Opening Gala A Celebration of Heritage Mise Éire (Orchestral Suite) I Roisín Dubh II Boolavogue III Roisin Dubh/Druim Fhionn Donn Dílis IV Sliabh na mBan V Roisín Dubh Seán Ó Riada (1931-71)

Cornucopia for Horn and Orchestra (1969/70) Prelude - Rondo In February of this year, Cork (and indeed, Ireland) lost one of the most intelligent and charismatic musicians to ever grace our shores. Aloys Fleischmann (1910-92) Alan Cutts had a huge influence on the education of literally hundreds of musicians - young and old - and he dedicated his time and expertise in the most humble and selfless manner imaginable. Intimations of Immortality for Tenor, Chorus and Orchestra, Op. 29 His rich wealth of knowledge was matched by his modesty and those of us who were lucky enough to study with and learn from him - be it Gerald Finzi (1901-56) in a junior choir or amateur orchestra; as a BMus or MA student at the Cork School of Music; as a member of Madrigal ’75, Wexford Opera Chorus, Irish Youth Choir, Fleischmann Choir; or as part of his many other activities including his appearances at the Cork International Choral Festival - will never forget his wisdom and charm. Cormac Ó hAodáin (French Horn) All of us on stage tonight wish to dedicate this concert to the memory Robin Tritschler (Tenor) of our friend, mentor and colleague, Alan. He is sorely missed but will forever be in our thoughts. Fleischmann Choir Cork School of Music Symphony Orchestra The 2015/2016 season of the Fleischmann Choir is also dedicated Maria Ryan (Leader) to Tadge O’Mullane and James Stevens. They will forever be fondly remembered as loved members of both our Fleischmann Choir and Conor Palliser (Conductor) 1 CSM family.

We sing with them in our hearts and thoughts. Seán Ó Riada (1931-71)

Seán Ó Riada led a life that encompassed an instant celebrity. The Orchestral Suite a wide range of musical activity in Ireland. assembles five sequences from the film score. Today, he is best remembered for his film The iconic opening horn solo (played today music but there was much more to him by Louise Sullivan) to the tune of Róisín Dubh than this: Assistant Director of Music in [Black Little Rose], seems to express both the Radio Éireann; Director of Music at the tribulations of centuries and the aspirations Abbey Theatre; founder of the traditional of an emerging nation. Boolavavogue [a town MISE music group Ceoltóirí Chualann; performer; in County Wexford] follows with a martial (Orchestral Suite) arranger; broadcaster; writer; and academic. snare-drum under a pair of Oboes (certainly He was also regarded as being the single an instrument of the classical rather than most influential figure in the revival of the traditional world). Róisín Dubh again Irish Traditional Music during the 1960s. appears but in a different orchestration However, Ó Riada’s aspirations and work as a before leading to the sweeping grandeur of ÉIRE composer of serious art-music pre-dated and Druimfhionn Donn Dílis [Dear Brown Cow]. underpinned nearly all of these activities. The conclusion of this movement features trumpet fanfares which are answered by To put these times into context, one must clarinets and oboes (a feature found in the understand that Ireland - a country on the compositions of Mahler - one of Ó Riada’s periphery of Europe - was a country that musical influences). A solo trumpet (tonight possessed comparatively limited European played by Michael Mullins) intones Sliabh na musical tradition. It had no development or mBan [Mountain of the Women] over bare 2 3 synthesis between Gaelic musical culture timpani beats and the suite concludes with a and the modern continental musical systems majestic finale of Róisín Dubh. and languages. Ó Riada was occupied by this dilemma throughout his creative life and he It should be noted that the footage shown sought to establish a nationalist musical voice tonight is extracted from the entire original by combining traditional Irish tunes and film and is not only from the five moments “sean-nós” with the classical tradition (similar portrayed in the suite’s movements. A full to Dvořák, Bartók and Vaughan Williams). DVD of Mise Éire can be purchased from www.gael-linn.ie It was his score for the film Mise Éire by George Morrison in 1959 which made him Aloys Fleischmann Cornucopia (1910-92) for Horn and Orchestra

Aloys Fleischmann was keenly aware of his Before he had any music to show he could folk music or folklike material in his earlier Aloys Fleischmann could no doubt have a position as one of the first group of native only assert his Irishness. He adopted an works, and virtually none at all in his later. left a larger legacy of music had he directed composers to live and work in Ireland. A Irish pseudonym, Muiris Ó Rónáin, feeling Certain modal inflections, melodic contours, his energies more single-mindedly. That he whole dimension of Irish music which had, that his German surname was inconsistent and rhythms in works like the Piano Suite did not is due to his understanding of the by and large, remained amateur throughout with his nationalist aspirations; he wrote and the Piano Quintet of 1938, allude only larger obligation his generation had to create the nineteenth century was revitalised by this songs to Irish texts; and he even persuaded obliquely to a folk style. And a later work the circumstances in which modern Irish pioneering generation. The determination the English music publisher J. & W. Chester, like The Planting Stick of 1957, in which he music could flourish. In his teaching, in his of these composers to remain in Ireland at a who published his 1933 Piano Suite, to print employs material directly derived from folk indefatigable organising, in his willingness difficult but hopeful time, and to attempt the all musical directions in Irish as well as in music, is quite exceptional. It is rather that to sit on endless committees, in his ceaseless creation of modern Irish music, virtually from Italian! These overt gestures were necessary in Irish mythology, Irish history and literature prompting and provoking, he had only one nothing and often under very discouraging helping him to define his position. But while form a constant background to his work, and end in view: the increasing well-being of Irish circumstances, is something that is easy he dropped the pseudonym and subsequently from this his themes and texts are most often music. We acknowledge our indebtedness, to take for granted today. Not only did set but few Irish texts, he continued to the drawn. ‘It seemed vital’, he wrote, ‘to delve and for his vigorously-active life many of us they give the country the first works in its end of his life to compose in faith with his into the Hidden Ireland, and out of the heroic continue to feel a profound gratitude. modern repertoire, but they had to oversee understanding of what it meant to be an Irish tales and romances to create an idiom which the gradual establishment of a performance composer. would express in music some of the essence of Note by Séamas de Barra infrastructure so that this music could be this rich untapped literary tradition.’ heard. Aloys Fleischmann is a crucial figure in It was only natural that he and his this movement. contemporaries should look to the powerful example of Vaughan Williams and the modern Fleischmann’s final work of the 1960s was Cornucopia, a prelude and rondo for horn and piano On looking down the list of his works one is English school as a model of how a nation which was commissioned for the Festival of Twentieth Century Music in 1970 and first 4 5 struck by the insistence on subject matter of revitalises itself musically. What is remarkable, performed by Neil Saunders and Lamar Crowson of the Melos Ensemble. Like earlier works with an Irish nature. What it meant to be an Irish however, is that in spite of the impressive piano accompaniment it was subsequently orchestrated and Fleischmann himself conducted the composer was a question that occupied him achievements of their prestigious neighbours, premier of this alternative version the following year. It has become regarded as one of his most greatly, as it did his contemporaries. How some of whom were personal friends – Bax successful later works. to be Irish in a larger European context – a and Moeran in particular, who had a foot This orchestral version was premiered by Victor Malirsh with the Radio Éireann Symphony Orchestra. question that has lost none of its urgency. on either side of the Irish sea – there is a The only other performance of the work in its orchestral form took place almost 40 years later in Particularly, how to tread a path between an tough independence about so much of the 2010, during Fleischmann’s centenary celebrations. This was given by Cormac Ó hAodáin – a former anonymous cosmopolitan style and the lure of music written here in the 1930s and 1940s. student of Victor Malirsh – in a performance with the RTÉ Concert Orchestra, also in Dublin. an easy internationalism on one hand, and the The folk-song style, while attractive to some, restricted folk-music style considered desirable had little appeal for Fleischmann. A handful Tonight’s performance is the Cork premiere and Cormac is delighted to both bring Cornucopia home by the narrower nationalist lobby on the other. of arrangements apart, he rarely used actual and to be following in Victor’s footsteps. Gerald Finzi (1901-56)

Photo: Angus McBean

A series of tragedies profoundly affected He was exceptionally well read and over perfectly each chosen text. In fact about allegro orchestral passage introduces Finzi in his early years. His father died the years amassed a valuable collection two-thirds of his works are either for verses three and four, with their dancing just before his eighth birthday, and by the of some 3,000 volumes of English poetry, chorus or solo voice, and all of his music is images of spring. The horn call is heard time he was eighteen he had lost his three literature and philosophy, now housed in immediately recognisable by its yearning again before verses five, six and nine (Finzi elder brothers and his much-loved teacher, the Finzi Book Room at Reading University. melodic lines and wistful harmonies. omitted Wordsworth’s seventh and eighth Ernest Farrar, who was killed in action. His favourite writers were Shakespeare, verses), in which the central theme of lost This dreadful sequence of events, and the Wordsworth, Traherne and in particular, Intimations of Immortality was first innocence is addressed, and hope offered. appalling losses of the First World War that Hardy, in whose introspective verse he performed at the Three Choirs Festival, The earlier allegro returns for the tenth formed the backdrop to his adolescence, found a kindred spirit. In 1926 Finzi moved Gloucester, in September 1950, conducted stanza, followed by the broad theme heard gave Finzi an acute awareness of the to London, where he quickly became part by Herbert Sumsion. It is one of Finzi’s early on in the piece. The final section impermanence of life, further heightened of a group of composers that included most substantial works and is scored for concludes with a poignant reiteration when at the age of fifty he discovered that he Vaughan Williams, Holst, Arthur Bliss, full orchestra, tenor solo and chorus. of the horn call, which then fades away was dying of leukaemia. These experiences Edmund Rubbra, Robin Milford and, most Wordsworth’s Ode, subtitled ‘from into contemplative silence. Finzi uses the may well explain the underlying hint of importantly, Howard Ferguson, with whom recollections of early childhood’ is a lament tenor solo, chorus and orchestra in many 6 melancholy in his music, heard particularly he formed a lifelong friendship. for the lost joys and intuitive wonder of subtle combinations, rather as an artist 7 in the many fine Hardy songs, the superb childhood. For Finzi this became a crux of might mix his colours in varying shades, cantata Dies Natalis, for solo voice and Finzi’s music springs from his love of his artistic creed, that the artist must keep reflecting the constantly changing nuances strings (a setting of words by Traherne), the literature and the English countryside - his or her vision alive and fresh at all costs, of Wordsworth’s evocative poem. Seven poems of Robert Bridges and the Ode the same sources that inspired Elgar and and by extension any adult too. Intimations of Immortality. Vaughan Williams. Like them he found writing songs and choral music particularly The work begins with an ethereal horn Finzi led a solitary life until his mid- satisfying. In Finzi’s case, however, the call, representing