Great Choral Music

Classical Meets Romantic

Saturday 12 May 2012 at 7.30pm

Town Hall, Birmingham

Katharine Fuge soprano Mozart: Regina Coeli Kate Symonds-Joy mezzo-soprano Simon wall tenor William Clements bass

Schumann: Requiem City of Birmingham Choir Orchestra of the Swan Beethoven: Mass in C Conductor: Adrian Lucas

The public will be admitted to Symphony Hall, Town Hall and the Convention Centre subject to terms and conditions of the licensing requirements and fire regulations.

1 Conductor

Adrian Lucas In 1996 he was also appointed Artistic Gershwin, Bernstein and Ibert; concertos Director to the Worcester Three Choirs with John Lill, Julian Lloyd-Webber and Festival. From then until 2011 he was Emma Johnson; not to mention great directly responsible for five Worcester symphonic works from the classical genii festivals, introducing a wide variety of new of Mozart and Beethoven through to musical threads to the great tradition of Janacek and Walton. this long-lived institution. These included As an organist, Adrian continues to give commissioned works from Francis Pott, recitals both nationally and internationally. Andrew Gant, Jackson Hill and Cheryl He has played in churches and concert Frances-Hoad; a number of cross-over halls from Sydney to Seattle and concerts including performances of music particularly enjoys broadening the from the Sacred Concerts of Duke instrument’s repertoire into the realms of Ellington and late night events by the jazz. David Rees-Williams Trio, Respectable Adrian is also active as a composer, arranger and orchestrator. He has a Adrian Lucas has been Musical Director Groove and Acoustic Triangle; and plenty portfolio of pieces to his name which of the City of Birmingham Choir since of opportunities to hear the choristers and includes choral works from short a-capella 2002, continuing a long and distinguished layclerks of the three Cathedral Choirs in carols and motets through to Creation line which includes David Willcocks, action. Canticles, a 41 minute work for solo Meredith Davies and Christopher Since leaving the cathedral world, he has soprano, chorus and orchestra. Robinson. Like them, his musical roots lie been able to refocus his work on Alongside this are many arrangements for in cathedral music and he held posts at St performance, working as a conductor, brass ensemble, mainly commissioned for John’s College Cambridge and choral director and animateur, organist special occasions, and a number of tran- , and Salisbury and continuo specialist. His work with the scriptions of orchestral works. He is Cathedrals before moving to Worcester City of Birmingham Choir forms an currently working on scoring works for Cathedral in 1996. During his tenure important part of this. As a conductor, Nick Bicat who has written over 150 there, he was responsible for the design Adrian has an impressive list of works to scores and soundtracks for film, television and installation of the Kenneth Tickell his name, including many performances and theatre. quire organ in 2008 as well as continuing of the choral works of Elgar, Vaughan a vibrant programme of touring, Williams and Finzi; contemporary works broadcasting and recording with the by James Macmillan, John Tavener and Cathedral Choir. Jonathan Dove; jazz-inspired music by

2 Mozart

Wolfgang Amadeus Mozart contented with this, as he wanted to write The work is a cheerful, vigorous piece, concertos and other secular works while appropriate for a solemn high occasion. (1756 – 1791) his employer wanted church music. They Although it only takes about six minutes to had frequent quarrels and indeed Mozart perform, it requires four soloists as well as Regina Coeli, K.276 did not like life in Salzburg at all, and a choir. The scoring includes oboes, made many unsuccessful efforts to find a clarino trumpets and timpani as well as post elsewhere. Eventually, in 1781, strings and organ. About half-way when Colloredo had summoned him to through, to the word “alleluia” Mozart Vienna, he left his employment amid great quotes a short phrase from Handel’s acrimony between him and both his father famous chorus in Messiah. The music and the archbishop. He stayed in Vienna gives the impression, as so often in and made a life as a freelance composer Mozart, that a religious service is to be and producer of concerts and operas, and enjoyed. initially enjoyed great success. Unfortunately he was lavish with money and when harder times arrived around 1786 he had no reserves and suffered Regina coeli, laetare, alleluia: hardship. His last years, in which he Quia quem meruisti portare, alleluia wrote many of his greatest works, were Resurrexit sicut dixit, alleluia. marked by poverty. Ora pro nobis Deum, alleluia. Mozart showed amazing musical talents The anthem, or “antiphon” Regina Coeli is from a very early age, and needed hardly a hymn of praise to the Virgin Mary. Queen of Heaven, rejoice, Alleluia; any formal teaching. When he was six, Mozart wrote three settings of it, in 1771, For He whom you did merit to bear, his father Leopold started showing him off 1772 and 1779, of which that in tonight’s Alleluia; in various European cities, and these concert is the last, the shortest, and Has risen as He said, Alleluia. travels went on for ten years, during which arguably the best, although there seem to Pray for us to God, Alleluia. time the boy composed many youthful be more recordings of the earlier, longer works. Then he was employed as a court pieces. At the time of its writing, Mozart musician to the Archbishop Colloredo, in was still in Salzburg in the service of his native Salzburg. He was not Archbishop Colloredo.

