Antonín Dvoˇrák Stabat Op. 58 mater 01

Fleischmann Choir Cork School of Music Symphony Orchestra Sat 18 Feb 2017 City Hall, Cork @ 8pm Stabat Mater, Op. 58 Antonín Dvořák (1841-1904)

Mary Hegarty (Soprano) Rachel Kelly (Mezzo-Soprano) Patrick Hyland (Tenor) Brendan Collins (Bass)

Fleischmann Choir CSM Symphony Orchestra

David McElroy (Leader) Conor Palliser (Conductor)

Our concert tonight is dedicated to the memories of John Gibson, Betty Murphy and John O’Connor. Antonín Dvořák

The question as to why Dvořák turned his attention in February 1 1876 to the medieval hymn ‘Stabat Mater’, which sings of the pain of Mary during her son’s crucifixion, cannot be answered clearly. There was no commission for the composition, while the length of the work and the large orchestra suggest that Dvořák certainly had no intention of having it performed in the specific context of a church festival or religious service. Employed as an organist from 1874 onwards at St. Adalbert’s Church in Prague, Dvořák came into regular contact with church music at that time and could thus have been inspired to compose his own spiritual work. He may even have had direct experience of a contemporary Stabat Mater setting in November 1875: it is believed that Dvořák played the harmonium part at the premiere of Franz Xaver Witt’s ‘Stabat Mater’ in Prague’s This modest, devout tone is of course required by the text of the ‘Sta- Emmaus Church. He may have been attracted by the poetic depth of bat Mater’, which contains no theatrical images of the type familiar the text, or could have felt the need to oppose the Cecilian simplic- from the Requiem text. It describes Mary’s pain on seeing her dead ity and rather austere setting by Witt (only for choir, with keyboard son on the cross – initially from the perspective of a neutral observer, accompaniment) with a sumptuous orchestral work of his own that then from the first-person perspective of someone personally affect- was intended for the concert hall from the outset. Whatever the ac- ed who is hoping to find solace and to share Mary’s pain, and who tual motivation was, the fact remains that Dvořák sketched out his ultimately asks Christ himself for salvation. The ‘Stabat Mater’ hymn ‘Stabat Mater’ in the period from February 19 to May 7, 1876. – whose authorship has not been clarified to this day – thus contains aspects of mourning and lamentation as well as cautious optimism, After this initial, short-score-like version of the work, other obliga- and these very elements can be found in Dvořák music. With fine tions occupied his attention for the next one and a half years. The fact and gentle gradations, and avoiding any meticulous emphasis on the that Dvořák started work again on his ‘Stabat Mater’ in the autumn interpretation of words, it moves between deep resignation and ten- of 1877, however, orchestrated it within a few weeks and finally com- tative moments of promise. pleted it, is often linked to the fateful occurrences during the summer of 1877. On August 13, his one-year-old daughter Ružena died in a tragic accident (she had accidentally drunk some phosphorus solu- tion); and only a few weeks later, on September 8, his three-year-old son Otakar succumbed to smallpox. Earlier, in the summer of 1875, the composer’s daughter Josefa had also died at only two days of age, so the family was now left childless. In this deeply tragic situation, Dvořák may have felt the need to turn his attention once again to a work dealing with pain and compassion, and to find some kind of consolation in it.

Dvořák’s ‘Stabat Mater’ takes around 90 minutes to perform, and 2 indeed is one of the most extensive settings of the text in Western 3 music. The work has a special dignity – not only because of its sheer scale but also for the breadth of its concept, its excursions into the symphonic, and its continuous expression of deep piety. A profound inwardness flows through the entire composition – a contemplative, elegiac attitude, reinforced by the consistently slow tempi (only the fifth movement is marked Andante con moto quasi allegretto, all oth- er movements being Largo or Andante), mostly subdued dynamics, and an often introverted melodiousness. Dvořák interrupts the gen- eral solemnity only very rarely with dramatic outbursts, crescendos and concentrations of sound. 1. Chorus and Solo Quartet

Stabat Mater dolorosa juxta crucem lacrimosa dum pendebat Filius. The grieving Mother stood weeping beside the cross where her Son was hanging.

Cujus animam gementem contristatam et dolentem pertransivit gladius. Through her weeping soul, compassionate and grieving, a sword passed.

O quam tristis et afflicta fuit illa benedicta Mater unigeniti.

4 O how sad and afflicted was that blessed 5 Mother of the only-begotten!

Quae maerebat et dolebat pia Mater, cum videbat nati poenas incliti. Who mourned and grieved, the pious Mother, looking at the torment of her glorious Child. 2. Solo Quartet

Quis est homo, qui non fleret, Pro peccatis suae gentis matrem Christi si videret vidit Jesum in tormentis in tanto supplicio? et flagellis subditum. Who is the person who would not weep For the sins of his people she saw Jesus in seeing the Mother of Christ in such agony? torment and subjected to the scourge.

