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Home , Christopher Herrick, Israel in Egypt, Sarah Fox

TWICKENHAM5 CHORAL SOCIETY

ISRAEL IN EGYPT

Soprano: Mary Bevan Alto: Roderick Morris Tenor: Nathan Vale

Brandenburg Baroque Sinfonia conducted by Christopher Herrick

All Saints Church, Kingston Saturday 4 July 2015

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FUTURE CONCERTS AND EVENTS

Thursday 10 September 2015, St Martin-in-the-Fields, 7pm MOZART: Requiem

Brandenburg Sinfonia

Sunday 11 October 2015, Landmark Arts Centre, Teddington, 7.30pm A concert as part of the Richmond Festival of Music and Drama, celebrating the borough hosting several matches of the Rugby World Cup 2015 VIVALDI: MOZART: Requiem Emily Vine, Freya Jacklin, Daniel Joy, Peter Lidbetter Brandenburg Sinfonia

Saturday 12 December 2015, All Saints Church, Kingston, 7.30pm ROSSINI: Petite Messe Solennelle MENDELSSOHN: Hymn of Praise (arr Iain Farrington) Sarah Fox, Patricia Orr, Peter Auty, Jamie Hall Iain Farrington, piano and Freddie Brown, organ

Saturday 9 April 2016, All Saints Church, Kingston, 7.30pm PIZZETTI: Missa di Requiem DURUFLÉ: Requiem

Saturday 9 July 2016, St John’s Smith Square, 7.30pm ELGAR: Dream of Gerontius Miranda Westcott, Peter Auty, David Soar Brandenburg Sinfonia

TCS is affiliated to Making Music, which represents and supports amateur performing and promoting societies throughout the UK

Twickenham Choral Society is a registered charity, number 284847

The use of photographic video or audio recording equipment during the performance is not permitted without the prior approval of the Twickenham Choral Society. However photos taken before or after the performance are welcome, particularly if emailed afterwards to [email protected]

