Saturday 5 December 2015, 7.00pm HANDEL: MESSIAH Susan Hamilton soprano James Neville countertenor Ed Goater tenor David Shipley bass Music for Awhile Orchestra Matthew Owens conductor

Saturday 23 April 2016, 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 2016, from 9.30am to 6.00pm Come and Sing Day with Matthew Owens MOZART: in St Thomas’ Church, Wells

Tickets now available online: wcos.org.uk

2

Johann Sebastian Bach (1685-1750) Brandenburg Concerto 1 ‘Lutheran’ Mass in F major Cantata 140, Wachet auf! ______

Ali Darragh soprano Simon Clulow countertenor Iain MacLeod-Jones tenor Greg Skidmore bass ______

Wells Cathedral Oratorio Society Chorus ______

Music for Awhile Orchestra (on period instruments) Maggie 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.

3 Programme Notes “Next to the Word of preached. Johann God, the noble art of Sebastian Bach was music is the greatest born in the same treasure in the town into a great world.” wrote Martin Lutheran musical Luther. In 1523, family in 1685, just when planning the 200 years after Lu- forms of worship to ther, following him be used in Lutheran as a chorister there. Churches, he insisted He was awarded a that there would be two year choral much greater oppor- scholarship at age 14 tunities for participa- at St. Michael’s tion by congrega- School in Lüneburg. tions and he stressed There he came into the importance of contact with many of music in the training the sons of North of clergy. However German noblemen, Zwingli, another some of whom Protestant leader, would later give him thought music could employment. not be justified by the Bach as Konzertmeister in 1721 scriptures: he banned music in churches In 1703, aged 18, Bach was appointed under his direction, insisting that the or- court musician in Weimar where, in just gans be removed. John Calvin took a posi- seven months, his keyboard reputation tion midway between them and allowed grew to such an extent that he was invited only the unison singing of psalms set to to give an inaugural recital on the new metrical tunes in his churches. organ in St Boniface’s, Arnstadt—and was then given the post of organist there with Luther advocated the continued use of a light duties and a generous salary. modified Latin Mass in the larger churches; the Ordinary was retained but with the In 1717 Bach was hired to serve as Kappel- Credo and Agnus Dei omitted. For smaller meister for Prince Leopold of Anhalt- communities, where there was no musical Köthen. However, the court was Calvinist: training, he produced a Deutche Messe there was no choral tradition and no organ using German vernacular music. He also of any size in the town so Bach’s work retained the Offices, primarily Matins and there was mostly instrumental with some Vespers. Luther was the only Protestant secular cantatas for solo voice. He finally leader who taught that worship should be left after the Prince cut his music budget, essentially musical. partly because his new wife disliked Bach’s music. (Bach described her as amusa — Luther had been a chorister in Eisenach in being without muse). Saxony in the church where he later 4 In 1721 Bach produced a presentation several instruments). No 1 is the only one copy of six concertos and sent them, possi- with four movements and composing it bly as a job application, to Christian Lud- Bach may have used material from the wig, Margrave of Brandenburg. Bach had early secular Cantata 208, first performed composed them when at Cöthen, or possi- in 1713. He later used the first and third bly even earlier when in Weimar. He gave movements in cantatas for services in them the unofficial title of Six Concerts à . His covering note to the Margrave, plusieurs instruments (Six concertos for written in French, reads:

As I had the good fortune a few years ago to be heard by Your Royal Highness, at Your Highness's commands, and as I noticed then that Your Highness took some pleasure in the little talents which Heaven has given me for Music, and as in taking Leave of Your Royal Highness, Your Highness designed to honour me with the command to send Your Highness some pieces of my Composition: I have in accordance with Your Highness's most gracious orders taken the liberty of rendering my most humble duty to Your Royal Highness with the present Concertos, which I have adapted to several instruments; begging Your Highness most humbly not to judge their imperfection with the rigor of that discriminating and sensitive taste, which everyone knows Him to have for musical works, but rather to take into benign Consideration the profound respect and the most humble obedience which I thus attempt to show Him.