6 7 Quis non posset contristari Vidit suum dulcem natum matrem Christi contemplari moriendo desolatum dolentum cum filio? dum emisit spiritum. Who would not be able to feel compassion on She saw her sweet offspring dying, forsaken, beholding Christ’s Mother suffering with her Son? while He gave up his spirit. 3. Chorus

Eia Mater, fons amoris, me sentire vim doloris fac ut tecum lugeam. O Mother, fountain of love, make me feel the power of sorrow, that I may grieve with you.

4. Bass Solo and Chorus

Fac ut ardeat cor meum in amando Christum Deum ut sibi complaceam.

8 Grant that my heart may burn in the love of 9 Christ my Lord, that I may greatly please Him.

Sancta Mater, istud agas, crucifixi fige plagas cordi meo valide. Holy Mother, grant that the wounds of the Crucified drive deep into my heart. 5. Chorus

Tui Nati vulnerati tam dignati pro me pati poenas mecum divide. That of your wounded Son, who so deigned to suffer for me, I may share the pain.

6. Tenor Solo and Chorus

Fac me vere tecum flere crucifixo condolere donec ego vixero.

10 Let me sincerely weep with you, bemoan 11 the Crucified, for as long as I live.

Juxta crucem tecum stare te libenter sociare in planctu desidero. To stand beside the cross with you, and gladly share the weeping, this I desire. 8. Soprano and Tenor Duet

7. Chorus Fac, ut portem Christi mortem passionis fac consortem Virgo virginum praeclara et plagas recolere. mihi jam non sis amara Grant that I may bear the death of Christ, share fac me tecum plangere. his Passion, and commemorate His wounds. Chosen Virgin of virgins, be not bitter with me, let me weep with thee. Fac me plagis vulnerari cruce hac inebriari ob amorem filii. Let me be wounded with his wounds, inebriated by the cross because of love for the Son.

9. Mezzo~Soprano Solo

Inflammatus et accensus per te, Virgo, sim defensus

12 in die judicii. 13 Inflame and set on fire, may I be defended by you, Virgin, on the day of judgement.

Fac me cruce custodiri morte Christi praemuniri confoveri gratia. Let me be guarded by the cross, armed by Christ’s death and His grace cherish me. 10. Solo Quartet and Chorus Mary Hegarty Quando corpus morietur fac ut animae donetur paradisi gloria. Amen. Soprano Mary Hegarty’s early studies at Mary Hegarty’s recordings include her solo When my body dies, grant that to my the Cork School of Music led to a place album A Voice is Calling, and CD recordings soul is given the glory of paradise. Amen. at the National Studio in London of Patience and Orpheus in the Underworld and masterclasses with Sir Thomas Allen, with the D’Oyly Carte (Sony), also Silver Dame Elisabeth Schwarzkopf and Sir Peter Tassie (ENO) and Carmen (Chandos) with Pears. She represented her country at the Glyndebourne Opera. Mary played Gilda Cardiff Singer of the World Competition in Woody Allen’s movie Matchpoint and and subsequently built an impressive career appeared in special TV broadcasts and DVD throughout Europe on the operatic stage, recordings of Bernstein’s Trouble in Tahiti concert platform and in regular broadcasts and Rachel Portman’s The Little Prince for the with RTÉ and the BBC. BBC.

Since making her professional debut at the Ongoing performance projects include a Royal Opera House, Covent Garden, under recital of lieder themed as Music of the Art the baton of Bernard Haitink, Mary has sung Nouveau, a contemporary production of John principal roles with English National Opera, Corigliano’s song cycle based on the poetry Opera North, , Opera of Bob Dylan, and a cabaret production Mary , City of Birmingham Hegarty sings the Jazz Songbook. A successful Touring Opera, Glyndebourne Festival vocal coach and lecturer at the Cork School Opera, Garsington Opera, D’Oyly Carte, of Music, Mary’s students have performed at Reisopera, La Monnaie, Vlaamse Opera, English National Opera, Garsington Opera Adelaide Festival, Opera Zuid, Athens and the BBC Proms. A student from her Festival, Opera Theatre Company, OPERA private studio was featured in the final stages 14 2005, the Dublin Grand Opera Society and of last year’s TV series The Voice UK and she 15 R&R Musical Society. Oratorio and concert has recently acted as the voice and language appearances include the BBC Proms at the coach for a British Youth Opera production Royal Albert Hall, many performances of of Riders to the Sea. Messiah, Handel’s Creation, Carmina Burana, Maritana, La Bohème (at the RTÉ Proms), Mary was recently nominated for an Opera and the Irish premieres of Paul McCartney’s Bear Award for her portrayal of Miss Liverpool Oratorio and Mahler’s Eighth Wordsworth in Opera North’s acclaimed Symphony. production of Britten’s Albert Herring. She repeats the role this summer in a new She has graced the stages of the Royal Festival production at Buxton Festival Opera. She Hall, Barbican, Birmingham Symphony has also cemented her status as a Cork icon Hall, National Concert Hall and others, with with a cameo appearance alongside indie the RTÉ National Symphony Orchestra band the Frank and Walters at their sell-out and Concert Orchestras, BBC Symphony anniversary concert! Orchestra, BBC Concert Orchestra, Hallé Orchestra, London Symphony Orchestra, maryhegarty.ie Philharmonia, and the Orchestre Nationale de Belgique. Rachel Kelly

