Forthcoming Concerts Faust Chamber Orchestra and Cambridge University Musical Society Chorus

Come and Sing St John Passion with CUMS Chorus Saturday 30 April 2016 – 10:30am. Great St Mary’s, Cambridge. Cambridge University Musical Society Chorus Mark Austin conductor www.cums.org.uk/events/event/on/2016/04/30

Elgar The Dream of Gerontius

Saturday 11 June 2016 – 7:30pm. Saffron Hall, Saffron Walden. Jennifer Johnston mezzo soprano Andrew Kennedy tenor Ashley Riches bass Cambridge University Musical Society Chorus Cambridge University Musical Society Symphony Orchestra Stephen Cleobury conductor www.cums.org.uk/whats-on/concerts

Classicism according to Cherubino Rosalind Coad soprano Sunday 25 September 2016 – 4:00pm. Kings Place Hall One, London. Prokofiev Symphony no. 1 ‘Classical’ Anna Harvey mezzo soprano Mozart Oboe Concerto Bradley Smith tenor Mozart Le nozze di Figaro ‘Non so più’; ‘Voi che sapete’ Rossini Il barbiere di Sivigilia ‘Una voce poco fa’ Adam Green baritone Schubert Symphony no. 3 Katie Bray mezzo soprano Cambridge University Musical Society Chorus Faust Chamber Orchestra Faust Chamber Orchestra Mark Austin conductor www.faustchamberorchestra.org Mark Austin conductor Louis Spohr THE LAST JUDGEMENT

TONIGHT’S PERFORMANCE Spohr – The Last Judgement

1. Ouvertüre 2. Soli (SB) e Coro Preis und Ehre ihm 3. Recitativo (TB) Steige herauf 4. Solo (T) e Coro Heilig, heilig 5. Recitativo (ST) Und siehe, ein Lamm, das war verwundet 6. Solo (S) e Coro Das Lamm, das erwürget ist 7. Recitativo (T) e Coro Und alle Kreatur/ Betet an 8. Recitativo (AT) Und siehe, eine große Schar 9. Soli (SATB) e Coro Heil dem Erbarmer

Interval

10. Sinfonia 11. Recitativo (B) So spricht der Herr 12. Duetto (ST) Sei mir nicht schrecklich in der Not 13. Coro So ihr mich von ganzem Herzen suchet 14. Recitativo (T) Die Stunde des Gerichts 15. Coro Gefallen ist Babylon 16. Soli (SATB) e Coro Selig sind die Toten 17. Recitativo (SA) Sieh, einen neuen Himmel 18. Recitativo (T) e Quartetto Und siehe, ich komme bald 19. Soli (SATB) e Coro Groß und wunderbarlich sind deine Werke

Rosalind Coad soprano Anna Harvey mezzo soprano Bradley Smith tenor Adam Green baritone

Faust Chamber Orchestra Cambridge University Musical Society Chorus

Mark Austin conductor

Friday 4 March 2016 Jerwood Hall, LSO St Luke’s, London – 7.30pm Sunday 6 March 2016 West Road Concert Hall, Cambridge – 7:30pm

Jerwood Hall, LSO St Luke’s, UBS & LSO Music Education Centre, 161 Old Street, London EC1V 9NG In accordance with the requirements of Islington Council persons shall not be permitted to stand or sit in any gangway. The taking of photographs and the use of recording equipment are strictly forbidden without formal consent from LSO St Luke’s. Please make sure that digital watch alarms and mobile phones are switched off during the performance. LSO St Luke’s is a no-smoking building. No eating or drinking is allowed in the auditorium. No cameras, tape recorders or other recording equipment may be taken into the hall.