ISRAEL IN EGYPT HWV 54 (1739) a sacred by words attributed to

Soprano: Mary Bevan Alto: Roderick Morris Tenor: Nathan Vale

Brandenburg Baroque Soloists conducted by Christopher Herrick

Israel in Egypt, George Frideric Handel (1685-1759) By the time Handel settled permanently in London in While most of Handel’s are loosely based 1712, he was well established as a composer of vocal on Old Testament stories, Israel in Egypt and music, in particular Italian opera. It was a reputation are the only two that are drawn directly from biblical on which he built, securing his fame and primacy as a text with no paraphrases. Charles Jennens, Handel’s composer over the next two decades in a series of regular collaborator, is generally thought to have more than 20 operas. However, by about 1730, the compiled this libretto. It is taken from the Book of fickle fashion-conscious English public was beginning Exodus and a few passages from 105 and 106, to tire of opera in Italian; there was new competition telling the story of the Israelites’ slavery in Egypt, of with not enough audience to support two opera as their liberator, the plagues upon the companies, while a ban on opera performances Egyptians, the crossing of the Red Sea, and finally during Lent put Handel under further financial rejoicing. The chorus does not just comment on the pressure. narrative but actively participates in telling the story - it is the only oratorio in which the chorus itself is the But Handel was astute and found a new audience protagonist. by developing another form of dramatic musical entertainment equally suited to his talents: the The oratorio is also unusual in the amount of musical English Oratorio. Starting with in 1732, he is borrowing. Handel, like most composers of the day, credited with creating and establishing the form, was no stranger to recomposing music from earlier portraying the drama of great biblical stories to compositions, whether his own – he reuses his Londoners in a language they could understand. magnificent Funeral Anthem, written the previous Furthermore, oratorios could be produced at less autumn upon the death of Queen Caroline – or expense (no sets or costumes were required), and another composer’s, here including Stradella, Kerl enjoyed by those who had never felt comfortable and Handl. Copyright protection was virtually with the aristocratic entertainment of opera. unknown. However, Handel always indelibly stamped his own personality on the revisions such that they Handel found a second career as an oratorio were unlikely to have been recognized in Handel’s composer, presenting more than 20 to London own day. It’s hard to believe, for example, that the audiences, including Israel in Egypt which was chorus ‘He Gave Them Hailstones’ could have been composed immediately after in October 1738. composed to any other text, yet the source material It was premiered at the King’s Theatre, Haymarket, is a sinfonia and bass aria from Stradella’s Serenata. on April 4, 1739. Handel first presented Israel in Egypt with “several The first performance was not well received; unlike concertos for the organ”, probably taken from Opus other oratorios, Israel in Egypt contains many more 4 published in 1738. These were to provide added choral movements than solo which London value to the oratorio performance as well as give audiences expected. Handel made changes for Handel the opportunity to exhibit his skill as one of subsequent performances, but its popularity had to the great organist-improvisers of the day. He was wait until after Handel’s death and the briefly cathedral organist in Halle before settling in Commemoration of Handel festival that took place at London. Israel in Egypt has no overture, so this during 1784 (mistakenly thought evening’s performance will be prefaced by the gently to be the centennial year of the composer’s birth). lyrical Larghetto in F (Opus 4 number 5), which has an Haydn was in the audience and is said to have burst easy elegance, setting the scene for the opening into tears at the conclusion and remarked of Handel, recitative and chorus. “He is the Master of us all!” Indeed, one need only Although English was not Handel’s native language, listen to the fanciful word-painting in Haydn’s the composer’s ability to match the natural accents Creation to hear how deeply he had absorbed ideas of the text with musical rhythms was frequently from Handel’s music. With the flourishing of choral praised by his contemporaries while the plagues of societies and amateur music festivals in the 19th the story seem to have inspired Handel to create century, Israel in Egypt attained the level of some of his most colourful musical word painting. popularity it retains today. The listener can hear the hopping of frogs, the buzzing of flies, the pounding of fiery hail and much more. Handel’s music also expresses more general feelings Scored for soloists, two choruses, and an orchestra as, for example, the descending line in the orchestra consisting of oboes, bassoons, trumpets, , that begins the chorus ‘He sent a thick darkness’ timpani, strings, and organ continuo, Israel in Egypt is contrasting with the lilting melody and a monumental work – among the most significant accompaniment for the pastoral setting of ‘But as for choral tours de force in music. Through Handel’s skill his people’. As Mozart said, “Handel understands of storytelling in music, this oratorio speaks to effect better than any of us.” The choral audiences today as powerfully as it did in Handel’s exclamations of the finale, arguably some of Handel’s own time while the infectious, galloping rhythm of finest music, initiated by a fanfare-like solo soprano ‘the horse and his rider’ will most probably linger in motif, recount the safe passage of the Israelites the listener’s ear well after the oratorio has ended, through the Red Sea, bringing the piece to a recalling the joy evoked by Handel’s final triumphant resplendently grand close – ‘triumph gloriously’ anthem. indeed. Programme note by Adrian Mumford

SINFONIA: Larghetto from Handel’s Organ Concerto op. 4, No. 5 in F major PART ONE : EXODUS

