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Download Programme TWICKENHAM CHORAL SOCIETY POULENC Stabat Mater BERLIOZ Te Deum Kingston Parish Church 26 June 2010 FUTURE CONCERTS Autumn 2010 RACHMANINOV : Vespers A concert by candlelight Friday 24 September 9.30pm, St Martin-in-the-Fields, Trafalgar Square Winter 2010 CHARPENTIER : Te Deum HANDEL : Zadok the Priest and Dixit Dominus with the Brandenburg Baroque Soloists The Landmark Festival of Song 30 October 7.30pm, Landmark Arts Centre, Teddington Christmas 2010 Christmas Charity Concert VAUGHAN WILLIAMS : Fantasia on Christmas Carols FINZI : In Terra Pax DOVE : The Three Kings LAURIDSEN : O Magnum Mysterium Carols for choir and audience 18 December 7.30pm, St Mary’s Church, Twickenham March 2011 FAURÉ Requiem with the Brandenburg Sinfonia 26 March 7.30pm, St Martin-in-the-Fields Spring 2011 Sing in Latin, Sing in English Works by BYRD, WEELKES, GIBBONS, PURCELL and RHEINBERGER 9 April 7.30pm, Landmark Arts Centre, Teddington This concert will be taken on tour to Rüdesheim Summer 2011 TCS 90TH BIRTHDAY CELEBRATION VERDI: Requiem with the Brandenburg Sinfonia Rose Theatre, Kingston upon Thames (to be confirmed) The use of photographic, video or audio recording equipment during the performance is not permitted without the prior approval of the Twickenham Choral Society. However photos taken before or after the performance are The cover shows a detail from welcome, particularly if emailed afterwards to The Descent from the Cross [email protected] by Rogier van der Weyden BERLIOZ : Te Deum POULENC : Stabat Mater Sophie Bevan – soprano Adrian Thompson – tenor Jonathan Beatty – organ Tiffin Boys Choir, director Simon Toyne Brandenburg Sinfonia Conductor – Christopher Herrrick Hector Berlioz (1809-1869) TE DEUM Hector Berlioz is one of the few great French Romantic composers. He was sent to study medicine in Paris but at 21 gave it up to become a musician. But he was a man born before his time and his music was largely ignored or denigrated during his lifetime. To make ends meet as a composer he became a prolific writer on music and sharp-tongued music critic for Paris newspapers. Berlioz was not too interested in traditional musical form but a foremost advocate of the idea of programme music. His musical style was quirky, even in the age of Romanticism. All of his compositions are programmatic, either settings of text or the musical portrayal of a literary idea as, for example, in his best known work, Symphonie Fantastique. This approach to art was the natural outcome of his belief in the kinship of music and ideas. For Berlioz, music and literature were inextricably connected, both expressions of the human imagination and emotion. Berlioz was a pioneer of the new art of orchestration. He expanded and liberated the brass, making it the equal of the other orchestral sections. He experimented with new instruments and began the use of the Cor Anglais as one of the orchestra’s most expressive solo instruments. And he was among the first to divide the strings. His frequent demands for large numbers of instruments and voices came from his interest in the mastery of contrast. Like Poulenc, following youthful devotion, Berlioz turned resolutely against religion, but nevertheless composed religious music, notably the Grande messe des morts of 1838, L’Enfance du Christ of 1854 and Te Deum of 1849. For him, the church was theatre, his imagination fired by grand liturgy and dramatic architectural design. The text for the Te Deum - Catholicism’s premiere hymn of thanksgiving – goes back to the early church and was sung at the end of the Matins service, the title taken from the opening Latin words, translated literally as ‘Thee, O God, we praise’. As he had done in the Requiem, Berlioz arbitrarily re-orders the traditional text of the Te Deum in order to increase its dramatic possibilities; the six choral movements that result from this re-arrangement are described as either ‘hymns’ or ‘prayers’, and the climactic Judex crederis contains elements of each. Two instrumental pieces of martial character (Prélude and Marche) were composed for the opening but, as in tonight’s performance, are usually omitted. Dramatic opening chords alternate between orchestra and organ; the organ plays a prominent role in the piece, not as a member of the orchestra, but rather, as Berlioz told Liszt, in ‘dialogue’ with it. In his celebrated ‘Treatise on Orchestration’ Berlioz says: ‘The organ and the orchestra are both kings; or rather, one is Emperor and the other is Pope’. An appropriate comment since Berlioz hoped to premiere the work – which was not a commission – to celebrate the military glory of Louis-Napoleon Bonaparte and his ascension to the throne as Emperor Napoleon III in 1852. Despite attempts for a first performance, it was not until April 1855 that is was heard as part of the celebrations to inaugurate a large new West-end organ at the church of Saint Eustache; it was a great