3 Louis Spohr THE LAST JUDGEMENT Louis Spohr THE LAST JUDGEMENT

COMPOSER PROFILE Erster Teil Part One

Louis Spohr (1784–1859) Nr. 1. Ouvertüre Nr. 1. Ouvertüre

Nr. 2 Soli (SB) e Coro Spohr was at the height of his powers when he wrote The Last Preis und Ehre ihm, der da ist, der da war und der da Praise his awful name, Who was, and is, and is to come: Judgement (Die letzten Dinge) in 1825. His European fame kommt! Preis und Ehre ihm, dem Erstling der Erstandnen, praise to him who giveth immortality: all glory and majesty as a virtuoso violinist had been established during the first dem Beherrscher der Könige der Erde. Ihm, der uns geliebet surround His throne. Worship and adore him! two decades of the century, but by 1822, when he took up the und durch sein Blut gereinigt hat, position of Kapellmeister in Kassel, where he was to remain for the rest of his life, he had also acquired a reputation as one Preis, Ehre und Ruhm! Praise! Glory to God! of the greatest composers of the day. The success of his first nine violin concertos had been paralleled by two symphonies Siehe, er kommt in den Wolken, und ihn wird sehen jegliches Mighty he cometh to judgement: for He shall judge the world (1811 and 1820), three successful operas, Faust (1813), Zemire Auge, und wehklagen werden die Geschlechter der Erde. in righteousness, and he shall judge his people with His truth. und Azor (1818-19) and, most triumphantly, Jessonda (1822), Fürchte dich nicht: Ich bin’s, der Erste und Letzte und der Fear thou not, O man! for thy Redeemer liveth. He that died is as well as a large quantity of admired chamber music and Lebendige. Ich war tot, und siehe, ich bin lebendig in alle risen, and He shall live to all eternity; and He shall reign, and Lieder. During the next thirty-five years of his life he was to write Ewigkeit und habe die Schlüssel der Hölle des Todes. shall conquer all his enemies. another two oratorios, four operas, eight symphonies (including one for double orchestra), several concertos (including one Preis und Ehre ihm ... Praise his awful name … for string quartet and orchestra), as well as many more lieder Ich weiß nun dein Tun: Du hast Böses nicht ertragen und “I know thy works, and thy labour, and thy patience; and chamber works (including his four innovative double string geduldet um meines Namens willen. Aber deine erste Liebe for My sake thou has endured affliction. Yet thy first and quartets and a string sextet that foreshadowed Brahms’). hast du verlassen und bist gefallen von deiner Höhe. So ändre chiefest duty thou hast forsaken; and thou art fallen from thy deinen Sinn und tu die ersten Werke! Sei getreu bis in den Tod, high estate. Repent! and return to thy first work. Be thou so will ich dir die Krone des Lebens geben. faithful unto death, and I will give thee a crown of life.”

Preis und Ehre ihm ... Praise his awful name … THE LAST JUDGEMENT Nr. 3 Recitativo (TB) Programme notes Steige herauf, ich will dir zeigen, was geschehen soll! “Come up hither, and I will show thee what shall be hereafter.” Und siehe, ein Thron stand im Himmel, und auf dem Thron ruht And lo! a throne was set in heaven and on the throne One The Last Judgement was not Spohr’s first oratorio; in 1812 provide text for a few extra numbers, Spohr began composing einer! Und ein Regenbogen war um den Thron, und im Kreis stood. And a rainbow was round about the throne; he had composed another oratorio on the Last Judgement, the oratorio in October 1825 and finished it in time to perform auf Thronen vierundzwanzig Älteste, mit weißen Kleidern and the Elders knelt before the throne, clad in white raiment: Das jüngste Gericht, but he had quickly decided that it was it with his choral society in Kassel on Good Friday 1826. angetan, auf ihren Häuptern goldne Kronen. Und von dem and on their heads were crowns of gold: and from the throne unsatisfactory both from the point of view of the text and Throne gingen aus Blitze und Donner, came thunderings and lightnings, the musical style of the solo numbers, and it remained in Spohr’s treatment of the work distinguishes it significantly und Stimmen riefen Tag und Nacht: and voices crying day and night: manuscript. More than a decade later, however, he from other contemporaneous oratorios. He abandoned the recognised that the time was ripe for him to succeed in traditional practice of writing a succession of separate solo Nr. 4 Solo (T) e Coro this genre, and when Friedrich Rochlitz, founding editor and choral numbers in favour of a more through-composed Heilig, heilig, heilig ist Gott der Herr, der Allmächtige, der da “Holy, holy, holy, Lord God Almighty! Who wast, and Who art, of the leading German music journal of the time, the Leipzig series of ‘scenes’, similar to the procedure he had used in his war und der da ist und der da kommt! and art to come!” Allgemeine musikalische Zeitung, unexpectedly wrote to most recent opera Der Berggeist (1824). He also employed him in July 1825 to offer the text of Die letzten Dinge, taken his highly individual chromatic harmonic idiom, his Nr. 5 Recitativo (ST) from the Book of Revelation, he seized upon the idea. considerable melodic gifts, and his masterly command of Und siehe, ein Lamm, das war verwundet. Behold, the Lamb that was slain! orchestration to enhance the oratorio’s expressive and Weine nicht! Siehe, es hat überwunden der Löwe, der da ist Weep no more; behold, He that died is risen, and hath Rochlitz informed Spohr that if he chose not to set the text he dramatic impact. These features were a potent factor in the vom Geschlecht Juda! conquered Death and Hell. would not offer it to anyone else, commenting: ‘I know of no work’s success. At the Lower-Rhine Musical Festival in May one, apart from you, who could effectively enter into the idea 1826 it made such a powerful impression that the festival was Und die Ältesten fielen nieder vor dem Lamm und hatten Harfen And the Elders fell down before the Lamb, with their harps, so sympathetically and bring to its execution everything that is prolonged to include a second performance, in aid of the und goldne Schalen voll Rauchwerks und sangen ein neues Lied: and golden urns burning odours, singing this song of praise: necessary.’ Although Spohr was enthusiastic, he was concerned Greek War of Independence; and in England, where it was that the text was too short. In response, Rochlitz pointed out first performed at the 1830 Norwich Festival as The Last Nr. 6 Solo (S) e Coro that Spohr could lengthen the work by including a lengthy Judgement, it was hailed as ‘one of the greatest musical Das Lamm, das erwürget ist, ist würdig zu nehmen Kraft und “All glory to the Lamb that died, exalted now at God’s right overture, a substantial introduction to Part 2, and other productions of the age [...] in which is embodied every Reichtum und Weisheit und Hoheit und Preis und Ehre! hand, in blessing and wisdom and honour and praise for ever.” orchestral sections. He asserted that orchestral music was passion, sentiment and feeling’ (Harmonicon, 1830, p. 466). capable of ‘allowing the depiction of those innermost feelings It became Spohr’s most enduring masterpiece and continued Nr. 7 Recitativo (T) e Coro that are beyond words,’ adding: ‘you, who along with to be performed long after most of his once admired music Und alle Kreatur, die im Himmel ist und auf Erden und unter And every creature that is in heaven, and on the earth, Beethoven are without a doubt the greatest master of this had been forgotten. In recent years, along with the finest of der Erde und im Meer, rief aus und sprach: Betet an! and under the earth, and in the sea, cried aloud and said: genre, will assuredly produce the most excellent effects with it.’ his other compositions in all the major genres of his time, Lob und Preis und Gewalt ihm, der auf dem Stuhle thront und “Blessing, honour, glory and power be unto Him that sitteth Convinced by Rochlitz’s suggestions, and also his willingness to this oratorio has justly emerged from a century of neglect. dem erwürgten Lamm! upon the throne, and unto the Lamb for ever.”