1. Recitative (Tenor soloist) He gave their cattle over to the pestilence; Now there arose a new king over Egypt, which blotches and blains broke forth on man and beast. knew not ; (Exodus 11: 9, 10) and he set over Israel taskmasters to afflict them with burdens; 6. Double Chorus and they made them serve with rigour. He spake the word, and there came all manner of (Exodus 1: 8, 11, 13) flies and lice in all their quarters. 2. Double Chorus He spake; and the locusts came without number, And the children of Israel sighed by reason of the and devoured the fruits of the ground. bondage, and their cry came up unto God. (Psalm 105: 31, 34, 35) They oppressed them with burdens, and made 7. Double Chorus them serve with rigour; and their cry came up unto God. He gave them hailstones for rain; fire mingled with the hail ran along upon the ground. (Exodus 2: 23; Exodus. 1: 11,13) (Psalm 105: 32; Exodus 9: 23, 24) 3. Recitative (Tenor soloist) 8. Chorus Then sent He Moses, His servant, and Aaron whom He had chosen; He sent a thick darkness over all the land, these shewed His signs among them, and wonders even darkness which might be felt. in the land of Ham. (Exodus 10: 21) He turned their waters into blood. 9. Chorus (Psalm 105: 26, 27, 29) He smote all the first-born of Egypt, 4. Chorus the chief of all their strength. They loathed to drink of the river. (Psalm 105: 36, 37) He turned their waters into blood. 10. Chorus (Exodus 7: 18; Psalm 105: 29) But as for His people, He led them forth like sheep: 5. Aria (Alto soloist) He brought them out with silver and gold; Their land brought forth frogs, there was not one feeble person among their tribes. yea, even in their king's chambers. (Psalm 78: 53; Psalm 105: 37) (Psalm 105: 30)

11. Chorus 14. Chorus Egypt was glad when they departed, But the waters overwhelmed their enemies, for the fear of them fell upon them. there was not one of them left. (Psalm 105: 38) (Psalm 106: 11) 12. Double Chorus 15. Double Chorus He rebuked the Red Sea, and it was dried up. And Israel saw that great work that the Lord did 13. Double Chorus upon the Egyptians; He led them through the deep as through a and the people feared the Lord. wilderness. 16. Chorus (Psalm 106: 9) And believed the Lord and His servant Moses. (Exodus 14: 31)

INTERVAL OF 20 MINUTES DURING WHICH WINE AND SOFT DRINKS WILL BE AVAILABLE

PART TWO : THE SONG OF MOSES

17. Double Chorus 24. Double Chorus Moses and the children of Israel sung this song unto Thy right hand, O Lord, is become glorious in power; the Lord, and spake, saying: Thy right hand, O Lord, hath dashed in pieces the enemy. 18. Double Chorus (Exodus 15: 6) I will sing unto the Lord, for He hath triumphed gloriously; 25. Double Chorus the horse and his rider hath He thrown into the sea. And in the greatness of Thine excellency (Exodus 15: 1) Thou hast overthrown them that rose up against Thee. 19. Duet (Soprano and Alto soloists) 26. Double Chorus The Lord is my strength and my song; Thou sentest forth Thy wrath, which consumed them He is become my salvation. as stubble. 20. Double Chorus (Exodus 15: 7) He is my God, and I will prepare Him an habitation; 27. Chorus my father's God, And with the blast of Thy nostrils the waters were 21. Chorus gathered together, And I will exalt Him. the floods stood upright as an heap, and the depths were congealed in the heart of the sea. (Exodus 15: 2) (Exodus 15: 8) 22. Duet (choir Basses and Tenors) The Lord is a man of war: Lord is His name. Pharaoh's 28. Aria (Tenor soloist) chariots and his host hath He cast into the sea; The enemy said, I will pursue, I will overtake, I will his chosen captains also are drowned in the Red Sea. divide the spoil; my lust shall be satisfied upon them; (Exodus 15: 3, 4) I will draw my sword, my hand shall destroy them. 23. Double Chorus (Exodus 15: 9) The depths have covered them: they sank into the bottom as a stone. 29. Aria (Soprano soloist) Thou didst blow with the wind, the sea covered (Exodus 15: 5) them; they sank as lead in the mighty waters. (Exodus 15: 10) 30. Double Chorus 35. Double Chorus Who is like unto Thee, O Lord, among the Gods? The Lord shall reign for ever and ever. Who is like Thee, glorious in holiness, fearful in (Exodus 15: 18) praises, doing wonders? Thou stretchest out Thy right hand. 36. Recitative (Tenor soloist) For the horse of Pharaoh went in with his chariots 31. Double Chorus and with his horsemen into the sea, The earth swallowed them. and the Lord brought again the waters of the sea (Exodus 15: 11, 12) upon them; but the children of Israel went on dry land in the 32. Duet (Alto and Tenor soloists) midst of the sea. Thou in Thy mercy hast led forth Thy people which (Exodus 15: 19) Thou hast redeemed; Thou hast guided them in Thy strength unto Thy 37. Double Chorus holy habitation. The Lord shall reign for ever and ever. (Exodus 15: 13) (Exodus 15: 18) 33. Double Chorus 38. Recitative (Tenor soloist) The people shall hear, and be afraid: And Miriam the prophetess, the sister of sorrow shall take hold on them: Aaron, took a timbrel in her hand; all the inhabitants of Canaan shall melt away: and all the women went out after her with by the greatness of Thy arm they shall be as still as timbrels and with dances. a stone; till Thy people pass over, O Lord, And Miriam answered them: which Thou hast purchased. (Exodus 15: 20, 21) (Exodus 15: 14, 15, 16) 39. Double Chorus with Soprano soloist 34. Aria (Alto soloist) Sing ye to the Lord, for He hath Thou shalt bring them in, and plant them in the triumphed gloriously; mountain of Thine inheritance, in the place, O Lord, the horse and his rider hath He which Thou hast made for Thee to dwell in, thrown into the sea. in the sanctuary, O Lord, which Thy hands have (Exodus 15: 21) established. (Exodus 15: 17)

