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Home , Elizabeth Atherton, Grant Doyle (baritone), Messiah Part III, Peter Auty

in 2020

Saturday 28th March 7.00pm

Haydn Insanae et vanae curae Haydn Symphony no 104 [The London] Mozart

Alexandra Oomens Helen Charlston James Oxley Grant Doyle English Symphony Orchestra Jeremy Cole conductor

COME AND SING Saturday 2nd May 10am-5pm Directed by John Rutter All singers are invited to study, rehearse, and perform with this inspiring musician in Wells Cathedral

Saturday 14th November 7.00pm

Mozart Solemn Vespers K339 Beethoven Mass in C English Chamber Orchestra Jeremy Cole conductor

We strongly advise that bookings be made online at:- wcos.org.uk

2 (1685-1759)

Messiah (1741)

A Sacred , words by

Elizabeth Atherton soprano Tim Morgan countertenor Peter Auty tenor Ben McAteer bass Wells Cathedral Oratorio Society Music for Awhile Orchestra (on period instruments) Jean Paterson leader Jeremy Cole conductor

This concert takes place in the Cathedral by kind permission of the Chapter of Wells Cathedral. The use of mobile telephones, photography, or recording of any kind is forbidden except by express permission of the Chapter.

We are grateful to Battens Charitable Trust for its support of this performance.

The New Novello Choral Edition (Shaw) is used in this performance

Printed music supplied by Somerset Libraries, Arts & Information Wells Cathedral Oratorio Society is affiliated to Making Music. Programme by Neill Bonham

3 plays) who had previously written libretti for some of Handel’s . The work foreseen by Jennens was of three parts, taking in the entire sweep of the tradi- tions and beliefs of the Christian faith from the Old and New Testament texts: Part One — Prophecy of Salvation, the birth of Christ Jesus Part Two — Crucifixion and Death Part Three — Resurrection and the promise of eternal life for believers. Handel was a man of deep faith and he immediately started using the texts for his new sacred . Beginning work on 22 August, he had completed Part I in outline by 28 August, Part II by 6 September and Part III by 12 Septem- ber—followed by two days of “filling up” to produce the finished work on 14 Sep- tember. Later he was convinced that he had received divine inspiration and assis- This is 260 years since Handel died in tance in the composition of . 1759. George Frideric had been born in Saxony in Germany in 1685 but from In Dublin his six charity concerts from 1712 had lived solely in . He was November to February raised £400 for patronised by King George I and then three charities and, as a direct result, George II and enjoyed enormous critical 142 men were released from debtors and financial success, particularly as a prison. Messiah was then premiered at composer of numerous Italian . two performances in Dublin in April Unfortunately, by 1741 his fortunes had 1742. Handel had sought and was given changed, with his operas being regarded permission from St Patrick’s and Christ by many as scurrilous and the Covent Church cathedrals to use their for Garden Theatre, which he ran, a ‘den of this occasion. These forces amounted to rascals’. He was close to ruin and the 16 men and 16 boy choristers. The three debtors’ prison. female soloists also had to help with the choruses. The 700 people attending each Out of the blue an invitation came from performance were squeezed into the the Duke of Devonshire for him to visit hall (minus hoops and swords) and it Dublin and provide a series of benefit was an outstanding success. concerts in this fashionable thriving city “For the relief of the prisoners in the Back in London, although Messiah even- several gaols, and for the support of tually became Britain's best-loved choral Mercer’s Hospital in Stephen Street, and work, it had a sticky beginning. For it’s of the Charitable Infirmary on the Inn’s first week of performances the following Quay”. At the same time another letter year Handel had rented the Covent Gar- arrived from Charles Jennens, literary den Theatre. However, this venue was scholar (and editor of Shakespeare’s considered too disreputable and sacrile-

4 gious and an inappropriate place to per- donate works to the charity. There were form the sacred story of the Messiah. then no public art galleries and by effec- The Earl of Shaftesbury noted in his tively creating at the Hospital the UK's memoirs that, “partly from the scruples first public art gallery, Hogarth gave the some person had entertained against public a reason to visit it. The hospital carrying on such a performance in a Play thus became one of London’s most fash- House, and partly for not entering into ionable charities. the genius of the composition, Messiah was but indifferently relish’d”. Conse- Handel recognised the potential of the quently, it was left on the shelf for sev- Hospital’s Chapel as a performance ven- eral years. ue and noted that his royal patron had provided half of the funds to build it. Also In 1742, in Bloomsbury, the founda- In May 1749 he offered to conduct a tion stone had been laid for the Found- benefit concert there. It included the ling Hospital, a major new public build- first performance of his “specially ing built by philanthropist Thomas Co- written” Foundling Hospital Anthem. ram; he had been granted a royal char- This opened with text from Psalm 41 – ter to establish a new charity to care for “Blessed are they that consider the poor abandoned babies. One of its founding and needy”, and ended with the Hallelu- governors was William Hogarth who jah Chorus, taken from his Messiah – persuaded other leading artists, a work that few of his London audience Reynolds and Thomas Gainsborough to would have known.