Composer Profile and Programme Notes by Professor Clive Brown, MA (Cantab.), MA, DPhil (Oxon.), Professor of Applied Musicology at University of Leeds. His publications include: ‘Louis Spohr: A Critical Biography’ (Cambridge, 1984) and ‘Classical and Romantic Performing Practice 1750-1900’ (Oxford, 1999).

4 5 Louis Spohr THE LAST JUDGEMENT Louis Spohr THE LAST JUDGEMENT

Nr. 8 Recitativo (AT) Nr. 13 Coro Und siehe, eine große Schar aus allen Heiden und Völkern und And lo! a mighty host of all nations and people stood before So ihr mich von ganzem Herzen suchet, will ich mich finden “If with your whole hearts ye humbly seek Me, I will be found Sprachen traten zu dem Thron und dem Lamme. Sie waren the throne and the Lamb. Of spotless white was every lassen, spricht der Herr. Und so ihr euch redlich zu mir kehret, of you,” saith the Lord: “and if ye return to Me sincerely, angetan mit weißen Kleidern und trugen Palmen in den garment: in every hand a palm was borne. They fell before will ich euch sammeln von allen Örtern der Erde. Ich will euer I will receive you from all the ends of the earth. I will be your Händen. Sie fielen nieder auf ihr Angesicht und beteten an. the throne of God with holy fear. Gott sein, und ihr sollt mein Volk sein. So spricht der Herr. Father, and ye shall be my people”: thus saith the Lord.

Diese sind gekommen aus großer Trübsal und haben ihre These, who passed through heavy tribulation, have washed Nr. 14 Recitativo (T) Kleider weiß gemacht und hell im Blute des Lammes. Darum their robes, and made them white in the blood of the Lamb. Die Stunde des Gerichts, sie ist gekommen. Anbetet den, Jehovah now cometh to judgement! Bow down to worship sind sie vor Gottes Thron und dienen ihm Tag und Nacht. They stand before God’s throne, and serve him day and night: der gemacht hat Himmel und Erde! Him who made the heavens and the earth. Und das Lamm wird sie leiten zu Quellen lebendigen Wassers, and the Lamb shall lead them to fountains of living waters, und Gott wird trocknen alle Tränen von ihren Augen. and God shall wipe away all tears from their eyes. Nr. 15 Coro Gefallen ist Babylon, die Große. Sie suchen den Tod und finden Destroyed is Babylon the mighty! The smoke of her torment Nr. 9 Soli (SATB) e Coro ihn nicht, sie ringen nach ihm, er fliehet sie. ascendeth for evermore. Heil, dem Erbarmer Heil! Hail, our Redeemer! Hail! Die Stunde der Ernte ist da. Reif ist der Erde Saat. The hour of judgement is come! Now is the Lord at hand! Er selbst wird trocknen alle Tränen von ihren Augen. Kein Leid Yes, every tear and every sorrow he shall wipe away from Das Grab gibt seine Toten, das Meer gibt seine Toten, The grave gives up its dead: the sea gives up its dead: ist mehr noch Schmerz noch Klage. their eyes: nor sin, nor death, nor pain, nor sorrow shall there das Siegel wird gebrochen, das Buch wird aufgetan. the seals are broken: the books are all unclosed: Der Herr ist unser Gott, und wir sind sein. Ja, wir sind sein. be known. He is our God and we are his people. Sie zagen, sie beben. the mighty now tremble before Him! Es ist geschehen. It is ended!