CHRISTOPHER HERRICK has been the Conductor of Twickenham Choral Society since 1974. He began his Since 1984, to complement his career while an solo organ concerts and at Oxford, directing the concertos worldwide, he has Exonian Singers and recorded over forty CDs for Orchestra, and subsequently , including won a Boult Scholarship to the Bach's complete organ works Royal College of Music to recorded over a ten-year period study under Sir . on Metzler organs in During his many years with Switzerland, fourteen Organ TCS he has been ambitious for Fireworks and four Organ their development, working Dreams discs, as well as with them to perform a huge recordings on period range of repertoire from instruments of the works of Renaissance music to up-to- Daquin, Sweelinck and a the-minute commissioned complete Buxtehude series. works alongside top-class In December 2013 he made his instrumentalists and vocal debut in Japan performing on soloists. large European organs in Tokyo, Many of Christopher Herrick’s Osaka, Nagoya and Azuchi conducting appearances have concert halls, and, following his been in top London venues such as the Royal Albert Russian debut at the Mariinsky White Nights Festival Hall (including Verdi’s Requiem with 500 singers), in St Petersburg in May 2013, he was invited back in Westminster Abbey (Berlioz’s Te Deum, Bach’s St 2014 to give the complete organ works of Bach in Matthew Passion and Handel’s Messiah), Westminster twelve concerts at the Mariinsky Concert Hall spread Cathedral (Monteverdi’s Vespers), The Barbican Hall over a period from January to May that year. (Mendelssohn’s Elijah), Wigmore Hall (Handel’s This is the second time he has performed a Bach Messiah), St John’s Smith Square (Haydn’s cycle, the first being in Alice Tully Hall during the New Harmoniemasse and Mahler’s Veni Creator Spiritus) York Festival back in 1998. and the Queen Elizabeth Hall – twenty concerts covering the whole gamut of the choral repertoire. His most recent recording for Hyperion, issued this June, has the title ‘Power of Life’ and was recorded He has directed a number of concerts with TCS in St on a brilliant new Swiss Metzler organ in the Martin-in-the-Fields, including the first London beautiful World Heritage Monastery of our Lady of performances of Iain Farrington's The Burning Poblet near Tarragona, Spain. Heavens and An Old Belief. Also, in Guildford Cathedral, he has conducted Elgar’s Dream of Gerontius, Britten’s War Requiem, Walton’s ’s Feast and Janáček’s Glagolitic Mass. Christopher has successfully combined his work as a conductor with his life as a busy international concert organist. This aspect of his career was fully launched during his ten years as an organist at Westminster Abbey, when he gave over two hundred solo recitals in the Abbey itself and played for countless important occasions, including the funeral services of Herbert Howells and William Walton. He also played at Walton's 80th birthday concert in Westminster Abbey when his complete church music repertoire was performed with Simon Preston conducting the Abbey Choir in the composer’s presence. MARY BEVAN is one of Britain’s top Requiem with the English Chamber emerging artists, receiving acclaim Orchestra, The Fauré Requiem with the from critics and audiences alike for Philharmonia Orchestra, and Maxwell her outstanding performances. In Davies’ Caroline Mathilde Suite at the October 2014 Bevan was awarded the BBC Proms; also Mendelssohn’s UK Critics’ Circle Award for Symphony No 2 with the City of Exceptional Young Talent in music. Birmingham Symphony Orchestra, Stravinsky’s Pulcinella with the Prague In the 2015/16 season Bevan sings the Philharmonia, and Handel’s Messiah title role in Rossi’s Orfeo for the Royal with the English Concert. A dedicated Opera House at Shakespeare’s Globe, recitalist, she has appeared at the and Yum-Yum in The Mikado at Oxford Lieder Festival and the . Recent Wigmore Hall. operatic engagements include in at Bevan’s recordings feature a selection the ENO, Music & Euridice in of Ludwig Thuille songs and

