WINCHESTER MUSIC CLUB

Mozart REQUIEM completed by Duncan Druce

Ruth Holton mezzo soprano Frances Bourne contralto Simon Wall tenor William Townend bass Winchester Music Club and Orchestra Winchester College Glee Club and Quiristers Brian Howells leader Nicholas Wilks conductor

WINCHESTER CATHEDRAL Thursday 25 November 2004 at 7:30 p.m.

Winchester Music Club is a registered charity No 1095619 Programme

W. A. MOZART

Masonic Funeral Music K477

Serenade in C minor K388

Interval of 20 minutes

Requiem K626 (completed by Duncan Druce)

The concert will end at approximately 9:30 pm.

We are indebted to the Friends of Winchester Music Club and to Winchester College, who help to make these concerts possible. The Completion of Mozart’s Requiem

Mozart’s Requiem has become such an important and popular masterpiece that it still comes as something of a shock when we remember that he left it incomplete at the time of his death, and that it was completed by a pupil, Franz Süssmayr. We know that Mozart left the choruses, solos and an outline harmony for all the movements except the “Lacrimosa” (which breaks off after 8 bars), the following “Amen” (which also breaks off after a few bars), and the “Sanctus”, “Benedictus”, “Osanna”, “Agnus Dei” and “Lux Aeterna”. Mozart suggested that the final “Lux Aeterna” could use exactly the same music as the “Introitus” and “Kyrie”, a suggestion which Süssmayr adopted after a slightly shortened introduction. Süssmayr’s completion of the Requiem has become the standard performing version of the work for over two hundred years, but there are arguments for looking more closely at the acceptance of this view. Although Mozart’s widow Constanze eventually commissioned Süssmayr to complete her husband’s Requiem, he was not her first choice, and she approached several composers first, but without success. Mozart, who was notoriously scathing of mediocre musicians, did not have a particularly high regard for his pupil, a view which Constanze appears to have shared. However, the musical ideas behind the movements written by Süssmayr are undoubtedly strong, and are probably derived from Mozart’s own sketches. Moreover, as his pupil, Süssmayr had unique access to Mozart’s work, and the authenticity of style evident in his completion has always been a powerful argument in his favour. However, there are weaknesses in his completion which need to be acknowledged. The second half of his “Lacrimosa” is relatively uneventful, and Süssmayr chose not to use Mozart’s sketches for a thrilling fugal “Amen”, replacing it instead with a slightly dull plagal cadence. Indeed, Süssmayr seems to have had an aversion to writing fugues, since the “Osanna” fugues which complete the “Sanctus” and “Benedictus” are rather perfunctory. Harmonically, too, the “Benedictus”, based on music by Mozart, is static. Such observations are not merely academic. There is a sense in listening to Süssmayr’s completion that something is missing, and in the 1990’s Duncan Druce was commissioned to produce a different completion – a daunting task which he undertook with modesty and thoroughness. His completion, which is being performed in Winchester for the first time this evening, reworks Süssmayr’s movements, but retains the musical ideas on which they are based. The completions of the “Lacrimosa”, “Agnus Dei” and “Benedictus” are harmonically more adventurous and expressive, and the more extensive working out of the “Osanna” fugues is a delight. Perhaps the most exciting discovery is the magnificent “Amen”. This double fugue gives the second movement an added grandeur, and because it lies at the midway point of the work it complements beautifully the double fugue which opens and ends the Requiem. The work as a whole gains enormously from its inclusion. Having played, sung and conducted Süssmayr’s completion, which will always retain a unique position, I was drawn to the idea of looking afresh at Mozart’s score. Learning this new version has been a rare privilege, and has given all of us in Winchester Music Club, Winchester College Glee Club and the Quiristers an opportunity of hearing a familiar masterpiece with new ears. Duncan Druce does not claim to have produced a superior work, but he has given us another valid viewpoint. As he writes in his introduction to the new edition: “The Requiem is above all a major work of Mozart for which no definitive version exists. We can learn most from it, and be most inspired by it, if we experience it from different directions. Some aspects of Mozart’s vision will have been obscured by one completion and enhanced by another.” Such a realistic claim invites the greatest respect, and I believe Mozart’s music is enhanced and not diminished by the opportunity to see it in a new light.

Mozart is also at his most personal and dramatic in the two companion works – the imposing Masonic Funeral Music and the dark Serenade in C minor.

© Nicholas Wilks, November 2004.