the ‘intimations of twenties, finding peace and quiet instinctive feeling for words is exceptional, immortality’ themselves. A second, broad satisfaction in the countryside and the natural speech-rhythms and cadences theme forms the musical basis for the immersing himself in poetry and literature. of his musical lines complementing first and second verses. An animated To me alone there came a thought of grief: A timely utterance gave that thought relief, And I again am strong: Intimations of The cataracts blow their trumpets from the steep; No more shall grief of mine the season wrong; Immortality I hear the echoes through the mountains throng, Finzi (Poem by William Wordsworth) The winds come to me from the fields of sleep, And all the earth is gay; Land and sea There was a time when meadow, grove, and stream, Give themselves up to jollity, The earth, and every common sight, And with the heart of May To me did seem Doth every beast keep holiday;— Apparell’d in celestial light, Thou Child of Joy, The glory and the freshness of a dream. Shout round me, let me hear thy shouts, thou happy It is not now as it hath been of yore;— Shepherd boy! Turn wheresoe’er I may, By night or day, Ye blessèd creatures, I have heard the call The things which I have seen I now can see no more. Ye to each other make; I see The heavens laugh with you in your jubilee; The rainbow comes and goes, My heart is at your festival, And lovely is the rose; My head hath its coronal, The moon doth with delight The fulness of your bliss, I feel—I feel it all. Look round her when the heavens are bare; O evil day! if I were sullen Waters on a starry night While Earth herself is adorning, Are beautiful and fair; This sweet May-morning, The sunshine is a glorious birth; And the children are culling 8 But yet I know, where’er I go, On every side, 9 That there hath pass’d away a glory from the earth. In a thousand valleys far and wide, Fresh flowers; while the sun shines warm, Now, while the birds thus sing a joyous song, And the babe leaps up on his mother’s arm:— And while the young lambs bound I hear, I hear, with joy I hear! As to the tabor’s sound, —But there’s a tree, of many, one, A single field which I have look’d upon, Both of them speak of something that is gone: The pansy at my feet Doth the same tale repeat: Whither is fled the visionary gleam? To make her Foster-child, her Inmate Man, Where is it now, the glory and the dream? Forget the glories he hath known, And that imperial palace whence he came. Our birth is but a sleep and a forgetting: The Soul that rises with us, our life’s Star, O joy! that in our embers Hath had elsewhere its setting, Is something that doth live, And cometh from afar: That nature yet remembers Not in entire forgetfulness, What was so fugitive! And not in utter nakedness, The thought of our past years in me doth breed But trailing clouds of glory do we come Perpetual benediction: not indeed From God, who is our home: For that which is most worthy to be blest— Heaven lies about us in our infancy! Delight and liberty, the simple creed Shades of the prison-house begin to close Of childhood, whether busy or at rest, Upon the growing Boy, With new-fledged hope still fluttering in his breast:— But he beholds the light, and whence it flows, Not for these I raise He sees it in his joy; The song of thanks and praise; The Youth, who daily farther from the east But for those obstinate questionings Must travel, still is Nature’s priest, Of sense and outward things, And by the vision splendid Fallings from us, vanishings; Is on his way attended; Blank misgivings of a Creature At length the Man perceives it die away, Moving about in worlds not realised, And fade into the light of common day. High instincts before which our mortal Nature 10 Did tremble like a guilty thing surprised: 11 Earth fills her lap with pleasures of her own; But for those first affections, Yearnings she hath in her own natural kind, Those shadowy recollections, And, even with something of a Mother’s mind, Which, be they what they may, And no unworthy aim, Are yet the fountain-light of all our day, The homely Nurse doth all she can Are yet a master-light of all our seeing; Uphold us, cherish, and have power to make Out of human suffering; Our noisy years seem moments in the being In the faith that looks through death, Of the eternal Silence: truths that wake, In years that bring the philosophic mind. To perish never: Which neither listlessness, nor mad endeavour, And O ye Fountains, Meadows, Hills, and Groves, Nor Man nor Boy, Forebode not any severing of our loves! Nor all that is at enmity with joy, Yet in my heart of hearts I feel your might; Can utterly abolish or destroy! I only have relinquish’d one delight Hence in a season of calm weather To live beneath your more habitual sway. Though inland far we be, I love the brooks which down their channels fret, Our souls have sight of that immortal sea Even more than when I tripp’d lightly as they; Which brought us hither, The innocent brightness of a new-born Day Can in a moment travel thither, Is lovely yet; And see the children sport upon the shore, The clouds that gather round the setting sun And hear the mighty waters rolling evermore. Do take a sober colouring from an eye That hath kept watch o’er man’s mortality; Then sing, ye birds, sing, sing a joyous song! Another race hath been, and other palms are won. And let the young lambs bound Thanks to the human heart by which we live, As to the tabor’s sound! Thanks to its tenderness, its joys, and fears, We in thought will join your throng, To me the meanest flower that blows can give Ye that pipe and ye that play, Thoughts that do often lie too deep for tears. Ye that through your hearts to-day Feel the gladness of the May! What though the radiance which was once so bright Be now for ever taken from my sight, Though nothing can bring back the hour 12 Of splendour in the grass, of glory in the flower; 13 We will grieve not, rather find Strength in what remains behind; In the primal sympathy Which having been must ever be; In the soothing thoughts that spring created the tenor roles in Roger Waters’ Ça Ira and Will Gregory’s Piccard in Space, and appeared in Jonathan Harvey’s Wagner Dream (WNO), John Cage’s Europeras 1 & 2, and Louis Andriessen’s De Materie (RuhrTriennale Festival).

