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The Programme

Judas Maccabaeus - George Frideric Handel There will be an interval during Act Two

Conductor: Cathal Garvey Soprano: Anna Devin Mezzo Soprano: Anne Marie Gibbons Tenor: Paul Austin Kelly Baritone: Ashley Riches Southern Sinfonia Baroque Organist and Rehearsal Accompanist: Steve Bowey

The use of period instruments was made possible by funds provided by a supporter of the Society, augmented by Newbury Town Council.

Please visit http://www.newburychoral.org.uk/ConcertFeedback/ to give us your feedback on this concert. 3

Programme Notes by Jane Hawker

Judas Maccabaeus George Frideric Handel (1685-1759)

Written in 1746,Judas Maccabaeus was Handel’s first collaboration with librettist Reverend Dr Thomas Morell, whose letters give us an insight into the rewards and tribulations of working with the sixty- one-year-old composer. Dr Morell described Handel as having a ‘haughty disposition’ and was unimpressed with his knowledge of the English language; but he was nevertheless in awe of Handel’s enthusiasm and ability to compose tunes spontaneously to words suggested by Morell. From its first performance in 1747 in London’s Covent Garden Theatre (now Drury Lane), the oratorio was a huge success, prompting Morell to wish that he had asked for a percentage of the takings instead of a flat fee.

Judas Maccabaeus is written in three acts. Morell based his text largely on two books of the Biblical Apocrypha, I and II Maccabees, written in Greek in the second century BC. They tell the story of Judas Maccabaeus, who gained his reputation as an inspirational and fearsome warrior for leading the Jewish people’s revolt against their pagan invaders. Between 170 and 165 BC, Judea was ruled by the Seleucid Empire, a Hellenistic state created when Alexander the Great’s lands were divided up, in what is broadly Syria today. The people were forced to worship the Greek pantheon with all its paraphernalia of idols and ‘polluted altars’. In 165 BC these were removed from the temples (‘hurl’d to the remotest corner of the world’ in Morell’s words) and the Jewish people were finally free to worship their god once more. This event is celebrated today as the feast of Hanukkah, or Festival of Lights.

Handel chose the subject of this Jewish hero for his composition to celebrate the victory of the Duke of Cumberland over Charles Edward Stuart (Bonnie Prince Charlie) at the Battle of Culloden in 1746, putting an end to the Jacobite attempt to take the British

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Programme Notes throne. His dedication of the piece to the Duke compares him to the oratorio’s eponymous ‘truly Wise, Valiant, and Virtuous Commander’.

The best-known movement of the piece is undoubtedly See, the conquering hero comes. Handel transferred it to Judas Maccabaeus from another of his oratorios, Joshua, written a year later in 1748, with characteristic lack of pedantry and desire to work efficiently. The chorus remains part of both works. The tune was used by Beethoven, who wrote twelve variations for piano and cello, and it is also the tune of the popular English hymn Thine Be the Glory.

Handel’s compositions were solidly grounded in the Germanic tradition of his contemporary Bach, given a dramatic twist by his extensive travels in Europe and experience of Italian opera, and reached their peak under the influence of the sacred and secular musical traditions of his adopted country. In Handel’s lifetime the British monarchy and public recognised him as a great composer and worthy successor to Henry Purcell, his forerunner in the English Baroque style. Both men are buried in Westminster Abbey.

Act One opens in solemn mood with the captive people of Judah mourning the death of their leader, Judas’ father Mattathias, whose act of rebellion against their invaders marked the beginning of the uprising. Their sense of loss and hopelessness is lifted when Judas’ brother, Simon, reminds them that they are the chosen nation and must trust in God to help them.

The Jewish people call for a new leader ‘bold and brave’ and Simon answers them that Judas is the man to set them free and lead them to victory. Judas accepts the challenge, as his father wished with his dying breath, and looks forward to the day when their liberty will be restored. The people are willing to follow Judas as their leader in battle, armed with their courage and belief that they have the power

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Programme Notes of Jehovah behind them. Act One ends with the chorus ‘resolved on conquest or a glorious fall’.