The Foundling Hospital Chapel, 1749

5 Although the Chapel was not finished, and had no glass in its windows, the per- formance was a huge musical and finan- cial success attended by the Prince and Princess of Wales. This may be the occasion upon which royalty set the pattern by standing during the Hallelujah Chorus. Soon afterwards Handel gave an organ to the new Chapel and the follow- ing year he returned to conduct a sec- ond benefit concert—this time he chose Messiah. It was so oversubscribed that Handel had to repeat it two weeks later. In gratitude, the hospital made Handel a governor. For the following 25 years Messiah was performed each year in the Foundling Hospital Chapel, for the benefit of the charity, with Handel conducting or attended every performance until his death in 1759. These concerts helped to Westminster Abbey 1784 secure the Oratorio’s place in the na- tion's affections—and raised the huge Handel Commemoration sum of £7,000 for the charity. As a final , two double-basses, four bas- act of generosity, Handel left in his will a soons, four , two , two copy of the Messiah score to the Found- horns and drums. In the chorus of nine- ling Hospital, enabling the charity to con- teen were six trebles from the Chapel tinue staging the benefit concerts. The Royal; the remainder, all men, were al- score and orchestral parts were deliv- tos, and basses. The five soloists ered to the hospital three weeks after were required to assist the chorus. By Handel's death and are still in the Found- this time Handel was severely afflicted ling Museum; the Hospital continues to by the onset of blindness,howeverin benefit to this day from performances of 1757 was able to resume some of his the Messiah. Charles Burney, 18th cen- duties; the final performance of Messiah tury music historian, remarked that Han- at which Handel was present was at del’s Messiah “fed the hungry, clothed Covent Garden on 6 April 1759, eight the naked, and fostered the orphan.” days before his death. The original manuscript in the British A fashion for large-scale performances Library’s music collection is scored for began in 1784 at one of a series of com- 2 trumpets, , 2 oboes, 2 , memorative concerts of Handel’s music , and (, double given in Westminster Abbey under the bass, and ). The 1754 perfor- patronage of King George III. A plaque mance at the hospital is the first for on the Abbey wall records that “The which full details of the orchestral and Band consisting of DXXV [525] vocal & vocal forces survive. The orchestra then instrumental performers was conducted included fifteen violins, five , three by Joah Bates Esqr.” In a 1955 article, Sir

6 Malcolm Sargent, himself a proponent in 1789 by Mozart to re-orchestrate of large-scale performances, wrote, Messiah for a small-scale performance, “Mr Bates ... had known Handel well without organ continuo but with added and respected his wishes. The orchestra parts for flutes, clarinets, employed was two hundred and fifty and horns. For it he re-composed strong, including twelve horns, twelve some passages and re-arranged others. trumpets, six trombones and three pairs The performance took place on 6 March of timpani (some made especially 1789 in the rooms of Count Johann Es- large).” In 1787 further performances terházy, with four soloists and a of were given at the Abbey with advertise- 12. Even Mozart, however, confessed ments promising “The Band will consist himself to be humble in the face of Han- of Eight Hundred Performers”. del’s genius. He insisted that any altera- tions to Handel's score should not be In continental Europe, performances interpreted as an effort to improve the of Messiah were departing from Han- music. “Handel knows better than any del's score with drastic re-orchestration of us what will make an effect,” Mozart to suit contemporary tastes. A Berlin said. “When he chooses, he strikes like Cathedral performance in 1788 had a thunderbolt.” updated scoring with a choir of 259 and an orchestra of 87 strings, 10 , Once, after being congratulated on 11 oboes, 8 flutes, 8 horns, 4 clarinets, providing audiences with such fine en- 4 trombones, 7 trumpets, timpani, tertainment, Handel replied, “I should harpsichord and organ. Contrasting with be sorry if I only entertained them. this is the commission that was received For I wished to make them better.”

