in 2016

Saturday 23 April at 7.00pm to celebrate HM The Queen’s 90th birthday A CONCERT OF GREAT BRITISH CLASSICS including works by Parry, Walton and Elgar with the Choristers of Wells Cathedral Southern Sinfonia Matthew Owens conductor

Saturday 11 June, from 9.30am to 6.00pm Come and Sing Day with Matthew Owens MOZART VESPERS in St Thomas’s Church, Wells

Saturday 12 November at 7.00pm MOZART VESPERS HAYDN NELSON MASS Music for Awhile Orchestra (on period instruments) Matthew Owens conductor

Saturday 3 December at 7.00pm HANDEL MESSIAH Music for Awhile Orchestra Matthew Owens conductor

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George Frideric Handel (1685-1759)

Messiah (1741)

A Sacred Oratorio, words by Charles Jennens

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Susan Hamilton soprano James Neville counter tenor Edward Goater tenor David Shipley bass ______

Wells Cathedral Oratorio Society ______

Music for Awhile Orchestra (on period instruments) Margaret Faultless leader ______

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

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Programme Notes

Handel has enjoyed a privileged position Handel's music when he said, “Go to him in the musical life of our country for over to learn how to achieve great effects, by 250 years. It was not always so. Although such simple means.” Mozart said of him: Messiah was well received at its first per- “Handel understands affect better than formances in Dublin in 1742, in London at any of us. When he chooses, he strikes Covent Garden it like a thunder bolt.” was greeted by the hostility of the In 1712 Handel critics who de- settled in plored the presen- and in 1727 be- tation of sacred came a naturalised music in a theatre. British subject. Although the work Within fifteen years was conceived for he worked with, or a secular theatre started, three and was first per- opera houses. Be- formed during tween 1711 and Lent, it has be- 1739 more than 25 come common of Handel’s operas practice since were premiered at Handel’s death to the Queen’s Thea- perform Messiah tre alone (now Her during Advent, the Majesty’s Theatre) preparatory peri- and Handel wrote a od of the Christ- total of 42 Italian mas season. operas. Born in 1685, Han- In 1737, aged 52, del was 56 when he composed Messiah. Handel suffered a stroke which left him He had received his training in his native with a disabled right hand and some con- Germany, in Halle and Hamberg, and then fusion. It was not expected that he would in Italy. His influences were the German play again. However, after a stay at the polyphonic and the Italian Baroque com- spa in Aachen, he returned and turned his posers, especially Corelli and Scarlatti. He attention to oratorio. Public taste for was much admired by Bach who was born Italian operas had declined and oratorio a month after Handel and who had tried became popular, giving audiences a but failed to meet him in Halle. Beetho- chance to hear works in their own lan- ven said of Handel “the master of us all... guage. When Handel continued this trend the greatest that ever lived. I after writing Messiah he produced a se- would uncover my head and kneel before ries of 20 oratorios which helped him his tomb”. Beethoven emphasised above regain his title as the country’s favourite all the simplicity and popular appeal of composer. 4

In 1741 Handel was invited to visit Dublin meditation on Our Lord as Messiah. It to stage a series of concerts. Shortly after begins with the prophesies of Isaiah and receiving this request, and in the period other Old Testament writers. Christ’s of just over three weeks (with much of Nativity, Passion and Resurrection follow the music borrowed from his operas) he in a majestic procession of recitatives, created Messiah. It was probably with his arias and choruses, ending in the great visit to Ireland in mind. Every word is tak- hymn of praise from the Book of Revela- en from the King James 1611 version of tion. the Bible whilst the psalm excerpts are from the Tudor translation of Coverdale. Handel staged a dozen successful con- Credit for the ingenious way in which certs in Dublin and then announced with such widely scattered texts have been a fanfare that his new oratorio would welded into a perfect whole must go to receive its premiere on April 13, 1742. the compiler, a Leicestershire squire With 26 boys and 5 men, from St Patrick’s named Charles Jennens who was a close and Christ Church cathedrals—plus so- friend of Handel and had for a while tried prano and contralto soloists who also to persuade him to write such a work. His helped with the choruses—he arranged preface to the libretto expresses the idea for a public rehearsal to take place the which inspired it: ‘And without controver- day before. This caused a sensation and sy, great is the mystery of Godliness: God hundreds of eager listeners had to be was manifest in the Flesh, justified by the turned away from the first performance. Spirit, seen of Angels, preached among The first published score of Messiah was the Gentiles, believed on in the world, issued in 1767, eight years after Handel’s received up in Glory. In whom are hid all death, though this was based on relatively of the Treasures of Wisdom and early manuscripts and included none of Knowledge.’ Handel’s later revisions. This evening’s Messiah is unique among Handel’s orato- performance uses Watkins Shaw’s final rios in being entirely undramatic. The edition of 1992 that he had worked on soloists do not represent characters nor, between 1957 and 1965. He had access except for the short nativity section, is to many of Handel’s papers, including his there any narrative. The entire work is a conducting score from the first Dublin