Rachel Kelly is a recent graduate of the The current season brings a return to Opera Royal Opera House Covent Garden’s Jette di Firenze as Idamante (Idomeneo) in the Parker Young Artist Programme where opening production of the 2017 Maggio she attracted considerable attention for Musicale Fiorentino, and a role-debut as her portrayals of Zaida (Il turco in Italia) Donna Elvira () with Northern conducted by Evelino Pidò, Javotte (Manon) Ireland Opera. In concert, Rachel performs conducted by Emmanuel Villaume, Cavalli’s La calisto with La nuova musica Patrick Hyland Mercédès (Carmen) conducted by Alexander at London’s Wigmore Hall and Haydn’s La Joel, and Pisana (I due Foscari) conducted canterina with Classical Opera at Haydn by Sir Antonio Pappano. Her performance Festival Eisenstadt as well as making guest as Mirinda in Kasper Holten’s L’Ormindo appearances with Ulster Orchestra under conducted by Christian Curnyn (which Jac van Steen, RTÉ National Symphony marked the first ever collaboration between Orchestra under Matthew Halls, and the Patrick Hyland commenced his studies with Dr Veronica Dunne in 2006 at the Royal Opera House and Shakespeare’s City of Birmingham Symphony Orchestra the Royal Irish Academy of Music. Operatic roles include Erik Oxenstjerna - Globe) was singled out by Opera Today for under John Wilson. Cristina, Regina Di Svezia (Wexford Festival Opera), Nemorino - L’Elisir d’amore its “rich sensuality of voice” and “glowing (Wexford Festival Opera), Tamino - (Wexford Festival Opera), warmth”, her appearance as the Cat in El Earlier opera experience includes Cherubino El Remendado - Carmen (RTÉ Concert Orchestra), Jupiter - Semele (RIAM), gato con botas (Puss in Boots) at the Linbury (Le nozze di Figaro) for Lismore Music Rinuccio - Gianni Schicchi (RIAM) Camille - The Merry Widow (Lyric Opera & Theatre was described by The Telegraphas “a Festival and, for the Royal Academy of Cork Opera House) Rodolfo [Cover] - La Boheme (OTC). He has been a member special delight” and she earned unanimous Music, Fanny Price in the London premiere of the Glyndebourne Opera Festival Company Chorus (2012 & 2013). praise for her Proserpina (Orfeo) at London’s of Jonathan Dove’s Mansfield Park, Wu in Roundhouse. the world premiere of Sir Peter Maxwell Concert and solo performances include BAM New York, Internationale Davies’ Kommilitonen! and Beatrice in John Opernwerkstatt Switzerland tour 2014, Áras an Uachtaráin, The National Concert 16 Last season saw Rachel Kelly earn acclaim as Copley’s production of Béatrice et Bénédict Hall, Dublin Castle, The Mansion House and the Royal Hospital Kilmainham 17 Nerone () with the Irish Chamber conducted by the late Sir Colin Davis. for the Irish Presidency of the European Union. Oratorio performances include Orchestra under Jonathan Cohen, make a Gerontius, The Creation and The Messiah. company debut as Nancy (Albert Herring) A native of Ireland, Rachel Kelly studied at with Maggio Musicale Fiorentino and create the Royal Irish Academy of Music, London’s Patrick was awarded The Dermot Troy Prize for The Best Irish singer in the the role of Catherine (The Devil Inside) Royal Academy of Music and the National Veronica Dunne International Singing Competition 2016. He is a multiple Feis for Scottish Opera, subsequently on tour Opera Studio, and she has taken master Ceoil winner including the Dermot Troy Trophy for Oratorio, The Count John in the UK and Canada. A performance classes with Sir Antonio Pappano, Sir Mark McCormack Cup, The William Young Cup, Operatic Duet Cup and the Sligo Feis of Jomelli’s little-known Il vologeso with Elder, Dame , Ann Murray, Ceoil best male singer cup. He is a recipient of a bursary from the Count John Classical Opera and Ian Page gave Rachel Ileana Cotrubas and Sir Thomas Allen. McCormack Society and is a former Opera Theatre Young Associate Artist. Kelly an opportunity to shine in the title role, and she joined Orchestre de Chambre de Paris and Christopher Franklin as Teresa (La sonnambula) at Paris’ Théâtre des Champs-Elysées. After impressing him in Operalia, Rachel Kelly was invited to make a special guest appearance alongside Plácido Domingo in concert at Dublin’s 3Arena. Brendan Collins Conor Palliser