THE REQUIEM

I Requiem aeternam Tuba mirum spargen sonum, Requiem aeternam dona eis, Domine: Per sepulchra regionum, Et lux perpetua luceat eis. Coget omnes ante thronum. Te decet hymnus, Mors stupebit et natura, Deus in Sion, Cum resurget creatura, Et tibi redetur votum in Jerusalem: Judicanti responsura. Exaudi orationem meam, Liber scriptus proferretur, Ad te omnis caro veniet. In quo tonum continetur, Unde mundus judicetur. II Kyrie Judex ergo cum sedebit, Kyrie eleison, Quidquid latet apparebit: Christe eleison, Nil inultum remanebit. Kyrie eleison. Quid sum miser tunc dicturus? Quem patronum rogaturus III Dies Irae Cum vix justus sit securus? Dies irae, dies illa, Rex tremendae majestatis Solvet saeclum in favilla: Qui salvandos salvas gratis, Teste David cum Sibylla, Salva me, fons pietatis. Quantus tremor est futurus, Quando Judex est venturus, Recordare Jesu pie, Cuncta stricte discusurus. Quod sum causa tuae viae: Ne me perdas illa die, Libera eas de ore leonis, Quaerens me, sedisti lassus: Ne absorbeat eas tartarus, Redemisti crucem passus: Ne cadant in obscurum. Tantus labor non sit cassus, Sed signifer sanctun Michael Juste judex ultionis, Repraesentet eas in lucem sanctam: Donum fac remissionis Quam olim Abrahae promisisti, Ante diem rationis. Et semini eius. Ingemisco tanquam reus: Culpa rubet vultus meus; Hostias et preces tibi Domine, Supplicanti parce deus. Laudis offerimus: Qui Mariam absolvisti, Tu suscipe pro animabus illis, Et latronem exaudisti, Quarum hodie memoriam facimus. Mihi quoque spem dedisti. Fac eas, Domine, de morte Preces meae non sunt dignae: Transire ad vitam. Sed tu bonus fac benigne, Ne perenni cremer igne. V Sanctus Inter oves locum praesta, Sanctus, Sanctus! Et ab haedis me sequestra, Dominus Deus Sabaoth! Stauens in parte dextra Pleni sunt coeli et terra gloria tua! Osanna in excelsis! Confutatis maledictis, Flammis acribus addictis, VI Benedictus Voca me cum benedictis. Benedictus qui venit in nomine Domini. Oro supplex et acclinis, Osanna in excelsis! Cor contritum quasi cinis: Gere curam mei finis. VII Agnus Dei Agnus Dei Lacrimos dies illa, Qui tollis peccata mundi, Qua resurget ex favilla Dona eis requiem. Judicandus homo reus. Requiem sempiternam. Huic ergo parce Deus, Pie Jesu Domine. VIII Communio Dona eis requiem. Lux aeterna luceat eis, Domine: Et lux perpetua luceat eis. Amen. Cum sanctis tuis in aeternum, Quia pius es. IV Offertorium Domine Jesu Christe, Rex gloriae! Libera animas omnium fidelium Defunctorum de poenis inferni, Et de profundo lacu: Ruth Holton (Soprano) read music at Clare College, Cambridge, where she was a choral exhibitioner. She made her first solo recording in Bach’s St. John Passion for Deutsche Grammophon under Sir , and rapidly became well known for her performances of the Baroque and Classical repertoire. Ruth’s discography includes Carissimi’s Jephtha, Purcell’s Dido and Aeneas, Bach cantatas with Gardiner and , Mozart’s Salzburg Masses, Handel’s Messiah, Schütz’s Christmas Story, Haydn’s Nelson Mass, Handel’s Susanna and Bach’s Mass in B minor. During the years 2000 and 2001 she completed a project to record all the sacred cantatas by Bach with the Holland Boys’ Choir. The clarity of Ruth’s voice makes her a popular choice for contemporary music. Projects have included a programme of new works at the Amsterdam Concertgebouw, a BBC television documentary with music by Peter Salem, recordings of Grand Pianola Music by and pieces by , and specially commissioned works by David Briggs, Howard Thomas and others. Ruth is a regular performer at several European festivals, including Flanders, Aldeburgh, Greenwich, The Three Choirs Festival and the Bachfest in Leipzig. She has performed with the Orchestra of the Age of Enlightenment and in Rome and Vienna, and with Fretwork in Finland and Germany. She has had a long association with the choir of St. Thomas’ Leipzig in Bach’s own church, and she performed his Mass in B minor in the Bachfest 2000, which was televised in Europe and Japan to mark the 250th anniversary of the composer’s death. As a recitalist Ruth has given concerts of Lieder and French Song in London, Glasgow, Aberdeen, Bath, and Oxford. This season has seen her singing a new commission by Adrian Lucas in Worcester Cathedral, Bach’s Christmas Oratorio in France and several performances of Monteverdi’s Vespers in and Wales. Plans for this year include concerts in Winchester, Beverley and Bath, and a recital series featuring Schumann’s Liederkreis with her accompanist Peter Nardone. Ruth has been a coach at Choral Symposia in Gdansk (1999 and 2001), The International Summer School at Dartington (2002) and Madrid (2003).

