singing competitions. A graduate of the Seoul National University, he made his professional debut as Rodolfo La bohème and subsequently joined Royal Opera House in September 2015.

Over the two years at the programme he was heard as the Italian Singer Der Rosenkavalier, Venditore Il tabarro, Arturo Lucia di Lammermoor (also covering Edgardo), Ruiz Il trovatore, Flavio Norma, Nathanael Les contes d’Hoffmann, Lamplighter Manon Lescaut, Gastone , Augustin Moser Die Meistersinger von Nürnberg, Count Lerma and Herald Don Carlo and Pong Turandot.

On the concert platform Kim has performed Verdi Requiem at the Cremona Cathedral, Italy, and Beethoven Symphony No. 9 at the Seoul Art Centre with Seoul Philharmonic Orchestra.

This season Kim makes a series of role and house debuts: Alfredo in a new production of La traviata at Oper Köln, Macduff Macbeth at the Royal Opera House, Roméo Roméo et Juliette at Grange Park Opera and Leone de Casaldi in concert performances of the world première of Donizetti’s L’ange de Nisida with Sir Mark Elder at the Royal Opera House, recorded and later released by Opera Rara. Further ahead he makes debuts with Opern Zurich and Teatro Municipal de Santiago de Chile.

KEEL WATSON BASS BARITONE

Keel Watson studied singing and trombone at Trinity College of Music with Elizabeth Hawes and Roger Brenner.

In recent seasons he has performed Dr Bartolo (English National Opera); Zuniga Carmen (Teatro São Carlos, Lisbon); the UK première of Defiant Requiem: Verdi at Terezín in Durham; and King Shariyaati in the world première of Ravi Shankar’s Opera Sukayna (Royal Opera House and London Philharmonic Orchestra). Future engagements include further performances for English National Opera and his return to Opera Holland Park.

Other roles performed include Bosun Billy Budd (Royal Opera House); Fasolt Das Rheingold (Lisbon and Palermo); Iago Otello, Dosifey Khovanshchina and Don Pizarro Fidelio (Birmingham Opera); Zuniga Carmen and Mandryka Arabella (Opera North). He has also performed regularly with Opera Holland Park and English Touring Opera. He also appeared as Second Armed Man in Kenneth Branagh’s 2006 film version of .

Major concert engagements include the concert version of Gershwin’s Porgy and Bess (Royal Stockholm Philharmonic Orchestra and the Royal Scottish National Orchestra); Carmina Burana at the Royal Festival Hall and A Child of our Time (City of Birmingham Symphony Orchestra). CHOIR DIRECTOR’S

LIST OF RULES

1. I LEAD

2. YOU FOLLOW

ANY QUESTIONS? 1813-1901

Born in the hamlet of Le Roncole, near Busetto in the district of Parma, the son of an innkeeper, Giuseppe Verdi became one of the most revered of Italian composers. His work consists overwhelmingly of vocal music, chiefly opera, of which Nabucco (1842), (1851), Il Trovatore (1853), Aida (1871) and Otello (1887) are among the best known.

As a child, Verdi studied first with the local schoolmaster and organist in Le Roncole and later with Ferdinando Provesi, organist and music master in Busetto. In 1832 at the age of 18, he applied for admission to the Conservatory in Milan but to his dismay, he failed the entrance examination. He was, however, advised that if he were to study the rules of counterpoint and combine these with his genuine musical powers he might “turn out creditably” as a composer! Fortunately, Verdi’s future father-in-law Antonio Barezzi agreed to provide funds for him to lodge in Milan and study with the composer Vincenzo Lavigna.

In 1835, Verdi returned to Busetto where he became the municipal music master and married Margherita Barezzi in 1836. Sadly, their first child died in 1838, aged 15 months, and their second in 1839 after their move to Milan where Verdi’s opera Oberta was premièred at La Scala. Margherita herself died in 1840, completing a series of family tragedies. Grief-stricken, Verdi managed to complete a comic opera Un Giorno de Regno, but this proved to be a total failure.

Happily the première of Nabucco in 1842 was a great success and established Verdi’s reputation as a leading composer. Subsequent years brought many more compositions with which Verdi achieved success in Italy and abroad.

In 1859, Verdi married his long-time companion Guiseppina Strepponi, was elected to represent Busetto in the assembly of Parma provinces and was made an honorary citizen of Turin. Many further honours were to be bestowed on him in the years to come.

