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A Musical Reflection for Remembrance Sunday

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A Musical Reflection for Remembrance Sunday Greater Love.. A Musical Reflection For Remembrance Sunday Presented by OLDHAM CHORAL SOCIETY SUNDAY NOV 12th 2017 at 7.00pm at the RNCM Including The Regional Premier of Dan Forrest's "Requiem for the Living" And "The Spirit of England" (Elgar) Soprano: Camilla Roberts The East Lancs Sinfonia Leader: Sally Robinson Conductor: Nigel P Wilkinson This concert has been generously supported by the Elgar Society OLDHAM CHORAL SOCIETY PATRON: Jeffrey Lawton CHAIRMAN: Fred Jones Vice-Chair: Margaret Hood Vice-President: Nancy Murphy Hon. Secretary: Ray Smith Hon. Treasurer: John Price Music Director: Nigel P. Wilkinson Accompanist: Angela Lloyd-Mostyn Conductor Emeritus: John Bethell MBE Concert Manager: Gerard Marsden Librarian: Tricia Golden / Janeane Taylor Ticket Sec.: Sheila Tolley / Margaret Hallam Uniform Co-ordination: Val Dawson Patrons’ Sec.: Sylvia Andrew Press Secretary: Brenda Roberts Webmaster: David Baird LIFE MEMBERS Eva Dale, Alan Mellor, Nancy Murphy, Peter Quan, Eric Youd A MESSAGE FROM THE CHAIR Welcome once again to the R.N.C.M for this evening’s concert. The events of the First World War are commemorated in tonight’s programme on this Remembrance Sunday. “The Spirit of England” by Sir Edward Elgar, was completed in 1916 and first performed in Birmingham in 1917. It was dedicated principally to the men of the Worcestershire Regiment, but to all the fallen, and is regarded as his “War Requiem”. It is not performed very often, but thanks to the generous support of the Elgar Society, we are able to include it in tonight’s programme. Alongside this, in contrast, is a modern work, “Requiem for the Living”, composed by Dan Forrest in 2013. Both works have been challenging for the choir, and we hope you feel we have done them justice tonight. Also tonight will be a selection of other pieces reflecting our theme of Remembrance. Our next event is, of course, our Annual Christmas Concert in Oldham Parish Church on Friday, 22nd December, when we welcome our friends, the Oldham Band (Lees) and invite you to join the choir in our Christmas Programme and for Refreshments afterwards. Hope to see you there! Looking forward to next spring, we will be turning to Elgar again on 6th May for the mighty “Dream of Gerontius” Watch for details! Fred Jones We are grateful to the Elgar Society for sponsoring this concert and the Oldham Times for promoting this concert and thereby actively demonstrating their commitment to local community groups - and “live classical music” in particular. “GREATER LOVE” A Musical Reflection for Remembrance Sunday Soprano: Camilla Roberts The East Lancs Sinfonia Conductor: Nigel P Wilkinson BUTTERWORTH: The Banks of the Green Willow (1913) IRELAND: Greater love hath no man (1912) PARRY: My soul, there is a country (1916) [From “Songs of Farewell”] HAYDN WOOD: Roses of Picardy (1916) ELGAR: The Spirit of England (1917) I The 4th of August II To Women III For the fallen NOVELLO: Keep the Home fires burning (1914) INTERVAL Licensed bar and refreshments available. Please resume your seats within 20 minutes. DAN FORREST: Requiem for the Living Requiem aeternam / Kyrie Vanitas vanitatum Agnus dei Sanctus Lux aeternam “At the going down of the sun and in the morning we will remember them” George Butterworth (1885 -1916) The Banks of the Green Willow George Sainton Kaye Butterworth was born in London but was brought up in Yorkshire and educated at Aysgarth, before moving on to Eton College. He was considered to be one of the most promising composers to pass through the Royal College of Music, where he studied with Parry, amongst others. He formed friendships with Cecil Sharp and Ralph Vaughan-Williams, whose interest in and enthusiasm for British Folk Music he shared Written in 1913, and described by its composer as an "Idyll", ”The Banks of the Green Willow” is based on two folk song melodies that he noted in 1907 - “The Banks of Green Willow” (Child 24, Roud 172) and "Green Bushes" (Roud 1040, Laws P2). A solo clarinet and strings create a pastoral scene with the title theme, followed by a short development and restatement of the tune. The mood becomes more sombre and agitated as a new theme (Butterworth's own, on horns) is introduced. An animated motif leads to the main climax, which is surprisingly passionate for such a short work, before the music subsides to introduce Green Bushes hesitantly on oboe. This is repeated gently on flute, accompanied by harp, and the piece ends tranquilly with snatches of the variant title theme on violin solo, horn and oboe. The premiere took place on 27 February 1914, when Adrian Boult conducted a combined orchestra of forty members of the Hallé and Liverpool orchestras in West Kirby. This