3 Schumann

Robert Schumann (1810 – studies. One of his teachers was Friedrich number of surviving Wieck, who promised him a successful works by Clara. The 1856) career as a concert pianist. Unfortunately ten years following his Robert permanently injured a finger of his marriage were a Requiem, Op. 148 right hand during this time, and he had to generally happy and abandon such hopes, instead deciding to successful time for concentrate on composition, but also taking Robert, but around an active part in musical criticism. His 1850 he started to earliest published compositions appeared suffer from mental in 1832, and two years later he founded a problems. His ability to musical journal, the Neue Zeitschrift für conduct performances Clara Wieck Musik, and in its pages he was vigorous in – once widely praised – championing composers whose works was affected and he came in for criticism. impressed him, including Berlioz, Chopin Matters grew worse and in 1854 he and later, Brahms. On the other hand he attempted suicide by jumping into the was uncomplimentary about the music of Rhine. After being rescued he asked to go Liszt and Wagner. into an asylum and was taken to one at Around that time he became attracted to Endenich, near Bonn. He remained there Wieck’s young daughter Clara, and despite until his death in 1856. Modern opinion is her father’s strong disapproval, the that his mental troubles were probably due relationship grew and they were eventually to tertiary syphilis rather than psychosis. married in 1840 when she was old enough He was a prolific composer but only a few not to need parental consent. The father of his works can be mentioned here. First became reconciled to them after the birth of and foremost he wrote for the piano, and Robert Schumann was born in 1810 in their first child. Clara herself was a the Piano Concerto in A minor is one of his Zwickau, Saxony, the son of a book celebrated pianist and talented composer best-known works, the Piano Quintet publisher who encouraged him to study and very many of Robert’s works were possibly less so. Among the numerous literature but also recognised his musical written for her to play, or in some way works for solo piano are the Kinderszenen, talents and arranged lessons for him. Later inspired by her. He did not encourage her which include the popular “Träumerei” the boy studied law at Leipzig and to compose, but nevertheless there are a Kreisleriana, and the Fantasie in C major. Heidelberg but continued his musical

4 Schumann

His love of literature led to dozens of his time, and he makes effective use of settings of poetry, and there was a crescendo and diminuendo in the choral spectacular outpouring of romantic Lieder in parts. In contrast to Beethoven’s “broad the year of his marriage to Clara. The best daylight” key of C major, this Requiem is of these include the song-cycles largely in “nocturnal” keys having many Dichterliebe (A Poet’s Love), to poetry by sharps or flats, although this does not make Heinrich Heine, Frauenliebe und -leben it a sombre so much as a colourful work. (Woman’s Love and Life), to poems of As befits a song-composer, his vocal writing Adelbert von Chamisso and the Liederkreis is melodic and there are several hummable Op 39, to poems of Joseph von tunes. Schumann does not attempt any Eichendorff. There are four Symphonies, spectacular effects such as those in the first of which, Spring, is possibly the Berlioz’s Requiem, and there are no best, and also a somewhat neglected Cello orchestral interludes, but rather the Concerto. orchestra provides sympathetic The Requiem, together with his setting of accompaniment to the voices. the Mass, is one of Schumann’s last works and attracted a great deal of criticism at the time. Some asked whatever a Protestant was doing writing such stuff; some said that the music was inferior and showed evidence of his decline; but others hailed the work as original and inspired. It is not often performed these days but is certainly Schumann’s Study worth hearing. It is scored for four soloists, chorus and symphony orchestra. As in Beethoven’s Mass, there are no separate arias for the soloists but their parts are integrated into the predominantly choral structure. Schumann’s rhythms are quite unusual for

5 Schumann

Schumann: Requiem

I Requiem aeternam dona eis, Domine, et lux perpetua luceat eis. Grant them eternal rest, Lord, and may everlasting light shine upon them. II Te decet hymnus, Deus, in Sion, et tibi reddetur votum in O God, a hymn graces you in Sion, and a vow shall be rendered Jerusalem: exaudi orationem meam, ad te omnis caro veniet. to you in Jerusalem: hear my prayer, to you all flesh shall come. Kyrie eleison, Christe eleison. Lord, have mercy. Christ, have mercy.

III Dies irae, dies illa, solvet saeclum in favilla, teste David cum Day of wrath, day that shall consume the world in ashes, as Sybilla. David and the prophetess foretold. Quantus tremor est futurus, quando judex est venturus cuncta What trembling there will be when the pitiless Judge comes to stricte discussurus! examine all! Tuba mirum spargens sonum, per sepulchra regionum coget The trumpet echoing in dread tones through the tombs on earth omnes ante thronum. shall summon all before the throne. Mors stupebit et natura cum resurget creatura judicanti Death and the earth shall marvel when creation rises again to responsura. give answer to its judge.

IV Liber scriptus proferetur, in quo totum continetur, unde mundus The written book shall be brought forth, in which all is recorded, judicetur. and by which the world will be judged. Judex ergo cum sedebit, quidquid latet apparebit, nil inultum When the Judge takes his seat, whatever is hidden will be remanebit. revealed, nothing will remain unavenged. Quid sum miser tunc dicturus, quem patronum rogaturus, cum vix What, poor wretch, am I then to say; whom can I ask to plead my justus sit securus? cause when even the just are in peril? Rex tremendae majestatis, qui salvandos salvas gratis, salva me, King of awesome majesty, who freely grants salvation to those fons pietatis. who are to be saved, save me, fount of pity.