Act Two begins with a vigorous chorus proclaiming Judas’ triumph over the Jewish people’s conquerors. After the rage of battle there is a change of mood with the lyrical Tune your Harps, as the people are called upon to praise God that Zion will raise its head once more. Judas warns against attributing his achievement to mortal man; he has been guided by the unseen hand of God.

But suddenly news reaches the Jewish people that the fearsome Seleucid commander, Gorgias, has been sent to ‘root out Israel’s strength’ and destroy their places of worship once again. In an instant the ‘wretched’ Israelites have gone ‘from joyous transport to desponding woe’. Judas’ brother Simon encourages them, telling them that God has a plan for them even when things look bleak.

Judas rouses them to battle once more with Sound an Alarm, and the chorus answers his ‘pleasing dreadful call’. Act Two ends as the temple is purged of the trappings of the Greek gods, and the people vow never to bow down to them again, affirming their faith in ‘God and God alone’.

Act Three starts with a celebration of the re-consecration of the temple with the Feast of Lights. News reaches the Israelites of Judas’ defeat of their enemy, who rode into battle on ‘huge tow’r-back’d elephants’, and soloists and chorus greet Judas with See, the conquering hero comes, followed by a triumphal march.

Thanks are given to God for their victory, tempered by Judas’ request that those who have fallen in battle are remembered. When the people hear that the Roman Empire has promised to protect Judea from further incursions, they can finally rejoice wholeheartedly and the oratorio ends with the chorus singing Hallelujah, Amen.

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Cathal Garvey — Musical Director

Cathal Garvey hails from Ireland where he made his name as a choral and orchestral conductor. He began his career as an Opera Chorus Master working for most of Ireland’s major opera companies including Opera Ireland, Opera Theatre Company, Anna Livia Opera Festival, Opera South and Lyric Opera Productions. For these compa- nies he has worked on over fifty productions including La Bohème, Aïda, Lady Macbeth of Mtsensk, Madame Butterfly, Tosca, La Traviata, Carmen, Macbeth, Faust and Rigoletto. He acted as Assistant Conductor for several of these productions and has also conducted several musicals in Cork and Dublin. In recent years Cathal has conducted the National Symphony Orchestra of Ireland, the RTE Concert Orchestra, Irish Sinfonia, Dublin Symphony Orchestra, Dublin Baroque Players, Royal Irish Academy of Music Wind Ensemble and the Dublin Concert Band, among others, and from 2001 to 2006 was Principal Conductor of the Dublin Orchestral Players. From 2004 to 2009 he was Musical Director of the Dun Laoghaire Choral Society with whom he had a highly successful tenure, covering a wide range of sacred music and oratorios. Cathal began violin and piano studies in his native Cork at an early age, continuing at the Cork School of Music and later reading music at University College Cork. After completing his Masters Degree in Conducting he studied for two years at the prestigious College of Moscow Conservatory. Cathal's principal instrument is the violin; he was a member of the National Youth Orchestra of Ireland and he has played professionally with many orchestras including the National Symphony Orchestra of Ireland and the German-based Philharmonia of the Nations. Cathal moved to London in April 2009 to take up the position of Chorus Master and Assistant Conductor with Grange Park Opera. Since then, he has conducted London Medical Orchestra, Morley College Choir, King's College London Symphony Orchestra and is a regular guest conductor with London Repertoire Orchestra. He also tutors in Conducting at the Royal Academy of Music. Newbury Choral Society was delighted to appoint him as Musical Director in September 2009.

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Anna Devin - Soprano A former member of the Jette Parker Young Artist at the Royal Opera House, Covent Garden, the Britten-Pears YAP and the National Opera Studio, Irish soprano Anna Devin is fast becoming established as one of today’s brightest young sopranos. Opera appearances 2013/14 include a return to Scottish Opera as Zerlina (Don Giovanni) and to the Royal Opera House as Flowermaiden (Parsifal). Later in the season, she will make her debut at the Handel Festival Göttingen as Clotilde in Faramondo, conducted by Lawrence Cummings and appear at the ROH Linbury Studio in a new commission by Luke Bedford. Further ahead, she returns to the ROH main stage as Nanetta (Falstaff) in 2014/15 and joins the English Concert under Harry Bicket as Oberto (Alcina) on tour in London, Madrid, Vienna, Paris and New York. Appearances in 2012/13 included Anna’s BBC Proms debut as Flowermaiden in Parsifal with the Hallé under Sir Mark Elder, a Debussy programme at the London Song Festival, Vreli (A Village Romeo and Juliet) at the Queen Elizabeth Hall with the London Concert Orchestra under Ronald Corp, and arias by Mozart, Verdi and Puccini, as well as Canteloube’s Songs of the Auvergne with the RTÉ NSO Dublin. With Classical Opera, she appeared at London’s Wigmore Hall in a Gluck and Mozart programme and recorded Arbate in Mitridate. She will return to Wigmore Hall with the ensemble later this year for a New Year’s Eve Gala. Anna is an Associate Artist with Classical Opera.

