CAMBRIDGE UNIVERSITY MUSICAL SOCIETY www.cums.org.uk Principal Guest Conductor Sir Roger Norrington CBE CUMS Conductor Laureate Stephen Cleobury CBE Principal Guest Conductor Cambridge University Chamber Orchestra Peter Stark Director Cambridge University Chamber Choir Martin Ennis Associate Directors Cambridge University Chamber Choir David Lowe, Nicholas Mulroy

Saturday 17 June 2017, 8.00pm King’s College Chapel, Cambridge

J.S. Bach Mass in B minor

CUMS SYMPHONY ORCHESTRA CAMBRIDGE UNIVERSITY SYMPHONY CHORUS

Sir Roger Norrington conductor Elin Manahan Thomas soprano Ciara Hendrick mezzo Nicholas Scott tenor Edward Grint bass Joseph Fort chorus master

CUMS is grateful for the support of TTP Group – Principal Sponsor, Bloom Design, Christ’s College, Churchill College, Corpus Christi College, CUMS Fund, CUMS Supporters’ Circle, Emmanuel College, Gonville and Caius College, Jesus College, King’s College, Murray Edwards College, Newnham College, Peterhouse College, Robinson College, St Edmund’s College, St John’s College, Trinity College, Faculty of Music, University of Cambridge Societies Syndicate, West Road Concert Hall, Wolfson College PROGRAMME NOTES Johann Sebastian Bach (1685–1750) Mass in B minor The Mass in B minor was the culmination of Bach’s to submit the mass for performance at the dedi- compositional life. Assembled in 1748–9, it is one cation of the new Hofkirche in Dresden (now the of his last pieces, and brings together all the mu- city’s Roman catholic cathedral), or that he hoped sical genres, styles, and techniques that Bach had it would be performed at St Stephen’s Cathedral in developed and refined over his career. The work is catholic Vienna. Christoph Wolff argues that, ‘with a compilation of many smaller pieces and cantata its centuries-old tradition…the setting of the mass movements which Bach put together to form a ‘mis- had a natural affinity to the historical and theoretical sa tota’, a setting of the complete mass text. ‘Parody’ dimensions of Bach’s musical thinking’. Bach’s deci- – the reuse of music in a new context, sometimes set sion to undertake such a composition may well have to different words – was a common technique for been impelled by his desire to preserve his music for eighteenth-century composers, and Bach himself posterity, and to demonstrate his mastery of a vast converted many of his secular cantatas into sacred compendium of styles: the stile antico of the second pieces. It was much rarer to find a convinced ‘Kyrie’, the modern ‘concerted’ instrumental style Lutheran like Bach (working in a staunchly Lutheran of the ‘Gloria in excelsis’ and ‘Cum sancto Spiritu’, city) setting the full mass, since normally only the ‘galant’ arias with obbligato accompaniment such ‘Kyrie’ and ‘Gloria’ were sung in Latin in Lutheran as ‘Domine Deus’, plainsong threaded as a cantus services. Indeed, one of the most important parts of firmus through complex polyphony in ‘Confiteor’, the Mass in B minor is the Missa of 1733: a setting of choral fugues such as ‘Pleni sunt coeli’, and often the ‘Kyrie’ and ‘Gloria’ (the Lutheran ‘missa brevis’) the combination of these disparate styles within the which Bach composed in 1733 and dedicated to the same movement. Bach’s musical mind constantly newly crowned Elector of Saxony, August III. The sought new ways of integrating old and new, and oldest substantial part of the Mass in B minor is in the Mass in B minor baroque ‘Figuren’, classical the ‘Sanctus’, a revision of a work of that Bach had ideas of rhetoric, and modern melodic tropes sit composed for Christmas 1724, but the ‘Crucifixus’ happily side by side. movement from the ‘Credo’ is a descendent of the But while Bach readily engaged with lofty ideas of first chorus of the cantata Weinen, Klagen, Sorgen, posterity, an encyclopaedia of musical styles, and Zagen (1714). This movement nestles next to the the combination of the ancient and modern, he was newly composed ‘Et incarnatus’, which is believed to also a pragmatist. He ensured that the four large- be Bach’s last vocal composition. These movements, scale sections of the mass worked as coherent piec- though composed 35 years apart, share many sty- es in their own right, and labelled the four sections listic affinities: their searing dissonances created of the manuscript accordingly: ‘Missa’, ‘Symbolum by their anguished vocal polyphony, their trudging Nicenum’, ‘Sanctus’, and ‘Osanna’. However, the basslines, and the rhythmic ostinatos of their ac- usual suffix ‘Soli Deo gloria’ appears only at the end companying textures. Nonetheless it is remarkable of the ‘Osanna’, making it clear that, though Bach how successfully the youngest and oldest parts of countenanced and made possible performance of the mass work together to prepare the way for the single sections of the mass, he considered it a uni- exuberant ‘Et resurrexit’ that follows. fied musical whole. It is especially poignant that, by The first complete public performance of theMass the time Bach assembled this masterly catalogue of in B minor was not given until 1859, though there musical styles and devices, many elements (notably had been earlier performances of individual sections the intricate and finely wrought polyphony) were of the work. Bach directed the ‘Sanctus’ in Leipzig considered ‘academic’ and old-fashioned. How in 1724, but scholars differ as to whether he ever fitting that Bach chose the timeless genre of the heard the 1733 Missa. Given the complete lack of mass to preserve the music which to him meant so opportunity for the performance of a ‘missa tota’ much, and which still speaks to us today. within the Lutheran tradition, the question of why Bach compiled the Mass in B minor has often been asked. It has been suggested that Bach intended Bertie Baigent TEXT & TRANSLATION If you would like to applaud, please do so only after the Gloria and the Credo.