Nr. 16 Soli (SATB) e Coro Selig sind die Toten, die in dem Herren sterben, Blest are the departed who in the Lord are sleeping, INTERVAL OF 20 MINUTES von nun an in Ewigkeit. Sie ruhen von ihrer Arbeit, from henceforth for evermore: they rest from their labours, und ihre Werke folgen ihnen nach. and their works follow them.

Nr. 17 Recitativo (SA) Sieh, einen neuen Himmel und eine neue Erde, von Gott I saw a new heaven and a new earth, by God prepared Zweiter Teil Part Two bereitet und schön geschmückt als eine Braut. and adorned as a bride. Sieh, eine Hütte Gottes bei den Menschen, er wird bei ihnen Lo! the house of God is with men, and He will dwell among Nr. 10 Sinfonia Nr. 10 Sinfonia wohnen, sie werden sein Volk sein! them, and they shall be his people. Nicht Sonne mehr noch Mond: Er ist ihr Licht, und seine Nor sun shall be, nor moon: God is their sun; there shall his Nr. 11 Recitativo (B) Herrlichkeit umleuchtet sie. Majesty unclouded rise. So spricht der Herr: Das Ende kommt; von allen Winden der Thus saith the Lord: “The end is near, and all the winds of Erde kommt nun das Ende! Es kommt auch über dich. Ich heaven proclaim its coming. Prepare to meet thy God! I will Kein Tempel steht in Gottes Stadt. Er ist ihr Tempel und das Lamm. No earthly house is there: God is their temple and their light. will dich richten wie du verdienet hast, und will dir geben, reward thee even as thy works have been, and judge thee as was dir gebühret. Mein Antlitz übersieht dich nicht; mein thou hast deserved. To Me is every action known; each secret Nr. 18 Recitativo (T) e Quartetto Auge dringt in dein geheimstes lnnre! Von draußen bricht’s thought is unveiled before Me.” The day of wrath is near: the Und siehe, ich komme bald und mein Lohn mit mir, zu feben Behold! He soon shall come, in His might arrayed, to give to daher, von fernen Grenzen naht es sich. Der Gesang der Almighty shall reveal His power! The reaper’s song is silent in jeglichem nach seinen Werken. every one according to his work. Schnitter verstummt im Feld der Ernte und die Stimme der the field, and the shepherd’s voice on the mountain. The valleys Ja komm, Herr Jesu. “Then come, Lord Jesus!” Hirten auf den Bergen. Klage tönt vom Tal herauf und aus then shall shake with fear, with dread the hills shall tremble. den Klüften Wehgeschrei. Er kommt, der Tag der Schrecken It comes! the day of terror comes! The awful morning dawns! Nr. 19 Soli (SATB) e Coro kommt, sein Morgenrot bricht an. Es hat sich aufgemacht Thy mighty arm, O God, is uplifted! Thou shalt shake the earth Groß und wunderbarlich sind deine Werke, Herr, Great and wonderful are Thy works, O thou Almighty God! der Tyrann, die Geißel Gottes für die Völker. Auf den Gassen and heavens: they shall shrivel as a scroll, when Thou in wrath allmächtiger Gott. Gerecht und wahrhaftig sind deine Wege, How just and true are all Thy Commandments, Jehovah, geht das Schwert, in den Häusern wohnt Hungersnot. Sie appearest. For men shall cast away their silver, and count their du König der Heiligen. King of Saints!” werfen ihr Silber heraus und achten ihr Gold als Spreu, gold as dross: it shall not save in the great and awful day! denn es errettet sie nicht am Tage des Herrn. Ihre Seelen Where is now the monarch’s might, where all his splendour, Wer sollte dich nicht fürchten, Herr, nicht deinen Namen O Lord, who shall not fear Thee, Lord who shall not glorify werden nicht davon gesättigt, für ihre Glieder macht man where the dreams of earthly greatness? The princes of the preisen? Du allein bist heilig. Und alle Völker der Erde werden Thee! All nations of the earth shall come and worship before Ketten. Die Könige stehen gebeugt, die Fürsten klagen earth shall cast their crowns before Thee; and all the power kommen und anbeten vor dir. Thy throne for Thou alone art holy. in Trauer, des Volkes Arme sinken matt herab, und seine of the mighty shall fail, when Thou, O Lord, shall come to Halleluja! Sein ist das Reich und die Kraft und die Herrlichkeit Thine is the kingdom, the power, and the glory, for ever Tränen fallen in Staub. judge the world. von Ewigkeit zu Ewigkeit. and evermore. Amen. Halleluja. Amen. Alleluia! Amen! Nr. 12 Duetto (ST) Sei mir nicht schrecklich in der Not, Herr, meine Zuversicht! Forsake me not in this dread hour, O God most merciful! Ich bin allein, bleibst du mir nicht. Verlassen bin ich, stehst Thou art my hope, O Lord, give ear unto my prayer! O spare du nicht zu mir! Der Freund vergisst, der Bruder weicht, ich thy servant and cast him not away! If thou forsake me, wither schau auf dich, o Herr, auf dich, mein einzig Teil. shall I flee? No friend is nigh, no arm to save, but only Thou, Almighty Lord of Hosts. In Thee, O Lord, in Thee alone I trust!