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Anne Marie Gibbons - Mezzo Soprano Anne Marie Gibbons studied at the DIT Dublin and the RNCM in Manchester. She subsequently joined English National Opera as company principal performing numerous roles and now enjoys a freelance career working with conductors including Christophers, Cummings, Daniel, Gardner, Joel, Parry and Wigglesworth; and directors including Richard Jones, Phyllida Lloyd and David McVicar. Opera credits include Dorabella (Cosi fan tutte), Anna (The Trojans), Ascanius (The Trojans at Carthage), Ino (Semele), Sister Mathilde (The Dialogues of the Carmelites), Pitti-Sing (The Mikado), Flora (La Traviata), Bacchis (La Belle Hélène), Nero (Agrippina), Kasturbai (Satyagraha) and Annio (La clemenza di Tito) with ENO; Rosmira (Partenope) at Les Azuriales Festival in France, the title roles in Teseo and Ariodante for English Touring Opera and La Cenerentola and Ariodante for Opera Theatre Company Ireland, Second Lady (The Magic Flute) with WNO, Pippo (La gazza ladra) for Opera North and David (Saul) at the Buxton Festival. Concert appearances include Schumann’s Das Paradies und die Peri and Berlioz’s Les Nuits d’étè with The RTE National Symphony Orchestra in Dublin, Siegrune and Gutrune in Wagner’s Ring Cycle with The National Youth Orchestra in Limerick and at Birmingham Symphony Hall, Anna (Maria Stuarda) at Cadogan Hall and Flora (La Traviata) at Queen Elizabeth Hall in London, Handel’s Messiah with The Irish Baroque Orchestra in Limerick and Dublin and Bach’s Magnificat at the St Endellion Festival. Anne Marie’s discography include Zulma (Elvida) and Abra (Il diluvio universal) for Opera Rara, and for Chandos Sister Mathilde (The Dialogues of the Carmelites) and Zulma (Italian Girl in Algiers). Recent credits include Bach’s St Matthew Passion with The Gabriele Consort and Players at the Lausanne Festival in Switzerland, Mozart’s Requiem in Madrid, (David) Saul at the Palace of Versailles Handel Festival with The Sixteen in France, Vivaldi’s Gloria at the Sage in Gateshead, Rossini’s Stabat Mater in Dublin and The Page (Salome) in Adelaide with the State Opera of South Australia.

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Paul Austin Kelly - Tenor Paul Austin Kelly has performed leading tenor roles with the NY Metropolitan Opera, the Royal Opera, Glyndebourne Festival, and Milan’s La Scala opera houses, to name but a few. Originally a specialist in the Rossini repertoire, he sang numerous times at the Pesaro Festival, and recorded several Rossini operas with the Opera Rara label. On the concert stage, Paul recently sang 5 songs by Richard Strauss and Britten’s Serenade for Tenor, Horn, and Strings with the Kantanti Ensemble both in London and in Lewes. He has performed at the Théatre des Champs-Elysées in Paris, at Amsterdam’s Concertgebouw, at the Kennedy Center and Lincoln Center in the US, and throughout the UK and the rest of the world, including appearances in Singapore and Kuala Lumpur. His repertoire ranges from Bach and Handel through to Britten and Berg. An artist across the musical spectrum, Paul performed and recorded songs from The Great American Songbook, partnering with Petula Clark’s long-standing music director, Kenny Clayton. Paul also toured with Lesley Garrett as her special guest artist, and made several appearances on the BBC programmes In Tune and Friday Night is Music Night. In 2003, Paul and his wife Carol founded the children’s music label, Walking Oliver, writing and recording a catalogue of twelve CDs for children. These CDs won awards from NAPPA and iParenting Media for the high quality of the music and the songs, and are still widely popular with educators and parents alike. A seventeen-year resident of Lewes, England, Paul and his family enjoy the proximity to the South Coast, to the Weald, and to the Downs for walking the dog.