Kyrie Coro Chorus Kyrie eleison. Lord, have mercy. Aria (Duetto) Aria (Duet) Christe eleison. Christ, have mercy. Coro Chorus Kyrie eleison. Lord, have mercy.

Gloria Coro Chorus Gloria in excelsis Deo. Glory be to God on high. Coro Chorus Et in terra pax hominibus bonae voluntatis. And on earth peace to men of good will. Aria Aria Laudamus te, We praise thee, benedicimus te, we bless thee, adoramus te, we worship thee, glorificamus te. we glorify thee. Coro Chorus Gratias agimus tibi propter We give thanks to thee magnam gloriam tuam. for thy great glory. Aria (Duetto) Aria (Duet) Domine Deus, Rex coelestis, O Lord God, heavenly King, Deus Pater omnipotens, God the Father Almighty, Domine Fili unigenite, O Lord, the only-begotten Son, Jesu Christe altissime, Jesus Christ, the Most High, Domine Deus, Agnus Dei, Filius Patris. O Lord God, Lamb of God, Son of the Father. Coro Chorus Qui tollis peccata mundi, Thou that takest away the sins of the world, miserere nobis, have mercy upon us. qui tollis peccata mundi, Thou that takest away the sins of the world, suscipe deprecationem nostram. receive our prayer. Aria Aria Qui sedes ad dextram Patris, Thou that sittest at the right hand of the Father, miserere nobis. have mercy upon us. Aria Aria Quoniam tu solus sanctus, For thou only art holy; tu solus Dominus, thou only art the Lord; tu solus altissimus Jesu Christe. thou only, O Jesus Christ, art most high. Coro Chorus Cum Sancto Spiritu in gloria Dei Patris, With the Holy Ghost in the glory of God the Father. Amen. Amen. There will be a 20 minute interval between the Gloria and the Credo.

Credo: Symbolum Nicenum Coro Chorus Credo in unum Deum. I believe in one God. Coro Chorus Credo in unum Deum, I believe in one God, Patrem omnipotentem, the Father Almighty, factorem coeli et terrae, maker of heaven and earth, visibilium omnium et invisibilium. of all things visible and invisible. Aria (Duetto) Aria (Duet) Et in unum Dominum Jesum Christum, And in one Lord Jesus Christ, Filium Dei unigenitum the only begotten Son of God, et ex Patre natum ante omnia saecula. and born of the Father before all worlds. Deum de Deo, God of God, lumen de lumine, light of light, Deum verum de Deo vero, very God of very God, genitum, non factum begotten, not made, consubstantialem Patri, of one substance with the Father, per quem omnia facta sunt. by whom all things were made. Qui propter nos homines Who for us men et propter nostram salutem descendit de coelis. and for our salvation came down from heaven. Coro Chorus Et incarnatus est And was incarnate de Spiritu Sancto ex Maria virgine, by the Holy Ghost of the Virgin Mary, and was et homo factus est. made man. Coro Chorus Crucifixus etiam pro nobis And was crucified also for us sub Pontio Pilato, under Pontius Pilate, passus et sepultus est. suffered and was buried. Coro Chorus Et resurrexit tertia die And the third day he rose again secundum scripturas, according to the Scriptures, et ascendit in coelum, and ascended into heaven, sedet ad dextram Dei Patris, sitteth at the right hand of the Father, et iterum venturus est and shall come again cum gloria judicare vivos et mortuos, with glory to judge the quick and the dead; whose cuius regni non erit finis. kingdom shall have no end. Aria Aria Et in Spiritum Sanctum And in the Holy Ghost, Dominum et vivificantem, the Lord and giver of life, qui ex Patre Filioque procedit; who proceedeth from the Father and the Son; who qui cum Patre et Filio simul adoratur et with the Father and the Son together is worshipped conglorificatur; and glorified; qui locutus est per Prophetas. who spake by the prophets. Et unam sanctam catholicam et apostolicam And in one holy catholic and apostolic Church. ecclesiam. Coro Chorus Confiteor unum baptisma in remissionem I acknowledge one baptism for the remission of peccatorum. sins. Coro Chorus Et expecto resurrectionem mortuorum And I look for the resurrection of the dead and the et vitam venturi saeculi, Amen. life of the world to come, Amen.