Cork Baritone Brendan Collins began his in C Minor (Ulster Hall, ), Mozart Since receiving an MA from the CIT Cork In May of 2016, Conor made his debut with training at the Cork School of Music under Spatzenmesse (Westminster Cathedral, School of Music in 2011, Cork-born Conor the Ulster Orchestra on a week-long concert Robert Beare, the D.I.T. Conservatory London), Haydn Creation Mass (Clonard Palliser has quickly established himself as one series in Northern Ireland. in Dublin and in 2007 he was granted a Monastery, Belfast), Haydn Nelson Mass (St of Ireland’s leading young conductors. He is scholarship to study at the Opera Studio of Finbarr’s Cathedral, Cork), Fauré Requiem the Conductor of the Fleischmann Choir and As a piano player, Conor has appeared on Theatre de la Monnaie in Brussels under (St. Bavo’s Cathedral, Ghent) Schubert Mass CSM Symphony Orchestra, and he is also stage at the NCH, Dublin, in a performance renowned bass-baritone José van Dam. In in G (St Nicholas, Galway), Puccini Messa a highly-regarded French horn player and of Stravinsky’s Concerto for Piano and 2005 he was one of only 12 Irish singers to di Gloria (Cork City Hall), Orff Carmina pianist. Conor began studying the piano at Winds and his debut piano recital in 2008 take part in the 1st Wexford Festival Young Burana (National Concert Hall, Dublin), the CSM with Mary Beattie at the age of 6 was broadcast by RTÉ’s lyric fm from the Artists programme under tenor Dennis Mendelssohn Elijah (Wexford Opera House) and French horn with Seán Clinch four years John Field Room, NCH. In recent times, O’Neill. and Beethoven 9th Symphony (Palais des later. He was named CSM Student of the he has been the official accompanist for Beaux-Arts, Brussels). Year upon completion of his BMus in 2009, the Irish Chamber Orchestra’s auditions, As a soloist he has performed across and he currently works as a lecturer, coach and is hugely in demand to accompany Ireland, the UK, Europe and America. Recent highlights include his debuts at accompanist and conductor at the CSM. young musicians in competitions across the Opera engagements include Opera Ireland, Glyndebourne Festival Opera and in the country. In 2010, Conor was a finalist in the Opera Theatre Company, Glyndebourne BBC Proms at the Royal Albert Hall in Conor first studied conducting with Alan inaugural Irish Freemasons’ Young Musician Festival Opera, English Touring Opera, Billy Budd under Sir Andrew Davis, his Cutts during his BMus and from 2009 of the Year, and he also was the winner of the Scottish Opera, NI Opera, Longborough New York debut at the Brooklyn Academy to 2011, Conor undertook a conducting CSM Advanced Recital Competition on both Festival Opera, Anna Livia Festival, Lyric of Music under Sir Mark Elder, his Swiss mentorship with Dr Geoffrey Spratt at piano and French horn. Opera, Cork Operatic Society and Glasthule debut at Opéra de Lausanne under Monica CSM. The mentoring included extensive Opera. His roles include Count Almaviva Huggett and his debut at the Grand Théâtre rehearsal and public performance As a horn player, Conor has worked with (Le Nozze di Figaro), Marcello (La Boheme), de Luxembourg in Donnacha Dennehy’s The opportunities with several of the School’s the RTÉ National Symphony Orchestra, the Escamillo (Carmen), Germont (La Traviata), Last Hotel. Upcoming engagements include most senior choral and orchestral forces. RTÉ Concert Orchestra, the Irish Chamber 18 Tonio (Pagliacci), Paolo Albiani (Simon Carmen at the Cork Opera House with the In 2010, Conor was privileged to become a Orchestra, Wexford Opera and Camerata 19 Boccanegra), Masetto (Don Giovanni), Pietro Cork Operatic Society and Bach St. Matthew beneficiary from the Bryden Thomson Trust Ireland as well as being a former member of de Wisants (L’Assedio di Calais), Jupiter Passion with the RTÉ Symphony Orchestra for Young Conductors and it was decided the European Union Youth Orchestra and (Orpheus in the Underworld), Marullo in the National Concert Hall. to extend this support in 2012. Conor International Youth Wind Orchestra. He (), Elviro (Xerses), Aeneas (Dido made his professional conducting debut has also worked alongside both the Callino & Aeneas), Fiorello (The Barber of Seville), in 2011 with the RTÉ Concert Orchestra and RTÉ Contempo Quartets. He took Sacristan (), Arthur Jones (Billy Budd), and has been invited to conduct them on part in Cork Operatic Society’s national Yamadori (Madama Butterfly) Captain several subsequent occasions, including a award winning production of Leoncavello’s Petrovitch (Eugene Onegin), and Count Gil collaboration with Linda Buckley (RTÉ lyric Pagliacci in the Everyman Palace Theatre (Il segreto di Susanna) amongst others. fm’s Composer-in-Residence, 2011-12), as an actor-musician on both French horn on National Music Day in 2012 and most and piano, as well as being a répétiteur and A regular performer on the concert platform recently in the presence of President Higgins assistant conductor. Upon winning the CSM his repertoire includes Handel Messiah (Pro for a performance of Simon O’Connor’s Senior Concerto Competition, Conor gave Cathedral, Dublin), Handel Birthday Ode for Widows of 1916. He conducted the RTÉ the first performance in Ireland of Mathias’ Queen Anne (St Patrick’s Cathedral, Dublin), National Symphony Orchestra on their Horn Concerto with the CSM Symphony Mozart Requiem (National Concert Hall, sold-out tour to Cork and Waterford in Orchestra. He also appeared as the soloist Dublin), Mozart Vespers (Kajetanekirche, April 2015, and again in their sold-out final on the opening night of the 56th Cork Salzburg), Mozart Coronation Mass (St. Summer Lunchtime Series concert in the International Choral Festival. Stephen’s Cathedral, Vienna), Mozart Mass National Concert Hall [NCH], Dublin. CORK SCHOOL OF MUSIC SYMPHONY ORCHESTRA