6 Schumann

Recordare, Jesu pie, quod sum causa tuae viae, ne me perdas Remember, gentle Jesus, that I am the reason for the path you illa die. took, do not forsake me on that day. Quaerens me, sedisti lassus, redemisti crucem passus, tantus Seeking me, you sank exhausted, suffering on the cross you labor non sit cassus. redeemed me, let such toils not be in vain. Juste judex ultionis, donum fac remissionis ante diem rationis. Just judge of vengeance, grant the gift of absolution before the day of reckoning. Ingemisco tanquam reus, culpa rubet vultus meus, supplicanti I sign as one accused, my face reddens with guilt, spare me, O parce Deus. God, I beseech you.

V Qui Mariam absolvisti et latronem exaudisti, mihi quoque spem You who forgave Mary and heard the robber’s plea, to me also dedisti. you have given hope. Preces meae non sunt dignae, sed tu bonus fac benigne, ne My prayers are not worthy, but in your goodness treat me kindly, perenni cremer igne. that I may not burn in everlasting fire. Inter oves locum praesta, et ab hoedis me sequestra, statuens in Grant me a place among the sheep, and set me apart from the parte dextra. goats to stand at your right hand. Confutatis maledictis, flammis acribus addictis, When the accursed have been convicted, and consigned to the Voca me cum benedictis. cruel flames, summon me among the blessed.

Oro supplex et acclinis, cor contritum quasi cinis, Bending on my knees I pray, my heart as if reduced to ashes, gere curam mei finis. bring me comfort at my end. Lacrymosa dies ilIa, qua resurget ex favilla, Full of tears will be the day when man shall rise again from ashes Judicandus homo reus. Huic ergo parce Deus. as a prisoner brought to judgment. Spare him, therefore, O God. Pie Jesu Domine, Dona eis requiem. Amen Gentle Lord Jesus, grant them rest. Amen.

VI Domine Jesu Christe, Rex gloriae, libera animas omnium Lord Jesus Christ, King of glory, release the souls of all the fidelium defunctorum de poenis inferni et de profundo lacu. faithful departed from the torments of hell and from the deep abyss.

7 Schumann

Libera eas de ore leonis, ne absorbeat eas tartarus, ne cadant in Deliver them from the lion’s mouth, that hell may not devour Obscurum! them, and that they may not fall into darkness. Sed signifer sanctus Michael repraesentet eas in lucem sanctam, Let the standard-bearer St Michael bring them into the holy light, quam olim Abrahae promisisti et semini ejus. which once you promised to Abraham and his offspring. Domine Jesu Christe, Rex gloriae Lord Jesus Christ, King of glory.

VII Hostias et preces tibi, Domine, laudis offerimus. We offer you sacrifices and prayers of praise, O Lord. Tu suscipe pro animabus illis, quarum hodie memoriam facimus. Accept them on behalf of the souls whom we remember today.

VIII Sanctus Dominus Deus Sabaoth, Holy Lord God of Hosts, Pleni sunt coeli et terra gloria tua. Heaven and earth are full of your glory. Hosanna in excelsis. Hosanna in the highest.

IX Benedictus qui venit in nomine Domini. Blessed is he who comes in the name of the Lord. Agnus Dei, qui tollis peccata mundi, dona eis requiem. Lamb of God, who takes away the sins of the world, grant them rest. Et lux perpetua luceat eis Domine, cum sanctis tuis in aeternam, May light eternal shine upon them, Lord, together with your saints quia pius es. for evermore, for you are merciful.

Dona requiem eis. Requiem. Grant them rest.

8 Beethoven

Ludwig van Beethoven eventually put an end to his career as a pianist and conductor. He had no choice (1770 – 1827) but to concentrate on composition, and despite that immense handicap went on to Mass in C major, Op. 86 write some of the greatest music ever written. Beethoven wrote two settings of the Mass, the one in tonight’s concert and Although he spent all his mature years in the Missa Solemnis, Op 123. He laboured Vienna, Beethoven was born in the on the later work for years, but the result is Rhineland town of Bonn, which was a very considered to be one of the supreme small place in those days. Educated in achievements of its kind, comparable with J music initially by his father, he also received S Bach’s and very little instruction from musicians of the court of else. the Elector of Cologne, where he was given some responsibility. On a visit to Vienna in The Mass in C major was composed in the 1888 he met Mozart, who recognised his fruitful period 1806 to 1807, when he was genius, and a few years later he moved working on the Fifth and Sixth Symphonies there permanently. He was taught by and many other compositions. It is one of Haydn among others, but soon he began the least well-known of his major works, but composing and wrote many youthful works. does not deserve to be so. It is entirely His first published works were three piano characteristic of Beethoven and a worthy trios (Op 1, 1795). He was never in the successor to Haydn’s late Masses. In his work and when he made his opinion known, service of a court or the church, but relied vocal compositions he always strove to give Beethoven stormed out. It was better for income on the patronage of aristocratic the words the most appropriate musical received at its first public performance a amateurs and public concerts, where he setting, and so here the musical language year later, and after the composer’s death, was famous as a pianist. It was a is less exuberant than that of the it was championed by Mendelssohn, who precarious living, but he remained better off symphonies, more like the Fourth Piano recognised its quality. than Mozart, possibly because he was a Concerto, for example. It was first given in better businessman. 1807 at a private performance for Prince The work employs four soloists and four- Nikolaus Esterhazy, who had part choir, but unlike Bach or Mozart, From about 1800 onwards he suffered from commissioned it. The prince disliked the Beethoven does not split the work into progressively increasing deafness, which