There will be a brief pause to rearrange the choir. Please remain seated. Sanctus Coro Chorus Sanctus, sanctus, sanctus Holy, holy, holy, Dominus Deus Sabaoth. Lord God of hosts, Pleni sunt coeli et terra gloria eius. heaven and earth are full of his glory. Osanna, Benedictus Coro Chorus Osanna in excelsis. Hosanna in the highest. Aria Aria Benedictus qui venit in nomine Domini. Blessed is he who cometh in the name of the Lord. Coro Chorus Osanna in excelsis. Hosanna in the highest.

Agnus Dei, Dona Nobis Pacem Aria Aria Agnus Dei qui tollis peccata mundi, O Lamb of God, that takest away miserere nobis. the sins of the world, have mercy upon us. Coro Chorus Dona nobis pacem. Grant us peace. © Copyright Z. Philip Ambrose

BIOGRAPHIES Sir Roger Norrington For fifty years Roger Norrington has been at the forefront of the movement for historically informed orchestral playing. Whether with his own London Classical Players in the 1980’s, with his Stuttgart Radio Symphony, Camerata Salzburg, or Zurich Chamber Orchestra in recent years, or with the Orchestra of the Age of Enlightenment from its foundation, he has sought to put modern players in touch with the historical style of the music they play. The work involves orchestra size and seating, tempo, phrasing, articulation and sound.