Monteverdi’s L’Orfeo with ROH at the Mendelssohn’s complete songs for Roundhouse, Barbarina in The Marriage of Figaro at Champs Hill Records, Handel The Triumph of Time the ROH, and Despina in Così fan tutte. and Truth and Ode for St Cecilia’s Day with Ludus Baroque, Vaughan Williams Symphony No 3 and She will also sing Papagena in The Magic Flute and Schubert’s Rosamunde with the BBC Philharmonic The Second Niece in at the ENO, Orchestra, Hadley’s Fen and Flood with the Musetta in La bohème at the St Endellion Festival, Bournemouth Symphony Orchestra, and Handel in Servilla in with Classical Opera, the Playhouse, a selection of Handel songs with and David Bruce’s The Firework Maker’s Daughter L’Avventura London for Opella Nova Records. with The Opera Group, and ROH2. Previous roles for ENO also include Barbarina, and Bevan trained at the Royal Academy Opera, and is Rebecca in Nico Muhly’s Two Boys. On the concert currently a Harewood Artist at ENO and an platform Bevan recently performed The Mozart Associate of the Royal Academy of Music.

Winner of both First Prize and appearances at the Sage Gateshead Audience Prize at the 2006 London with the Northern Sinfonia, most Handel Singing Competition, recently appearing with Stephen NATHAN VALE was born in Layton and the Odense Symphony Stourbridge and attended the Royal Orchestra, and in Hereford College of Music, where he studied Cathedral and Glasgow City Halls. with Ryland Davies at the Benjamin His operatic engagements have Britten International Opera School. included Belfiore in La finta He was awarded an Independent giardiniera for Luxembourg Opera Opera Scholarship to the National and for Opera Bauge; First Armed Opera Studio, where he was further Man/First Priest and cover Tamino supported by English National in Mozart’s Magic Flute for ENO; Opera, and the Nicholas John Trust. Lurcanio in Handel's for He continues his studies with Tim the Bolshoi; also Oronte in Handel's Evans Jones. for English Touring Opera, and The First In concert he has performed with the Aarhus Prisoner in and cover Evangelist in Bach’s St Symphony Orchestra and Harry Christophers, Matthew Passion for the Glyndebourne Festival. Sir Neville Marriner and the Orchestra Sinfonica Current engagements include Belfiore in La finta Milano, the Rai Orchestra Torino, the London giardiniera for Toulon Opera, the Evangelist in Mozart Players, the Bach Choir, Les Arts St Matthew Passion for the London Handel Society, Florissants, the Northern Sinfonia, the BBC and Britten’s Serenade for Tenor, Horn and Strings Scottish Symphony Orchestra, as well as regular for the Hong Kong Festival.