9 Beethoven

separate arias and choruses. The soloists The Sanctus is fairly short, another slow sing as a quartet, or individually with the quiet beginning bursting out at “Pleni sunt choir, and this brings a great sense of unity coeli” and followed by a brief fugal to each of the sections. Thematic links “Hosanna”. Beethoven gives the between the sections strengthen this Benedictus a lengthy, leisurely setting, sense. mainly for the soloists, with the chorus The Kyrie (andante) starts quietly with the giving occasional support. As in many chorus, but the soloists soon join in, and settings of the mass, the Agnus Dei is then the key changes from C to E major for agitated and even pained, but at “Dona the impassioned middle “Christe eleison”, nobis pacem” the music eases into a before returning to the original key and a relaxed and happy mood, where the quiet ending. The Gloria (allegro con brio) woodwind and horns are quite prominent. begins with a blaze from chorus and Finally the music of the Kyrie returns and orchestra, and continues with wide leaps of the mass ends as quietly as it started. dynamic and pitch, but nowhere are extreme demands placed on the performers as they are in the later Mass in D. The slow “Qui tollis” is in the sombre key of F minor, but the original key and tempo return at “Quoniam” and the section ends with a vigorous fugue. The Credo begins very quietly but in a fast triple time, with the dynamics illustrating the contrasts in the text. The key changes to C minor for the slow, solemn “Et incarnatus est “ given alternately to the soloists and chorus, and returns to the major for the joyful “Et resurrexit” which leads to another lively fugue to the words “Et vitam venturi”.

10 Beethoven

Beethoven: Mass in C

Kyrie eleison Kyrie eleison. Christe eleison. Kyrie eleison. Lord have mercy. Christ have mercy. Lord have mercy.

Gloria in excelsis Gloria in excelsis Deo, et in terra pax hominibus bonae Glory be to God on high, and in earth peace to men of good will. voluntatis. Laudamus te, benedicimus te, adoramus te, glorificamus te. We praise thee, we bless thee, we worship thee, we glorify thee. Gratias agimus tibi propter magnam gloriam tuam. We give thanks to thee for thy great glory.

Domine Deus, Rex coelestis O Lord God, heavenly King, Deus Pater omnipotens. God the Father almighty. Domine Fili unigenite, Jesu Christe, O Lord, the only-begotten Son Jesus Christ; Domine Deus, Agnus Dei, Filius Patris, O Lord God, Lamb of God, Son of the Father,

Qui tollis peccata mundi, miserere nobis. Thou that takest away the sins of the world, receive our prayer. Qui tollis peccata mundi, suscipe deprecationem nostram, Thou that takest away the sins of the world, have mercy on us. Qui sedes ad dexteram Patris, miserere nobis. Thou that sittest at the right hand of the Father, have mercy on us.

Quoniam tu solus sanctus: tu solus Dominus, For thou only art holy; thou only art the Lord; Tu solus altissimus, Jesu Christe, Thou only art the most high, Jesus Christ, Cum Sancto Spiritu in gloria Dei Patris. Amen. With the Holy Ghost, in the glory of God the Father. Amen.

Credo Credo in unum Deum Patrem omnipotentem, factorem coeli et I believe in one God the Father Almighty, maker of heaven and terrae, visibilium omnium et invisibilium; earth, and of all things visible and invisible: Credo in unum Dominum Jesum Christum, Filium Dei I believe in one Lord Jesus Christ, the only-begotten Son of God, unigenitum; et ex Patre natum ante omnia saecula. begotten of his Father before all worlds.

11 Beethoven

Deum de Deo, Lumen de Lumine, Deum verum de Deo vero; God of God, Light of Light, very God of very God, begotten, not genitum, non factum, consubstantialem Patri, per quem omnia made; being of one substance with the Father; by whom all facta sunt. things are made; Qui propter nos homines, et propter nostram salutem, descendit Who for us men, and for our salvation came down from heaven. de coelis.

Et incarnatus est de Spiritu Sancto ex Maria Virgine, et homo And was incarnate by the Holy Spirit of the Virgin Mary, and was factus est. made man, Crucifixus etiam pro nobis sub Pontio Pilato, and was crucified for us under Pontius Pilate. passus et sepultus est. He suffered and was buried,

Et resurrexit tertia die secundum Scripturas, And on the third day he rose again according to the Scriptures, et ascendit in coelum, sedet ad dexteram Patris, and ascended into heaven, and sitteth on the right hand of the Father. Et iterum venturus est cum gloria judicare vivos et mortuos, And he shall come again with glory to judge both the living and cujus regni non erit finis. the dead: whose kingdom shall have no end.