Sir Roger (he was knighted by the Queen in 1997) © Manfred Esser sang and played the violin from a young age, and began to conduct at Cambridge. He studied at the under Sir Adrian Boult and in 1962 founded the first of several groups for the performance of early music, the Heinrich Schütz Choir. This was followed ten years later by the London Classical Players, which achieved worldwide fame with their dramatic recordings of the nine Beethoven Symphonies. Works by Haydn, Mozart, Berlioz, Brahms, Bruckner, and many others followed, and established Norrington as a leading exponent of historical style. As early as 1966 Norrington had been made Music Director of the new and stimulating Kent Opera. Here again he introduced innovative thinking about orchestra size, playing style and tempi, particularly with the earlier repertoire. He brought to opera the distinguished directors Jonathan Miller and Nicholas Hytner. He conducted many hundreds of performances for Kent and went on to work at Covent Garden and the English National Opera, for La Scala and La Fenice and at the Vienna Staatsoper. The choir, the orchestra and the opera had done their pioneering work and Norrington moved on to share his historical findings with more “modern” orchestras, choirs and opera companies. He is a frequent guest with many of the world’s major orchestras – the Berlin Philharmonic and the Vienna Philharmonic, the Deutsche Symphonie, the Leipzig Gewandhaus, the Concertgebouw Orkest, l’Orchestre de Paris, the NHK in Tokyo, and the Philharmonia in London. In the US he has appeared over many years with the Boston, Chicago and San Francisco Symphonies, the Philadelphia Orchestra, the Cincinnati and Detroit Symphonies, and the LA Philharmonic. Permanent posts with orchestras have included Chief Conductor of the Bournemouth Sinfonietta, Music Director of the Orchestra of St Lukes in New York, Chief Conductor (now Emeritus) of the Salzburg Camerata, Chief Conductor (now Emeritus for life) of the Stuttgart Radio Symphony Orchestra, Principal Conductor (now Emeritus) of the Zurich Chamber Orchestra, and Conductor Emeritus of the Orchestra of the Age of Enlightenment. He is a regular guest with many European orchestras, including the Deutsches Symphonie-Orchester Berlin, the Leipzig Gewandhaus, and the Deutsche Kammerphilharmonie Bremen. With Stuttgart Sir Roger made a remarkable series of over 60 recordings, spanning a large partof the core orchestral repertoire, with sets of works by Haydn, Mozart, Beethoven, Schubert, Berlioz, Mendelssohn, Schumann, Brahms, Dvorak, Tchaikovsky, Wagner, Bruckner, Mahler, and Elgar. Taken together they offer a vivid glimpse of how a modern orchestra can get in touch with its historical roots, cherishing the gesture and sound each composer might have expected in his lifetime. Elin Manahan Thomas Elin Manahan Thomas was born and bred in , and first studied Anglo-Saxon, Norse and Celtic at Clare College, Cambridge, before turning to the world of music, and to performing and presenting. She is known for her in- terpretation of baroque music and made the world premiere recording of a newly-discovered Bach cantata in 2006 for Sir . Elin’s concert repertoire ranges from the renaissance to the contemporary. She received great acclaim for her Pie Jesu on Naxos’ award-winning recording of the Rutter Requiem, and gave world premiere performances of Sir John Tavener’s Requiem (with the RLPO) and Love Duet (Manchester International Festival). Recent performances include Dowland in the Antwerp Festival with Fretwork, Finzi Dies Natalis in Hoddinott Hall with BBC NOW on Radio Three, and a tour of China performing baroque favourites with the Academy of Ancient Music. She has performed in Classic FM’s fifteenth birthday concert; on ‘Friday Night is Music Night’ for Radio Two; at Songs of Praise’s ‘The Big Sing’; was invited to perform in the Vatican on Easter Sunday; as well as appearing at the Edinburgh International Festival with the Royal Flanders Ballet; and she made her BBC Proms debut in 2013 in the Dr Who Prom, alongside Daleks! Elin is an Honorary Fellow at the Royal Welsh College of Music and Drama, Swansea University and Bangor University. Ciara Hendrick One of next season’s OAE Rising Stars, Ciara Hendrick studied at the Guildhall School of Music and Drama and Strasbourg Opera Studio. Recent engagements include Fortuna/Valetto, The Coronation of Poppea, Opera North; Palmira, Ormisda (Handel) London Handel Festival; St John Passion, Barbican; and Daniel, Susanna (Handel) with Laurence Cummings. Recording credits include Bach’s Christmas Oratorio, Dunedin Consort, Venus, Venus and Adonis (Pepusch) and Monteverdi’s “Other Vespers” with I Fagiolini. Future plans include Messaggiera in Monteverdi’s Orfeo with I Fagiolini, Rosmilda, Elpidia (Handel), Halle Handel Festival and Ino, Semele with Ivor Bolton and the Orchestra of the Age of Enlightenment. Nicholas Scott British tenor Nicholas Scott completed his undergraduate and postgraduate studies at the Royal Academy of Music, London, where he was awarded the Sir Elton John and ABRSM Scholarships. He is currently a member of Les Arts Florissants’ young artist programme Le Jardin des Voix. On the operatic stage, Nicholas’ repertoire includes Castor by Rameau with the Yorke Trust, Pierre The Wandering Scholar by Holst, Don Basilio Le Nozze di Figaro, Lurcanio Ariodante under Jane Glover and has also covered the roles of Un Suivant d’Amour and Premier Parque in Glyndebourne Festival Opera’s production of Rameau Hippolyte et Aricie under William Christie. Recent highlights include Coridon Acis and Galatea with La Nuova Musica and David Bates (St John’s, Smith Square), Evangelist St John Passion with the Israeli Vocal Ensemble and Rishon LeZion Symphony Orchestra, King Arthur (Zürich Opera), a reprise of King Arthur with Brisbane Baroque, a programme of Bach cantatas with Queensland Symphony Orchestra, and concert performances with Les Musiciens de Saint Julien and at the Thiré Festival in France. More recently, Nicholas has also been on an Asian tour with Les Arts Florissants, and has sung Everardo in Giulietta e Romeo with Theater und Orchestrer Heidelberg and made a return visit to Zürich Opera to sing in Charpentier’s Medée with William Christie. Performances in 2017 include Evangelist St Matthew Passion with Masato Suzuki and the Bach Collegium Japan (Japanese tour), Brockes Passion with Ensemble Pygmalion, Orfeo and Peches Capitaux with Cappella Meditteranen, © J Hall and Bach’s Mass in B minor with Cambridge University Musical Society. Edward Grint British bass- Edward Grint studied at the International Opera School at the Royal College of Music. An experienced musician, Edward enjoys a very busy schedule, equally present on the concert and opera stages where he excels in the repertoire of Monteverdi, Bach, Handel, Mozart, and Gluck. Engagements have included Il Re Ariodante with Opera Theatre Company, Brockes Passion with King’s College Cambridge, Messiah and Monteverdi Vespers with the Dunedin Consort, and Polyphemus Acis and Galatea at the Festival de La Chaise Dieu with Damien Guillon. Earlier this season Edward appeared in Serses at SSJS with Early Opera Company, La Calisto with La Nuova Musica at Wigmore Hall and Barber’s The Lovers in Clermont Auvergne, and The Last Supper with the BBC Scottish Symphony Orchestra. Acis and Galatea with Opera Theatre Company, St John Passion with Les Musiciens du Louvre and Marc Minkowski and Messiah with the Royal Choral Society. Further performances in 2017 include Sea Symphony with Canterbury Choral Society, further performances with Les Musiciens du Louvre and Marc Minkowsky singing Handel Dixit Dominus and St John Passion as well as performances at the Beverly Chamber Music Festival and Kilkenny Arts Festival. Joseph Fort Joseph Fort took up the position of College Organist & Director of the Chapel Choir, and Lecturer in Music at King’s College London in September 2015, upon completing his PhD at Harvard University. He is equally active as a conductor and musicologist. Recent and forthcoming performances with the Choir of King’s College London include the Radio 3 Epiphany broadcast, a recording of the Brahms Requiem (London Version) for Delphian Records, a collaboration with the Britten Sinfonia to give the UK premiere of Barber’s The Lovers in a new chamber version by Robert Kyr, and a major tour to the USA and Canada. In demand as a chorus master, he will be assisting Roger Norrington for Bach’s Mass in B minor with the Cambridge University Symphony Chorus . Joseph’s research focuses on music and dance in the eigh- teenth century; he is currently completing a monograph on Haydn and minuets. He has published in the Eighteenth-Century Music journal. He recently featured on a panel for the Mozart Society of America on ‘The Future of Mozart Studies’, and has given papers at numerous conferences, including those of the American Musicological Society. A dedicated teacher, Joseph was awarded the Oscar Schafer teaching prize (a year-long fellowship) at Harvard, and served the university as Senior Tutor of Eliot House. Prior to Harvard, he studied at Emmanuel College, Cambridge, where he was an organ scholar and academic scholar, and at the Royal Academy of Music, who in March 2017 elected him to their Associateship.