The Cork School of Music Symphony Armed Man, and the choir’s collaboration with featured works by Malcolm Arnold (A Grand, with the Fleischmann Choir and the Cologne Orchestra has been described in the national the Irish Youth Choir to give performances of Grand Overture), Brahms (Academic Festival Philharmonic Choir. Recent performances press as “the finest orchestra of its kind in Berlioz’s Grande messe des morts [Requiem] Overture), Beethoven (Symphony No. 5), included Shostakovich’s Cello Concerto No. 1 Ireland”. Because of the sheer number of in both Ireland and Wales and Orff’s Carmina Vaughan Williams (Hodie), Bruch (Kol Nidrei with Maria O’Connor, a hugely successful all- enrolments in the CIT Cork School of Music Burana in Cork and Limerick. For the with Sinéad O’Halloran), and choral favourites Brahms concert with Mairéad Hickey (violin) [CSM], for orchestral instrument lessons (over latter the orchestra was awarded the Irish by Bach, Brahms, Fauré, Handel, Karl Jenkins, and the Fleischmann Choir, Tchaikovsky’s 1,500), the School organises no less than five Association of Youth Orchestras / Penney’s Mozart, and Orff with the Fleischmann Choir Symphony No. 6 and Mozart’s Coronation Mass Bands (Jazz as well as Concert) and seven Artistic Achievement Award for 2003. In in “Proms” concerts. The latter also showcased as well a performance of Sibelius’ Symphony orchestras (from Preparatory, through Junior, November 2002 it was engaged to accompany the première of a new Violin Concerto by Sam No. 5 in both Cork and Kenmare. Intermediate & Senior to Baroque, Classical the Perm State Ballet’s production of Adam’s Perkin which was written for Eoin Ducrot, and and Symphony) to foster the development of Giselle in the Cork Opera House, and has the CSMSO. The 2012-2013 season featured Membership of the orchestra is open to any ensemble music-making skills at every level. recorded scores by Stephen Parker for award- works including Copland’s Appalachian Spring student who has passed Grade 8 and anybody Initially under the direction of the School’s winning films: Poker Nights (2004) and Forty with guest conductor, Elaine Kelly, Elgar’s who wishes to join should contact the CIT Cork former Head of String Studies, Adrian shillin’ shame (2008). As contributions to the Introduction and Allegro with the Vanbrugh School of Music’s Public Office (021 4807301) Petcu, the School’s Symphony Orchestra has programme for Cork’s tenure as European Quartet as well as Tippet’s Child of our Time or email Conor Palliser [[email protected]] developed from relatively modest beginnings Capital of Culture during 2005 the orchestra as a Chamber Orchestra more than twenty performed music by Honegger, Beethoven (the years ago to become hailed in the national Violin Concerto with Catherine Leonard), Bizet CSM SYMPHONY ORCHESTRA press as one of the outstanding examples and Saint-Saëns (the Introduction & Rondo Violin 1 Viola Oboe of the amateur orchestral scene in Ireland. capriccioso with Siún Milne, winner of the Eimear de Brún Séamus Hickey Co-Principal Catherine Kelly In recent years, under the direction of Dr 2004 CSM Senior Concerto Competition); it Tanna Fischer Amina Kareem Jane Sullivan Geoffrey Spratt and Conor Palliser, both also joined forces with the Fleischmann Choir, Kate Fleming Stephen Kelleher its membership and standards have been Cologne Philharmonic Choir, CSM Senior Laura Healy Cian MacGarry Principal Cor Anglais enhanced by the presence in the School of & Youth