In the sixteen years after the completion of Aida in 1871, Verdi’s only major composition was the Requiem, sometimes known as the ‘Manzoni Requiem’, composed in tribute to the Italian Nationalist poet and novelist Alessandro Manzoni who died in Milan in May 1873. Manzoni, who is remembered chiefly as the author of I Promessi Sposi (The Betrothed) was acclaimed by his countrymen as a symbol of Italian ideals and shared many of Verdi’s artistic principles. Verdi, also a fervent Nationalist, had admired him long before their first meeting in 1868.

On learning of the death of his friend and hero, Verdi is reported to have said “Now all is over and with him ends the most pure, the most holy, the greatest of our glories.” The Mayor of Milan accepted Verdi’s suggestion that he compose a requiem mass to be performed on the first anniversary of Manzoni’s death, with costs being shared between himself and the City Council. The work was begun in June 1873. It was completed in time for extensive rehearsals leading to the first performance on 22 May 1874 in the Church of San Marco, Milan, conducted by Verdi himself. Further performances followed by popular demand and the Requiem was acclaimed a masterpiece.

Interestingly, in 1869 Verdi had composed a Libera Me as his contribution to a collaborative mass in honour of Rossini, to consist of movements written by leading Italian composers of the day. Unfortunately the project foundered due to a disagreement between Verdi (the originator of the idea) and Mariani, the conductor-designate. Verdi may well have been considering the composition of a complete requiem, needing the impetus provided by the death of Manzoni to bring his ideas to fruition.

After Verdi’s death (the result of a stroke) in 1901, a period of National Mourning was declared and at his funeral the 28,000 people lining the streets broke spontaneously into the chorus of the Hebrew Slaves from Nabucco – “Va pensiero”.

VERDI REQUIEM

Though the Requiem is Verdi’s only large-scale work not intended for the stage, it is unashamedly theatrical in style, with passages of great tenderness and simplicity contrasting with intensely dramatic sections. Writing at the time, the eminent conductor and pianist Hans von Bülow aptly described it as “Verdi’s latest opera, in church vestments”.

Never an openly devout man and widely regarded as an agnostic, a significant minority found it offensive that Verdi should be writing a requiem. For them the very qualities which made his music so ideally suited to the theatre made it wholly unacceptable for the church, and although the first performance in the Church of San Marco, Milan, was well received, the restrained circumstances and prohibition against applause produced a somewhat muted reaction. In contrast, the second performance three days later, at La Scala Opera House, was received by the capacity crowd with tumultuous enthusiasm.

The Requiem became an overnight sensation, and was equally ecstatically received at the many European performances that soon followed. Its British première took place in May 1875 at the Albert Hall, again conducted by Verdi himself, with a chorus of over 1000 and an orchestra of 140. One journalist described the work as “the most beautiful music for the church that has been produced since the Requiem of Mozart” – a view that was echoed by most people.

Verdi brought his entire musical experience and resources to bear when setting the requiem. His music makes full use of the capabilities of the soloists, chorus and orchestra in a work of great dramatic intensity, fully expressing the meaning and emotions of the text.

The seven movements of the Requiem are:

1. Requiem and Kyrie Eleison. The Requiem begins with a very quiet descending phrase in the key of A minor played by the cellos and taken up by the rest of the strings, ushering in the chorus whispering Requiem aeternam. A key change to A major heralds et lux perpetua, followed by an unaccompanied fugal passage Te decet hymnus.

The opening section is repeated, followed by the Kyrie, in which the four soloists enter in turn and are joined by the chorus in a fervent plea for mercy as the movement dies away.

2. Dies Irae. This is the longest movement, consisting of several linked sections.

Four crashing orchestral chords precede rapid scales in the strings, with sustained high ‘G’s above chromatic passages in the chorus. These combine with brass, wind and bass drum to produce a terrifying picture of the judgement day, before subsiding into a hushed Quantus tremor.

Trumpets calling from both on and off the stage summon the dead to answer for their sins, reaching a crescendo before the entry of the chorus basses with Tuba Mirum. The bass soloist, accompanied by strings and the bass drum, ponders Mors stupebit, followed by the mezzo-soprano warning eloquently that we shall all be called to account on the final day. The chorus murmurs quietly in the background. The opening Dies Irae returns briefly before the trio Quid sum miser, with a delicate bassoon obbligato. The chorus basses give the lead in the Rex tremendae section. The tenors join, followed by the four soloists and the rest of the chorus, moving into the prayer Salva me – a wonderful example of Verdi’s mastery of dynamics and orchestration.