A choir of 3,000+ at The Crystal Palace Handel Festival c.1880

7 Handel paints the texts so vividly and Written in the optimistic, bright and gloriously that it seems impossible not certain key of E major, the opening two to be profoundly moved by every notes (dominant rising to tonic) sum up and chorus. Everyone knows the Halle- the entire piece; without any shadow lujah Chorus but it is the words which of a doubt, with no possibility for begin Part III, ‘I know that my Redeemer confusion, Handel says, ‘I believe’. liveth’, which were inscribed on Handel’s tomb in Poets’ Corner, West- 3,000 mourners were at Handel’s minster Abbey when he died in 1759. funeral in Westminster Abbey.

Part One

1. Sinfonia (Overture) And I will shake all nations; and the 2. Tenor desire of all nations shall come. The Lord, whom ye seek, shall Comfort ye, comfort ye my people, suddenly come to His temple, even saith your God. Speak ye comforta- the messenger of the Covenant, bly to Jerusalem, and cry unto her, whom ye delight in; behold, He shall that her warfare is accomplished, come, saith the Lord of hosts. that her iniquity is pardoned. (Haggai 2: 6-7) (Malachi 3: 1) The voice of him that crieth in the wilderness; prepare ye the way of 6. Air Countertenor the Lord; make straight in the desert But who may abide the day of His a highway for our God. (Isaiah 40: 1-3) coming, and who shall stand when 3. Air Tenor He appeareth? For He is like a refiner’s fire. (Malachi 3: 2) Ev’ry valley shall be exalted, and ev’ry mountain and hill made low; 7. Chorus the crooked straight and the rough And He shall purify the sons of Levi, places plain. (Isaiah 40: 4) that they may offer unto the Lord an 4. Chorus offering in righteousness. (Malachi 3: 3) And the glory of the Lord shall be 8. Recitative Countertenor revealed, and all flesh shall see it together: for the mouth of the Lord Behold, a virgin shall conceive and hath spoken it. (Isaiah 40: 5) bear a son, and shall call His name Emmanuel, God with us. 5. Recitative Bass (Isaiah 7: 14; Matthew 1: 23) Thus saith the Lord, the Lord of 9. Air and Chorus Countertenor hosts: Yet once a little while and I O thou that tellest good tidings to will shake the heavens and the Zion, get thee up into the high earth, the sea and the dry land. mountain.

8 O thou that tellest good tidings to For unto you is born this day in the Jerusalem, lift up thy voice with city of David a Saviour, which is strength; lift it up, be not afraid; say Christ the Lord.” (Luke 2: 10-11) unto the cities of Judah, behold your 16. Recitative Soprano God! Arise, shine, for thy light is And suddenly there was with the come, and the glory of the Lord is angel, a multitude of the heavenly risen upon thee. (Isaiah 40: 9) host, praising God, and saying: 10. Recitative Bass (Luke 2: 13) For behold, darkness shall cover 17. Chorus the earth, and gross darkness the “Glory to God in the highest, and people; but the Lord shall arise upon peace on earth, good will towards thee, and His glory shall be seen men.” (Luke 2: 14) upon thee. And the Gentiles shall 18. Air Soprano come to thy light, and kings to the brightness of thy rising (Isaiah 60: 2-3) Rejoice greatly, O daughter of Zion; shout, O daughter of Jerusalem! 11. Air Bass Behold, thy King cometh unto thee; The people that walked in darkness He is the righteous Saviour, and He have seen a great light; and they shall speak peace unto the heathen. that dwell in the land of the shadow (Zecharaiah 9: 9-10) of death, upon them hath the light 19. Recitative Countertenor shined. (Isaiah 9: 2) Then shall the eyes of the blind be 12. Chorus opened, and the ears of the deaf For unto us a child is born, unto us a unstopped. Then shall the lame man son is given, and the government leap as an hart, and the tongue of shall be upon His shoulder; and His the dumb shall sing. (Isaiah 35: 5-6) name shall be called Wonderful, 20. Air Countertenor and Soprano Counsellor, the mighty God, the Ev- erlasting Father, the Prince of Peace. He shall feed His flock like a shep- (Isaiah 9: 6) herd; and He shall gather the lambs with His arm, and carry them in His 13. Pifa (Pastoral Symphony) bosom, and gently lead those that 14a RecitativeSoprano are with young. (Isaiah 40: 11) There were shepherds abiding in the Come unto Him, all ye that labour, field, keeping watch over their flocks come unto Him that are heavy lad- by night. (Luke 2: 8) en, and He will give you rest. Take 14b RecitativeSoprano his yoke upon you, and learn of Him, And lo, the angel of the Lord came for He is meek and lowly of heart, upon them, and the glory of the Lord and ye shall find rest unto your shone round about them, and they souls. (Matthew 11: 28-29) were sore afraid. (Luke 2: 9) 21. Chorus 15. RecitativeSoprano His yoke is easy, and His burthen is And the angel said unto them: light. (Matthew 11: 30) “Fear not, for behold, I bring you good tidings of great joy, which shall be to all people.