was, in fact, the 24-year-old conductor’s first concert with a professional orchestra. The London premiere took place three weeks later, and seems to have been the last occasion Butterworth heard his own music. Butterworth was killed on 5 August 1916, during the Battle of the Somme. He was aged 31, and was a Lieutenant in the Durham Light Infantry. His body has never been recovered. The parallel is regularly made between the often gloomy and death-obsessed subject matter of his “Shropshire Lad” song cycle, written in the shadow of the Second Boer War, and his own tragic death. In particular, the song "The lads in their hundreds" tells of young men who leave their homeland to 'die in their glory and never be old'. BUTTERWORTH G.S.K., M.C is one of over 72,000 names carved on the Thiepval Monument on the Somme. These are soldiers whose remains were never recovered or identified John Ireland (1879-1962) - Greater love John Nicholson Ireland was born at Bowdon, Cheshire, on August 13th 1879 into a family of Scottish descent and some cultural distinction. His parents died soon after he had entered the Royal College of Music at the age of 14. There he studied piano and organ under Charles Villiers Stanford, from whom he inherited a thorough knowledge of the music of Beethoven and Brahms and other German classics. He was also strongly influenced by Debussy and Ravel as well as the earlier works by Igor Stravinsky and Béla Bartók. From these influences, he developed his own brand of "English Impressionism", related closer to French and Russian models than to the folk-song style then prevailing in English music. He returned to the RCM as a teacher, where his pupils included Moeran and Britten. The anthem Greater love hath no man was commissioned in 1912 for Charles Macpherson, the sub-organist of St Paul’s Cathedral. Intended as a meditation for Summer in England, 1914 Passiontide, it drew its text from a compilation of On London fell a clearer light; scriptural passages in Daily Light on the Daily Path, a Caressing pencils of the sun series of booklets containing Bible readings which Defined the distances, the white Ireland used to observe on a regular basis. With the Houses transfigured one by one, outbreak of war in 1914, its text gained a special The 'long, unlovely street' impearled. resonance as the casualties from the front mounted. O what a sky has walked the world! Indeed, with Alice Meynell’s poem Summer in England, 1914, which contrasted the slaughter of Flanders’ fields Most happy year! And out of town with the tranquil scenes of England, and the subject of The hay was prosperous, and the wheat; sacrifice emanating from pulpits throughout the land, The silken harvest climbed the down: Ireland discovered that his anthem inadvertently Moon after moon was heavenly-sweet, resonated with a wider national mood. Stroking the bread within the sheaves, Looking 'twixt apples and their leaves. Many waters cannot quench love, neither can the floods drown it. Love is strong as death. And while this rose made round her cup, Greater love hath no man than this, that a man lay The armies died convulsed. And when down his life for his friend This chaste young silver sun went up Who, his own self bare our sins in His own body on the Softly, a thousand shattered men, tree, that we, being dead to sins, should live unto One wet corruption, heaped the plain, righteousness. After a league-long throb of pain. Ye are washed, ye are sanctified, ye are justified, in the name of the Lord Jesus; Flower following tender flower; and birds, Ye are a chosen generation, a royal priesthood, a Holy And berries; and benignant skies nation, that ye should show forth the praises of Made thrive the serried flocks and herds. Him who hath called you out of darkness into His Yonder are men shot through the eyes. marvellous light. Love, hide thy face I beseech you brethren by the mercies of God, that ye From man's unpardonable race. present your bodies, a living sacrifice, holy, acceptable Alice Meynell unto God, which is your reasonable service. C.H.H. Parry - My soul there is a country “My soul, there is a country” is My soul, there is a country the first of Parry’s The Songs Far beyond the stars, of Farewell. They were Where stands a winged sentry composed during the First All skilful in the wars: World War. For Parry, as for There, above noise and danger everyone, (and notably Elgar), Sweet Peace sits crowned with the appalling events unfolding smiles across the channel were a And One, born in a manger desperately agonising time. As Commands the beauteous files. Jeremy Dibble says in his definitive biography, Parry He is thy gracious friend experienced ‘an incredulity, And, O my soul, awake! combined with a profound Did in pure love descend sense of betrayal, that heroes who had taught him To die here for thy sake.
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