In recital Robin frequently appears on the stage of London’s Wigmore Hall, Köln’s Cormac Ó hAodáin Robin Tritschler Philharmonie, Het’s Concertgebouw, and Washington DC’s Kennedy Centre, and at the Cormac Ó hAodáin was born in Dublin and studied horn with Victor Acclaimed for his “radiantly lyrical” voice, Aldeburgh Festival, Aix-en-Provence Festival, Malirsh at the Royal Irish Academy of Music. He was a member of Robin Tritschler has garnered praise from KlavierfestRuhr and the West Cork Chamber both the Junior and Senior Youth Orchestras of Ireland and the Irish critics and audiences for his performances. Music Festival with leading accompanists Youth Wind Ensemble. Cormac represented Ireland in the European In concert, Robin has appeared with Graham Johnson, Malcolm Martineau and Union Youth Orchestra with whom he toured Europe, Russia and many leading orchestras including the Julius Drake. In 2012 Robin was selected as South America. On these tours he had the great privilege of working London Philharmonic Orchestra (Yannick a BBC New Generation Artist and broadcast with Maestros Kurt Sanderling, Carlo Maria Giulini, Bernard Haitink, Nézet-Séguin and Vladimir Jurowski), extensively with their orchestras, including Georges Prêtre, Mstislav Rostropovich and Vladimir Ashkenazy. Orchestre National de Lyon (Yutaka Sado), appearing at the BBC Proms with the Hallé Gulbenkian Foundation Lisbon, Hong Kong Orchestra (Sir Mark Elder). He also broadcasts Following his studies at the Royal Northern College of Music, Philharmonic Orchestra (Edo de Waart), regularly across Europe, including the Britten Manchester and postgraduate studies at the Guildhall School of Rotterdam Philharmonic Orchestra (Philippe Centenary Song recitals for Radio France and Music and Drama in London, Cormac joined the Royal Philharmonic Herreweghe), Moscow Virtuosi (Vladimir Danish Radio. Robin’s growing discography Orchestra in 1997. In 1999 he became a member of the Philharmonia Spivakov), and BBC Philharmonic (Juanjo includes a widely-acclaimed recital of World Orchestra and in 2009 he was appointed Principal Horn of the RTÉ Mena). With the RTÉ Concert Orchestra and War One songs with Malcolm Martineau, “No Concert Orchestra. Since his return to Ireland Cormac has established Our Lady’s Choral Society, Robin performed Exceptions No Exemptions” (Signum), which the wind quintet Cornucopia Winds, the Irish Horn Quartet and Messiah before Pope Benedict XVI to was awarded the BBC Music Magazine’s Cornucopia Brass Ensemble. Cormac is delighted to return to his celebrate the 80th Anniversary of the Vatican Choral & Song Choice. Other CD’s include a studies, undertaking his Masters in Performance at the CIT Cork State, and with the Bournemouth Symphony critically-acclaimed live recital of Britten and School of Music. Orchestra (Kirill Karabits) Robin gave the UK Schubert with Iain Burnside (Wigmore Hall première of C. P. E. Bach’s St John Passion. Live), Britten’s Winter Words with Malcolm Martineau (Onyx), Poulenc: The Complete Robin’s recent opera engagements include Songs with Graham Johnson (Hyperion), 14 Fool (Wozzeck at the Royal Opera House), Mendelssohn: Complete Songs with Malcolm 15 Don Ottavio (Don Giovanni) and Belmonte Martineau (Champs Hill Record). (Die Entführung aus dem Serail for Welsh National Opera), Lysander (A Midsummer Robin’s season’s highlights include Night’s Dream, Klagenfurt), and Ferrando Mendelssohn’s Elijah in Oslo, Finzi’s The (Così fan tutte, Garsington). Other operatic Intimations of Immortality in Cork and Tokyo, roles include Count Almaviva (Il barbiere a European tour of Haydn’s Die sieben letzten di Siviglia), Nemorino (L’elisir d’amore), Worte unseres Erlösers am Kreuz with Philippe and Narraboth (Salome). Robin also enjoys Herreweghe, and a gala concert in London’s performing contemporary opera, having Wigmore Hall to commemorate Ireland 1916. a performance of Simon O’Connor’s Widows Cork School of Music Symphony Orchestra of 1916. He conducted the RTÉ National Symphony Orchestra on their sold-out tour to The Cork School of Music Symphony recently it gave performances of orchestral Cork and Waterford in April 2015, and again in Orchestra has been described in the national works by Séamas de Barra (a member of their sold-out final Summer Lunchtime Series press as “the finest orchestra of its kind the School’s staff, in both Dublin and Cork) concert in the [NCH], in Ireland”. Because of the sheer number and David Wallace (Hochtief Fellow in Dublin last July. In May of this year, Conor will of enrolments in the CIT Cork School of Composition at the CIT Cork School of make his debut with the . Music [CSM], for orchestral instrument Music, 2006-2008, and Aloys Fleischmann lessons (over 1,500), the School organises no Composer-in-residence at the CSM, 2010). As a piano player, Conor has appeared on Conor Palliser less than five Bands (Jazz as well as Concert) stage at the NCH, Dublin, in a performance