Et in Spiritum Sanctum, Dominum et vivificantem; qui ex Patre And in the Holy Spirit, the Lord and giver of life, who proceedeth Filioque procedit, qui cum Patre et Filio simul adoratur et from the Father and the Son, who with the Father and the Son conglorificatur, qui locutus est per prophetas. together is worshipped and glorified, who spake by the prophets.

Et in unam sanctam catholicam et apostolicam ecclesiam. And in one holy catholic and apostolic church. Confiteor unum baptisma in remissionem peccatorum. I acknowledge one baptism for the remission of sins.

Et expecto resurrectionem mortuorum, et vitam venturi saeculi. And I look for the resurrection of the dead, and the life of the Amen. world to come. Amen.

Sanctus Sanctus, sanctus, sanctus, Dominus Deus Sabaoth. Pleni sunt Holy, holy, holy, Lord God of hosts. Heaven and earth are full of coeli et terra gloria tua! Hosanna in excelsis! thy glory. Hosanna in the highest!

12 Beethoven

Benedictus Benedictus qui venit in nomine Domini. Blessed is he who comes in the name of the Lord. Hosanna in excelsis! Hosanna in the highest!

Agnus Dei Agnus Dei, qui tollis peccata mundi, miserere nobis. Lamb of God, who takest away the sins of the world, have mercy Dona nobis pacem. upon us. Grant us peace.

Programme notes by David Baxendale

13 Soloists

Katharine Fuge soprano for Mirare (this last a GRAMOPHONE Editor’s Choice for September 2007), Handel’s Dixit Dominus Katharine Fuge grew up on the Channel and Vivaldi’s Gloria for Philips Classics, Island of and read music at City Messiah with Musica Florea Prague for University. Although she specialises in Feldgen and Late Night Sessions – Live music of the Baroque and Classical at the Edinburgh International Festival period, her range is wide, including with Concerto Caledonia for Delphian CD. performances of the Brahms Requiem Most recently released are Welt, gute (Orchestre Révolutionnaire et Nacht (music by J. C. Bach) and the St Romantique), Haydn Die Schöpfung John Passion with Sir (Scottish Chamber Orchestra), on SDG. Mendelssohn Elijah (Akademie für Alte Musik) and Poulenc Gloria (Royal Recent and current highlights include the Liverpool Philharmonic Orchestra). She B Minor Mass with Arsys Bourgogne, Ich has enjoyed a long and fruitful association habe genug and Jauchzet Gott with with John Eliot Gardiner, and other Florilegium, the St Matthew Passion and conductors with whom she has worked Pergolesi Stabat Mater with the North include Frieder Bernius, Harry Orchestra, The Seasons with Christophers, Marcus Creed, Philippe the Nagoya Symphony Orchestra, Mozart Herreweghe, David Hill, Ton Koopman, Mass in C Minor with Musica Saeculorum, Paul McCreesh, Roger Norrington, Hans- the Mozart Requiem with the Academy of Christoph Rademann, Daniel Reuss and Ancient Music, the City of London David Stern. Sinfonia and the Scottish Chamber Orchestra, Scarlatti Su le sponde del Her recordings include assorted Cantatas Tebro on tour with the Israel Camerata from Sir John Eliot Gardiner’s Bach and her debut with the Orchestra of the Cantata Pilgrimage on DG Archiv and Age of Enlightenment. SDG, Bach Actus Tragicus, Aus der Tiefe and Tombeau de Sa Majesté la Reine de Pologne with Philippe Pierlot and the

14 Soloists

Kate Symonds-Joy mezzo-soprano the winner of the 2011 Thelma King Vocal Haydn’s Harmoniemesse in Cadogan Award and was awarded the Basil A Hall, extracts as Carmen with Sir John Turner Prize for her role Bianca in Eliot Gardiner and the Monteverdi Choir at Britten’s The Rape of Lucretia for BYO. LSO St Luke’s, Brahms’ Alto Rhapsody Operatic roles include Mrs Herring in with the Sinfonia of Cambridge, a tour of Britten’s Albert Herring for Britten Pears in Handel’s Messiah with the London Aldeburgh, Dorabella in Mozart’s Cosi fan Festival Orchestra, Verdi’s Requiem in the Tutte for RAO, Koukouli in Chabrier’s Thaxted Festival and Baba the Turk L’Etoile for Sir John Eliot Gardiner at the (cover) for Garsington Opera. Opera Comique Paris, the title role in Recent recitals include the Wigmore Hall Bizet’s Carmen for Kentish Opera, Medea as part of the Royal Academy Song Circle in Cavalli’s Giasone for RAO conducted and Cautionary Tales for the Nice and by Jane Glover, Ino in Handel’s Semele Naughty in the For Crying out Loud for RAO with Sir Charles Mackerras, and scheme, Schumann Lieder with Malcolm Florence Pike in Britten’s Albert Herring Martineau on the Britten-Pears Young for RAO directed by John Copley. Artist Programme, Berio’s Sequenza III in Concert work includes Ravel’s Chansons the Norfolk and Norwich Festival, a recital Madecasses at the Purcell Room, Rutter’s for the Richard Strauss Society and Feel the Spirit at the Barbican, Mahler’s Haydn’s Arianna a Naxos in recital for 2nd Symphony in Cadogan Hall, a Cambridge University’s 800th Anniversary recording of Giles Swayne’s Stabat Mater Celebrations. Future projects include for NAXOS and performance at St Johns, Bliss’ Pastoral with the English Symphony Kate Symonds-Joy was educated at Smith Square, Handel arias for the Orchestra and Wild Girl in Delius’ A Cambridge University, where she Bydgoszcz Philharmonic in Warsaw, a Village Romeo and Juliet for Wexford graduated with a First Class Music degree sequence of danced performances of Festival Opera. Further information can from Gonville and Caius College. She Handel’s Messiah with Bordeaux Opera, be found at www.katesymonds-joy.com. then studied on the Royal Academy Berlioz’ Nuits d’ete with the Haydn Opera course with Lillian Watson and Chamber Orchestra, Beethoven’s Missa Audrey Hyland, graduating with a DipRAM Solemnis in King’s College Chapel, and the Charles Norman Prize. She was Mozart’s Requiem in Snape Maltings,