The gentle Recordare follows, by soprano and mezzo soloists, with the rhythm of the Salva me being echoed by the woodwind. The lyrical tenor solo Ingemisco follows, leading to the noble declamatory bass theme Confutatis, climaxing with another chorus outburst of Dies Irae.

The movement ends with Lacrymosa, using the four soloists and chorus, and based on a simple lyrical phrase introduced by the mezzo-soprano.

The final Amen, with its change from minor to major tonality, brings a wonderful feeling of light after darkness.

3. Offertorio. The cello theme at the opening is developed by the soloists and orchestra before the traditional fugal setting of Quam olim Abrahae, which gives way to the calm Hostias, followed by the return of the fugue.

The opening theme is heard again, sung by the soloists in unison and repeated in the brief orchestral coda.

4. Sanctus. Trumpet fanfares and cries of Sanctus from the chorus introduce a double fugue for two four-part choirs. The animated choral writing and brilliant orchestration combine to produce great excitement and a thrilling climax.

5. Agnus Dei. The placid andante melody of this movement contrasts completely with the Sanctus. The soprano and mezzo soloists sing unaccompanied in octaves, followed by the chorus. The theme alternates between major and minor keys, with flowing counterpoint from the three flutes.

6. Lux aeterna. Ethereal strings accompany the mezzo soloist’s opening recitative in this short movement, in which the three lower voices plead for eternal light and rest. In contrast, the bass soloist’s reply – Requiem aeternam is accompanied by dark chords from the lower wind instruments, before the tenor soloist enters and the three combine in a wonderful example of ensemble writing.

7. Libera me. The final movement, consisting largely of material written for the ill-fated mass in memory of Rossini, opens with a recitative from the soprano soloist Libera me Domine – followed by chanting from the chorus. The soloist becomes more agitated – Dum veneris ... Tremens factus ... leading to the return of Dies Irae.

There follows a short, very beautiful unaccompanied section for soprano and chorus – requiem aeternam – at the end of which the soloist rises to a very soft (marked pppp) high B flat.

The final section is introduced by the recitative Libera me Domine from the soprano. The dramatic fugue that follows amply demonstrates Verdi’s skill in contrapuntal writing, with the soprano soloist joining and soaring above the chorus. After the climax, the movement dies away ending with chanting by the soloist and chorus of their final prayer – Libera me.

Few choral works have captured the public imagination in the way that Verdi’s Requiem has. The uncom- plicated directness of his style, his soaring, lyrical melodies which lie perfectly for the human voice, the scintillating orchestration and, most significantly, the work’s extraordinary dramatic and emotional intensi- ty, all contribute to the Requiem’s status as one of the great icons of Western music. REQUIEM - THE TEXT

1. REQUIEM & KYRIE ELEISON Soprano, Mezzo-Soprano, Tenor, Bass and Chorus

Requiem aeternam dona eis Domine; Grant them eternal rest, O Lord; et lux perpetua luceat eis. and may perpetual light shine upon them.

Te decet hymnus, Deus, in Sion, A hymn in Zion befits you, O God, et tibi redetur votum in Jerusalem: and a debt will be paid to you in Jerusalem: exaudi orationem meam, ad te omnis caro veniet. hear my prayer, all earthly flesh will come to you.

Requiem aeternam dona eis, Domine; Grant them eternal rest, O Lord; et lux perpetua luceat eis. and may perpetual light shine upon them.

Kyrie eleison, Christe eleison. Lord have mercy upon us, Christ have mercy upon us.

2. DIES IRAE Solo Quartet and Chorus

Dies irae Chorus

Dies irae, dies illa, The day of wrath, that day will solvet saeclum in favilla, dissolve the world in ashes, teste David cum Sybilla. as David and the Sibyl prophesied. Quantus tremor est futurus, How great will be the terror, quando judex est venturus, when the Judge comes cuncta stricte discussurus! who will smash everything completely!

Tuba mirum Bass and Chorus

Tuba mirum spargens sonum, The trumpet, scattering a marvellous sound per sepulchra regionum, through the tombs of every land, coget omnes ante thronum. will gather all before the throne. Mors stupebit et natura, Death and Nature shall stand amazed, cum resurget creatura, when all Creation rises again judicanti responsura. to answer to the Judge.