Frances Bourne (Mezzo-soprano) studied singing at Trinity College, Cambridge and the Royal Academy of Music. Since graduating in 2000 she has sung for many of Europe’s leading conductors including Trevor Pinnock, Sir Roger Norrington, Emmanuelle Haïm, Harry Christophers, Andrew Manze and Sir Neville Mariner. She has performed with the Northern Sinfonia, the City of London Sinfonia, and the English Chamber Orchestra and has recorded Mozart’s Requiem with the European Chamber Orchestra for Warner Classics and Bach Cantata 148 for Sir John Eliot Gardiner as part of his Bach Cantata Pilgrimage in 2000. Her operatic roles have included Puck (Oberon) for Sir John Eliot Gardiner at the Châtelet Theatre and in the Barbican, Judith Weir’s The consolations of Scholarship with Kokoro, Dorabella, Dido, Cherubino and Oreste (Handel’s Oreste) at the Linbury Studio Theatre, Covent Garden. Forthcoming performances include the role of Sorceress in Dido and Aeneas for John Eliot Gardiner, performances and a recording of Biber Missa Christi Resurgentis with Andrew Manze and Irene in Tammerlano for the 20th anniversary of the Cambridge Handel Opera Group. Simon Wall (Tenor) grew up in Suffolk and was a chorister, and later head chorister, at St Edmundsbury Cathedral. Much later he enjoyed a choral scholarship at St John’s College, Cambridge, whilst studying for his degree in Theology. During this period he cut his teeth as a soloist around and about the various colleges, and then in oratorio engagements at cathedrals and churches throughout the country. Upon graduating, he worked as personal assistant to composer , whilst often being invited to sing with top-notch British consorts such as The Monteverdi Choir, The Cambridge Singers, European Voices, Polyphony, and The Gabrieli Consort. After three years he moved as a scholar to the Royal Academy of Music, where he studied with Ashley Stafford. Simon has given recitals singing a wide repertoire including English and French song, Lieder and operatic arias together with substantial dramatic works such as Britten’s Abraham and Isaac and The Journey of the Magi. He has recently recorded Barber’s operetta A Hand of Bridge – conducted by Martin Alsop, with the Royal Scottish National Orchestra. During 2003 he premiered solos in John Tavener’s brand new epic (7 hour duration) The Veil of the Temple, which called for him to sing a 15 minute unaccompanied gospel at 5am! He has just done so again at the Lincoln Center, New York (the US premier) and at the BBC Proms. Recently Simon appeared as a soloist with The Monteverdi Choir conducted by Sir John Eliot Gardiner in the USA, for Polyphony; in Hyperion recordings of James Macmillan’s Seven Last Words, conducted by Stephen Layton (and in King’s College Chapel and Norwich Cathedral), and for Laurence Cummings at the Spitalfields Festival singing the Monteverdi Vespers.

William Townend (Bass) was born in London. He read Music at the University of East Anglia and went on to study at the Guildhall School of Music & Drama where he was winner of the English Song Prize. William has worked with several opera companies including Glyndebourne Festival Opera, English Touring Opera, Opera Holland Park, The Early Opera Company, The Opera Project and British Youth Opera. Roles include Lescaut Manon, Papageno The Magic Flute, Escamillo and Morales Carmen, Keeper The Rake’s Progress, Doctor Macbeth, Corporal La Fille du Regiment for ETO; Sir Richard Cholmondley The Yeoman of the Guard for BYO; Genius Love in Every Age (Clarke) for EOC; Ambrogio The Barber of Seville, Titye La descente d’Orphée aux enfers, Ariodate Xerxes, Man with a shoe sample kit Postcard from Morocco (Argento), Chelsias Susanna (Handel), Tapioca L’etoile (Chabrier), Henrik Maskarade (Nielsen) at GSMD; Don Alfonso Cosi fan tutte for St. John’s Opera. Equally at home on the concert platform William was a semi-finalist in last year’s Wigmore Hall International Song Competition. Other recent performances include Dover Beach (Barber) at the Wigmore Hall, Messiah in Budapest with The Budapest Bach Ensemble, Bach Cantata 158 and Buxtehude Mein Hertz ist bereit in Belgium, Bach Christmas Oratorio in Sweden, Bach Johannes-Passion (Christus and arias) with London Baroque and recitals in Sweden, Germany and the Turin Festival. William has also recently worked on excerpts from Le Nozze di Figaro in a Masterclass with Sir Thomas Allen in the Linbury Studio Theatre of the Royal Opera House, Covent Garden. Nicholas Wilks is currently Master of Music at Winchester College, and from 1996-2004 was Musical Director of the Hampshire County Youth Orchestra. His musical education began as a Quirister at The Pilgrims’ School, Winchester and continued as a music scholar at Cranleigh School. While reading English at Christ Church, Oxford, Nicholas founded and conducted the Oxford Philharmonia. He subsequently spent three years studying conducting and clarinet at the Royal Academy of Music, London, where he was supported by generous funding from the Drapers’ Company. After leaving the Academy, he specialised in working with young musicians as Musical Director of the Finchley Children’s Music Group, conducting youth orchestras in London and the Channel Islands, and as Musical Director of New Youth Opera. He has conducted in Europe, South Africa (leading the first tour by a British youth orchestra since the fall of apartheid) and Chile, and has broadcast on BBC Radio 2, 3 and 4, Classic FM and the BBC World Service. His opera credits include Eugene Onegin, Noye’s Fludde, Der Freischütz, La Belle Hélène and The Bartered Bride. Nicholas conducted the premiere of Alec Roth’s Earth and Sky at the BBC Proms in 2000, and was elected an Associate of the Royal Academy of Music for professional distinction in 2001. His recording of music by Charles Davidson is being released by Naxos in February next year.