9 Interval - 20 minutes Wine and soft drinks are available in the Transepts

Part Two

22. Chorus 29. Recitative Tenor Behold the Lamb of God, that taketh Thy rebuke hath broken His heart: away the sin of the world. He is full of heaviness. He looked for (John 1: 29) some to have pity on Him, but there 23. Air Countertenor was no man, neither found He any He was despised and rejected of to comfort him. (Psalm 69: 20) men, a man of sorrows and 30. Air Tenor acquainted with grief. He gave His Behold, and see if there be any back to the smiters, and His cheeks sorrow like unto His sorrow. to them that plucked off His hair: (Lamentations 1: 12) He hid not His face from shame and 31. Recitative Tenor spitting. (Isaiah 53: 3, 6) He was cut off out of the land of the 24. Chorus living: for the transgressions of Thy Surely He hath borne our griefs, people was He stricken. (Isaiah 53: 8) and carried our sorrows! He was 32. Air Tenor wounded for our transgressions, But Thou didst not leave His soul in He was bruised for our iniquities; hell; nor didst Thou suffer Thy Holy the chastisement of our peace was One to see corruption. (Psalm 16: 10) upon Him. (Isaiah 53: 4-5) 36. Air Countertenor 25. Chorus Thou art gone up on high; Thou hast And with His stripes we are healed. led captivity captive, and received (Isaiah 53: 5) gifts for men; yea, even from Thine 26. Chorus enemies, that the Lord God might All we like sheep have gone astray; dwell among them. (Psalm 68: 18) we have turned every one to his 38. Air Soprano own way. How beautiful are the feet of them And the Lord hath laid on Him the that preach the gospel of peace, iniquity of us all. (Isaiah 53: 6) and bring glad tidings of good 27. Recitative Tenor things. (Isaiah 52: 7; Romans 10: 15) All they that see Him laugh Him to 40. Air Bass scorn; they shoot out their lips, Why do the nations so furiously and shake their heads, saying: rage together, and why do the (Psalm 22: 7) people imagine a vain thing? 28. Chorus The kings of the earth rise up, “He trusted in God that He would and the rulers take counsel deliver Him; let Him deliver Him, together against the Lord, if He delight in Him.” (Psalm 22: 8) and against His anointed. (Psalm 2: 1-2)

10 41. Chorus 43. Air Tenor Let us break their bonds asunder, Thou shalt break them with a rod of and cast away their yokes from us. iron; thou shalt dash them in pieces (Psalm 2: 3) like a potter’s vessel. (Psalm 2: 9) 42. RecitativeTenor 44. Chorus He that dwelleth in Heav’n shall Hallelujah: for the Lord God Omnip- laugh them to scorn; otent reigneth. The kingdom of this The Lord shall have them in derision. world is become the kingdom of our (Psalm 2: 4) Lord, and of His Christ; and He shall reign for ever and ever. King of Kings, and Lord of Lords. Hallelujah! (Revelation 11: 15; 19: 6 & 16)

Part Three

45. Air Soprano 52. Air Soprano I know that my Redeemer liveth, If God be for us, who can be and that He shall stand at the latter against us? Who shall lay anything day upon the earth. And though to the charge of God’s elect? worms destroy this body, yet in my It is God that justifieth, who is he flesh shall I see God. ( 19: 25-26) that condemneth? It is Christ that For now is Christ risen from the died, yea rather, that is risen again, dead, the first fruits of them that who is at the right hand of God, sleep. (I Corinthians 15: 20) who makes intercession for us. 46. Chorus (Romans 8: 31, 33-34) 53. Chorus Since by man came death, by man came also the resurrection of the Worthy is the Lamb that was slain, dead. For as in Adam all die, even so and hath redeemed us to God in Christ shall all be made alive. by His blood, to receive power, (I Corinthians 15: 21-22) and riches, and wisdom, 47. RecitativeBass and strength, and honour, and glory, and blessing. Behold, I tell you a mystery; we shall not all sleep, but we shall all be Blessing and honour, changed in a moment, in the twin- glory and power, kling of an eye, at the last . be unto Him that sitteth (I Corinthians 15: 51-52) upon the throne, 48. Air Bass and unto the Lamb, for ever and ever. The trumpet shall sound, and the dead shall be raised incorruptible, . (Revelation 5: 12-14) and we shall be changed. (I Corinthians 15: 52-53)