Liber scriptus Mezzo-Soprano and Chorus

Liber scriptus proferetur, A written book will be brought forth, in quo totum continetur, which contains everything unde mundus judicetur. for which the world will be judged. Judex ergo cum sedebit, Therefore when the Judge takes His seat, quidquid latet apparebit: whatever is hidden will be revealed: nil inultum remanebit. nothing shall remain unavenged. Dies irae, dies illa, The day of wrath, solvet saeclum in favilla, that day will dissolve the world in ashes, teste David cum Sybilla. as David and the Sibyl prophesied.

Quid sum miser Soprano, Mezzo-Soprano and Tenor

Quid sum miser tunc dicturus? What can a wretch like me say? Quem patronum rogaturus, Whom shall I ask to intercede for me, cum vix justus sit secures? when even the just ones are unsafe? Rex tremendae Solo Quartet and Chorus

Rex tremendae majestatis, King of dreadful majesty, qui salvandos salvas gratis, who freely saves the redeemed ones, salva me, fons pietatis. save me, O font of pity. Recordare Soprano and Mezzo-Soprano

Recordare, Jesu pie, Recall, merciful Jesus, quod sum causa tuae viae, that I was the reason for your journey, ne me perdas illa die. do not destroy me on that day. Quaerens me, sedisti lassus, In seeking me, you sat down wearily, redemisti crucem passus, enduring the Cross, you redeemed me, tantus labor non sit cassus. do not let these pains to have been in vain. Juste judex ultionis, Just Judge of punishment, donum fac remissionis give me the gift of redemption ante diem rationis. before the day of reckoning.

Ingemisco Tenor

Ingemisco tamquam reus, I groan as a guilty one, culpa rubet vultus meus, and my face blushes with guilt, supplicanti parce, Deus. spare the supplicant, O God. Qui Mariam absolvisti, You, who absolved Mary Magdalen, et latronem exaudisti, and heard the prayer of the thief, mihi quoque spem dedisti. have given me hope, as well. Preces meae non sunt dignae, My prayers are not worthy, sed tu bonus, fac benigne, but show mercy, O benevolent one, ne perenni cremer igne. lest I burn forever in fire. Inter oves locum praesta, Give me a place among the sheep, et ab haedis me sequestra, and separate me from the goats, statuens in parte dextra. placing me on your right hand.

Confutatis Bass and Chorus

Confutatis maledictis, When the damned are silenced, flammis acribus addictis, and given to the fierce flames, voca me cum benedictis. call me with the blessed ones. Oro supplex et acclinis, I pray, suppliant and kneeling, cor contritum quasi cinis, with a heart contrite as ashes, gere curam mei finis. take my ending into your care. Dies irae, dies illa, The day of wrath, that day will solvet saeclum in favilla, dissolve the world in ashes, teste David cum Sybilla. as David and the Sibyl prophesied.

Lacrymosa Solo Quartet and Chorus

Lacrymosa dies illa, That day is one of weeping, qua resurget ex favilla, on which shall rise from the ashes, judicandus homo reus. the guilty man, to be judged. Huic ergo parce, Deus. Therefore, spare this one O God. Pie Jesu Domine, Merciful Lord Jesus, dona eis requiem. Amen. grant them peace. Amen. 3. OFFERTORIO: DOMINE JESU Solo Quartet

Domine Jesu Christe, Rex Gloriae, libera animas omnium O Lord Jesus Christ, King of Glory, deliver the souls of all the fidelium defunctorum de poenis inferni et de profundo lacu. faithful dead from the pains of hell and from the deep pit.

Libera eas de ore leonis, ne absorbeat eas tartarus, ne cadant Deliver them from the mouth of the lion, that hell may not in obscurum: sed signifer sanctus Michael repraesentet eas swallow them, and that they may not fall into darkness: but in lucem sanctam, quam olim Abrahae promisisti et semini may the holy standard-bearer Michael show them the holy ejus. light, which you once promised to Abraham and his descendents.

Hostias et preces tibi, Domine, laudis offerimus. We offer to you, O Lord, sacrifices and prayers.

Tu suscipe pro animabus illis, quarum hodie memoriam Receive them on behalf of those souls, whom we commemorate facimus. Fac eas, Domine, de morte transire ad vitam, today. Grant O Lord, that they might pass from death into that quam olim Abrahae promisisti et semini ejus. life which you once promised to Abraham and his descendents.