5 performance. This edition of Messiah rev-  He was so moved by the performance olutionised its interpretation, and has that he rose to his feet. been called ‘a landmark in what we now  Out of tribute to the composer. know as the Early Music movement.’  He arrived late and the crowd rose as he finally made an appearance. King George II attended the first London  His gout acted up at that moment and performance and as the first notes of the he rose to find relief. triumphant ‘Hallelujah’ chorus rang out he  He mistook the first few notes in the rose to his feet and remained standing chorus for the national anthem and until the end of the chorus. The audience stood out of respect. and orchestra also stood, initiating a tradi- tion that has lasted for two centuries. The It is still the accepted practice for the audi- exact reason why the King stood at that ence to stand for the ‘Halleluiah’ chorus. point is not known, but the most popular explanations include: Programme by Neill Bonham

Part One

1. Sinfonia (Overture) 2. Recitative Tenor 5. Recitative Bass Comfort ye, comfort ye my people, Thus saith the Lord, the Lord of hosts: saith your God. Speak ye comfortably Yet once a little while and I will shake to Jerusalem, and cry unto her, that the heavens and the earth, the sea and her warfare is accomplished, that her the dry land. And I will shake all na- iniquity is pardoned. The voice of him tions; and the desire of all nations shall that crieth in the wilderness; prepare come. The Lord, whom ye seek, shall ye the way of the Lord; make straight suddenly come to His temple, even the in the desert a highway for our God. messenger of the Covenant, whom ye (Isaiah 40: 1-3) delight in; behold, He shall come, saith the Lord of hosts. 3. Air Tenor (Haggai 2: 6-7) (Malachi 3: 1) Ev’ry valley shall be exalted, and ev’ry 6. Air Countertenor mountain and hill made low; the crooked straight and the rough places But who may abide the day of His com- plain. (Isaiah 40: 4) ing, and who shall stand when He ap- peareth? For He is like a refiner’s fire. 4. Chorus (Malachi 3: 2) And the glory of the Lord shall be re- 7. Chorus vealed, and all flesh shall see it togeth- And He shall purify the sons of Levi, er: for the mouth of the Lord hath spo- that they may offer unto the Lord an ken it. (Isaiah 40: 5) offering in righteousness. (Malachi 3: 3)