11 Elizabeth has worked with such eminent conductors as Sir Richard Hickox, Sir Andrew Davis, Sir , , Sir Neville Mariner, , Harry Christophers and Thierry Fischer. Concert highlights in- clude performances with BBC Sympho- ny, BBC National Orchestra of Wales, LSO, Philharmonia, RLPO, The Hallé, Orchestra Sinfonica di Milano, Orchestre de Paris, Hong Kong Philharmonic and St. Paul Chamber Orchestra. Current and future engagements include the title role in the world première of Tom Coult’s new opera Violet for Music Theatre Wales (, Linbury Studio ROH), Barber’s Knoxville (RLPO/Spano, Liverpool Philharmoni- cHall),Beethoven's 9th Symphony (BBCS /Farnes, Gorecki's Symphony of Sorrow- ful Songs (London Sinfonietta/Atherton, RFH), Dvorak's Stabat Mater (Prague Symphony Orchestra/van Steen, Smeta- na Hall, Prague) and her role debuts as Wellgunde Rheingold and Third Norn Equally at home on the opera stage or Götterdämmerung (LPO/Jurowski, RFH). concert platform, Elizabeth’s versatility as both musician and actress means that her repertoire encompasses Montever- di, Handel and Mozart through to Verdi, Bizet and Britten, and she had the roles countertenor of Eurydice in Sir Harrison Birtwistle’s Tim Morgan is in his final year of the operas and Medea The postgraduate course at the Royal Col- Cure created for her to considerable lege of Music in London where he stud- critical acclaim. ies with Ben Johnson and Caroline Dow- Winner of several major prizes, Eliza- dle. A Samling Artist, Tim was a finalist beth’s debut was as Helena Midsummer in the 2019 Kathleen Ferrier Awards. Night’s Dream (). Recent opera highlights include Cupid in She subsequently joined Welsh National Blow’s Venus and Adonis with the Dune- Opera, singing roles including Mozart’s din Consort, Ferdinand The Enchanted Countess, Donna Elvira and Pamina and Island with British Youth Bizet’s Micaela, and has since become a Opera, Oberon Britten’s A Midsummer regular performer at , with Night’s Dream at the Royal College of roles including Mozart’s Fiordiligi and Music International Opera school, Ger- Britten’s Governess. nando at the London Handel

12 lesi’s Stabat Mater with the Orchestra of the Age of Enlightenment, Handel’s Messiah with The Hanover Band, a recital of Vivaldi with Norwich Baroque Orchestra, Pur- cell’s King Arthur with Vox Luminis, and the countertenor solos in 'Gabriel' at London's Barbican alongside Alison Balsom, Harry Bicket and The English Concert.

tenor Peter Auty is established as one of Brit- ain’s leading tenors. Following his pro- fessional debut at Opera North, Peter went on to become a company principal at the Royal Opera House, where he has since returned as guest singing the roles of Malcolm and Arturo . Elsewhere in the UK Peter Auty has Festival, and a European tour of Monte- sung Cavaradossi/Tosca for Grange Park verdi's L'Orfeo with The Monteverdi Choir. Highlights on the concert platform in- clude a staged performance of Bach’s St John Passion with the Orchestra of the Age of Enlightenment under Sir Simon Rattle and directed by Peter Sellars, Arsace in Handel’s with La Nuova Musica and the , High Priest at the London Handel Festival with the London Handel Players, Monteverdi’s Vespro della beata vergine with The Monteverdi Choir, numerous performances with the Hano- ver Band, and a duet recital with Michael Chance. Recent and future engagements include Oberon A Midsummer Night’s Dream for Nevill Holt Opera, the title role in for English Touring Opera, Purcell’s The Indian Queen with Emanuelle Haïm and Le Concert D’Astrée at Opéra de Lille, Pergo-