of and seven orchestras (from Preparatory, Every year the orchestra accompanies Since receiving an MA from the CIT Cork Stravinsky’s Concerto for Piano and Winds and through Junior, Intermediate & Senior the winner of the CSM’s Senior Concerto School of Music in 2011, Cork-born Conor his debut piano recital in 2008 was broadcast to Baroque, Classical and Symphony) to Competition, and it regularly collaborates Palliser has quickly established himself as one by RTÉ’s lyric fm from the John Field Room, foster the development of ensemble music- with the School’s adult, mixed-voice of Ireland’s leading young conductors. He is NCH. In recent times, he has been the official making skills at every level. Initially under Fleischmann Choir for performances of the the Conductor of the Fleischmann Choir and accompanist for the Irish Chamber Orchestra’s the direction of the School’s former Head oratorio repertory – recently for the first CSM Symphony Orchestra, and he is also auditions, and is hugely in demand to of String Studies, Adrian Petcu, the School’s performance in Cork of Karl Jenkins’ Mass a highly-regarded French horn player and accompany young musicians in competitions Symphony Orchestra has developed from for Peace: The Armed Man, and the choir’s pianist. Conor began studying the piano at across the country. In 2010, Conor was a relatively modest beginnings as a Chamber collaboration with the Irish Youth Choir to the CSM with Mary Beattie at the age of 6 finalist in the inaugural Irish Freemasons’ Orchestra more than twenty years ago to give performances of Berlioz’s Grande messe and French horn with Seán Clinch four years Young Musician of the Year, and he also was become hailed in the national press as one des morts [Requiem] in both Ireland and later. He was named CSM Student of the the winner of the CSM Advanced Recital of the outstanding examples of the amateur Wales and Orff’s Carmina Burana in Cork Year upon completion of his BMus in 2009, Competition on both piano and French horn. orchestral scene in Ireland. In recent years, and Limerick. For the latter the orchestra and he currently works as a lecturer, coach under the direction of the CSM’s Director, was awarded the Irish Association of Youth accompanist and conductor at the CSM. As a horn player, Conor has worked with Dr Geoffrey Spratt, both its membership Orchestras / Penney’s Artistic Achievement the RTÉ National Symphony Orchestra, the and standards have been enhanced by the Award for 2003. In November 2002 it was Conor first studied conducting with Alan Cutts RTÉ Concert Orchestra, the Irish Chamber presence in the School of over 120 full- engaged to accompany the Perm State during his BMus and from 2009 to 2011, Conor Orchestra, Wexford Opera and Camerata time BMus Degree students and more Ballet’s production of Adam’s Giselle in undertook a conducting mentorship with Ireland as well as being a former member of than 20 MA Degree students. Its regular the Cork Opera House, and has recorded Dr. Geoffrey Spratt at CSM. The mentoring the European Union Youth Orchestra and performances in Cork are complemented scores by Stephen Parker for award- included extensive rehearsal and public International Youth Wind Orchestra. He has by visits to venues throughout Ireland winning films: Poker Nights (2004) and performance opportunities with several of the also worked alongside both the Callino and and abroad. The orchestra has twice taken Forty shillin’ shame (2008). As contributions School’s most senior choral and orchestral RTÉ Contempo Quartets. He took part in Cork part in the International Festival of Youth to the programme for Cork’s tenure as 16 forces. In 2010, Conor was privileged to become Operatic Society’s national award winning 17 Orchestras held annually in Valencia, Spain, European Capital of Culture during 2005 the a beneficiary from the Bryden Thomson Trust production of Leoncavello’s Pagliacci in the and successfully pioneered the concept of orchestra performed music by Honegger, for Young Conductors and it was decided to Everyman Palace Theatre as an actor-musician “Proms” concerts in Cork. Nineteenth- and Beethoven (the Violin Concerto with extend this support in 2012. Conor made his on both French horn and piano, as well as twentieth-century masterpieces from the Catherine Leonard), Bizet and Saint-Saëns professional conducting debut in 2011 with the being a répétiteur and assistant conductor. orchestral repertory form the core of its (the Introduction & Rondo capriccioso with RTÉ Concert Orchestra and has been invited to Upon winning the CSM Senior Concerto programmes, and it has commissioned Siún Milne, winner of the 2004 CSM Senior conduct them on several subsequent occasions, Competition, Conor gave the first performance works from a number of Irish composers Concerto Competition); it also joined including a collaboration with Linda Buckley in Ireland of Mathias’ Horn Concerto with the – most notably John Kinsella, whose