Source: Novello’s Original Octavo Edition. German text adapted from the Bible by Friedrich Rochlitz. English translation by Edward Taylor for Novello Octavo Edition (1844).

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CONDUCTOR TENOR Mark Austin Bradley Smith

Mark Austin is a rising conductor in a new generation with a talent and passion for Bradley Smith has just graduated from the Royal Academy of Music Opera communication with audiences. He studied at Cambridge and the Royal Academy Course where he performed Tom Rakewell (The Rake’s Progress), the Male of Music, and has developed a reputation for brilliant musicianship and insightful Chorus (The Rape of Lucretia), le Prince Charmant (Cendrillon), and Arithmétique interpretations, complemented by accessible spoken introductions to the music. He is (L’enfant et les sortilèges). founder and artistic director of Faust Chamber Orchestra. In 2016 he performs with the orchestra at LSO St Luke’s, Kings Place and West Road Concert Hall, Cambridge. He played Tamino (Die Zauberflöte) for Longborough Opera’s Young Artists, Peter Mark has worked as assistant conductor for Marin Alsop, Steuart Bedford, David Quint (Turn of the Screw) as a Young Artist for Opera Holland Park, and he was a Hill and the late Sir Colin Davis, with orchestras including BBC Symphony Orchestra member of the Glyndebourne Chorus performing Rameau’s Hippolyte et Aricie. (BBC Proms), Orchestra of the Age of Enlightenment, Bournemouth Symphony Oratorio engagements include Bach’s Christmas Oratorio, St John and St Matthew Orchestra and the Hangzhou Philharmonic in China. Guest appearances include Passions, Handel’s Messiah, Judas Maccabeus, and Athalia, Haydn’s The Creation, Orchestra of St John’s, Hertford Symphony Orchestra, and Southbank Centre’s and Mendelssohn’s Elijah at venues including St John’s Smith Square, the Cadogan Voicelab Project. In opera, credits include Il barbiere di Siviglia (Musique Cordiale Hall, and St Martin-in-the-Fields. International Festival, France), Hansel and Gretel (Mercury Theatre, Colchester) and La traviata for Opera South, where he is music director. He works regularly with Future engagements include the role of Lelio in Cesti’s Le Nozze in Sogno at the The Bach Choir, including on tour to China and for a recent BBC Radio broadcast. Salzburg Festival this summer.

SOPRANO BARITONE Rosalind Coad Adam Green

Born in Winchester, British soprano Rosalind Coad studied at both the Royal College Adam Green studied at St John’s College, Cambridge, the Royal Academy of of Music and later at the Royal Academy of Music. At the RAM, Rosalind performed Music, London, and the National Opera Studio. Winner of the Song Prize at the Noémie Cendrillon, Spirit Dido and Aeneas, La Bergère L’enfant et les sortilèges and National Mozart Competition and the Great Elm Competition he was awarded Baronesa Irene La Vera Constanza. Other roles include Donna Elvira Don Giovanni the prestigious Ian Fleming and Sybil Tutton Awards. and Musetta La Bohème, Hélène La Belle Hélène, Sandman Hänsel und Gretel, and Elisetta in Cimarosa’s Il Matrimonio Segreto. Operatic roles at English National Opera include Belcore (The Elixir of Love), Arbace (Idomeneo), Aeneas (Dido and Aeneas). Other roles include the title Also in demand as a concert singer, Rosalind repertoire includes St Matthew role in The Barber of Seville for Welsh National Opera, First Mate (Billy Budd) Passion, St John Passion, Messiah, Dixit Dominus, Israel in Egypt, Samson, with Daniel Harding and the LSO, Retrofire (Buzz on the Moon) by Jonathan Requiem, Exultate Jubilate, Stabat Mater, Petite Messe Solennelle, Gloria, Dove for Channel 4. y h p Creation and Nelson Mass. Other highlights include (cover) Fiordiligi Cosi fan Tutte ra g o ot His extensive concert experience includes performances of Bach’s for Garsington Opera, a role that she will perform for Scottish Opera on tour. Ph e ell ha Weihnachtsoratorium in Frankfurt under Lutz Köhler, Brahms’ Requiem, Handel’s Subsequent engagements include covers of Ginevra Ariodante and 1st Nymph Rap Photo by in Rusalka both for Scottish Opera as well as concerts in the UK. Messiah and Fauré’s Requiem all at the Royal Albert Hall under Sir David Willcocks and with the RPO, Elgar’s Coronation Ode with the BBC Symphony Orchestra.