13 Opera, Count Vaudémont / Iolanta BEN MCATEER Alvaro /La Forza del Destino, Radames/ Aida, Turiddu and Canio/ Cavalleria Rus- bass ticana and I Pagliacci, Maurizio/Adriana Northern Irish Ben McAteer trained at the Lecouvreur and Lensky/Eugene Onegin National Opera Studio, London and on the for Opera Holland Park, Macduff/ Guildhall School of Music & Drama opera Macbeth, Nemorino/ L’elisir d’amore for course. Notable concert performances in- Glyndebourne Festival Opera, Don José/ clude the world première of Turnage’s At and Rodolfo/La Bohéme for Sixes & Sevens with the LSO, Carmina Bura- Glyndebourne on Tour, Italian Tenor/ na at the Barbican, and performances of , Duke/ Vaughan Williams' Fantasia on Christmas , Rodolfo/La Bohéme, Dick Carols and Copland's Old American Johnson / The Girl of the Golden Songs with the Ulster Orchestra. West, Turiddu and Gabriele/Simon Boc- canegra for , Fritz Recent and future operatic highlights Kobus/Amico Fritz, Alfredo/La Travi- Include Eisenstein Die Fledermaus and ata, Don José, title role in Faust for Marullo Rigoletto for Northern Ireland Opera North, Rodolfo and Don José for Opera, Marcello La bohème for Lyric Opera Scottish Opera, Canio and Turiddu for Ireland, a concert performance of Die tote . Stadt as Fritz/Pierrot with the RTÉ National Symphony Orchestra, Earl of Mountararat On the concert platform Peter Auty has in Gilbert & Sullivan’s Iolanthe at English worked with the London Symphony Or- National Opera, Count Almaviva in Irish chestra (Sir ), the Orchestra of the Age of Enlightenment (Sir Mark El- der), and the London Philharmonic Or- chestra (Neeme Järvi, Vladimir Ju- rowsky). Appearances abroad have in- cluded concerts with the Iceland Sym- phony Orchestra conducted by , the Bergen Philharmonic Orchestra under Edward Gardner, and the Royal Flemish Philharmonic under . Recent and future highlights include Des Grieux Manon Lescaut for Orquestra Sinfônica do Estado de São Paulo, a re- turn to Opera Holland Park to per- form Roberto, Johnson for the RTÉ Na- tional Symphony Orchestra, the title role in Puccini’s Edgar for Scottish Opera and at Konzerthaus Berlin, Don José at Welsh National Opera, and Turiddu Cavalleria Rusticana and Radu Zingari for Scottish Opera.

14 National Opera’s production of Le Nozze di Jeremy is artistic director of Illuminare Figaro and Father Hansel and Gretel, which Choir, a professional ensemble which he he also recently performed at Regent’s Park founded in 2012 and which has performed Open Air Theatre, Pangloss & Voltaire in to great acclaim in venues across London. Leonard Bernstein’s Candide for West The choir has championed new music and Green Opera and the Xi’an Symphony Or- recently commissioned and performed the chestra, and Grand Inquisitor The Gondo- premiere of The Temptations of Christ, a liers for Scottish Opera. While in residence substantial contemporary cantata written there, Ben created the role of James in the by Barnaby Martin for two choirs, soloists, world première of The Devil Inside, for tubular bells and organ. which he won Outstanding Performance in an Opera at the My Theatre Awards in To- Jeremy is currently Acting Organist and ronto. He also sang the title role in Le Nozze Master of the Choristers at Wells Cathedral, di Figaro and toured as Guglielmo in Cosí having been Assistant Organist since fan tutte and Pish-Tush in The Mikado. 2017. He is responsible for the Cathedral Choir’s busy schedule of nine sung ser- vices each week, as well as its broadcasts, concerts and tours. JEREMY COLE Conductor Jeremy is delighted to be taking on the role of Musical Director of the Wells Cathedral Jeremy Cole was organ scholar at Trinity Oratorio Society for the 2019/20 season. College, Cambridge, where he studied the organ with Colin Walsh, Stephen Farr, and David Briggs, and conducting with Stephen Layton. He was closely involved in the world -famous choir’s routine of services and concerts, and features on several of their recordings on the Hyperion label. Whilst in London, Jeremy held positions at St Paul’s Knightsbridge and St Martin-in-the -Fields in Trafalgar Square, where he was the principal organist, playing for all regular and special services, as well as concerts and special events, in one of London’s busiest churches and concert venues. He combined this role with a busy freelance career as an organist, conductor and piano accompanist. While in London he was assistant conductor and accompanist of the Holst Singers, and worked regularly with leading choirs such as Polyphony and the City of London Choir. He is in demand and as a repetiteur for solo singers and instrumentalists and as a con- tinuo player.