forces with the Fleischmann Choir, Cologne (RTÉ lyric fm’s Composer-in-Residence, 2011- CSM Symphony Orchestra. He also appeared Symphony No. 7 it premièred in 1999. More Philharmonic Choir, CSM Senior & Youth 12), on National Music Day in 2012 and most as the soloist on the opening night of the 56th recently in the presence of President Higgins for Cork International Choral Festival. Choirs, Robert Craig (Tenor), and Colin The latter also showcased the première CSM Symphony Orchestra Nicholls (Organ), to perform Berlioz’s epic of a new Violin Concerto by Sam Perkin (April 2016) Te Deum for the opening of the 51st Cork which was written for Eoin Ducrot, and the International Choral Festival. CSMSO. The 2012-2013 season featured works including Copland’s Appalachian Violin 1: Cello: Bassoon: The highlights of the orchestra’s 2009-2010 Spring with guest conductor, Elaine Kelly, Antara Barbara Ruah Berney-Pearson Sinéad Frost season were performances of concertos Elgar’s Introduction and Allegro with the Caoimhe Browne Meadhbh Campbell Katie Cody Emma Downes, Co-leader Geraldine Dennehy Pippa Hanley by Schumann (for piano, with Danusia RTÉ Vanbrugh Quartet as well as Tippet’s Constanze Fischer Zara Finn Oszlilok), Bruch (for viola, with Ed Creedon) Child of our Time with the Fleischmann Ailbhe Fitzgerald Ellen Jansson Contra Bassoon: and Vinter (for French Horn, with Conor Choir and the Cologne Philharmonic Choir. Lucia MacPartlin, Sub-principal Maeve Kelly, Co-Principal Pippa Hanley Rachael Masterson Zoë Nagle Palliser), Dvorák’s Symphony No. 8, Rossini’s Recent performances included Shostakovich’s Colm O’Mahony Joseph Norton Horn: Overture to William Tell and a performance Cello Concerto No. 1 with Maria O’Connor, David McElroy Cormac Ó Briain, Principal Louise Sullivan of music by Aloys Fleischmann’s Song of a hugely successful all-Brahms concert with Maggie O’Shea Aoife Rodgers Niamh Rodgers Marian Power Lydia Thorpe the Provinces (for choir, orchestra and Mairéad Hickey (violin) and the Fleischmann Eddie Marks Maria Ryan, Leader Jamie Tingle audience!) for the Opening Gala Concert Choir, Tchaikovsky’s Symphony No. 6 Marta Stocco of the Cork International Choral Festival to and Mozart’s Coronation Mass as well a Richard O’Dwyer Double Bass: Hugh O’Connor mark the centenary of his birth. The success performance of Sibelius’ Symphony No. 5 in Violin 2: Keanan Augereau of the orchestra’s rehearse-record sessions both Cork and Kenmare. Hollie Browne Annie Blake, Co-principal Trumpet: Aisling Deegan Sophie Butler, Principal for student composers in the CSM, and Michael Mullins Aisling Donnelly Joe Cusack Michael Russell those for 4th Year BMus students studying Membership of the orchestra is open to Sophie McCarthy Jennifer O’Brien Katie McDonnell orchestration, continued to be highlights any student who has passed Grade 8 and Fiona McEvoy, Co-principal Alison Riordan of the 2010-2011 season, together with anybody who wishes to join should contact Abby Ni Loingsigh Orla O’Hanlon Harp: Trombone: performances in Cork and Skibbereen the CIT Cork School of Music’s Public Office Aaron O’Donovan Keeva O’Mahony Dianne Marshall of music by Malcolm Arnold (Peterloo), ([021-]4807301) or e-mail Dr Geoffrey Spratt Muireann Ní Raghallaigh Mark McCarthy Adrian Hanly Beethoven (Overture to Egmont), Gordon ([email protected]). Niamh O’Raw, Principal Flute: Sorcha O’Riain Jacob (Trombone Concerto, with Cillian Ó Rebecca Archer Claire O’Sullivan Tuba: Orla Maher Ceallacháin), Sam Perkin (Violin Concerto/ Brid Og Dwyer Rob O’Brien Nicole Morris iii, with Mairéad Hickey) Sibelius (the Violin Eoin Smiddy Cliona Sunderland Concerto, with the orchestra’s Leader, Hugh Piccolo: Timpani: Jessica Wyer Patrick Lynch Murray, and Finlandia), and Puccini’s Messa Orla Mahler [di Gloria] with the Fleischmann Choir. The Viola: Percussion: 2011-12 season featured works by Malcolm Oboe: Cian Adams-Gibson Siobhán O’Donnell Arianna Bohning Arnold (A Grand, Grand Overture), Brahms Martha Campbell Principal Clare O’Keeffe Joy Rowan Casey Catherine Kelly 18 (Academic Festival Overture), Beethoven Kevin Power 19 Emily Crowley (Symphony No. 5), Vaughan Williams (Hodie), Gael Walsh Paul Fitzgibbon Cor Anglais: Bruch (Kol Nidrei with Sinéad O’Halloran), Seamus Hickey Coral O’Sullivan Piano/Celeste: and choral favourites by Bach, Brahms, Fauré, Jamie Kennedy Ellen Jansson Handel, Karl Jenkins, Mozart, and Orff with Ciara Lambkin Clarinet: Conor Lucey the Fleischmann Choir in “Proms” concerts. Will Tomao Tara McCarthy, Co-principal Gemma Coultis Emma Redmond Katherine Veeckman Bass Clarinet: Ciara Lineen Fleischmann Choir