CAMBRIDGE UNIVERSITY SYMPHONY CHORUS SOPRANO 1 Jo Gough TENOR 2 Lies Blom-Smith Caroline Goulder Michael Atkins Tanja Brown Nicola Hardy Robert DeWolf Alice Clarke Alexandra Hayes Chris Ford Bridget Ford Annika Maus Kingsley Reavell Kate Gaseltine Tina Müller Jason Sanders Shirley Holder Josephine Neil Andrei Iosif Smid Mateja Jamnik Wendy Phillips Jo Whitehead Karen Ma Lizzie Scott Kate Morris Jessica Smith BASS 1 John Barber Hayle Ogilvie Jo Stansfield Pedro Bento Agatha Pethers Hope Whitehead Peter De Vile Jenny Reavell Miranda Zwalf Raymond Gay Yu Yan Tsang ALTO 2 Simon Gough Rosalyn Wade Rachel Bateman Melvin Gulston Mary Ward Sarah Boyer Richard Horley Jule Weber Helen Clayton Jack Klinck SOPRANO 2 Helen Coursey Connor McCabe Ann Bergin Alice Daly Gordon Ogilvie Joanna Fawcett Wendy Fray Michael Sharp Anna Gunnarsdottir Philippa Mann Stephen Sharp Suzi Haigh Suzie Millar Alan Walbridge Rebecca Kippax Sarah Page Nicholas Ward Helen Latchem Sarah Payne Alan Woodward Hester Lees-Jeffries Daisy Prior Eli Morris Mark Rushton BASS 2 Giles Agnew Liz Morris Nicky Rushton Clarke Brunt Rashel Pakbaz Christine Skeen Stuart Jenkinson Anne Presanis Mary Stapleton Pierre-François Lenne Helen Robbins Barbara Tuchel Colin Pendrill Becky Shercliff Katharine Valori Jim Pollard Stephanie Topp Mez van Slageren Martin Richardson Valentini Toumpari TENOR 1 Michael Stock Hilary Turner Robert Culshaw Verner Vlačić Helena Tyte Paul Fray Lawrence Wragg ALTO 1 Andrew Goldsbrough Camila Benfield Patrick Li Lorely Britton Finlay Stafford Ruth Cocksedge Robin Tunnah Gillian Flinn Jakob Zwiener Irma Franz CUMS SYMPHONY ORCHESTRA VIOLIN I VIOLA OBOE Er-Gene Kahng, W Konrad Viebahn, T Rachel Becker, JN Kemper Edwards, JN Arran Hope, T Simon Fraser, CHR Anahita Falaki, DOW Konrad Bucher, G Freya Kalus, CTH Ziruo Zhang, HH Laura Minoli, CL Erin Barnard, G Angela Wittmann, N BASSOON Miguel Goncalves, CL Sacha Lee, JE Samuel Franklin, F Siobhan Connellan, PET Alice Wang, CHR Mathilda Pynegar, HO Joseph Leech, PEM Sophie Trotter, CAI HORN Lizzie Millar, SE Grant Wilder, CHR Alex Gunasekera, CC CELLO Orla Papadakis, N TRUMPET VIOLIN II Christopher Hedges, G Nick Smith, HO Peter Grishin, Q Sebastian Ober, CAI Charlie Fraser, JN Laura Alexander, G Oliver Pickard, SID Ed Liebrecht, JE Marco Gasparetto, HH Molly Moss, PEM TIMPANI Tianyu Wang, T Rachael Kennedy, SID Alex Maxted* Ming-Shih Hwang, ED Paolino Lo Presti, CHR DOUBLE BASS CONTINUO Joe Cowie, CL Millie Newis, M Edward Reeve, Q Chris Roberts* Kevin Kerr, JE Sam Brown, CC ASSISTANT CONDUCTOR Tanya Kundu, CL John Tothill Becky Brooks, T FLUTE Charlotte Eves, JN *Guest player Jenny Whitby, PEM