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Ashley Riches - Baritone Ashley Riches is a member of the Jette Parker Young Artists programme at the Royal Opera House, Covent Garden. Previously he studied at the Guildhall School of Music and Drama and English at Cambridge University. Concert appearances include the UK Premiere of Shostakovich Orango (Salonen/Royal Philharmonic Orchestra), Messiah (Stephen Cleobury at Symphony Hall, Birmingham), Mass in B Minor (Arcangelo at Flanders Festival), Belshazzar’s Feast (David Temple at Royal Festival Hall), Beethoven Missa Solemnis (Norrington), Verdi Requiem (Royal Albert Hall and Winchester Cathedral), Handel L’Allegro (Gabrieli Consort at St John’s Smith Square and in Beaune), Mozart Requiem (Hill/Bach Choir), Britten War Requiem (Latham-Koenig/ Novaya Opera Moscow), Bach Cantatas (Egarr/AAM at Wigmore Hall) and Handel’s Israel in Egypt (Cohen/Dartington). Operatic appearances include title roles Eugene Onegin and Don Giovanni, Marcello and Schaunard (La Bohème), Aeneas (Dido and Aeneas), Father (Hansel and Gretel), Tarquinius (The Rape of Lucretia), Sid (Albert Herring), Demetrius (A Midsummer Night’s Dream), Ibn-Hakia (Iolanta) and The Drunken Poet, Winter, Corydon and Sleep in The Fairy Queen (McCreesh/Gabrieli Consort), Polyphemus (Acis and Galatea, McCreesh) and Claudio (Beatrice and Benedict, Ticciati/SCO). In November 2012 he made his debut at the ROH singing with Roberto Alagna in a Gala Concert and appeared as Salieri in Rimsky Korsakov’s Mozart and Salieri with the Jette Parker Young Artists at the Linbury Studio Theatre, Covent Garden for which he received outstanding reviews in the National Press. Recent and future engagements include song recitals at Wigmore Hall, Barbican Hall, the City of London Festival, Chelsea Schubert Festival and Ludlow Festival, Handel arias for David Starkey’s TV series “Monarchy and Music” (Egarr/AAM), Guglielmo (Così fan tutte, Garsington), and title role Owen Wingrave (Opéra National de Lorraine), Messiah (Egarr/SCO). His roles at ROH this season include Morales (Carmen), Mandarin (Turandot), Baron Douphol (La Traviata), Officier (Les Dialogues des Carmelites) and Osmano (L’Ormindo) at the Globe Theatre.

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Southern Sinfonia

Southern Sinfonia is an active Chamber Orchestra working across the South of England and the Midlands. It has a diversity of activities and playing styles. Many of the orchestra’s musicians are equally at home on baroque instruments as on modern. This versatility informs all the work that we undertake. The members also work in the community for education and outreach programmes. We are therefore able to offer young and old alike varied musical excellence. A considerable amount of time is spent working with choral societies which the players very much enjoy. The organisation is led by Patron, Sir Roger Norrington and Musical Director, David Hill. Please visit our website www.southernsinfonia.co.uk for information on forthcoming performances and details of how to contact us.

Players

First Violin Celli Bassoon Oliver Webber - Leader Natasha Kraemer Alastair Mitchell Rebecca Miles Gabriel Amherst Rebecca Stockwell Maria Larsson Sally Woods Charles Mills Trumpet Double Bass Howard Rowntree Second Violin Timothy Amherst Simon Munday Miles Golding Katie Hodges Iva Fleischisanova Flute Marisa Miller Katy Bircher Timps Sofia Jenks Laura Piras Patrick King

Viola Oboe Harpsichord Heather Birt Hannnah McLaughlin Julian Perkins Aliye Cornish Sarah Saunders With thanks to the Joanne Miller Medlam family for the loan of the harpsichord.