The Fleischmann Choir was founded in in tempore belle, The Seasons, & The and Cork – was able to join the combined most recent concert featured Haydn’s Te November 1992 by Dr. Geoffrey Spratt Creation, Hummel’s Alma virgo, Karl choral and orchestral forces of the Cork Deum and Dvorak’s Te Deum featuring (Director of the CIT Cork School of Music Jenkins’ The Armed Man: A Mass for School of Music to perform Berlioz’s epic Majella Cullagh and Brendan Collins for and Founder-Conductor of the Irish Youth Peace, Bryan Kelly’s Africa, Mathias’s Ave Te Deum for the opening of the Cork performances in both Cork and at the Choir and Canticum Novum), Initially Rex, Mozart Requiem, Orff’s Carmina International Choral Festival in April 2005. Kenmare Choral Festival. called the Cork School of Music Symphony Burana, Poulenc’s Gloria, Puccini’s Messa During its 2006-2007 season the choir Orchestra Chorus, it sang in public for the a 4 voci [Messa di Gloria], Stainer’s The performed Mozart’s Requiem with the Although the Fleischmann Choir has first time on 22 April 1993 when it gave a Crucifixion, Vaughan Williams’ Hodie Cork Symphony Orchestra in Cork’s City achieved an enviable reputation for concert with the RTÉ Concert Orchestra & Serenade to Music, Verdi’s Missa da Hall to mark the 250th anniversary of the fulfilling its mission to perform the large- in Cork’s City Hall to mark the opening Requiem (in both Germany and Ireland) birth of Mozart, and in March 2008, it scale repertory for choir and orchestra, of the 40th Cork International Choral and Vivaldi’s Dixit Dominus & Gloria, as gave the first performances in Cork of Karl it also has a great reputation amongst its Festival. The programme was of music by well as music by J. S. Bach, Beethoven, Jenkins’ The Armed Man: A Mass for Peace members for the inclusive social life that Aloys Fleischmann – one of the founders Bernstein, Bizet, Brahms, Britten, Clucas, to over 2,000 people. goes hand-in-glove with the singing. The of the Cork International Choral Festival, Donizetti, Elgar, Holst, Andrew Lloyd Fleischmann Choir is the adult, mixed- and its longest-serving Director – who Webber, Mascagni, Massenet, Mathias, The Fleischmann Choir’s 2008-2009 season voice choir of the CIT Cork School of had died the previous year. Shortly after Mozart, Parry, Sam Perkin, Puccini, included the first complete performance Music, and anybody who wishes to join this concert, with the permission of the Purcell, Stanford, Tchaikovsky, Vaughan in Cork of Haydn’s The Seasons with the should contact the CIT Cork School of family, the choir was renamed in memory Williams and Verdi, carols, folk-song RTÉ Concert Orchestra and a team of Music Public Office ([021-]4807301) or of the man who did so much to further the arrangements, gospel arrangements, internationally renowned soloists. The e-mail the choir’s conductor, Conor Palliser cause of choral music and choral singing in Negro spirituals and opera choruses. In 2010-2011 season included outstandingly ([email protected]). Ireland. Rehearsals for this large, mixed- addition the choir has accepted invitations successful concerts in Dachau (Germany) voice choir take place on Monday nights as diverse as “Songs of Praise” for the during a week-long visit to celebrate the from 7.30-10.00 p.m. BBC from St Colman’s Cathedral, Cobh, centenary of Aloys Fleischmann and Co. Cork, backing Johnny Logan during the work of his father (who was born The choir specialises in singing large- the Eurovision Song Contest broadcast in Dachau). It also featured the first scale works for choir and orchestra. In by RTÉ from Millstreet, Co. Cork, and performances of both Britten’s St Nicolas recent years it has performed Berlioz’s singing with Niamh Kavanagh for her RTÉ in Cork and of Puccini’s Messa with the Grande messe des morts [Requiem] Christmas Show from Cork Opera House. CSM Symphony Orchestra in Cork and (in both Wales and Ireland), Borodin’s Skibbereen. The choir’s 21st season, 2012- “Polovtsian Dances” from Prince Igor, The Fleischmann Choir is delighted to 2013, featured two more first performances Brahms’ Ein deutsches Requiem, Britten’s have been invited to give the Opening Gala in Cork: Honegger’s magnificent Cantate 20 21 St Nicolas, Bruckner’s Te Deum, Angel Concerts of the 2004, 2005, 2010 & 2013 de Nöel and Tippett’s epic oratorio A Climent’s Missa solemne & Motet: Caro Cork International Choral Festivals – not child of our Time – the latter with the mea, Dvorák’s Mass, Fauré’s Requiem, least because in both 2004 and 2010 it Cologne Philharmonic Choir in both Fleischmann’s Clare’s Dragoons & Song provided the opportunity to perform again Cork and Cologne. Recent concerts in of the Provinces, Fleishmann Snr’s Mass works by Fleischmann, which the choir City Hall featured three rarely performed in honour of St Finbarr, Grieg’s Incidental sang for its inaugural concert in 1993. It works by Brahms to great acclaim and Music for Peer Gynt, Handel’s Messiah, was particularly pleased that the Cologne Mozart’s Coronation Mass with Cara Chandos Anthem No. 1, & Coronation Philharmonic Choir - with which it had O’Sullivan, Bridget Knowles, Breiffni Anthem: Zadok the Priest, Haydn’s Missa already given concerts in Cologne, Dublin Horgan and Brendan Collins. The choir’s