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8. Recitative Countertenor were sore afraid. (Luke 2: 9) Behold, a virgin shall conceive and bear 15. Recitative Soprano a son, and shall call His name Emmanu- And the angel said unto them: el, God with us. “Fear not, for behold, I bring you good (Isaiah 7: 14; Matthew 1: 23) tidings of great joy, which shall be to all 9. Air and Chorus Countertenor people. For unto you is born this day in O thou that tellest good tidings to Zion, the city of David a Saviour, which is get thee up into the high mountain. O Christ the Lord.” (Luke 2: 10-11) thou that tellest good tidings to Jeru- 16. Recitative Soprano salem, lift up thy voice with strength; And suddenly there was with the angel, lift it up, be not afraid; say unto the a multitude of the heavenly host, prais- cities of Judah, behold your God! Arise, ing God, and saying: (Luke 2: 13) shine, for thy light is come, and the 17. Chorus glory of the Lord is risen upon thee. (Isaiah 40: 9) “Glory to God in the highest, and peace 10. Recitative Bass on earth, good will towards men.” (Luke 2: 14) For behold, darkness shall cover the earth, and gross darkness the people; 18. Air Soprano but the Lord shall arise upon thee, and Rejoice greatly, O daughter of Zion; His glory shall be seen upon thee. And shout, O daughter of Jerusalem! the Gentiles shall come to thy light, and Behold, thy King cometh unto thee; kings to the brightness of thy rising.` He is the righteous Saviour, and He (Isaiah 60: 2-3) shall speak peace unto the heathen. 11. Air Bass (Zecharaiah 9: 9-10) The people that walked in darkness 19. Recitative Countertenor have seen a great light; and they that Then shall the eyes of the blind be dwell in the land of the shadow of opened, and the ears of the deaf un- death, upon them hath the light stopped. Then shall the lame man leap shined. (Isaiah 9: 2) as an hart, and the tongue of the dumb 12. Chorus shall sing. (Isaiah 35: 5-6) For unto us a child is born, unto us a 20. Air Countertenor and Soprano son is given, and the government shall He shall feed His flock like a shepherd; be upon His shoulder; and His name and He shall gather the lambs with His shall be called Wonderful, Counsellor, arm, and carry them in His bosom, and the mighty God, the Everlasting Father, gently lead those that are with young. the Prince of Peace. (Isaiah 9: 6) (Isaiah 40: 11) 13. Pifa (Pastoral Symphony) Come unto Him, all ye that labour, come unto Him that are heavy laden, 14a. Recitative Soprano and He will give you rest. Take his yoke There were shepherds abiding in the upon you, and learn of Him, for He is field, keeping watch over their flocks by meek and lowly of heart, and ye shall night. (Luke 2: 8) find rest unto your souls. 14b. Recitative Soprano (Matthew 11: 28-29) And lo, the angel of the Lord came up- 21. Chorus on them, and the glory of the Lord His yoke is easy, and His burthen is shone round about them, and they light. (Matthew 11: 30)

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

Part Two

22. Chorus is full of heaviness. He looked for Behold the Lamb of God, that taketh some to have pity on Him, but there away the sin of the world. (John 1: 29) was no man, neither found He any to 23. Air Contralto comfort him. (Psalm 69: 20) He was despised and rejected of men, 30. Air Tenor a man of sorrows and acquainted with Behold, and see if there be any sorrow grief. He gave His back to the smiters, like unto His sorrow. and His cheeks to them that plucked (Lamentations 1: 12) off His hair: He hid not His face from 31. Recitative Tenor shame and spitting. He was cut off out of the land of the (Isaiah 53: 3, 6) living: for the transgressions of Thy 24. Chorus people was He stricken. (Isaiah 53: 8) Surely He hath borne our griefs, and 32. Air Tenor carried our sorrows! He was wounded But Thou didst not leave His soul in for our transgressions, He was bruised hell; nor didst Thou suffer Thy Holy for our iniquities; the chastisement of One to see corruption. (Psalm 16: 10) our peace was upon Him. 34. Recitative Tenor (Isaiah 53: 4-5) Unto which of the angels said He at 25. Chorus any time: “Thou art My Son, this day And with His stripes we are healed. have I begotten Thee”? (Hebrews 1: 5) (Isaiah 53: 5) 35. Chorus 26. Chorus Let all the angels of God worship Him. All we like sheep have gone astray; we (Hebrews 1: 6) have turned every one to his own way. 36. Air Countertenor And the Lord hath laid on Him the iniq- uity of us all. (Isaiah 53: 6) Thou art gone up on high; Thou hast led captivity captive, and received gifts 27. Recitative Tenor for men; yea, even from Thine ene- All they that see Him laugh Him to mies, that the Lord God might dwell scorn; they shoot out their lips, and among them. (Psalm 68: 18) shake their heads, saying: (Psalm 22: 7) 38. Air Soprano 28. Chorus How beautiful are the feet of them “He trusted in God that He would de- that preach the gospel of peace, and liver Him; let Him deliver Him, if He bring glad tidings of good things. delight in Him.” (Psalm 22: 8) (Isaiah 52: 7; Romans 10: 15) 29. Recitative Tenor 40. Air Bass Thy rebuke hath broken His heart: He Why do the nations so furiously rage 8