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Steve Bowey– Accompanist

Steve studied organ and piano from an early age, playing the organ regularly at St Francis and St Andrews churches in Coulsdon. After studying Engineering at Salford University he moved to Newbury to work for Vodafone. In 1991 Steve was appointed as accompanist of the Cromwell Singers and became their musical director in 1993. From 1992, he was Director of Music at St Mary's Church, Shaw-cum-Donnington, and regularly accompanies for local choirs, including the Douai Choral Society, the Downland Chorale, the RSCM Southern Cathedral Singers, Berkshire Maestros youth choirs, Worcester College Oxford and Newbury Choral society. In June 1995 an opportunity at work took Steve to live in Holland. On returning to Newbury in 1997 he returned to St Mary's Shaw-cum-Donnington as organist. He is a regular performer in the Newbury and District Organists' Association lunchtime recital series and has also given recitals in Thaxted, Caterham and Manchester and Farnham. In 2001 he was appointed Musical Director of the Sandham Singers. In 2006 Steve joined the Royal College of Organists, and in July the following year took the examination for Associate (ARCO) in which he was awarded the Limpus prize for performance, as well as the Sowerbutts and Samuel Baker prizes. After further study, he was awarded the Fellowship diploma (FRCO) in January 2011.

Newbury Choral Society

Newbury Choral Society is a non-auditioned choir with a history of over 125 years of bringing a high standard of music to the area. The establishment of a permanent group of singers must have met an urgent need in the town as the Society attracted more than one hundred members for the first concert in 1885. Conducted by the choirmaster and organist of Newbury's St Nicolas Church, John Shepherd Liddle, the choir made a good impression on the Newbury Weekly News critic who wrote that 'the execution of the choruses reflected great credit upon the members of the Society and their conductor'. Since that first concert we have continued to perform a wide and varied repertoire, from the great choral works of Bach, Handel and Vaughan Williams to pieces by more recent composers Tavener, Britten and Karl Jenkins. In its second century the choir’s conductors have included Jonathan Finney, Leo Hussain, Robert Barsby and its first female Musical Director Janet Lincé. Cathal Garvey has held the position since December 2009. You can find out more about Newbury Choral Society, its history and forthcoming events, at www.newburychoral.org.uk.

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Judas Maccabaeus

Act 1 1.Overture 2. Chorus of Israelites Mourn, ye afflicted children, the remains Of captive Judah, mourn in solemn strains; Your sanguine hopes of liberty give o'er, Your hero, friend and father is no more. 3. Recitative Israelitish Man Well, may your sorrows, brethren, flow In all th'expressive signs of woe: Your softer garments tear, And squalid sackcloth wear, Your drooping heads with ashes strew, And with the flowing tear your cheeks bedew. Israelitish Woman Daughters, let your distressful cries And loud lament ascend the skies; Your tender bosoms beat, and tear, With hands remorseless, your dishevell'd hair; For pale and breathless Mattathias lies, Sad emblem of his country's miseries! 4. Duet Israelitish Woman and Man From this dread scene, these adverse pow'rs, Ah, whither shall we fly? O Solyma! Thy boasted tow'rs In smoky ruins lie. 5. Chorus of Israelites For Sion lamentation make, With words that weep, and tears that speak. 6. Recitative Israelitish Man Not vain is all this storm of grief; To vent our sorrows, gives relief. Wretched indeed! But let not Judah's race Their ruin with desponding arms embrace. Distractful doubt and desperation