success. There are six movements, alternately majestic and gentle; after the grand opening, the chorus enters with an exciting double fugue and includes a children’s chorus (which Berlioz himself likened to the chorale line in the opening chorus of Bach’s St Matthew Passion). The following Tibi omnes is more meditative, the chorus building to a climax with the words ‘heaven and earth are full of the majesty of thy glory’. The prayer Dignare provides a more subdued movement with a moderate tempo and dynamics throughout. The lively Christe, rex gloriae borrows briefly from Berlioz’s earlier Resurrexit. The slow prayer Te ergo quaesumus introduces a tenor soloist for the first time to which the chorus responds. The concluding Judex crederis is the grandest movement of all and like the first movement, starts with the organ leading to impressive fugal writing for chorus; a feeling of majesty and triumphant celebration pervades the movement. Te Deum laudamus: te Dominum confitemur. We praise Thee, O God: we acknowledge Thee to be the Lord. Te aeternum Patrem omnis terra veneratur. All the earth doth worship Thee and the Father everlasting. Tibi omnes Angeli, tibi Coeli et universae To Thee all Angels, to Thee the heavens and all Potestates: the Powers therein. Tibi Cherubim et Seraphim incessabili voce To Thee the Cherubim and Seraphim cry with proclamant: unceasing voice: Sanctus: Sanctus: Sanctus Dominus Deus Holy: Holy: Holy Lord God of Hosts. Sabaoth. The heavens and the earth are full of the majesty Pleni sunt coeli et terra majestatis gloriae tuae. of Thy glory. Te gloriosus chorus Apostolorum. Thee the glorious choir of the Apostles. Te Prophetarum laudabilis numerus. Thee the admirable company of the Prophets. Te Martyrum candidatus laudat exercitus. Thee the white-robed army of Martyrs praise. Te per orbem terrarum sancta confitetur Thee the Holy Church throughout all the world Ecclesia. doth acknowledge. Patrem immensae majestatis. The Father of infinite Majesty. Venerandum tuum verum et unicum Filium, Thine adorable, true and only Son, Sanctum quoque Paracletum Spiritum. Also the Holy Ghost the Paraclete. Tu, Christe, tu Rex gloriae. Thou art the King of Glory, O Christ. Tu Patris sempiternus es Filius. Thou art the everlasting Son of the Father. Tu ad liberandum suscepturus hominem Thou having taken upon Thee to deliver man non horruisti Virginis uterum. didst not abhor the Virgin's womb. Tu devicto mortis aculeo aperuisti Thou having overcome the sting of death didst credentibus regna coelorum. open to believers the kingdom of heaven. Tu ad dexteram Dei sedes, in gloria Patris. Thou sittest at the right hand of God in the glory of the Father. Judex crederis esse venturus. We believe that Thou shalt come to be our Judge. Te ergo quaesumus, Domine, famulis tuis We beseech Thee, therefore, help Thy subveni, quos pretioso sanguine redemisti. servants,whom Thou has redeemed with Thy precious Blood. Aeterna fac cum Sanctis tuis in gloria numerari. Make them to be numbered with Thy Saints in glory everlasting. Salvum fac populum tuum Domine, Lord, save Thy people, et benedic haereditati tuae. and bless Thine inheritance. Per singulos dies, benedicamus te. Day by day we bless Thee. Laudamus Te Domine, et laudamus nomen And we praise Thy name forever. tuum in saeculum. Dignare Domine die isto, sine peccato nos Vouchsafe, O Lord, this day to keep us without custodire. sin. Miserere nostri Domine, miserere nostri, Have mercy on us, O Lord: have mercy on us. Fiat super nos misericordia tua Domine, Let Thy mercy, O Lord, be upon us, quemadmodum speravimus in te. as we have hoped in Thee. In te Domine speravi; O Lord, in Thee have I hoped; non confundar in aeternum. let me never be confounded. Cum sanctis tuis, fac numerari in eterna. Interval during which wine and soft drinks are available Francis Poulenc (1899-1963) STABAT MATER Francis Poulenc had a rather improbable rise to musical prominence. With almost no formal training in composition, he attracted considerable attention with his surreal novelty piece Rhapsodie negre and the fashionable Mouvements perpetuels in 1918, both bursting with effortless melody, lyricism and humour. These rather slender credentials earned him a place in ‘Les Six’, a journalistic creation briefly grouping six young French composers whose music was influenced by Erik Satie and the absurdist writer Jean Cocteau. Their aims were to break away from the twin influences of Germanic formality and French impressionism and to employ a direct and simple style in their own music. Of the six, Poulenc was by far the most successful. Being largely self-taught Poulenc was apt to absorb a wider range of musical sources than those normally imposed by strict classical training. Nearly all his work is a deft mixture of styles, suffused with ideas from Gregorian chant to burlesque, and coloured by his own personality: an easy wit and charm, tinged with melancholy.
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