© Tom Porteous Cambridge University Chamber Orchestra, May 2017 CAMBRIDGE UNIVERSITY MUSICAL SOCIETY Cambridge University Musical Society (CUMS) is the words of The Times, joined the team as Principal one of the oldest and most distinguished university Conductor of the CUMS Symphony Orchestra; and music societies in the world. It offers a world-class a Great Conductors series was launched with the musical education for members of the University objective of exposing CUMS members to a succes- and local residents, nurturing the great musicians of sion of world-class visiting conductors. the future and providing performing opportunities In February 2010 CUMS entered another new for over 500 Cambridge musicians every year. phase of its development when it merged with The Society has played a pivotal role in British mu- the Cambridge University Chamber Orchestra and sical life for almost 170 years. It has educated such Cambridge University Music Club. In October 2010 luminaries as Sir Andrew Davis, Sir Mark Elder, Sir the Society launched the Cambridge University John Eliot Gardiner, Edward Gardner, Christopher Lunchtime Concerts — a new series of weekly Hogwood and Robin Ticciati, has given world chamber recitals at West Road Concert Hall show- or UK premieres of works by Brahms, Holloway, casing the University’s finest musical talent. In 2011 Lutoslawski, Maxwell Davies, Rutter, Saxton and it merged with the Cambridge University Chamber Vaughan Williams, and has given successive gen- Choir, which is directed by Martin Ennis, David Lowe erations of Cambridge musicians the experience of and Nicholas Mulroy. visiting conductors and soloists including Britten, CUMS continues to provide opportunities for the Dvořák, Kodály, Menuhin and Tchaikovsky. Since University’s finest student soloists and conductors the 1870s, CUMS has enjoyed the leadership of by awarding conducting scholarships and concerto several of Britain’s finest musicians, including Sir prizes, and it actively encourages new music by Charles Villiers Stanford, Sir David Willcocks, Sir running a composition competition and premièring Philip Ledger, and, from 1983 to 2009, Stephen at least one new work each year. Recent highlights Cleobury. have included Wagner’s Parsifal (Act III) conduct- In 2009 Stephen Cleobury assumed a new role as ed by Sir Mark Elder, a recording of The Epic of Principal Conductor of the CUMS Chorus, and Sir Everest’s original score for the British Film Institute, Roger Norrington was appointed as Principal Guest a concert of Haydn and Mendelssohn at Kings Place, Conductor. Martin Yates, ‘one of the most exciting London conducted by Sir Roger Norrington and and versatile British conductors of his generation’ in Verdi’s Otello (Act I) conducted by Richard Farnes.

CUMS Symphony Orchestra performing in Bonn, Summer 2016 CUMS ENSEMBLES 2017–18 Cambridge University Musical Society has enjoyed The Cambridge University Orchestra will be the a rich and varied 2016–17 Season, with highlights in- University’s premier orchestra, which will always work cluding Mahler’s Symphony No.3 conducted by Paul with professional conductors. The CU Orchestra will Daniel, piano concertos directed by Peter Donohoe perform a variety of chamber and symphonic music and Bach’s B Minor Mass with Sir Roger Norrington. and will adjust its size accordingly. It will primarily be formed from the current CUCO players, but will Plans for the 2017–18 Season are now in place, sometimes expand to perform larger scale reper- and we are delighted to be welcoming back to toire (hence, ‘Chamber’ has been dropped from the Cambridge the sensational , Sir Mark Elder Tom Orchestra’s name). Poster and Jamie Phillips. We will also be joined for the first time by celebrated conductorsJac Van The Cambridge University Sinfonia will be our sec- Steen and Ben Gernon. The 2017–18 Season will ond orchestra and will always perform symphonic be a particularly exciting time for CUMS because, repertoire. It will be conducted by guest profession- following great consideration and planning, the al conductors as well as the finest CUMS student structure of our orchestras is changing. conductors. From October 2017, CUMS will no longer have three We believe this reorganisation will enable both orchestras (currently Cambridge University Chamber musical excellence and student satisfaction, and Orchestra, CUMS Symphony Orchestra and CUMS we are very excited for the 2017–18 Season. Our new Concert Orchestra). Instead, the Society will form season brochure will be available from the beginning two orchestras from the same body of players. of September and we hope you will find much to These ensembles will be named the Cambridge enjoy in the year ahead. and the University Orchestra Cambridge University Chloë Davidson Sinfonia. Cambridge University Musical Society, Executive Director