together, and why do the people im- them in derision. (Psalm 2: 4) agine a vain thing? 43. Air Tenor The kings of the earth rise up, and the Thou shalt break them with a rod of rulers take counsel together against iron; thou shalt dash them in pieces the Lord, and against His anointed. like a potter’s vessel. (Psalm 2: 9) (Psalm 2: 1-2) 44. Chorus 41. Chorus Hallelujah: for the Lord God Omnipo- Let us break their bonds asunder, and tent reigneth. The kingdom of this cast away their yokes from us. world is become the kingdom of our (Psalm 2: 3) Lord, and of His Christ; and He shall 42. Recitative Tenor reign for ever and ever. King of Kings, He that dwelleth in Heav’n shall laugh and Lord of Lords. Hallelujah! them to scorn; The Lord shall have (Revelation 11: 15; 19: 6 & 16)

Part Three

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

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Patron: John Rutter, CBE Conductor: Matthew Owens President: The Dean of Wells Chairman: Robin Duys

Wells Cathedral Oratorio Society Saint Nicholas; Elgar’s Dream of Geron- (WCOS) was founded in 1896 and is tius; Fauré’s Requiem; Handel’s Four one of the Southwest’s leading choral Coronation Anthems; Mendelssohn’s societies. It performs the great choral Elijah; Mozart’s Requiem and C Minor works with some of the UK’s finest Mass; Orff’s Carmina Burana; Verdi’s soloists and professional orchestras in Requiem; and major works by Finzi, the glorious surroundings of ‘The Purcell, Rutter, and Vaughan Williams. Queen of English Cathedrals’. Number- The Society also presents Handel’s ing around 160 voices, WCOS gives ever-popular Messiah, each December. three concerts a year, under the direc- WCOS hosts an annual Come and Sing tion of the distinguished conductor, day each spring, to which any singers Matthew Owens, Organist and Master are welcome to learn and perform a of the Choristers at Wells Cathedral. work from scratch, in just a few hours. Under Owens it has performed Bach’s For further details about WCOS, includ- St John Passion, B minor Mass, and ing how to join, please visit : Christmas Oratorio; Brahms’s German Requiem; Britten’s War Requiem and www.wcos.org.uk

SUSAN HAMILTON soprano Richard Allain, Harvey Brough, Pascal Dusapin, Gabriel Jackson, Witold The internationally acclaimed Scottish Lutoslawski, James MacMillan, Peter Nel- soprano, Susan Hamilton, began her mu- son, Ronald Stevenson, Bill Sweeney and sical career at the early age of eight when Errollyn Wallen. she became one of the first girl choristers in the UK at St Mary's Cathedral in Edin- She has performed with many leading burgh. orchestras and ensembles including the Amsterdam Baroque Orchestra, A Sei Vo- She is a noted soloist specialising in Ba- ci, Cantus Cölln, Collegium Vocale Ghent, roque and Contemporary music and has Florilegium, Flanders Recorder Quartet, worked with many conductors including Gabrieli Consort and Players, Il Gardellino, Raphael Frühbeck de Burgos, Sir John Irish Baroque Orchestra, King’s Consort, Eliot Gardiner, Philippe Herreweghe, London Symphony Orchestra, The New Monica Huggett, Jos van Immerseel, Rob- London Consort, Portland Baroque ert King, Ton Koopman, Paul McCreesh, Orchestra, The Rare Fruits Council, Ricer- Philip Pickett, and Masaaki Suzuki and car Consort and Scottish Chamber Orches- 10

Musicale and Scottish Songs by Haydn and Geminiani with the Rare Fruits Coun- cil.

Recent performances have included a tour with Mr McFall’s Chamber, Haydn's Nelson Mass with the Scottish Chamber Orchestra and a programme of English music with Ensemble Clematis.

JAMES NEVILLE counter tenor

James Neville began his musical training as a chorister of Cardiff Metropolitan Ca- thedral and he was educated at the school, St John’s College. His studies con- tinued at Magdalen College, Oxford, tra. In 1996 she co-founded the Dunedin where he sang as an Academical Clerk Consort. and graduated in Modern History. He went on to study further at the University Susan has appeared at major internation- of Cambridge, completing an MPhil in al festivals in Europe, Japan, Australia, Musicology. There he studied conducting Canada, Mexico and the US including the with Stephen Layton and sang as a Choral Edinburgh International Festival, Boston Scholar in the renowned King’s College Early Music Festival, Osterfestival Tirol, La Choir. Folle Journée, Melbourne, St Magnus, Salzburg Festival and Utrecht Early Music Festival and she broadcasts regularly on both television and radio.