MEZZO SOPRANO LEADER Anna Harvey Guy Button

Sheffield-born mezzo-soprano Anna Harvey studied on the opera course at the Guy is a graduate of the Guildhall School of Music and Drama Artist Masters Royal Academy of Music under Elizabeth Ritchie and Iain Ledingham, graduating Programme and completed his undergraduate degree in Music at Robinson with the Alumni Development Award for a singularly distinguished studentship. A College, Cambridge. He has appeared as chamber musician and soloist at graduate in Music of Jesus College, Cambridge, Anna’s engagements in the current the Wigmore Hall, St. Johns’ Smith Square and many other high profile venues season include La Grosse Dame Les mamelles de Tirésias (Dutch National Opera), throughout the UK, Europe and Asia. He has performed concerti by Mendelssohn, Bradamante Alcina (Longborough Festival Opera), Cherubino Le nozze di Figaro Tchaikovsky, Mozart, Bach and Vivaldi. As second violin of the Ruisi Quartet (winners (Longborough Opera and cover for Welsh National Opera), cover Serafin Figaro of the Royal Philharmonic Society prize for outstanding British string ensemble), Gets a Divorce (Welsh National Opera), Handel’s Messiah at the Royal Festival Hall he has been privileged to work with Simon Rowland-Jones, Peter Cropper, Levon and the Cadogan Hall, Bach’s Mass in B Minor with the Royal Northern Sinfonia Chilingirian, Christoph Richter, James Boyd, Ferenc Rados and Rita Wagner. Guy is under Paul McCreesh, and Vivaldi’s La Senna Festeggiante at the Spitalfields principal second violin of the 12 Ensemble, London’s unconducted string orchestra rk Pa Festival with Harry Bicket and The English Concert. re and a member of the award winning baroque ensemble La Serenissima. Cla Photo by

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Photo by Adrien Pain

PROFILE FAUST CHAMBER ORCHESTRA Faust Chamber Orchestra On-Stage Supporters

Now in its 5th year, Faust Chamber Orchestra has emerged as the First Violins Flutes Faust Chamber Orchestra is extremely grateful to its generous supporters: leading force making classical music fresh, comprehensible and Guy Button leader Abigail Burrow inspirational in the concert hall. Under the artistic direction of conductor Jenna Sherry Helen Wilson Platinum Patrons Friends Ray & Margaret Tincknell Mark Austin, it is the only orchestra which believes accessible spoken Naomi Rump Gordon Austin & Ruth Lambert Robin & Teresa Barttelot Thomas & Angela Webb introductions and musical demonstrations deserve a place at the Douglas Harrison Oboes Jan & Leni du Plessis George J.D. Bruce Lynda Weiss heart of every performance. Following work with international artists Ed McCullagh Katie Bennington Jenefer Farncombe Jay & Julia Cartwright Bernard & Elizabeth Whelan including Guy Johnston and James Baillieu, and a 4-star review from Christiane Eidsten Dahl Fraser Kelman The Earl & Countess Howe Paul & Janet Churchouse Jeanette Yeoman The Times, 2016 will see Faust Chamber Orchestra (formerly Faust The Stevenson Family’s Charitable Trust Peter & Lilah Clarke And two anonymous friends Ensemble) perform at LSO St Luke’s and Kings Place, make a debut Second Violins Clarinets Sally Yates Tony & Jill Davis recording and expand its educational programme. James Toll Anna Hashimoto And one anonymous Platinum Patron Ian & Ginny Greig Trusts and Foundations Simon Howes Chris Goodman Rhylva Holder Richmond Parish Lands Charity Audiences are drawn to Faust Chamber Orchestra’s distinctive Charlotte Fairbairn Gold Patrons Alastair Land Beaconsfield Old Church School Charity programming which throws light on the hidden meanings of works Lavinia Price Bassoons Connie Kleiner Bertrand & Beatrice Lavigne using commentary and comparison, together with live musical Miriam Panter Dr G J G Rees & Dr C A Rees Mr & Mrs Roger Lumby illustrations and the chance for listeners to ask questions. Recent Violas Sinead Frost Mr & Mrs Peter Constable Maxwell successes have included an eclectic mix of Haydn and Sally Beamish, Elitsa Bogdanova Silver Patrons Alison Montague-Jones as well as “Ways into Bach”, an exploration of dance in the music of JS Jennifer Coombes Horns Dr & Mrs Gary Bell William Morton & Anne Furneaux Bach alongside linked works by CPE Bach and Grieg. The orchestra Rachel Lanskey Chris Beagles Alice Berkeley Caroline Ryder is committed to new music and recently gave the world premiere of Heather Bourne Letty Stott Gareth Cadwallader & Nancy Neville Jeremy & Beverley Schrire Oliver Rudland’s new opera Pincher Martin at the Britten Theatre in the His Honour Roger Connor & Mrs Connor Margherita Pirami Royal College of Music. Cellos Trumpets Richard & Louise Hannah The Very Reverend Dr Victor Stock Jonathan Rees Ellie Lovegrove Jan & Belinda Pethick Charitable Fund Freddie Sumption Faust Chamber Orchestra’s approach to music is about ensuring its Hannah Sloane Samuel Ewens Dr J. Sonnabend Rosalind & Derek Sweeting vitality now and for generations to come. The ensemble leads a wide Auriol Evans Christopher & Annie Stephens Cristina Teychenne range of educational projects, working in partnership with Chiltern Bryony Moody Trombones And one anonymous Silver Patron Bill & Fiona Timmis Music Academy, at Chickenshed Theatre and in several primary Rupert Whitehead and secondary schools. These include school workshops, side-by- Double Basses Stephanie Dyer side sessions and joint performances. Members of the orchestra are Sam Rice Simon Minshall currently involved with a major research project at Warwick University Siret Lust focusing on Music of the Napoleonic Era. Timpani If you would like to support Faust Chamber Orchestra, please contact Chief Executive Elsa Bradley Maud Saint-Sardos [email protected] or visit the dedicated section on our website: www.faustchamberorchestra.org/friends--patrons.html