15

Violin 1 MUSIC FOR AWHILE Jean Paterson (leader) ORCHESTRA Dominika Feyer Louise Ayrton Magda Loth-Hill Simon Kodurand Artistic Director: Olivia Jarvis Maggie Faultless 2 Since its first performance in 1996, Music Anna Curzon Ellen Bundy for Awhile has continued to inspire audi- ences and performers with concerts in a Alice Earll Alice Poppleton variety of venues, and at its own Summer Hatty Haynes Festival in the magical setting of All Saints, Alton Priors. Musicians from Europe’s most Viola acclaimed ensembles come together to Jan Schlapp Katie Heller perform a wide range of repertoire span- Hannah Gardiner Monica Cragg ning over two centuries. Music for Awhile specialises in performing English opera from Purcell’s time, and thanks to sponsor- Cellos ship from the Cecil King Memorial Founda- Cathy Rimer Hugh Mackay tion it also features the music of J. S. Bach. Camilla Morse-Glover The ensemble regularly expands to form a larger orchestra enabling it to perform ma- Bass jor choral works in venues such as West- Jan Spencer Zaynab Martin minster Abbey and Gloucester, Hereford and Bristol Cathedrals. It also has its own chamber music series, held in smaller ven- Bethan White Amy Roberts ues appropriate to the repertoire. Music for Awhile has established contacts with schools and groups of young musicians in Zoe Shevlin order to attract children to rehearsals and concerts, and provides important access to Trumpet live music for the local rural community. Paul Bosworth Peter Mankarious

Timpani Jude Carlton

Harpsichord

Satoko Doi-Luck

Organ Benedict Williams

16 Patron: John Rutter, CBE President: The Dean of Wells Chairman: Marion Robinson Conductor: Jeremy Cole

Wells Cathedral Oratorio Society (WCOS) is one of the Southwest’s leading choral societies, being founded in 1896. It was originally the Wells Music Association but after the First World War it merged with the Street, Shepton Mallet and Wedmore Music Societies. It performs the great choral works with some of the UK’s finest soloists and professional orchestras in the glorious surroundings of Wells Cathedral. Numbering around 160 voices, WCOS gives three concerts a year, under the direction of Jeremy Cole, acting Organist and Master of the Choristers at Wells Cathedral. In recent years, the society has performed Bach’s St John Passion, B minor Mass, and Christmas Oratorio; Brahms’s German Requiem; Britten’s and Saint Nicholas; Elgar’s Dream of Gerontius; Fauré’s Requiem; Handel’s Four Coronation Anthems; Mendelssohn’s Elijah; Mozart’s Requi- em and C Minor Mass; Orff’s Carmina Burana; Verdi’s Requiem; and major works by Finzi, Lauridsen, Purcell, Rutter, and Vaughan Williams. The Society also presents Handel’s ever-popular Messiah each December. WCOS hosts an annual Come and Sing Day each spring, to which any singers are welcome to learn and perform works from scratch, in just a few hours; next Spring we’ll be singing under our patron, John Rutter, CBE. Chorus rehearsals are on Monday evenings in the Cathedral from Septem- ber to March and generally follow Wells Cathedral School’s term times. For further details about WCOS, including how to join, please visit: www.wcos.org.uk