Choirs, Robert Craig (Tenor), and David McElroy Leader Mairéad Ní Choileáin Catherine Kelly over 120 full-time BMus Degree students and Colin Nicholls (Organ), to perform Berlioz’s Orlaith McHugh James O’Coileáin st Muireann Ni Raghallaigh Katherine Veeckman Clarinet more than 20 MA Degree students. Its regular epic Te Deum for the opening of the 51 Cork Ultan O’Flanagan Ciara Lineen performances in Cork are complemented by International Choral Festival. Marian Power Co-leader Cello Emily Sullivan visits to venues throughout Ireland and abroad. Aisling Sage Meadhbh Campbell Hollie Browne The orchestra has twice taken part in the The highlights of the orchestra’s 2009-2010 Marta Stocco Geraldine Dennehy International Festival of Youth Orchestras held season were performances of concertos by Jessica Wyer Melanie Higgins Bassoon annually in Valencia, Spain, and successfully Schumann (for piano, with Danusia Oszlilok), Zoë Nagle Co-Principal Katie Marie Cody pioneered the concept of “Proms” concerts Bruch (for viola, with Ed Creedon) and Vinter Violin 2 Joseph Norton Niamh O’Riain Caoimhe Browne Cormac Ó Briain Principal Pippa Hanley in Cork. Nineteenth- and twentieth-century (for French Horn, with Conor Palliser), Aisling Deegan Callum Owens masterpieces from the orchestral repertory Dvořák’s Symphony No. 8, Rossini’s Overture Bridget Kelly Julianne Quirke Horn form the core of its programmes, and it has to William Tell and a performance of music by 20 Mark Kenny Róisín Rock Louise Sullivan 21 commissioned works from a number of Irish Aloys Fleischmann’s Song of the Provinces (for Rachael Masterson Principal Alina Whitla Colum Mulhall composers – most notably John Kinsella, choir, orchestra and audience!) for the Opening Alice McCarthy Niamh Rodgers whose Symphony No. 7 it premièred in Gala Concert of the Cork International Choral Caoimhe McCarthy Double Bass Hugh O’Connor Sarah McCarthy Sophie Butler Principal 1999. More recently it gave performances Festival to mark the centenary of his birth. Fiona McEvoy Co-principal Jenny O’Brien Trumpet of orchestral works by Séamas de Barra (a The success of the orchestra’s rehearse-record Courtney O’Connor Donagh O’Callaghan Michael Mullins member of the School’s staff, in both Dublin sessions for student composers in the CSM, Orla O’Hanlon Alison Riordan Patrick O’Carroll and Cork) and David Wallace (Hochtief Fellow and those for 4th Year BMus students studying Brid Og Dwyer in Composition at the CIT Cork School of orchestration, continued to be highlights of the Eoin Smiddy Flute Trombone Music, 2006-2008, and Aloys Fleischmann 2010-2011 season, together with performances Cliona Sunderland Rebecca Archer Mark McCarthy Composer-in-residence at the CSM, 2010). in Cork and Skibbereen of music by Malcolm Samuel Wade Mary-Ellen Nagle Ciara Lambkin Adrian Hanly Arnold (Peterloo), Beethoven (Overture to Every year the orchestra accompanies Egmont), Gordon Jacob (Trombone Concerto, Timpani the winner of the CSM’s Senior Concerto with Cillian Ó Ceallacháin), Sam Perkin (Violin Siobhán O’Donnell Competition, and it regularly collaborates with Concerto/iii, with Mairéad Hickey) Sibelius the School’s adult, mixed-voice Fleischmann (the Violin Concerto, with the orchestra’s Choir for performances of the oratorio Leader, Hugh Murray, and Finlandia), repertory – recently for the first performance and Puccini’s Messa [di Gloria] with the in Cork of Karl Jenkins’ Mass for Peace: The Fleischmann Choir. The 2011-12 season FLEISCHMANN CHOIR