14 Ill become the chosen nation, Chosen by the great I AM, The Lord of hosts, who, still the same, We trust, will give attentive ear To the sincerity of pray'r. 7. Chorus of Israelites O Father, whose Almighty pow'r The Heav'ns, and earth, and seas adore; The hearts of Judah, thy delight, In one defensive band unite. And grant a leader bold, and brave, If not to conquer, born to save. 8. Accompagnato Simon I feel, I feel the deity within, Who, the bright cherubim between, His radiant glory erst display'd; To Israel's distressful pray'r He hath vouchsafe'd a gracious ear, And points out Maccabaeus to their aid: Judas shall set the captive free, And lead us all to victory. 9. Air Simon Arm, arm, ye brave! A noble cause, The cause of Heav'n your zeal demands. In defence of your nation, religion, and laws, The Almighty Jehovah will strengthen your hands. Arm, arm. . . da capo 10. Chorus of Israelites We come, we come, in bright array, Judah, thy sceptre to obey. 11. Recitative Judas Maccabaeus 'Tis well, my friends; with transport I behold The spirit of our fathers, fam'd of old For their exploits in war. Oh, may they fire With active courage you, their sons inspire: As when the mighty Joshua fought, And those amazing wonders wrought, Stood still, obedient to his voice, the sun, Till kings he had destroy'd, and kingdoms won. 15 12. Air Judas Maccabaeus Call forth thy pow'rs, my soul, and dare The conflict of unequal war. Great is the glory of the conqu'ring sword, That triumphs in sweet liberty restor'd. Call forth. . . da capo 13. Recitative Israelitish Woman To Heav'n's Almighty king we kneel, For blessings on this exemplary zeal. Bless him, Jehovah, bless him, and once more To thy own Israel liberty restore. Israelitish Man 'Tis liberty, dear liberty alone, That gives fresh beauty to the sun; That bids all nature look more gay, And lovely life with pleasure steal away. 14. Duet Israelitish Woman and Man Come, ever-smiling liberty, And with thee bring thy jocund train. For thee we pant, and sigh for thee, With whom eternal pleasures reign. 15. Chorus of Israelites Lead on, lead on! Judah disdains The galling load of hostile chains. 16. Recitative Judas Maccabaeus So will'd my father now at rest In the eternal mansions of the blest: "Can ye behold," said he "the miseries, In which the long-insulted Judah lies? Can ye behold their dire distress, And not, at least, attempt redress?" Then, faintly, with expiring breath, "Resolve, my sons, on liberty, or death!" We come! Oh see, thy sons prepare The rough habiliments of war; With hearts intrepid, and revengeful hands, To execute, O sire, thy dread commands.

16 17. Semi-chorus of Israelitish Men Disdainful of danger, we'll rush on the foe, That Thy pow'r, O Jehovah, all nations may know. 18. Recitative Judas Maccabaeus Ambition! If e'er honour was thine aim, Challenge it here: The glorious cause gives sanction to thy claim. 19. Air Judas Maccabaeus No unhallow'd desire Our breasts shall inspire, Nor lust of unbounded pow'r! But peace to obtain: Free peace let us gain, And conquest shall ask no more. 20. Recitative Israelitish Man Haste we, my brethren, haste we to the field, Dependent on the Lord, our strength and shield. 21. Chorus of Israelites Hear us, O Lord, on Thee we call, Resolv'd on conquest, or a glorious fall. Act 2 22. Chorus of Israelites Fall'n is the foe; so fall Thy foes, O Lord, Where warlike Judas wields his righteous sword! 23. Recitative Israelitish Man Victorious hero! Fame shall tell, With her last breath, how Apollonius fell, And all Samaria fled, by thee pursued Through hills of carnage and a sea of blood; While thy resistless prowess dealt around, With their own leader's sword, the deathful wound. Thus, too, the haughty Seron, Syria's boast, Before thee fell with his unnumber'd host. 24.Duet Israelitish Woman and Man Sion now her head shall raise, Tune your harps to songs of praise.

17 25. Chorus Israelites Sion now her head shall raise, Tune your harps to songs of praise. 26. Recitative Israelitish Woman Oh, let eternal honours crown his name: Judas, first worthy in the rolls of fame. Say, "He put on the breast-plate as a giant, And girt his warlike harness about him; In his acts he was like a lion, And like a lion's whelp roaring for his prey." 27. Duet Israelitish Woman and Man Hail, hail, Judea, happy land! Salvation prospers in his hand. 28. Chorus Israelites Hail, hail, Judea, happy land! Salvation prospers in his hand. INTERVAL 29. Recitative Judas Maccabaeus Thanks to my brethren; but look up to Heav'n; To Heav'n let glory and all praise be giv'n; To Heav'n give your applause, Nor add the second cause, As once your fathers did in Midian, Saying, "The sword of God and Gideon." It was the Lord that for his Israel fought, And this our wonderful salvation wrought. 30. Air Judas Maccabaeus How vain is man, who boasts in fight The valour of gigantic might! 31. Recitative First Messenger O Judas, O my brethren! New scenes of bloody war In all their horrors rise. Prepare, prepare,