Faust Chamber Orchestra is a registered charity in England and Wales (no. 1163070)

10 11 Louis Spohr THE LAST JUDGEMENT Louis Spohr THE LAST JUDGEMENT

PROFILE CAMBRIDGE UNIVERSITY MUSICAL SOCIETY CHORUS Cambridge University Musical Society Chorus On Stage

Cambridge University Musical Society (CUMS) is one of the In February 2010 CUMS entered another new phase of its Sopranos Altos Tenors Basses oldest and most distinguished university music societies in the development when it merged with the Cambridge University Lucie Aman Rachel Bateman Michael Atkins Giles Agnew world. It offers a world-class musical education for members of Chamber Orchestra and Cambridge University Music Club. In Kirsten Barr Lorely Britton Robert Culshaw John Barber the University and local residents, nurturing the great musicians October 2010 the Society launched the Cambridge University Rebecca Bishop Helen Clayton Robert Dewolf Peter De Vile of the future and providing performing opportunities for over Lunchtime Concerts — a new series of weekly chamber recitals at Lies Blom-Smith Ruth Cocksedge Chris Ford Raymond Gay 500 Cambridge musicians every year. West Road Concert Hall showcasing the University’s finest musical Tanja Brown Penelope Coggill Paul Fray Simon Gough talent. In 2011 it merged with the Cambridge University Chamber Frances Butler Gillian Flinn Andrew Goldsbrough Mel Gulston The Society has played a pivotal role in British musical life for Choir, which is directed by Martin Ennis and David Lowe. Chiara Canu Wendy Fray Neal Harris Christian Haas almost 170 years. It has educated such luminaries as Sir Andrew Bridget Ford Jo Gough Matt Maguire Martin Harvey Davis, Sir Mark Elder, Sir John Eliot Gardiner, Edward Gardner, CUMS continues to provide opportunities for the University’s Kate Gaseltine Caroline Goulder Matthew Maitra Jack Klinck Christopher Hogwood and Robin Ticciati, has given world or UK finest student soloists and conductors by awarding conducting Suzi Haigh Nicola Hardy Richard Neill Connor McCabe premieres of works by Brahms, Holloway, Lutoslawski, Maxwell scholarships and concerto prizes, and it actively encourages new Shirley Holder Alexandra Hayes Kingsley Reavell Colin Pendrill Davies, Rutter, Saxton and Vaughan Williams, and has given music by running a composition competition and premièring at Mateja Jamnik Ines Heimann Jason Sanders Jim Pollard successive generations of Cambridge musicians the experience least one new work each year. Recent highlights have included Rebecca Kippax Fernanda Lai Philip Schwartz Ian Richardson of visiting conductors and soloists including Britten, Dvořák, Wagner’s Parsifal (Act III) conducted by Sir Mark Elder, a Anne Kremmer Philippa Mann Andrei Iosif Smid Martin Richardson Kodály, Menuhin and Tchaikovsky. Since the 1870s, CUMS has recording of The Epic of Everest’s original score for the British Helen Latchem Tina Muller Robin Tunnah Ma-H Rushton enjoyed the leadership of several of Britain’s finest musicians, Film Institute, a concert of Haydn and Mendelssohn at Kings Hester Lees-Jeffries Sarah Page Jo Whitehead Michael Sharp including Sir Charles Villiers Stanford, Sir David Willcocks, Sir Place, London conducted by Sir Roger Norrington and Britten’s Clara Lloyd Sarah Payne Stephen Sharp Philip Ledger, and, from 1983 to 2009, Stephen Cleobury. War Requiem in Ely Cathedral conducted by Stephen Cleobury. Emily McCarthy Wendy Phillips Ivan Viejo Lia McLean Mary Richardson Nicholas Ward In 2009 Stephen Cleobury assumed a new role as Principal In 2015, highlights for the Chorus included a joint venture in June Liz Morris Lynne Rushton Alan Woodward Conductor of the CUMS Chorus, and Sir Roger Norrington 2015 with members of The Bach Choir in King’s Chapel for a Anne Presanis Christine Skeen Lawrence Wragg was appointed as Principal Guest Conductor. Martin Yates, performance of Verdi’s Requiem under the direction of David Helen Robbins Helen Smalley ‘one of the most exciting and versatile British conductors of Hill and a live broadcast of Berlioz Te Deum on Radio 3 in King’s Sheila Rushton Jo Stansfield his generation’ in the words of The Times, joined the team as Chapel with Stephen Cleobury. The Chorus is looking forward Becky Shercliff Mary Stapleton Principal conductor of the CUMS Symphony Orchestra; and to performing in two venues in Rome in April under the direction Hilary Turner Rachel Thomas a Great Conductors series was launched with the objective of Mark Austin and a performance of Elgar’s The Dream of Helena Tyte Barbara Tuchel of exposing CUMS members to a succession of world-class Gerontius in June in Saffron Hall to mark Stephen Cleobury’s Rosalyn Wade Miranda Zwalf visiting conductors. retirement from CUMS. Mary Ward