Libera animas omnium fidelium defunctorum de poenis Deliver the souls of all the faithful dead from the pains of hell. inferni, fac eas de morte transire ad vitam. Grant that they might pass from death into that life.

4. SANCTUS Fugue for Double Chorus

Sanctus, sanctus, sanctus, Dominus Deus Sabaoth, Holy, holy, holy, Lord God of Sabaoth, pleni sunt coeli et terra gloria tua. heaven and earth are filled with Thy glory. Hosanna in excelsis! Hosanna in the highest! Benedictus, qui venit in nomine Domini. Blessed is he that cometh in the name of the Lord. Pleni sunt coeli et terra gloria tua. Heaven and earth are filled with Thy glory. Hosanna in excelsis! Hosanna in the highest!

5. AGNUS DEI Soprano, Mezzo-Soprano and Chorus

Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the world, dona eis requiem. grant them rest. Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the world, dona eis requiem sempiternam. grant them rest everlasting.

6. LUX AETERNA Mezzo-Soprano, Tenor and Bass

Lux aeterna luceat eis, Domine, cum sanctis tuis in Let eternal light shine upon them, O Lord, with your saints aeternum, quia pius es. forever, for you are merciful.

Requiem aeternam dona eis, Domine, Grant them eternal rest, O Lord, and may perpetual light et lux perpetua luceat eis. shine upon them.

7. LIBERA ME Soprano and Chorus

Libera me, Domine, de morte aeterna, in die illa tremenda; Deliver me, O Lord, from eternal death on that awful day; quando cœli movendi sunt et terra. when the heavens and the earth shall be moved. Dum veneris judicare saeculum per ignem. When you will come to judge the world by fire.

Tremens factus sum ego et timeo, dum discussio venerit I tremble and I fear the judgment and the wrath to come, atque ventura ira, quando cœli movendi sunt et terra. when the heavens and the earth shall be moved.

Dies irae, dies illa, dies calamitatis et miseriae, dies magna That day of wrath, that day of calamity and misery, a great et amara valde. and bitter day indeed.

Requiem aeternam, dona eis, Domine, et lux perpetua luceat Grant them eternal rest, O Lord, and may perpetual light eis. shine upon them.

Libera me, Domine, de morte aeterna, in die illa tremenda; Deliver me, Lord, from eternal death, on that awful day quando cœli movendi sunt et terra. when the heavens and the earth shall be moved.

Dum veneris judicare saeculum per ignem. When you will come to judge the world by fire.

Libera me, Domine, de morte aeterna, in die illa tremenda. Deliver me, Lord, from eternal death, on that awful day. Libera me. Deliver me. SINGING TONIGHT

SOPRANO ALTO Elizabeth Atkinson Sarah Lakin Jane Andrews Sue Knight Rachel Atkinson Christine Lawley Katharine Andrews Ceinwen Lally Evelyn Barnard Chris Letham Gayle Ashby Carmen Lavin Lorna Barnett Beverley Lewis Margaret Baker Mary Lawler Rebecca Berger Katie Massey Joy Baggs Emma Leader Helen Bomgardner Ann Miemczyk Hilary Banks Viv Masson Sarah-Elizabeth Brown Paula Mills Denise Barthorpe Brenda Mendelssohn Teresa Brown Lynne Moore Jackie Bench Mary Messenger Pat Buckley Debbie Murphy Wendy Burdett Anne Mullen Karen Cameron-Taylor Catherine Nye Jane Burgess Alison Nicholls Christina Castle Clare Owen Ruth Calvert Susanne Padel Sussi Chandler Margaret Owen Kay Chordia Cecilia Patten Cathy Clark Pip Peacock Helen Cook Gill Paul Valerie Clift Laura Pearce Leonie Cooke Elizabeth Pratt Glenda Collard Maureen Pett Jacquie Cooper Sue Reading Judy Colley Pauline Philips Sue Cooper Gail Sainsbury Paula Comber Helen Pullen Tricia Copus Georgie Seaman Marion Croxford Penny Richmond Liz Coughlan Gillian Scott Rebecca Dabbs Sue Sim Rosemary Crafter Ann Shepherd Ann Doyle Jacqueline Soulsby Valerie Cummings Sally Sinclair Lucy Fitt Patricia Stewart Claire Cundy Tracy Smith Janet Freer Judith Stock Eirlys Davies Geraldine Spence Sarah Foley Fenisia Stopher Helen Douglass Sue Spurling Ellie Gibson Carol Terry Patricia Farmer Ann Turner Nicolette Goddard Natasha Trenchman Nicola Foster Vicci Vaughan Hillary Goodman Martha Vickers Margaret Freeman Kersti Wagstaff Carole Goldthorp Ann Voden Fiona Friend Liz Wallace Jennifer Goodey Rachel Warwick Susannah Goward Sally Walsh Nola Gyles Katharine Webbe Sinead Hall Lindsey Warren Pat Hayward Gay Williams Elizabeth Hanning Henrietta Warwick Gill Hitchcock Debbie Wyatt Lynette Harper Penny Webb Rachel Holt Jenny Hayward Julie Wilson Monica Huddle Sue Homann-Russell Margaret Yates Murrie Jackson Mavis Hughesdon Gillian Yarham Emily Jones Gwenda Hutchinson Lauraine Klugman Kiki Kettunen