18 Or soon we fall a sacrifice To great Antiochus; from th'Egyptian coast, (Where Ptolemy hath Memphis and Pelusium lost) He sends the valiant Gorgias, and commands His proud, victorious bands To root out Israel's strength, and to erase Ev'ry memorial of the sacred place. 32. Air Israelitish Woman Ah! wretched, wretched Israel! fall'n, how low, From joyous transport to desponding woe. 33. Chorus Israelites Ah! wretched, wretched Israel! fall'n, how low, From joyous transport to desponding woe. 34. Recitative Simon Be comforted, nor think these plagues are sent For your destruction, but for chastisement. Heav'n oft in mercy punisheth, that sin May feel its own demerits from within, And urge not utter ruin. Turn to God, And draw a blessing from His iron rod. 35. Air Simon The Lord worketh wonders His glory to raise; And still, as he thunders, Is fearful in praise. 36. Recitative Judas Maccabaeus My arms! Against this Gorgias will I go. The Idumean governor shall know How vain, how ineffective his design, While rage his leader, and Jehovah mine. 37. Air Judas Maccabaeus Sound an alarm! Your silver trumpets sound, And call the brave, and only brave, around. Who listeth, follow: to the field again! Justice with courage is a thousand men. Sound an alarm. . . da capo

19 38. Chorus We hear, we hear the pleasing dreadful call, And follow thee to conquest; if to fall, For laws, religion, liberty, we fall. 39. Recitative Simon Enough! To Heav'n we leave the rest. Such gen'rous ardour firing ev'ry breast, We may divide our cares; the field be thine, O Judas, and your sanctuary mine; For Sion, holy Sion, seat of God, In ruinous heaps, is by the heathen trod; Such profanation calls for swift redress, If e'er in battle Israel hopes success. 40. Air Simon With pious hearts, and brave as pious, O Sion, we thy call attend, Nor dread the nations that defy us, God our defender, God our friend. 41. Recitative Israelitish Man Ye worshippers of God, Down, down with the polluted altars, down. Hurl Jupiter Olympius from his throne, Nor reverence Bacchus with his ivy crown And ivy-wreathed rod. Our fathers never knew Him, or his beastly crew, Or, knowing, scorn'd such idol vanities. Israelitish Woman No more in Sion let the virgin throng, Wild with delusion, pay their nightly song To Ashtoreth, yclep't the Queen of Heav'n. Hence to Phoenicia be the goddess driv'n, Or be she, with her priests and pageants, hurl'd To the remotest corner of the world, Ne'er to delude us more with pious lies. 42. Duet Israelitish Woman and Man Oh, never, never bow we down To the rude stock or sculptur'd stone. We worship God, and God alone. 20 43. Chorus of Israelites We never, never will bow down To the rude stock or sculptur'd stone. We worship God, and God alone. ACT THREE 44. Air Israelitish Man Father of Heav'n! From Thy eternal throne, Look with an eye of blessing down, While we prepare with holy rites, To solemnize the feasts of lights. 45. Accompagnato Israelitish Man See, see yon flames, that from the altar broke, In spiring streams pursue the trailing smoke. The fragrant incense mounts the yielding air; Sure presage that the Lord hath heard our pray'r. 46. Recitative Israelitish Woman Oh, grant it, Heav'n, that our long woes may cease, And Judah's daughters taste the calm of peace, Sons, brothers, husbands to bewail no more, Tortur'd at home, or havock'd in the war. 47. Recitative First Messenger From Capharsalama, on eagle wings I fly, With tidings of impetuous joy: Came Lysias, with his host, array'd In coat of mail; their massy shields Of gold and brass, flash'd lightning o'er the fields, While the huge tow'r-back'd elephants display'd A horrid front. But Judas, undismay'd, Met, fought, and vanquish'd all the rageful train. Yet more, Nicanor lies with thousands slain; The blasphemous Nicanor, who defied The living God, and, in his wanton pride, A public