Her recordings include Messiah, Acis and Galatea, and Esther by Handel, Bach’s St Matthew Passion and B Minor Mass (Linn Records), Purcell’s Ode to St Cecilia’s Day (Harmonia Mundi), Ferrabosco and Byrd Consort Music and The Walsingham Con- sort Book (Ricercar), A’e Gowden Lyric a recital of songs by Ronald Stevenson with pianist John Cameron and Dallapiccola’s Quattro Liriche di Antonio Machado, (Delphian Records), Haydn Scottish Songs (Flora) and most recently Two Serenatas For The Dublin Court by Kusser with Aura

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Recent and forthcoming solo engage- ments include Bach B Minor Mass (Gloucester and Llandaff cathedrals), Bach Christmas Oratorio (Cambridge Uni- versity Concert Hall), Bach St John Pas- sion (Hereford, Norwich and Ripon cathe- drals), Bach St Matthew Passion (Colston Hall and Hereford Cathedral), Britten A Midsummer Night’s Dream (Chester Town Hall), Handel Israel in Egypt (St Albans Cathedral and St Martin in the Fields), Handel Judas Maccabaeus with Cam- bridge University Music Society Chorus (King’s College Chapel), Han- del Messiah (Chelmsford, Hereford and Llandaff cathedrals, Colston Hall and York Minster), Mozart Requiem (Rochester Cathedral), Purcell Come, ye sons of art form all over the UK (including The (Leith Hill Music Festival) and Vivaldi Glo- Bridgewater Hall - Manchester, St Paul’s ria (St David’s Hall, Bruges and Ghent ca- Cathedral, The Barbican Centre) and Eu- thedrals). rope - Florence, Salzburg, Göttingen. He has worked with many leading conductors James is an Academic Tutor in Music at and directors including Sir Roger Norring- the Royal Welsh College of Music and ton, Sir Andrew Davis, Nicholas McGee- Drama and is Head of Humanities at St gan, David Sulkin and Gianandrea Noseda. John’s College, Cardiff. He is also Assis- Edward is also a regular soloist for broad- tant Master of the Choristers at Cardiff casts and concerts with the BBC. His ora- Metropolitan Cathedral and has been a torio repertoire is extensive and highlights Vocal Tutor for the National Youth Choir include Evangelist (Schütz, Stainer, Bach), of Wales. Mozart’s Requiem, Leighton’s Crucifixus Pro Nobis, Janácek’s Otce naš, and on EDWARD GOATER tenor many occasions (including an invitation to Kenya) Britten’s St. Nicolas. Edward Goater was born in 1980 in Soli- hul. After gaining a BSc in Ecology he stud- His opera invitations include Dukas’ Ari- ied with Lynton Atkinson and Enid ane et Barbe-Bleue; Rachmaninoff’s Fran- Hartle, and in 2002 was a prize winner in cesca da Rimini; Antonio, The Duenna- the Hampshire Singer Of The Year Compe- Linley; Viscount de Letorières, La Traviata- tition. He was recently appointed a Vicar Verdi; Beppe, I Pagliacci-Leoncavallo; Choral at Wells Cathedral, having been a Básník, The Excursions of Mr Broucek - member of the BBC Singers for nine years. Janácek; Spoletta, Tosca-Puccini. Edward Edward’s solo career has seen him per- also revived the role of Tallon in Dame