© Zhao Songyuan Cambridge University Chamber Orchestra, March 2017 CUMS OFFICERS 2016/17 Cambridge University Musical Society is a registered charity, limited by guarantee (no.1149534) with a board of trustees chaired by Stuart Laing. The Society also administers The CUMS Fund with its own board of Trustees. The day to day running of the ensembles is undertaken by the student presidents and their committees with professional support.

CUMS Student President Mathilda Pynegar Trustees of CUMS Stuart Laing (chairman) Simon Fairclough Richard Andrewes Vice Presidents James Furber Nicholas Cook Stephen Johns Sir John Meurig-Thomas David Pickard Principal Guest Conductor Sir Roger Norrington CBE Jo Whitehead Liz Winter CUMS Conductor Laureate Stephen Cleobury CBE Nigel Yandell

Principal Guest Conductor, Peter Stark Trustees of the Chris Ford Cambridge University CUMS Fund Nicholas Shaw Chamber Orchestra Alan Findlay Director, Cambridge University Martin Ennis Peter Johnstone Chamber Choir Jenny Reavell

Associate Directors, Cambridge David Lowe Vice Chairman Jo Whitehead University Chamber Choir Nicholas Mulroy Executive Director Chloe Davidson President, Cambridge University Isabel Cocker Chamber Orchestra CUMS Senior Treasurer Chris Ford President, Sacha Lee CUMS Treasurer Nicholas Shaw CUMS Symphony Orchestra Cambridge University Paul Fray President, Cambridge University Jenny Reavell Symphony Chorus Symphony Chorus Manager President, Héloïse Lecomte Concerts and Marketing Helen McKeown CUMS Concert Orchestra Assistant President, Cambridge University Joseph Curran Performance Assistant Katharine Ambrose Wind Orchestra Cambridge University Rhiannon Randle President, Cambridge University Alice Webster Chamber Choir Manager Lunchtime Concerts CUMS Librarian and Maggie Heywood President, Cambridge University Jonathan Morell Alumni Secretary Percussion Ensemble Supporters’ Circle Christine Skeen CUMS Conducting Scholar John Tothill Secretary Assistant Conductors Jack Bazalgette CUMS Instrument Dave Ellis Toby Hession Managers Philip Howie Sam Kemp Advisors to the ensembles Maggie Heywood Christopher Lawrence Paul Nicholson Martin Richardson John Willan CUMS SUPPORTERS’ CIRCLE SUPPORTERS’ CIRCLE Join the CUMS Supporters’ Circle The Britten Circle Since it was founded in 1843, CUMS has provided unique oppor- £10,000+ Adrian and Jane Frost tunities for successive generations of Cambridge musicians. It has and an anonymous donor immeasurably enriched the cultural life of the university and city, and, The Vaughan Williams Circle £2,500+ having launched many of the biggest careers in classical music, it has Monica Chambers played a pivotal role in the musical world beyond. The Stanford Circle £1,000-£2,499 per annum CUMS receives no core funding from the University, and income from Sir Keith Stuart ticket sales does not meet the full cost of delivering a world-class and an anonymous donor Principal Benefactors musical education. The CUMS Supporters’ Circle has been established £500-£999 per annum to address this pressing financial need. Simon Fairclough The New Europe Society All those who value Cambridge’s splendid musical heritage, and who and two anonymous donors want the University to provide opportunities for the finest young Benefactors £250-£499 per annum musicians of the twenty-first century, are invited to join the CUMS Angela and Rod Ashby-Johnson Supporters’ Circle. Membership of the Circle is through annual do- Stuart Ffoulkes Stuart and Sibella Laing nation to CUMS. There are six levels of donation: Simon and Lydia Lebus R. Mosey David Munday Donor: £100-£249 per annum Howarth Penny Neil Petersen Donors enjoy and three anonymous donors • contributing membership of the Society, entitling them to Donors £100-£249 per annum priority booking for performances Dr Anne E Allan • the opportunity to buy a concert season ticket Richard Andrewes John Barber • acknowledgement in CUMS concert programmes and on the Frank and Genevieve Benfield website Phil and Carol Brown Chris Coffin • invitations to drinks reception each term at West Road Robert Culshaw • regular updates on key CUMS projects and events Martin Darling Drs I and Z Ellison-Wright : £250-£499 per annum Alan Findlay Benefactor C J B Ford Principal Benefactor: £500-£999 per annum Caroline Goulder Andrew and Rachel Grace All of the above plus Michael Gwinnell Donald and Rachel Hearn • opportunities to sit in on selected rehearsals Philip and Lesley Helliar Mr Jonathan Hellyer Jones The Stanford Circle: £1,000-£2,499 per annum Ruth and Mike Holmes Lady Jennings All of the above plus Jennie King • the opportunity to be recognised as the supporter of a specific Christopher Lawrence Debbie Lowther & John Short activity each season John MacInnes Sue Marsh The Vaughan Williams Circle: £2,500+ Andrew Morris Paul Nicholson The Britten Circle: £10,000+ Val Norton Edward Powell To become a Member of the CUMS Supporters’ Circle, please com- Kathryn Puffett plete a membership form and return it to the address shown thereon. Judith Rattenbury Ruth Rattenbury To obtain a form please visit our website or email Helen McKeown, Hugh Salimbeni Fundraising Co-ordinator, at [email protected]. If you pay UK or Catherine Sharp Dr M. L. Sharp Capital Gains Tax, CUMS is able to boost your donation by 25 pence Peter Shawdon per pound through Gift Aid. Robert and Christine Skeen Andrew Soundy In helping us reach our targets, you will become part of an extraordinary Veronica and Alex Sutherland Grahame and Cilla Swan musical tradition. Dr Patricia Tate Sir John Meurig Thomas Jo Stansfield Mary Stapleton Jo Whitehead Ruth Williams Mr and Mrs Wittman and sixteen anonymous donors Honorary Life Member Maggie Heywood

