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Forthcoming Concerts Faust Chamber Orchestra and Cambridge University Musical Society Chorus

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Forthcoming Concerts Faust Chamber Orchestra and Cambridge University Musical Society Chorus 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.
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