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Ethel Smyth’s The Wreckers for Duchy house, Captain Eugene Onegin, Sciarrone Opera. In 2004 David Briggs wrote the Tosca, Guccio Gianni Schicchi, and High song-cycle Dreamworld especially for Ed- Priest of Baal Nabucco. ward which is released by Chestnut Rec- ords. He has also recorded for Herald, In concert, Shipley has appeared regularly Deutsche Grammophon and NMC. as a soloist with the Monteverdi Choir Other future engagements include recitals under Sir John Eliot Gardiner, including in the West Country and Hampshire, as solos in Bach’s Mass in B Minor, in Monte- well as BBC Proms. verdi’s Orfeo at the BBC Proms, and in Monteverdi’s Vespers and Handel’s Dixit DAVID SHIPLEY -baritone Dominus at the Salzburg Festival for the choir’s fiftieth anniversary. He recently David Shipley has performed as a soloist performed the role of Tiresias on the Lon- with such ensembles and conductors as don Symphony Orchestra’s critically ac- the London Symphony Orchestra, the claimed ‘LSO Live’ recording of Stravin- Monteverdi Choir, the Classical Opera sky’s Oedipus Rex, conducted by Sir John Company, Sir John Eliot Gardiner, Sir An- Eliot Gardiner and featuring Stuart Skel- drew Davis and Sir Mark Elder, at venues ton, Jennifer Johnston and Gidon Saks. including Paris’s Salle Pleyel, Barcelona’s L’Auditori, the Kölner Philharmonie, Kings Other recent engagements include Colline Place, the Cadogan Hall, the Barbican, La bohème at the Verbier Festival, Beetho- Christ Church Spitalfields and the Royal ven’s Mass in C at the Al Bustan Festival in Albert Hall. This season he takes up a po- Beirut, Britten’s Billy Budd conducted by sition on the Jette Parker Young Artists Sir Mark Elder at the Glyndebourne Festi- Programme at the , val, BBC Proms, and Brooklyn Academy of Covent Garden, where his roles will in- Music; Sarastro Die Zauberflöte for Royal clude Arthur and Officer III The Light- Academy Opera; Bartolo Le nozze di Figa- ro at the Amersham Music Festival; and both the Drum-maker in Jonathan Dove’s Pinocchio and Gabriel in Dvořák’s The Cunning Peasant at the Guildhall School of Music and Drama.

Shipley recently completed the opera course at the Guildhall School of Music and Drama, studying with Janice Chap- man. He previously studied at the , where he was award- ed first-class BMus (Hons) and MA de- grees, as well as a DipRAM. In 2008 he won the Kathleen Ferrier Bursary for Young Singers. He is a Classical Opera Company Associate Artist.

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Director of three initiatives at Wells: Ca- thedral Commissions, a scheme which commissions new works from pre- eminent British composers; the cathe- dral’s innovative festival, new music wells; and its counterpart, Early Music Wells.

Matthew was educated at Chetham’s School of Music; The Queen’s College, Oxford; the Royal Northern College of Music; and the Sweelinck Conservatori- um, Amsterdam. His major organ studies were with Gordon Stewart, Margaret Phil- lips, and Jacques van Oortmerssen. From 1994-99, he was Tutor in Organ Studies at the RNCM and Chetham’s, and worked for BBC Religious Broadcasting; he was Con- ductor of The Exon Singers from 1997- 2011, and President of the Cathedral Or- ganists’ Association from 2010-13. MATTHEW OWENS conductor He is Musical Director of the Wells Cathe- Matthew Owens became appointed dral Oratorio Society, a chorus of over 150 Organist and Master of the Choristers of singers with which he has performed Wells Cathedral in January 2005, having Bach’s St John Passion, B minor Mass, previously been Organist and Master of Cantata 140, Lutheran Mass in F, and the Music at St Mary’s Episcopal Cathe- Christmas Oratorio; Bernstein’s Chichester dral, Edinburgh, and Sub Organist of Man- Psalms; Brahms’s Ein Deutsches Requiem chester Cathedral. In addition to being and Alto Rhapsody; Britten’s War Requi- responsible for the 1100 year old tradition em and Saint Nicholas; Elgar’s The Dream of daily sung worship at Wells Cathedral, of Gerontius, and The Kingdom; Fauré’s Matthew has toured, broadcast, and rec- Requiem; Handel’s Messiah and Four Cor- orded extensively with Wells Cathedral onation Anthems; Mendelssohn’s Elijah; Choir which, in 2011, was named by an Mozart’s Requiem and C Minor Mass; international jury for Gramophone as the Orff’s Camina Burana; Verdi’s Requiem; best choir in the world with children, and and major works by Finzi, Purcell, Rutter, the sixth greatest overall. He recently pre- Vaughan Williams, and Vivaldi, with some pared the choristers for Bach’s St of the south of England’s leading profes- Matthew Passion, with the Berlin Radio sional orchestras. Matthew has directed Choir, the Berlin Philharmonic Orchestra, choral workshops and summer schools and Sir , for the 2014 BBC throughout the UK and abroad – including Proms. Matthew is the Founder Artistic recent visits to Australia, China, Germany,