The Fleischmann Choir was founded in Fleishmann Snr’s Mass in honour of St Concerts of the 2004, 2005, 2010, 2013 & Puccini’s Messa with the CSM Symphony November 1992 by Dr Geoffrey Spratt Finbarr, Grieg’s Incidental Music for Peer 2016 Cork International Choral Festivals – Orchestra in Cork and Skibbereen. The (Director of the CIT Cork School of Music Gynt, Handel’s Messiah, Chandos Anthem not least because in both 2004 and 2010 it choir’s 21st season, 2012-2013, featured two and Founder-Conductor of the Irish Youth No. 1, & Coronation Anthem: Zadok the provided the opportunity to perform again more first performances in Cork: Honegger’s Choir and Canticum Novum), Initially Priest, Haydn’s Missa in tempore belle, works by Fleischmann, which the choir magnificent Cantate de Nöel and Tippett’s called the Cork School of Music Symphony The Seasons, & The Creation, Hummel’s sang for its inaugural concert in 1993. It epic oratorio A child of our Time – the Orchestra Chorus, it sang in public for the Alma virgo, Karl Jenkins’ The Armed Man: was particularly pleased that the Cologne latter with the Cologne Philharmonic first time on 22 April 1993 when it gave a A Mass for Peace, Bryan Kelly’s Africa, Philharmonic Choir - with which it had Choir in both Cork and Cologne. Recent concert with the RTÉ Concert Orchestra Mathias’s Ave Rex, Mozart Requiem, Orff’s already given concerts in Cologne, Dublin and concerts in City Hall featured three rarely in Cork’s City Hall to mark the opening of Carmina Burana, Poulenc’s Gloria, Puccini’s Cork – was able to join the combined choral performed works by Brahms to great the 40th Cork International Choral Festival. Messa a 4 voci [Messa di Gloria], Stainer’s and orchestral forces of the Cork School of acclaim and Mozart’s Coronation Mass with The programme was of music by Aloys The Crucifixion, Vaughan Williams’ Hodie Music to perform Berlioz’s epic Te Deum Cara O’Sullivan, Bridget Knowles, Breiffni Fleischmann – one of the founders of the & Serenade to Music, Verdi’s Missa da for the opening of the Cork International Horgan and Brendan Collins. Last season Cork International Choral Festival, and its Requiem (in both Germany and Ireland) and Choral Festival in April 2005. During its featured Haydn’s Te Deum and Dvořák’s longest-serving Director – who had died the Vivaldi’s Dixit Dominus & Gloria, as well as 2006-2007 season the choir performed Te Deum for performances in both Cork previous year. Shortly after this concert, with music by J. S. Bach, Beethoven, Bernstein, Mozart’s Requiem with the Cork Symphony and at the Kenmare Choral Festival as well the permission of the family, the choir was Bizet, Brahms, Britten, Clucas, Donizetti, Orchestra in Cork’s City Hall to mark the as a performance of Finzi’s Intimations of 22 renamed in memory of the man who did so Elgar, Holst, Andrew Lloyd Webber, 250th anniversary of the birth of Mozart, and Immortality at the opening night of the Cork 23 much to further the cause of choral music Mascagni, Massenet, Mathias, Mozart, in March 2008, it gave the first performances International Choral Festival with soloist and choral singing in Ireland. Rehearsals for Parry, Sam Perkin, Puccini, Purcell, Stanford, in Cork of Karl Jenkins’ The Armed Man: A Robin Tritschler to great acclaim. this large, mixed-voice choir take place on Tchaikovsky, Vaughan Williams and Verdi, Mass for Peace to over 2,000 people. Monday nights from 7.30-10.00 p.m. carols, folk-song arrangements, gospel Although the Fleischmann Choir has arrangements, Negro spirituals and opera The Fleischmann Choir’s 2008-2009 season achieved an enviable reputation for fulfilling The choir specialises in singing large-scale choruses. In addition the choir has accepted included the first complete performance its mission to perform the large-scale works for choir and orchestra. In recent invitations as diverse as “Songs of Praise” for in Cork of Haydn’s The Seasons with the repertory for choir and orchestra, it also years it has performed Berlioz’s Grande the BBC from St Colman’s Cathedral, Cobh, RTÉ Concert Orchestra and a team of has a great reputation amongst its members messe des morts [Requiem] (in both Co. Cork, backing Johnny Logan during the internationally renowned soloists. The for the inclusive social life that goes hand- Wales and Ireland), Borodin’s “Polovtsian Eurovision Song Contest broadcast by RTÉ 2010-2011 season included outstandingly in-glove with the singing. The Fleischmann Dances” from Prince Igor, Brahms’ Ein from Millstreet, Co. Cork, and singing with successful concerts in Dachau (Germany) Choir is the adult, mixed-voice choir of the deutsches Requiem, Britten’s St Nicolas, Niamh Kavanagh for her RTÉ Christmas during a week-long visit to celebrate the CIT Cork School of Music, and anybody Bruckner’s Te Deum, Angel Climent’s Missa Show from Cork Opera House. centenary of Aloys Fleischmann and the who wishes to join should contact the CIT solemne & Motet: Caro mea, Dvořák’s work of his father (who was born in Dachau). Cork School of Music Public Office (021 Mass, Fauré’s Requiem, Fleischmann’s The Fleischmann Choir is delighted to It also featured the first performances of 4807301) or email the choir’s conductor, Clare’s Dragoons & Song of the Provinces, have been invited to give the Opening Gala both Britten’s St Nicolas in Cork and of Conor Palliser [[email protected]] Fleischmann Choir www.thefleischmannchoir.org Sopranos Contraltos Tenors Basses