15 Soloists

Simon Wall tenor songs with La Nuova Musica, Charles Wood’s St Mark Passion () with Simon Wall held a choral scholarship at St the choir of Jesus College, Cambridge, John’s College, Cambridge, before taking Monteverdi Vespers with The Rodolfus up a scholarship at the Royal Academy of Choir and Lamenti with Emmanuelle Haïm Music in London. and Le Concert d’Astrée. In 2003 he premiered solos in John Recent performances include the Gilles Tavener’s epic The Veil of the Temple, at Requiem at Dartington for Andrew Parrott; both the Lincoln Center, New York and at a John McCabe premiere at the 2009 the BBC Proms. He has appeared as a Three Choirs Festival and for BBC Radio soloist for Laurence Cummings, John Eliot 3; the title role in Handel's Jepthe at the Gardiner, Richard Hickox, Stephen 15th Haapsalu Early Music Festival, Layton, John Rutter, and Sir David Estonia; a BBC Chamber Prom with Willcocks. Iestyn Davis, Richard Egarr and AAM; the St Matthew Passion Evangelist at Snape Operas include Orfeo and Fairy Queen Maltings for Mazaaki Suzuki and in King’s with Emmanuel Haim, both for Opera de College Chapel with King’s College Choir Lille and Opera du Rhin. He also created and Stephen Cleobury; and various the role of Owl in The Birds by Ed Handel Arias with Haydn’s Nelson Mass Hughes, which premiered at the City of at Snape Maltings with Trinity College London Festival in July 2005. His 2008 Choir, the CLS and Stephen Layton. Temple Festival Dido and Aeneas Sailor saw Andrew Porter/The Times describing him as ‘a model of unforced, attractively direct English singing’. Recordings include Barber’s operetta A Hand of Bridge, conducted by Marin Alsop, with the Royal Scottish National Orchestra, Tavener’s Veil of the Temple, directed by Stephen Layton, Caccini

16 Soloists

William Clements - baritone

William Clements began his musical career as a chorister at Winchester Cathedral and was a choral scholar at St John’s College, Cambridge. He has given regular performances of works spanning the established concert repertoire, including Elgar’s The Dream of Gerontius and The Apostles, and Szymanovski’s Stabat Mater at the Three Choirs Festival and Vaughan Williams’ A Sea Symphony at the Barbican Hall. Performances of contemporary works include the first performances of Francis Pott’s festival commission A Song on the End of the World and Andrew Gant’s Vision of Piers Plowman at the Three Choirs Festival, and Howard Blake’s Stabat Mater for the Dorset Summer Music Society. His recital repertoire includes songs by Vaughan Williams, Finzi and Warlock. William sings regularly with groups including The Tallis Scholars and Polyphony.

17 Orchestra of the Swan

OOTS is a major champion of new music and Spring Sounds 2011 included 4 world premieres, 2 recordings, visiting composers, soloists and conductors from the USA and a joint commission with the American Composers’ Orchestra. Previously the orchestra has commissioned work from Joe Cutler, Tansy Davies, Joe Duddell, Alexander Goehr, John Joubert, Joanna Lee, Roxanna Panufnik, Paul Patterson, Joseph Phibbs, Julian Philips, Dobrinka Tabakova, Param Vir, Errollyn Wallen, Orchestra of the Swan from Royal Philharmonic Society ‘Composer in Shu Wang, John Woolrich and many Shakespeare’s Stratford-upon-Avon, is the House’ award appointing Huw others. Associate Orchestra at Town Hall, Watkins to the post. Previous recipients Orchestra of the Swan records for Avie, Birmingham with residencies and concert of this major prize were the Bournemouth Naxos and Somm including repertoire by series at Cadogan Hall London, Bedworth Symphony and Royal Liverpool Barber, Bax, Berlioz, (world premiere and Loughborough. OOTS performs at Philharmonic. recording), Brahms, Copland, Debussy, other major concert venues and festivals TV appearances include premiering Finzi, Hans Gal, Daren Hagen (world in the UK including Symphony Hall Japanese Spring by Roxanna Panufnik on premiere recording) Ireland, Mahler, Birmingham, Warwick Arts Centre, St the South Bank Show with Tasmin Little, Mozart, James Schleffer (world premiere John's Smith Square and the Three and CDs have been Gramophone Choice, recording), Schumann, Johan Strauss and Choirs, Lichfield and Deal Festivals. In CD of the Week on Classic Fm and Vivaldi. November 2011 OOTS joined the Indie Washington Public Radio, and in the top band “James” for a UK wide sell-out tour. 20 Classical Albums for 2011 on Chicago “you won’t hear much better than this anywhere” OOTS Associate Artists have been Public Radio. OOTS broadcasts live on Classic Fm Magazine Tasmin Little, Julian Lloyd Webber and for BBC Radio3 and performances have “a vivid sense of an excellent, up-for-it orchestra and 2011-12 the outstanding young pianist been networked to 260 USA Public Radio conductor” BBC Music Magazine Benjamin Grosvenor. OOTS has recently Stations and Chinese State News “a virtuoso finale for the excellent British orchestra” been awarded the highly prestigious Agency. Indianapolis Star