WINCHESTER MUSIC CLUB was founded in 1925 by Sir George Dyson. The choir, which has a membership of about 100, is joined for some concerts by Winchester College Glee Club. The Club has in recent seasons performed many major choral and orchestral works of the 18th, 19th and 20th centuries in the Cathedral and elsewhere. More details can be seen on our website: www.hants.gov.uk/wmc

Rehearsals for the choir are held weekly during term time from September to March on Fridays at 7:30 pm in Winchester College Music School, Culver Road. Friends of Winchester Music Club kindly provide financial support for concerts, and are entitled to privilege booking. If you would like to audition for the choir, or require any further information, please contact the Secretary, Len Tatham, 34 Wales Street, Winchester, Hants SO23 0ET (tel: 01962 869800 or [email protected]).

DATES FOR YOUR DIARY Saturday 16th April 2005 at 7.30 pm in Winchester College New Hall Winchester Music Club and Orchestra conductor: Nicholas Wilks Katherine Bond soprano Nick Pepin counter tenor Stewart Conley-Harper counter tenor Kevin Kyle tenor James Gower bass HANDEL: BELSHAZZAR Saturday 7th May 2005 at 7.30 pm in Romsey Abbey Winchester and County Music Festival conductor: Derek Beck Cecilia Osmond soprano David Clegg counter tenor Kevin Kyle tenor Alex Ashworth bass HANDEL: SAMSON

Saturday 14th May 2005 at 7.30 pm in Winchester Cathedral Winchester and County Music Festival conductor: Francis Wells Angela Kazimierczuk soprano Simon Birchall bass BRAHMS: German Requiem, Tragic Overture HAYDN: Insanae et Vanae Curae Tickets for all the above from Music at Winchester tel. 01962-877977 / e-mail [email protected]

If you have enjoyed tonight’s performance of the MOZART: REQUIEM come and hear it again on Saturday 29th January 2005 at St Swithun’s School Performing Arts Centre, at 7.30 pm with WINCHESTER CITY FESTIVAL CHOIR and Orchestra conductor: Robert Fielding Rebecca Mitchell soprano Kristin Finnigan alto Robin Burlton tenor Philip Cannor bass together with a performance of BACH: MAGNIFICAT Tickets £12.00 (£6.00 for students) from Ann Dennison tel. 01962 856458 or from Music at Winchester tel. 01962-877977 You are also welcome to come and join a VOCAL WORKSHOP “With a Voice of Singing” to be given by MICHAEL BREWER Director of the National Youth Choir On Saturday 16th April 2005 at St Swithun’s School Performing Arts Centre £20.00 including coffee, lunch and tea further information from Robin Anderton tel. 01976 856326

Winchester Music Club Orchestra Violin Horn Brian Howells ‘Cello Peter Widgery (Leader) Jane Austin Peter Kane David Amos Fannie Leigh Tom Dutton Trumpet Elizabeth Flower Catherine Mitchell Jenny Forni Fiona Smith Fraser Tannock Bernard Green Anne Stow Ian McKenzie Paul Jeffery Spike Wilson Peter Marsh Trombone Jean Paterson Bass Lorraine Temple Suzy Ruffles Kate Aldridge Andy Cole Melinda Samms Keith Woods Neil Thompson John Sargent Joanna Selborne Oboe Timpani Anne Shorter Stacey Dixon Richard Shorter Paul Lovegrove Andrew King Prue Skinner Rebecca Totterdell Continuo Clarinet/Basset Horn Philip White-Jones Viola Jane Denley Gill Collymore Janet Herson Rehearsal Richard Daniel Accompanist Tim Griffiths Bassoon Claire Innes-Hopkins Margy Jeffery Eric Butt Philly Sargent Colin Wilson Louise Woods Winchester Music Club is affiliated to the National Federation of Music Societies which represents and supports amateur choirs, orchestras and music promoters throughout the United Kingdom.