Fleischmann Choir www.thefleischmannchoir.org Sopranos Contraltos Tenors Basses Claire Brosnan Christine Allan Ciaran Ahern Walter Beare Edith Browne Clare Bywater Hugh Brint Willie Beechinor Valerie Cooney Jemima Cassidy Jim Cashman James Brockie Teresa Coughlan Teresa Collins Jordan Cassidy Murrough Connolly Deirdre Deasy Aoife Coyne Jim Cleary Noel Cronin Leona Duffy Margaret Crowley Ashley Coleman Matthew Doherty Michèle de Foubert Anne-Marie Curtin Philip Dunphy Justin Donnellan Christina Favier Anne Donnelly Brian Flanagan Ben Glavin Marguerite Field Philomena Giltanan Joseph Frahill Sean Grace Toni Forde Renata Gudinovic Seán Hill Rob Hamilton Mairéad Gallagher Helen Hegarty Johnny Houlihan Finbarr Healy Anne Godfrey Deirdre Hurley Billy Lewis Kurtis Hemphill Ann Harrington Niamh Keane David Lynch Stephen Jeffery Frances Jeffery Elaine Kelly Seán McGann David King Patricia Kelleher Betty Killeen Graham Manson Tony Malone Sinéad Kelleher Jenny Lagerqvist Gerard Moynihan Conor Nash Lisa Lee Fitzgerald Laura Lagerqvist Terence Murphy Fergal O’Byrne Susanne Leutenegger Breege Leonard Brian O’Connor Kevin O’Callaghan Elizabeth Lynch Mary Lisson Seumas O’Donovan Brendan O’Connell Claire McCarthy Maeve Long Proinnsias O’Keeffe Pax O’Faoilain Niamh Murray Catherine McCarthy Cian O’Leary Finbarr O’Riordan Margaret Murphy Barbro McCutcheon Ann-Marie O’Sullivan John C. Ryan Deirdre Ní Drisceoil Jacqueline McLay John O’Sullivan John Smyth Sinead Nolan Anne Malone Jack Regan-Kirwan Pawel Switaj Keeva O’Mahony Betty Murphy Adrian Scanlan Gerald Weste Sinead O’Neill Laura Murphy David Shine Richard Winfield Patricia O’Sullivan Bernadette Murray Kay Scoutts-O’Mahony Dearbhail O’Callaghan Liz Searls-Spratt Anne O’Connor Music Staff 2015-16 Noreen Spillane Maria O’Donovan Conductor: Conor Palliser Marie Sprott Patricia O’Gorman Founder-Conductor Emeritus: Dr Geoffrey Spratt Marcella Twomey Ali O’Mahony Accompanist: Gerard Moynihan Rosie Twomey Clare O’Shea-O’Neill Line Coaches: Daniel Beuster, Ben Jacob, Denise White Clíona O’Sullivan Elaine Kelly & Deirdre Long Alice Suk Hon Wong Kristine Ozolina Christine Pybus Committee 2015-16 Sheila Robinson Manager: Ali O’Mahony & Clíona O’Sullivan Jenny Scott-Baird Treasurer: Graham Manson Isabelle Sheridan Membership Secretary: Jenny Scott-Baird 22 Alison Smyth Librarian: Michèle de Foubert 23 Ita Teegan Archivist: Betty Killeen Anne Walsh Social Secretary: Willie Beechinor Stage Managers: Terence Murphy & Graham Manson Website: David Sprott (www.thefleischmannchoir.org) Design: Alan O’Shea [of aosdesign] Programme editor: Niamh Murray Photography: Seumas O’Donovan Line-Leaders: Deirdre Ni Drisceoil, Aoife Coyne, David Shine & Tony Malone Assistant Line-Leaders: Alice Wong, Sheila Robinson, Seumas O’Donovan & Justin Donnellan Fund collectors: Alice Wong (Ann Harrington), Ita Teegan, David Lynch & Justin Donnellan 27th April – 1st May 2016 Bringing a city to life with song

www.corkchoral.ie #LoveChoral

JOIN US FOR THE REST OF THE FESTIVAL AT Kaldowski Mariusz Image credit: THE FOLLOWING SUPERB GALA CONCERTS:

The Real Group [Sweden] Thursday 28th April, 8pm, Cork City Hall. The world’s leading vocal ensemble return to Cork with an awe-inspiring programme of pop and jazz music. A must-see concert! “an exuberant, energetic and entertaining show (...) Terrific, all of it” - THE LONDON TIMES Tickets: ¤15, ¤20, ¤25 Chamber Choir Ireland [Festival choir in residence] Music to hear, why hear’st thou music sadly? Remembering 1916 and Celebrating Shakespeare. Friday 29th April, 7.30pm, St. Fin Barre’s Cathedral. Paul Hillier (Conductor) “Imaginatively programmed… exemplary standards… Truly world-class” - CULTURE NORTHERN IRELAND Tickets: ¤20 BENJAMIN Evocations - White Raven [Switzerland] Friday 29th April, 10.30pm, Cathedral St. Mary & St. Anne (North Cathedral). Evocations, noted for its sacred and reflective atmosphere, presents one of the foremost exponents of medieval song. BRITTEN “Voices of Purest Gold” - THE IRISH TIMES Tickets: ¤15 Benjamin Britten’s CSM CHAMBER International Fleischmann Gala SERENADE 24 ORCHESTRA Saturday 30th April, 3pm & 8pm, Cork City Hall. for Tenor, Horn & Strings “Witness some of the world’s top amateur choirs” Leader: Hugh Murray Tickets: ¤15, ¤20, ¤25 (Both 3pm & 8pm sessions) or ¤10 for 3pm session only with Robin Tritschler & Conductor: Geoffrey Spratt Cormac Ó hAodáin and Closing Gala Concert SATURDAY Sunday 1st May, 8pm, Cork City Hall. LES ILLUMINATIONS “A joyful celebration of song and colour” 30 APRIL 2016 Tickets: ¤20, ¤25, ¤30 for Soprano & Strings Curtis Auditorium, CIT Cork School of Music with Mary Hegarty BOOKINGS: www.corkchoral.ie or 021 450 1673 or www.everymancork.com 1.10pm & 5.30pm Please note a booking fee of ¤2.50 per ticket applies to telephone & internet bookings. Tickets ¤10 (Concessions ¤5) The Fleischmann Choir CorkChoralFestival @thefleischmann @corkchoralfest www.thefleischmannchoir.org #LoveChoral www.corkchoral.ie