TENOR BASS Mike Barthorpe Andrew Salisbury Peter Angwin Alan Grime Bill Bateman Tony Vickers Philip Bann Paul High Andy Blake David Warwick Peter Bell David Hunt Justin Brown Angela Whitcomb Mike Braide Alexander Jackson Henry Chandler Jeremy Wright Peter Burton Alun Jenkins David Eckford Robert Cargill Gunnar Jensen Christopher Edwards Brian Chick Dominic Johnson Matthew Evans Greg Choules Patrick Lavin Derek Harwood John Coley Peter Lewis Christopher Kirk David Craig David Lowe Richard Knowles Peter Dann Richard Moore Nick Lampkin Peter Donnelly Brendan Murphy Tom Mullen Peter Edmonds Keith Paul Jim Needham Christopher Fallows Barrie Seaman Richard Papworth Robert Gamble Jon Trickey Neil Rendall John Garbutt Malcolm Webbe THE LONDON ULYSSES ORCHESTRA

FIRST VIOLIN CELLO HORN Adrian Varela (leader) Dan Burrowes Matthew Horn Calin Andrei Thomas Gregory Mark Howlings Amit Bhandari Tomasz Kotizymski Oliver Johnson Tina Bowles Sophie Rivlin Dewi Jones Tadasuke Iijima Austen Scully Olivia Jarvis Anita Strevens TRUMPET Nadine Nagen Gideon Brooks Orpheus Papafilippou DOUBLE BASS Tom Freeman-Atwood James Widden Manuel d’Oglio Catherine Knight Jacky Wong Jennifer Keesey Richard Knights Miji Yi Peter Mankarious SECOND VIOLIN Andrew McLean Caroline Frenkel FLUTE Brendan Musk Adriana Cristea Taylor Maclennan Matt Williams

Catherine Lawlor Luke O’Toole Diane Moore TROMBONE Raffaele Pagano OBOE Jim Alexander David Richmond Laura Campbell Rory Cartmell Tim Robinson Jeremy Foster Alistair Walsh Carl Rochford

CLARINET TUBA VIOLA Max Mausen George Lee Meïdi Chalal Chris Stripp Anna Growns TIMPANI Yohei Nakajima BASSOON Merlin Jones Natalia Solis Parades Sally Wragg Rosie Cow Ana Docolin PERCUSSION Finan Jones Nathan Gregory Jonathan Price

NEWBURY CHORAL SOCIETY

Newbury Choral Society is a non-auditioned choir with a history of over 130 years of bringing a high standard of music to the area. The establishment of a permanent group of singers must have met an urgent need in the town as the Society attracted more than one hundred members for the first concert in 1885. Conducted by the choirmaster and organist of Newbury's St Nicolas Church, John Shepherd Liddle, the choir made a good impression on the Newbury Weekly News critic who wrote that “the execution of the choruses reflected great credit upon the members of the Society and their conductor”.

Since that first concert we have continued to perform a wide and varied repertoire, from the great choral works of Bach, Handel and Vaughan Williams to pieces by more recent composers Tavener, Britten and Karl Jenkins. In its second century the choir’s conductors have included Jonathan Finney, Robert Barsby, Leo Hussain and its first female Musical Director Janet Lincé. Cathal Garvey has held the position since December 2009.

We aspire to a high musical standard and aim to thrill our concert audiences. Joined by professional musicians such as the renowned chamber orchestra London Concertante and the region’s leading orchestra Southern Sinfonia, we perform three concerts a year in the Newbury area. Our regular venues are St Nicolas Church, Newbury and the beautiful Abbey Church at Douai Abbey, Woolhampton.