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Hong Kong, Luxembourg, New Zealand, J. S. Bach. The ensemble regularly ex- and the USA – and has made over thirty pands to form a larger orchestra enabling CDs as a conductor with major labels in- it to perform major choral works in ven- cluding Hyperion and Signum. ues such as Westminster Abbey, Glouces- ter, Hereford and Bristol Cathedrals. It As an organist, Matthew has given recitals also has its own chamber music series, in Australia, France, Ireland, Spain, Swit- held in smaller venues appropriate to the zerland, New Zealand, the USA, and repertoire. Music for Awhile has estab- throughout the UK, including many festi- lished contacts with schools and groups of val appearances, and at venues such as St young in order to attract chil- Paul’s Cathedral, Westminster Cathedral, dren to rehearsals and concerts, and pro- and St John’s Smith Square. He has cham- vides important access to live music for pioned new music, particularly of British the local rural community. composers, conducting over 170 world premieres, including works by leading Violin 1 composers ranging from Jools Holland to Maggie Faultless, Claudia Norz, Sir James MacMillan, and John Rutter to Roy Mowatt, Rachel Stroud, Sir Peter Maxwell Davies. As a composer Stephen Pedder himself, he has works published by Oxford Violin 2 University Press and Novello. He was Julia Kuhn, Claire Holden, made an Honorary Fellow of the Guild of Linda Hannah, Emily White Church Musicians in November 2012. Viola Martin Kelly, Nick Logie,

Jordan Bowron, Katharine Hart MUSIC FOR AWHILE Cellos ORCHESTRA Andrew Skidmore, Jonathan Rees, Artistic Director: Maggie Faultless Emily Ashton Bass Since its first performance in 1996, Music Kate Aldridge, Carina Cosgrave for Awhile has continued to inspire audi- Oboe ences and performers with concerts in a James Eastaway, Leo Duarte variety of venues, and at its own Summer Bassoon Festival in the magical setting of All Saints, Zoe Shevlin Alton Priors. Musicians from Europe’s Trumpet most acclaimed ensembles come together Stephen Cutting, Sebastian Philpott to perform a wide range of repertoire Timpani spanning over two centuries. Music for Serge Vuille Awhile specialises in performing English Harpsichord opera from Purcell’s time, and thanks to Pawel Siwczack sponsorship from the Cecil King Memorial Organ Foundation it also features the music of Bryan Anderson