Countertenor RODERICK MORRIS at Kings Place and St John’s, graduated with a Master of Music Smith Square. He has appeared as degree from Cambridge a soloist on BBC Radio 3 and last University and went on to study year performed a duet recital at the Royal Academy Opera in with Michael Chance in the London. His operatic credits Holywell Music Room, Oxford. include The Shaman (cover) at He also recently performed a ENO, Guido , the title role in concert series of Bach’s alto Cavalli’s Il Giasone with Royal cantata Vergnügte Ruh with the Academy Opera conducted by orchestra Charivari Agréable. Jane Glover, and Cupid in Venus and Adonis with La Nuova Recent operatic engagements Musica; also Rutilia Hasse’s Lucio include Arsace in Handel’s Papirio at the London Handel conducted by Andrew Festival with Ensemble , Griffiths, The Prince in The Daisy Athamas in , Satirino in La Chain at the Tête à Tête Opera Calisto conducted by Anthony Legge, and The Festival, previewed at LSO at St Luke’s, Dido and Spirit in Dido and Aeneas. Aeneas with Kiez Oper in Berlin, and a tour of the staged Messiah with the Merry Opera. His oratorio credits include Bernstein’s Chichester Psalms at the Barbican, Handel’s Saul with Future engagements include a newly composed Laurence Cummings at the Spitalfields Festival, opera at Snape Maltings and with Tête à Tête Bach’s St Matthew Passion with Masaaki Suzuki at Opera festival, Vivaldi’s Stabat Mater with Charivari Snape Maltings, and Handel’s Messiah with Sir Agréable, and a Messiah tour of Ireland with the John Lubbock and the Orchestra of St John’s Irish Baroque Orchestra.

TWICKENHAM CHORAL SOCIETY

Chris Britton, Chairman Sarah Herrick, Box Office Manager Monica Darnbrough, Secretary Rosemary Fulljames, Music Librarian Tim Lidbetter, Treasurer Ruth Parker, Publicity Officer Barbara Orr, Membership Secretary Jan Gow, Social Secretary Ian Williamson, Concert Manager Freddie Brown, Assistant Conductor