17 Soprano Louise Palmer Catherine Hay Bernard North Sarah Allen Maureen Pickford Helen Hazlewood Chris Ray Dora Almy Pamela Pye ¶ Jane James Sarah Villiers Ann Baker Margaret Raynes Jane Jarratt Robin Walker ¶ Anna Bernard Marion Robinson ¶ Janet Johnson Stacey Williams Pam Booth Gill Round Jonas Helen Bowen ¶ Frances Rowe Elaine Kinsella Bass Maureen Boylan Maggie St Quintin Jessica Leach David Abels Kate Brown Janet Saxon Alex Lemanski Simon Ayres Mary Burton Rebecca Shaw Jennifer Mackenzie David Bevan † Denise Bush Margaret Sutton Philippa Mains Christopher Boddie Ruth Bush Pamela Tomlinson Mary Massey Michael Calverley Barbara Calverley Christine Tudor Della Menday ¶ John Castree Felicity Chapman Lynn Waldron Liz Metcalfe Geoffrey Clarke Katherine Constable Ann Walton Mary Newman Michael Estall Heather Forgham Jan Weaver Margaret Rayfield Peter Farrell Sandra Freeborn Lucy Williams Cathy Rowe Niall Garden Sue Gould Janet Rundle Adrian Grey Jane Hancock Alto Celia Smith Michael Harris Susan Hanson Jenny Abraham Sue Stoughton- Trevor Hazelgrove Sarah Hare Christine Barker Harris ¶ Richard Henderson Chris Harris Louise Burton Celia Townend Derek Hiller Sally Harvey Rosemary Cooke Sue Wells Tony Iveson Jenny Henderson Penelope Cowman Olivia Wilkinson Chris Jenkins ¶ Dorothy Hunter Polly Corbishley Kate Wilson Dennis Johnson Lynne Jarman Sue Curragh Chris Young John King Deborah Jenkins Gill Deamer Richard Lander Eleanor Jolley Sian Decamp Tenor Michael Leach Marion Jones Joan Dovey Neill Bonham ¶ Brian Marshall Carolyn Legg Robin Duys Simon Bruce Alan Rayfield Ruth Lickfold Anne Easton Ian Bynoe Colin Rendell Della Luetchford Kate Fielder Horatio Carr-Jones † David Rosser Jennie Lunnon Wendy Gregory Ben Clay ¶ David Salmon Donna-Marie Shelley Gudgin Richard Garstang Duncan Shaw Macpherson Faith Guest Peter Lawrence William Truscott Sarah May Elizabeth Hand Martin Lovell Richard Walton Janice Merritt Jenny Harrow Nigel Lloyd ¶ Committee † Choral Scholar

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Your continued support as a Friend of Wells Cathedral Oratorio Society is greatly appreciated and we look forward to seeing you at our concerts. The Society gives three concerts each year which include an annual performance of Handel’s Messiah in December. The other two concerts are in early November and in the Spring. The main features of the Friends’ scheme are: • Priority booking in March 2019 of up to four prime Nave seats for each of the November and December concerts • Priority booking in January 2020 of up to four prime Nave seats for the Spring concert in 2020 • Names of Friends acknowledged in concert programmes • Annual Newsletter • Invitation to a social event with the Choir and Conductor each year • Annual subscription of £24 for the season which runs from April to February. Subscription renewal is in April 2019 alongside priority booking for the November and December concerts. Please contact our Friends Secretary at: [email protected]

The Society is most grateful to its Corporate Patrons, Chalmers HB, Chartered Accountants, of Chamberlain Street, Wells, and Battens Solicitors, of Princes Street, Yeovil for their support of the Society under our Corporate Patrons scheme.

Companies willing to join this scheme will be assured of a warm welcome. For further information, please contact Marion Robinson at [email protected]

19 Mr Iain and Prebendary Helen Ball Mr Dennis and Mrs Janet Johnson Mr David Bollington Mr Anthony Jonas Mr Peter Bowen Mrs Amanda Karpinski Mr Robert C Brown Mr Anthony Kaye Mr Michael J Cansdale Mrs Susan Kaye Mr Geoff Clarke Mr Richard Lander Miss Beulah J Connolly Mrs Alex Lemanski Mr David Corp Mr Martin Lovell Mr Charles Crawfurd Mrs Nancy McGiveron Mrs Sheila Crease Mrs Suzanne Metters Dr & Mrs A Crossland Mr John Morton Mr Andrew Cruickshank Mrs Judith Oliver Mrs Jennifer Davies Mr Gerald and Mrs Rosemary Parsons Revd Frank Fisher Mr J Parsons Mrs Carolyn Fussell Mr John and Mrs Joy Rattenbury Professor T Gifford Mr Alan Rayfield Mr Walford Gillison Mr Philip Hugh Roberts Mrs Susan J Gould Mr Brian Roberts-Wray Mr Michael Groom Mr David Rosser Mr Nigel Hamilton QC Ms Frances Rowe Mr Keith Hanson Mr Alan Rowntree Mrs Sarah A Hare Mrs Maggie St Quintin Mr & Mrs Harris Ford Mr Christopher R Stonehouse Captain and Mrs Patrick A C Harland Mrs Margaret Sutton Mr Michael and Mrs Catherine Hay Mrs H Teape Mrs Dot Hunter Mr David Williams Mrs Mary I’Anson Mrs Collette Winfield Mr Chris R Jenkins

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