CAMBRIDGE UNIVERSITY MUSICAL SOCIETY www.cums.org.uk

SECTION I: MEMBERSHIP INFORMATION Amount of Donation: £ Personal details Name and Address (if different from Sections Acknowledgement 2 and 3) ...... FF I would like my name acknowledged in ...... CUMS concert programmes and on the ...... CUMS website as ...... Telephone ...... FF I would prefer to remain anonymous Email ...... Payment details Membership level I would like to make my donation by: I would like to join the Supporters’ Circle at the FF Cheque (please enclose a cheque made following level: payable to CUMS) FFThe Britten Circle (£10,000+) FF CAF Cheque (please enclose a CAF FFThe Vaughan Williams Circle (£2,500+) Cheque made payable to CUMS) FFThe Stanford Circle (£1,000–£2,499) FF Standing order (please complete section FF Principal Benefactor (£500–£999) 2 below) FF Benefactor (£250–£499) FF Shares (please contact Christine Skeen at FF Donor (£100–£249) the address below)

SECTION 2: STANDING ORDER MANDATE (Please complete this section if you would like Starting on ...... to make your donation by standing order.) Signed ...... Name of your bank ...... Date ...... Address of your bank ...... Full name ...... Address ...... Your sort code ...... Your account number ...... Please pay CUMS, Royal Bank of Scotland, ...... Sort code 16-15-19, Account number 10298672 ...... the sum of £...... (Print amount: ...... pounds) Per  month  quarter  year

Please return your entire completed form and payment to Christine Skeen, Secretary, CUMS Supporters’ Circle, West Road Concert Hall, 11 West Road, Cambridge CB3 9DP. SECTION 3: GIFT AID DECLARATION Cambridge University Musical Society (CUMS) is a registered charity (no. 1149534) and as such can claim Gift Aid on eligible donations. Please treat as Gift Aid donations all qualifying gifts of money made  today  in the past 4 years  in the future Please tick all boxes you wish to apply.

I confirm I have paid or will pay an amount of Income Tax and/or Capital Gains Tax for each tax year (6 April to 5 April) that is at least equal to the amount of tax that CUMS will reclaim on my gifts for that tax year. I understand that other taxes such as VAT and council Tax do not qualify. I understand the charity will reclaim 25p of tax on every £1 that I give on or after 6 April 2008. Title ...... First name or initial(s)...... Surname...... Full home address ...... Postcode ...... Signature...... Date......

Please notify CUMS if you: • want to cancel this declaration • change your name or home address • no longer pay sufficient tax on your income and/or capital gains

If you pay Income Tax at the higher or additional rate and want to receive the additional tax relief due to you, you must include all your Gift Aid donations on your Self Assessment tax return or ask HM Revenue and Customs to adjust your tax code.

Please return your entire completed form and payment to Christine Skeen, Secretary, CUMS Supporters’ Circle, West Road Concert Hall, 11 West Road, Cambridge CB3 9DP.

Cambridge University Symphony Chorus in the Chiesa Valdese in Rome, April 2016