18 City of Birmingham Choir

The City of Birmingham Choir Choir with the Cathedral. Widely Carl Orff’s Carmina Burana as well as our acclaimed for his conducting of choral and own regular Messiah performances. – independent for 90 years! orchestral works at the Three Choirs The Choir is committed to supporting Festival and elsewhere, Adrian brings a choral music making and has participated wealth of experience as one of the in Making Music’s Adopt-a-composer country’s leading choral conductors. scheme as well as running singing We include most of the major choral competitions and workshops for people of works in our repertoire plus more all ages. Currently we are helping to challenging and newer compositions. develop the next generation of choral The standard of our performances draws performers with Voice Factory – an consistent praise from both critics and enterprising scheme providing vocal audience. training for the Choir and encouraging the Over our long history we have worked participation of young people in singing. with other orchestras such as the BBC We are very proud to be one of the few Concert Orchestra and have had concerts independent organisations still promoting broadcast on Radios 2 and 3. We joined and financing our own season of major Since our inception in 1921 the City of the City of Birmingham Symphony Chorus choral concerts with professional Birmingham Choir has constantly thrilled and CBSO for the much-praised symphony orchestras and soloists. and entertained audiences with our wide centenary performances of Elgar’s The Thank you for your continued support. and often adventurous repertoire. Singing Dream of Gerontius, The Apostles and first in the historic Town Hall and, more The Kingdom. We have also sung at the recently, in the magnificent acoustics of Three Choirs Festival and in addition have President: Hugh Carslake Symphony Hall we have also enjoyed an performed some of the more intimate Conductor: Adrian Lucas enormously productive musical choral repertoire in ‘out of town’ venues partnership with the city’s internationally such as Tewkesbury Abbey. Rehearsal accompanist: Colin Baines famous orchestra, the CBSO. Last season was a very busy one, with We are led by Adrian Lucas, who was performances of Verdi’s Requiem, www.citychoir.org.uk until recently Master of the Choristers at Beethoven’s Choral Symphony, Duruflé’s , a partnership re- Requiem, Bach’s Mass in B Minor and [email protected] establishing a long tradition linking the

19 Supporting Great Choral Music

The City of Birmingham Choir is committed to continuing Birmingham's great choral tradition. Our aims include: Performing great Choral Music Presenting new and infrequently performed works in our programmes Encouraging young singers through a variety of projects Scheduling complementary events to add value to our concerts

The Choir is a charitable organisation and is fully self-supporting. All Choir members and officers give their time freely. Our main sources of revenue are derived from ticket sales and partnerships with the individuals, Trusts and businesses that share our vision, and whose support we gratefully acknowledge.

President Honorary Patrons Associate Membership and Patronage Hugh Carslake The Lord Mayor of Birmingham You can support the work of the Choir by paying to become Dr Christopher Robinson CVO CBE an Associate Member or Patron in return for discounts and Corporate Partners other benefits. Patrons will be listed in our concert The John Lewis Partnership Individual Donors programmes. For more information please contact Unity Trust Bank The late Barry Dillon Frances Hooper at [email protected] Phoenix Group Christine Doncaster Patrons for 2011/2012 are: Wesleyan Assurance David Baxendale Mrs M Caten Miss E W Evans Mrs B Glanfield Mrs I M Holder Mr P Hooper Mrs M E Price Trusts and Foundations Supporters Mrs S E Richmond Mr A Woodward Angus Allnatt Charitable Foundation These organisations have supported us with advice, Baron Davenport’s Charity guidance, time and other forms of assistance: Birmingham Common Good Trust Arts Council Life Members Bryant Trust Birmingham City Council From time to time the Choir offers Life Membership to Dumbreck Charity Birmingham Central Music Library those who have given the choir exceptional service. Our Ernest Cook Trust City of Birmingham Symphony Orchestra current life members are: George Fentham Birmingham Charity Clement Keys John Ankcorn Keith Archer G J W Turner Charitable Trust Irwin Mitchell Margaret Caten Alan Edwards Grimley Charity Martineau Margery Elliott Ena Evans Grimmitt Trust Scene Central Isabel Holder Lyndon Jenkins Hareston Charity Society of Friends Michael Joby Roy Massey Eileen McGeachin Hugh McGeachin James Frederick and Ethel Anne Measures Charity Symphony Hall and Town Hall Management Betty Milne Alan Parkes Philip Bates Trust Sheila Richmond Edward Smith Martineau Johnson Charitable Trust Alan Woodward Wilmcote Charitrust W E D Charitable Trust Charity Registration No. 1049684