Twickenham Choral Society (TCS for short) is a friendly thriving choir of over a hundred voices, drawing singers of a good standard from a wide area of West London. Programmes are chosen to provide the opportunity to sing great works from the choral repertoire, as well as to explore less familiar music spanning the period from the Renaissance to the present day. Members are regularly canvassed for ideas and preferences. The choir always works with excellent professional soloists and orchestras, aiming to produce the highest quality performance. The partnership of TCS with Brandenburg Sinfonia, Brandenburg Baroque Soloists and Brandenburg Classical Players has for some years been a much-valued relationship. Concerts are staged at least three times a year, usually in local West London venues but sometimes in central London (St Martin-in- the-Fields and St Johns Smith Square in the forthcoming season) as well as further afield in Britain, such as Lichfield, Ely and Guildford Cathedrals. The choir has toured in France, the Czech Republic, Hungary, Spain, Croatia, Mallorca, Germany, Belgium and Romania. Recently the choir has performed a programme of French and American song that included Lauridsen’s Madrigali; a WW1 remembrance concert comprising Scarlatti’s Stabat Mater, Vaughan Williams’ Dona Nobis Pacem and The Burning Heavens by Iain Farrington, and a programme of motets by Bach and Knut Nystedt (presented here and in Romania). For more information about Twickenham Choral Society visit our website, www.twickenhamchoral.org.uk, or find us on Facebook. soprano: Judy Britton, Carol Caporn, Sarah Cheshire, Kathryn Doley, Annette Duffy, Catherine Gash, Jane Hansell, Melissa Hartshorn, Victoria Herrera-Nurse, Sarah Herrick, Jessica Horscroft, Wendy Johnson, Vivien Jordan, Christabel King, Nancy Lee, Katrina Lidbetter, Margaret Lord, Isabel Newton, Ruth Parker, Fiona Rowett, Dinah Shoults, Mary Somerville, Adrienne Tallents, Sarah Taylor, Bronwen Thompson, Becky Thurtell, Mariann Tischner, Emily Toon, Harriet van der Vliet, Nancy Vickers, Bessie White, Nicola Whiteside, Alison Williams, Candy Williamson, Elizabeth Woodgyer, Gill Zettle alto: Carol Almand, Catherine Almond, Gillian Beauchamp, Francesca Burbidge, Debbie Chawner, Lisa Colclough, Barbara Cook, Julia Coomes, Helen Coulson, Maggie Crisell, Anna Cunnyngham, Monica Darnbrough, Fiona de Quidt, Mary Egan, Rosemary Fulljames, Margaret Garnham, Jan Gow, Ann Gray, Julie Hall, Margaret Hamilton, Erica Hamnett, Evelyn Houseman, Susan Jacobs, Emma Jay, Emily King, Catharine Larcombe, Sarah Martin, Catherine McManus, Meyer, Jane Newman, Barbara Orr, Rachel Pickering, Lina Rodriguez-Otero, Anne Rowett, Penelope Skinner, Anne Stephens, Elaine Thawley, Jo Underdown, Lindsey Waine, Felicity Williams tenor: Tony Alderton, David Amos, Chris Britton, John Dewhurst, Colin Flood, Michael Gilbert, Andy Godfrey, Clive Hall, Bill Hartree, Martin Killick, Simon Lambourn, John Mullinar, Kit Peck, David Underdown, Chris Waine bass: Robert Bell, Chris Bennett, Tony Caporn, Brian Elliott, Christopher Flook, Paul Hehir, Adrian Hunter, Tim Lidbetter, Keith Long, Richard Metcalfe, Adrian Mumford, Pip Rowett, John Saunders, John Tatam, Bob Vickers, David Wallis, Richard Welton, Ian Williamson.

Brandenburg Baroque Soloists is one of the exciting new orchestras playing on period instruments. It was originally created as an offshoot of the highly successful Brandenburg Sinfonia for a performance of Bach’s Christmas Oratorio in 2004.

The orchestra is a judicious mixture of regular Sinfonia players who play on both modern and original instruments with some of the finest period instrument specialists drawn from the same pool as the Academy of Ancient Music, the Orchestra of the Age of Enlightenment and the Gabrieli Consort.

The repertoire of the orchestra has expanded steadily to include the standard baroque choral classics including Handel’s Messiah, the Bach Passions, numerous oratorios and much of the standard instrumental repertoire including Vivaldi’s Four Seasons and of course the Brandenburg Concertos.

Violin 1 Bass Trumpet Ellen O'Dell Jan Zahourek Neil Brough Sarah Moffat Russell Gilmour Ben Oboe Geoff Coates 2 Tristan Cox Stephanie Dyer Elly Harrison Tom Lees Katarina Dordevec Bassoon Andy Lester Mike Brain Viola Haley Pullen Timps Clare Barwick Tim Evans Oakki Lau Organ Continuo Freddie Brown Gabrielle Amherst Sarah Westley

TCS in 2015

Rehearsing at St Catherine’s School, Twickenham (photo: Mark Goodman)

At Bran Castle, Easter (photo: Bob Phillips)

Concert at the Black Church, Brasov (photo: Steffen Schiandt)

Back cover: rehearsing at St Josef’s Cathedral, Bucharest (photo: Phil Taylor)

visit the choir web-site at or Christopher Herrick’s web-site www.twickenhamchoral.org.uk at www.christopherherrick.org

Programme design by Diana Wilson