You can find out more about Newbury Choral Society, its history and forthcoming events, at www.newburychoral.org.uk.

If you are interested in joining us, please contact our secretary through the website. We rehearse on Monday evenings at the Methodist Church Hall, Newbury, from 7.20pm to 9.40pm. We ask that you are able to read music but not necessarily to sight-read. You will receive a warm welcome.

Please visit www.newburychoral.org.uk/ConcertFeedback to tell us about your experience of our performance.

We are grateful to the following organisations for their support:

BILLINGSHURST CHORAL SOCIETY

© Keith Tellick

Billingshurst Choral Society (BCS) is a lively and well established choir based in West Sussex. Founded in 1986 by a group of friends including the founding Musical Director George Jones, the choir has grown both in repertoire and numbers. We recently celebrated our 30th anniversary and continue to develop, with membership currently around 90 singers.

In 2015, after 29 years of building and developing BCS, our Musical Director George Jones retired and we were pleased to appoint Cathal Garvey as our new Musical Director. Cathal continues to develop the choir from the strong tradition built by George Jones and his first few years with us have attracted critical acclaim. At a similar time we appointed a new accompanist for our rehearsals, Helen Wharmby. We look forward to further developing our choral skills, and performing highly enjoyable concerts to wide audiences in the south east and beyond. Cathal’s role as Musical Director also of Newbury Choral Society has also led to the opportunity to present this evening’s combined performance of Verdi’s Requiem.

The choir has a wide repertoire, ranging from Handel, Bach and Beethoven to Verdi and Vaughan Williams, including modern composers such as Rutter, Chilcott, Jenkins, Todd and Goodall.

Beyond the regular choral works, we have performed the première of The Billingshurst Mass, composed for BCS by Sir Stanley Vann; African Sanctus by David Fanshawe; Mass in Blue by Will Todd; Zimbe! and Ahoy! Sing for the Mary Rose by Alexander L’Estrange; and the UK première of Requiem – for victims of Nazi persecution by the Norwegian composer Ståle Kleiberg, which was performed in Hove, East Sussex as part of the Brighton Fringe Festival.

In 2003 BCS joined The Angmering Chorale to give the first amateur performance in the South of England of Karl Jenkins’ acclaimed work The Armed Man – A Mass for Peace. In 2007 both choirs travelled to New York, to join a performance of The Armed Man at Carnegie Hall, and in 2009 returned to join a performance of Karl Jenkins’ new work Stabat Mater in the Lincoln Centre.

BCS performs three major concerts a year, two with progessional orchestra and soloists, and one a lighter summer concert. Most concerts are at the Billingshurst Leisure Centre, but we also perform every other year at Chichester Cathedral, and have been regular contributors at the Brandenburg Spring Choral Festival in London. Our Christmas concerts usually take place in St. Mary’s Church, Billingshurst.

We travel on concert tours every two years, which widens our experience but also proves a popular social opportunity for members of the choir. In the past we have travelled to Dublin, Belgium, the Loire Valley, Caen, Paris, Prague, Tuscany and Vienna.

We hope that you will enjoy this evening’s performance - for more information about the choir, please speak to any member or visit our website www.billingshurstchoralsociety.org SUSSEX SCULPTURE STUDIOS Epstein House, Daux Rd, Billingshurst, RH14 9TF

We are an open access studio that runs affordable courses in sculpture, drawing and painting and printmaking.

All abilities welcome. Complete beginners too! Why not join us? For more information contact us on 01403 786224 or visit out websites www.sussexsculpture.co.uk www.sussexartandprintmaking.co.uk Free Parking Available

Acknowledgements

Requiem : Published by G.Ricordi & Co. (London) Ltd.

Billingshurst & Newbury Choral Societies would like to express their sincere thanks to:

Surrey Performing Arts Library – Music Hire Royal Academy of Music – Orchestral Material Helen Wharmby & Steve Bowey – Rehearsal Accompanists Sue Spurling & Mat Evans – Programme & Poster Design Kate Nye & Katharine Webbe – Advertising Coordination Mike Barthorpe – Stage Management Mat Evans, David Craig & Joy Baggs – Publicity The Anvil – Box Office Facilities Billingshurst Primary School & Methodist Church Hall, Newbury for rehearsal facilities and everyone else who assisted in the production of this concert