20 City of Birmingham Choir

Sopranos Judith Ormston* Louise Chilton Tenors Mark Lawrence Members elected to Registrar Vicki Abson Ann Peach Helen Chryssides Joe Bean Michael Lowe the Board of Sheila Richmond Kate Adams Sophie Phillips Susan Clarke Andrew Blyth Andrew Massey Management Programmes Editor Pru Allington-Smith Alison Price Miriam Constable* Bob Casselden** Martin Mence Bob Casselden Rebecca Attwood Ann Ramsay Ceri Crosskey Roland Clark Andrew Murray Chairman Recruitment Officer Jenny Baines* Ruth Revill* Joyce Darby* Chris Cooke Felix Plazza Alison Price Georgina Hardy Jennifer Barker Jane Reynolds Lynne Davies David Corden Michael Price* Deputy Chair Librarian Sophie Beck Sheila Richardson Maggie Davies Michael Counsell Lyndon Reynolds** Roland Clark Sue Franklin Beryl Blood Amanda Richmond Marion Evans John Ellis Daniel Roberts General Secretary Annual Review Lara Bone Emma Shakeshaft Ruth Forecast John Franklin John Shakespeare Tricia Bowden Editor and Archivist Claire Bowman Lizzy Sharman Jane Francis Toby Hester Stephen Shaw Concert Secretary David Baxendale Charlotte Brown Rachel Simons Susan Franklin Paul Humphrey Matthew Somerville Sue Ward Making Music Elena Camisani Lyn Snook Joan Glover* Colin Hutcheson Duncan Speirs Treasurer Delegate Kathryn Carter Annette Spinks Rebecca Glover Melvyn Jones Dan Squier Michael Price Gwyn Williams Christina Cooper Helen Stammers** Lily Haake Alan Morden Philip Tew* Partnership Manager Dress Secretary Christy del Strother Ruth Stead Katharine Harris David Pannell Michael Toolan Robert Crosskey Helen Stammers Sheila Dobson Jill Taylor* Hazel Hewison Ron Powell David Trevis-Smith* Marketing Manager Supporters Secretary Christine Doncaster* Pippa Taylor Linda Hoag Tony Ridgway Anthony Waite* Jill Taylor Frances Hooper Johannah Dyer Ruth Taylor Carole Holden Luke Swatman Gwyn Williams* Membership Press / Media Officer Sylvia Emberson** Becky Thomas Frances Hooper John Ward Martin Willis Secretary Su Whale Anne Evans* Pat Tottman Patricia Howard Geoffrey Wyatt Lynne Davies Presentation Jeanne Findleton** Susan Ward** Lyn Lockley* Manager Basses Colin Hutcheson Janet Fleming* Sally Whitehead Bryony Martin Charles Allsopp Helen Grave Sarah Williams Sue Matthews Other members in Website Manager John Barber * denotes Choir members the Management Matthew Somerville Naomi Green Hilary Wilson** Carol Parrott John Barrett who have served for 25 years or more Team Database Manager Emma Griffiths Jo Wright Dorothy Ryan David Baxendale* Janet Griffiths* Elizabeth Yeomans Gillian Savage** ** denotes Choir members Les Gutteridge John Boynton who have served for 40 Penny Gutteridge Penny Searley Ticket Secretary John Carey years or more Caroline O'Gorman Georgina Hardy Janet Shaw Altos Roger Cerfontyne Audience These and other members Keri Harwood Margaret Sheward** Christine Bean Rob Coleman Development of the management groups Helen Hogg* Teri Siggins give unpaid service to the Catherine Benson* Robert Crosskey Manager Gemma Hughes Annabel Smith choir Helen Blundell Paul French* Naomi Green Heather Jones Stella Thebridge* Sally Bourner Neil Fricker Publicity Secretary Hannah Kershaw Carol Thomson Tricia Bowden* Ted Froggatt Teri Millane Ruth Low Hilary Wetherell Gill Brettell Les Gutteridge Choir Voice Catherine Mason* Su Whale Gillian Bullock Stuart Hill Coaching Margaret Massey Vicky Wilcher Celia Burton* John Jones Administrator Annette McGrath* Rosemary Case* Angela Wingate* Edward Lawrence Gillian Bullock Linda O’Neill

21 More about the Choir

Our printed programmes in the past have had a number of pages with information about the Choir and its activities. This information, and much more, is all available on our web pages. We hope you will visit our site regularly to keep up to date, and you can also contact us through Twitter and Facebook via links on our home page. The following links may be useful if you want to look for any particular items.

For information about our future concerts including ticket buying : www.citychoir.org.uk/concerts

If you are interested in finding out about joining the choir: www.citychoir.org.uk/join

Voice Factory projects are described on our education page: www.citychoir.org.uk/education

There are many ways in which you can support the Choir: www.citychoir.org.uk/support

All the information is available by going to our home page: www.citychoir.org.uk

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