Claire Brosnan Christine Allan Ciaran Ahern Walter Beare Edith Browne Clare Bywater Conor Brassil Willie Beechinor Valerie Cooney Eveliina Calderwood Hugh Brint James Brockie Teresa Coughlan Teresa Collins Jim Cashman Murrough Connolly Muireann Cussen Aoife Coyne Jordan Cassidy Paul Cussen Deirdre Deasy Jane Daly Haley Jovi Cazarini Bueno John Daly Leona Duffy Anne Donnelly Jim Cleary Matthew Doherty Michèle de Foubert Philomena Giltanan Margaret Crowley Justin Donnellan Christina Favier Renata Gudinovic Philip Dunphy Eoin Foran Marguerite Field Deirdre Hurley Patrick Fitzgerald Greg Fulton Toni Forde Niamh Keane Seán Hill Ben Glavin Mairéad Gallagher Niamh Kelliher Johnny Houlihan Sean Grace Patricia Glavin Elaine Kelly James Kellaghan Finbarr Healy Anne Godfrey Laura Lagerqvist William Lane Kurtis Hemphill Ann Harrington Breege Leonard Billy Lewis Stephen Jeffery Jan Kelleher Maeve Long David Lynch David King Patricia Kelleher Judith Macklin Graham Manson Ferdia Lacken Sinéad Kelleher Catherine McCarthy Gerard Moynihan Ciaran McCarthy Lisa Lee Fitzgerald Jacqueline McLay Terence Murphy Conor Nash Susanne Leutenegger Dearbhail O’Callaghan Finbarr O’Brien Paul O’Brien Elizabeth Lynch Anne O’Connor Brian O’Connor Fergal O’Byrne Claire McCarthy Maria O’Donovan Seumas O’Donovan Kevin O’Callaghan Niamh Murray Patricia O’Gorman Proinnsias O’Keeffe Brendan O’Connell Margaret Murphy Clare O’Shea-O’Neill Michael O’Neill Pax O’Faoilain Deirdre Ní Drisceoil Clíona O’Sullivan Alan O’Shea Peter O’Reilly Sinead Nolan Jenny Scott-Baird Ann-Marie O’Sullivan Finbarr O’Riordan Shiori Okawa Isabelle Sheridan John O’Sullivan John Owens Ali O’Mahony Alison Smyth Adrian Scanlan John C. Ryan Keeva O’Mahony Ita Teegan David Shine John Spillane Sinead O’Neill Anne Walsh Geoffrey Spratt Pawel Switaj Simone O’Rourke Kay Walsh David Sprott Brian Twomey Kay Scoutts-O’Mahony Richard Winfield Liz Searls-Spratt Noreen Spillane Marie Sport Marcella Twomey Committee 2016-17 Rosie Twomey 24 Denise White Manager: Ali O’Mahony & Clíona O’Sullivan Alice Suk Hon Wong Treasurer: Graham Manson Membership Secretary: Jenny Scott-Baird Librarian: Michèle de Foubert Archivist: Margaret Crowley Music Staff 2016-17 Social Secretary: Willie Beechinor Stage Managers: Terence Murphy, Graham Manson & Billy Lewis Conductor: Website: David Sprott (www.thefleischmannchoir.org) Conor Palliser Keeva O’Mahony Founder-Conductor Emeritus: Facebook: Dr Geoffrey Spratt Design: Alan O’Shea [of aosdesign] Programme editor: Niamh Murray Accompanist: Photography: Seumas O’Donovan Ciara Moroney Line-Leaders: Deirdre Ni Drisceoil, Aoife Coyne, Line Coaches: David Shine & Tony Malone Elaine Kelly Assistant Line-Leaders: Alice Wong, Deirdre Hurley, Dr Geoffrey Spratt Seumas O’Donovan & Justin Donnellan Ben Jacob Fund collectors: Alice Wong (Ann Harrington), James Brockie Ita Teegan, David Lynch & Justin Donnellan.