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Soprano Maggie St Quinton Lynne Jarman Bernard North Margaret Sutton Jane Jarratt Andrew Phillips Sarah Allen Dominique Swain Janet Johnson Elsa van der Zee Ann Baker Pamela Tomlinson Amanda Karpinski Robin Walker ¶ Joyce Banner Christine Tudor Jessica Leach Jack Wilde* Debbie Bettles Patricia Turner Alex Lemanski John Williams * Pam Booth Helen Wade Barbara Leuwer ¶ David Wood Kate Brown Jan Weaver Jennifer Mackenzie Denise Bush Jo Weir Philippa Mains Bass Barbara Calverley Lucy Williams Mary Massey David Abels Felicity Chapman Rebecca Mead Martin Banner Margaret Chapman Alto Della Menday ¶ Christopher Boddie Julia Davies Jenny Abraham Liz Metcalfe Michael Calverley Margaret Davies Christine Barker Claire Mitchell John Castree Cheril Evans-Jones Sandra Barwise Mary Newman Geoffrey Clarke Caroline Fletcher Sally Bayley Claire Pennack David Cooke Heather Forgham Anne Beechey Janet Ravenscroft Will Drakett * Sandra Freeborn Sylvia Birbeck Margaret Rayfield Peter Farrell Carolyn Fussell Sue Boothroyd Jennifer Le Roy David Flinders ¶ Margaret Gelder Diana Brown Janet Rundell Stephen Foulkes * Sue Gould Jo Brown Mary Sage Niall Garden Antonia Gwynn Vivienne Burgess Celia Townend Gabriel Gilson Jane Hancock Louise Burton Lynn Waldron Wesley Hallam Susan Hanson Mary Carlisle Sue Wells Michael Harris Sarah Hare Rosemary Cooke Olivia Wilkinson Trevor Hazelgrove Jenny Henderson Nikki Copleston Kate Wilson Richard Henderson Rachel Hewson Polly Corbishley Kate Wood Derek Hiller Dorothy Hunter Sue Curragh Jo Wright Chris Jenkins ¶ Carolyn Legg Gill Deamer Dennis Johnson Ruth Lickfold Sian Decamp Tenor John King Anne Limond Joan Dovey Neill Bonham ¶ Richard Lander Della Luetchford Robin Duys ¶ Alan Brown Michael Leach Rosemary Lunn Kate Fielder Simon Bruce Robert Morfee Jennie Lunnon Liz Foy Ian Bynoe Robin Perry Nancy McGiveron ¶ Barbara Green Ben Clay ¶ John Potts Meriel Matthews Helen Griffiths Andrew Cruickshank Andrew Rainsford Sarah May Shelley Gudgin Alexandra De Alan Rayfield Janice Merritt Faith Guest Glanville Brian Roberts-Wray Viola Nagel Elizabeth Hand Richard Garstang ¶ David Rosser Ann Parsons Judith Harle Martin Godfrey Robert Smallcombe Maureen Pickford Catherine Hay Peter Harle William Truscott Pamela Pye ¶ Alison Heather Chris Hand * Kenneth Wade Margaret Raynes Mary l’Anson Martin Lovell Patricia Rees-Jones ¶ Committee Helen Inman Nigel Lloyd * Guest Frances Rowe ¶ Jane James John Morton

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Mrs S Allen Mr & Mrs M Gelder Mrs N McGiveron Mrs A Baker Mrs S J Gould Ms S Metters Mrs H Ball Mrs M A Grant Mrs J Oliver Mr & Mrs I Ball Mr & Mrs R Gunn Mr & Mrs G Parsons Mrs M Barker Harland Mr N Hamilton QC Mr & Mrs J Rattenbury Mr R C Brown Mrs S A Hare Mr A Rayfield Mr M Cansdale Capt & Mrs P A C Harland Mrs M Rayfield Mr G Clarke Mr & Mrs M Hay Mr N Record Miss B J Connolly Mr & Mrs D Hiller Mr P Roberts Mrs R Cooke Mrs M S I’Anson Mr D Rosser Mr D Corp Mr J Iddles Ms F Rowe Mr & Mrs C E F Cox Mr C R Jenkins Mr A Rowntree Mr C Crawfurd Mrs J Johnson Mrs M St Quintin Mrs S Crease Mrs A Karpinski Mr C R Stonehouse Dr & Mrs A Crossland Mr A Kaye Mrs M Sutton Mr A Cruikshank Mr R Lander Mrs P Tomlinson Mrs J Davies Mr & Mrs P Lemanski Mrs C Townend Mrs S Decamp Mr N Lloyd Dr & Mrs M A T Waters Mrs K Fielder Mr & Mrs M Lovell Mrs J Weston Mr F Fisher Mrs R Lunn Mr D Williams Mrs J Frith Mrs J Lunnon Mrs C Winfield Mrs C Fussell Mrs M Matthews Mrs A Wood

The Society gives three concerts each year which include an annual performance of Handel’s Messiah in December. The other two concerts are normally in early November and late March. The main features of the Friends scheme are:  Priority booking of up to four prime Nave tickets for each concert  Name/s of Friends printed in concert programmes  Annual Newsletter  Invitation to a special Friends event each year  Annual subscription of £24 All of us in the Society thank you for continuing your support as a Friend of Wells Cathedral Oratorio Society and look forward to seeing you at our concerts. Contact our Friends Secretary, Frances Rowe: [email protected]

Wells Cathedral Oratorio Society Corporate Patrons

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 Robin Duys at 01749 871105.

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Armandine Gallery

Pictures Prints Framing

23 Sadler Street WELLS BA5 2RR 01749 671255

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