More information including details of all officers of CUMS, can be found at www.cums.org.uk

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Photo by Anne Presanis

CAMBRIDGE UNIVERSITY MUSICAL SOCIETY CHORUS Supporters

CUMS is grateful for the support of:

Principal Sponsor Supporters’ Circle Donors £100+ Kathryn Puffett TTP Group as of 21 January 2016: Dr Anne E Allan Dr Ian Randle & Richard Andrewes Dr Sharon Gibbs Sponsors The Britten Circle £10,000+ Angela & Rod Ashby-Johnson Judith Rattenbury Bloom Design Adrian & Jane Frost John & Elizabeth Ball Ruth Rattenbury Churchill College and one anonymous donor John Barber Hugh Salimbeni Clare Hall Frank & Genevieve Benfield Catherine Sharp CUMS Fund The Vaughan Williams Chris Coffin Dr M. L. Sharp CUMS Supporters’ Circle Circle £2,500+ Robert Culshaw Peter Shawdon Darwin College Monica Chambers Martin Darling Robert & Christine Skeen Donald Wort Fund Professor Helen Dent Andrew Soundy Emmanuel College The Stanford Circle £1,000+ Alan Findlay Mrs A. Sutherell Gonville & Caius College Sir Keith Stuart C J B Ford Veronica & Alex Sutherland Homerton College Caroline Goulder Grahame & Cilla Swan Jesus College Principal Benefactors £500+ Andrew & Rachel Grace Dr Patricia Tate King’s College Simon Fairclough Michael Gwinnell Sir John Meurig Thomas Lucy Cavendish College Justin Lee Donald & Rachel Hearn Jo Stansfield Murray Edwards College The New Europe Society Philip & Lesley Helliar Mary Stapleton Newnham College and two anonymous donors Mr Jonathan Hellyer Jones Jo Whitehead St Catharine’s College Ruth & Mike Holmes Ruth Williams Selwyn College Benefactors £250+ Lady Jennings Mark & Laurie Woolfenden University of Cambridge Stuart Ffoulkes Jennie King and 21 anonymous donors Faculty of Music Stuart & Sibella Laing Tom Kohler University of Cambridge David Munday Christopher Lawrence CUMS Chorus is grateful for two particular sources of income in 2015 Societies Syndicate Howarth Penny Debbie Lowther & John Short which are helping to fund this concert: West Road Concert Hall Neil Petersen John MacInnes Roger Williamson Wolfson College and two anonymous donors Sue Marsh A loyal Chorus member Andrew Morris who died in December 2015 Honorary Life Member Paul Nicholson Maggie Heywood Val Norton An Auction of Promises Mrs Gillian Perkins Organised by chorus Adrian & Liane Powell members in March 2015 Edward Powell

Info on the Supporters’ Circle and how to become a member can be found at www.cums.org.uk

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