monument ordain'd Of victories yet ungain'd. Second Messenger But lo, the conqueror comes; and on his spear, To dissipate all fear, He bears the vaunter's head and hand, That threaten'd desolation to the land. 21 48. Chorus Youths See, the conqu'ring hero comes! Sound the trumpets, beat the drums. Sports prepare, the laurel bring, Songs of triumph to him sing. Virgins See the godlike youth advance! Breathe the flutes, and lead the dance; Myrtle wreaths, and roses twine, To deck the hero's brow divine. Israelites See, the conqu'ring hero comes! Sound the trumpets, beat the drums. Sports prepare, the laurel bring, Songs of triumph to him sing. See, the conqu'ring hero comes! Sound the trumpets, beat the drums. 49. March Reprise See, the conqu'ring hero comes 50. Soli (alto, tenor) & Chorus of Israelites Sing unto God, and high affections raise, To crown this conquest with unmeasur'd praise. 51. Recitative Judas Maccabaeus Sweet flow the strains, that strike my feasted ear; Angels might stoop from Heav'n to hear The comely song we sing, To Israel's Lord and King. But pause awhile: due obsequies prepare To those who bravely fell in war. To Eleazar special tribute pay; Through slaughter'd troops he cut his way To the distinguish'd elephant, and, whelm'd beneath The stabbed monster, triumph'd in a glorious death. 52. Air Judas Maccabaeus With honour let desert be crown'd, The trumpet ne'er in vain shall sound; But, all attentive to alarms, The willing nations fly to arms, And, conquering or conquer'd, claim the prize Of happy earth, or far more happy skies. 22 53. Recitative Eupolemus Peace to my countrymen; peace and liberty. From the great senate of imperial Rome, With a firm league of amity, I come. Rome, whate'er nation dare insult us more, Will rouse, in our defence, her vet'ran pow'r, And stretch her vengeful arm, by land or sea To curb the proud, and set the injur'd free. 54. Chorus of Israelites To our great God be all the honour giv'n, That grateful hearts can send from earth to Heav'n. 55. Recitative Israelitish Woman Again to earth let gratitude descend, Praiseworthy is our hero and our friend. Come then, my daughters, choicest art bestow, To weave a chaplet for the victor's brow; And in your songs for ever be confess'd The valour that preserv'd, the pow'r that bless'd, Bless'd you with hours, that scatter, as they fly, Soft quiet, gentle love, and boundless joy. 56. Air (Duet) Israelitish Woman (and Man) O lovely peace, with plenty crown'd, Come, spread thy blessings all around. Let fleecy flocks the hills adorn, And valleys smile with wavy corn. 57. Air Simon Rejoice, O Judah, and, in songs divine, With cherubim and seraphim harmonious join! 58. Chorus Israelites Hallelujah! Amen.

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Newbury Choral Society Members

Honorary Life Patron: Lady Knill Chairperson: E Wallace Treasurer: T Smith Concert Manager: M Barthorpe

SOPRANOS ALTOS R Atkinson P Lovelock K Andrews J Hayward R Berger L Moore H Banks G Hutchinson A Billington M Owen T Barker K Kettunen H Bomgardner P Phillips A Bates E Leader C Castle K Pollard J Caddy R McDonald M Croxford S Pring C Collett J Morris L Fitt S Sim H Cook B Purr J Freer V Smith L Cooke B Riggs N Furr P Stewart J Cooper G Seaman J Haughton J Stock L Coughlan S Sinclair J Hitchcock F Stopher E Davies M Smith M Huddie J Van Haperen A Dewar N Smith M Jackson J Waterson H Douglass T Smith J Leefe S Youd D Farnsworth C Starkey C Letham J Flynn A Turner B Lewis N Foster V Vaughan M Freeman A Vodden E Hanning L Wallace L Harper P Webb J Hawker M Yates TENORS BASSES P Angwin R Papworth G Atkinson P High M Barthorpe N Rendall P Bell D Hunt M Evans A Salisbury A Berridge R Moore D Harwood N Yates D Bomgardner C Morris M Braide A Parker J Caddy J Raban G Choules G Salter D Craig D Wilson

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