5 There is no evidence that the Margrave sion of the Kyrie Eleison was composed even replied to Bach; he may never have in 1708-17; the Domine Deus is based on heard the concertos played since his part of the lost cantata Froher Tag, BWV court orchestra did not include the re- Anh. 18; the Qui Tollis and Quoniam are quired range of instrumentalists. based on the sinfonia from Herr, deine Augen, BWV 102; and Cum Sancto Spiritu The full score of the concertos was left is based on the 1st movement from Dazu unused in the Margrave’s library and, ist erschienen, BWV 40. being re-discovered over 100 years later, was first published and performed in Lutheran services during Bach’s time 1850. One unique idea in the Branden- may have lasted nearly three hours, in- burg Concerto No. 1 is the use of hunting cluding readings, a sermon, and hymn horns. The concerto also calls for three (chorale) singing. Luther encouraged oboes and a bassoon, as well as continuo music as an art form that inspired spir- strings and the violino piccolo. Each itual devotion, so musical settings of movement has a brisk pace and extraor- Psalms and other Biblical passages were dinary counterpoint that contrasts be- popular interludes during services. The tween the small concertino group and cantata was generally placed after the the tutti ensemble. These concertos have sermon to serve as a musical counter- since become some of Bach’s most pop- part to the preacher’s message and was ular works, being regarded as one of the the principal piece of music in Sunday highlights of European Baroque music. services and festivals. Bach composed the cantatas around the scripture read- It is as well that the application fell on ings for the day and often used the melo- deaf ears only two years later, in May dies and texts of common Lutheran 1723 Bach applied for the post of Direc- hymns to support the message pro- tor of Music for Leipzig. The Councillors claimed in the biblical texts. During the had wanted Telemann from Hamburg first six years in Leipzig Bach composed and then had four other applicants be- five annual cycles, each of sixty church fore Bach. One Councillor remarked with cantatas, plus at least three Passions. a sigh that “since the best man could not be gotten they must make do with a me- Cantata 140 was written for the 27th diocrity”. Bach held the post for the re- Sunday after Trinity in 1731 using the maining 27 years of his life. gospel reading of the parable of the ten virgins. The chorale written on this sub- In Leipzig, in addition to music for munic- ject by Phillip Nicolai in 1599 was used ipal events Bach was responsible for for movements 1, 4 and 7. By writing on overseeing the music in the four main his compositions “SDG” or in full the churches. Fortunately they were Luther- Latin phrase “Soli Deo Gloria” (to God an and his No. 1 , consisting of six- alone be the glory), it is clear that Bach teen singers and eighteen instrumental- sought to honour the God who granted ists, sang on alternate Sundays at the him such superb musical ability. He once two principal churches. wrote that “music is an agreeable har- The Mass in F Major was composed in mony for the honour of God and the per- 1738, possibly for Count Franz Anton von missible delights of the soul.” Sporck and, as was usual, Bach re-used music from earlier works: the first ver- Programme Notes by Neill Bonham

6 Brandenburg Concerto No 1 in F major (BWV 1046)

Allegro Adagio Allegro Menuetto: Trio I, Menuetto, Polacca (Polonaise), Menuetto, Trio II, Menuetto

Lutheran Mass in F major (BWV 233)

1 Kyrie: Chorus,

Kyrie eleison Lord, have mercy Christe eleison Christ, have mercy Kyrie eleison Lord, have mercy

2 Gloria in excelsis: Chorus

Gloria in excelsis Deo, Glory to God in the highest, et in terra pax hominibus bonae and on earth peace to people of voluntatis. good will. Laudamus te, benedicimus te, We praise you, we bless you, adoramus te, glorificamus te. we adore you, we glorify you. Gratias agimus tibi propter magnam We give you thanks for your great gloriam tuam. glory,

3 Domine Deus: Bass Aria Domine Deus, Rex coelestis, Lord God, heavenly King, Deus Pater omnipotens, O God, almighty Father. Domine Fili unigenite Jesu Christe, Lord Jesus Christ, Only Begotten Son, Domine Deus, Agnus Dei, Filius Patris. Lord God, Lamb of God, Son of the Father,

4 Qui tollis peccata mundi: Soprano Aria Qui tollis peccata mundi, You take away the sins of the world, miserere nobis, have mercy on us; suscipe deprecationem nostram. receive our prayer. Qui sedes ad dexteram patris, You are seated at the right hand of the miserere nobis. Father, have mercy on us.

7 5 Quoniam: Alto Aria Quoniam tu solus sanctus, For you alone are the Holy One, tu solus Dominus, you alone are the Lord, tu solus altissimus Jesu Christe. you alone are the Most High, Jesus Christ,

6 Cum Sancto Spiritu Chorus Cum Sancto Spiritu With the Holy Spirit, in gloria Dei Patris, amen. in the glory of God the Father. Amen.

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

Cantata Wachet auf, ruft uns die Stimme (BWV 140)

1 Chorale: Chorus

Wachet auf, ruft uns die Stimme Awake, calls the voice to us Der Wächter sehr hoch auf der Zinne, of the watchmen high up in the tower; wach auf, du Stadt Jerusalem. awake, you city of Jerusalem. Mitternacht heißt diese Stunde, Midnight the hour is named; sie rufen uns mit hellem Munde, they call to us with bright voices; wo seid ihr klugen Jungfrauen? where are you, wise virgins? Wohlauf, der Bräut’gam kömmt, Indeed, the Bridegroom comes; steht auf, die Lampen nehmt, rise up and take your lamps, Alleluia! Alleluia! Macht euch bereit Make yourselves ready zu der Hochzeit, for the wedding, ihr müsset ihm entgegen gehn. you must go to meet Him.

8 2 Recitative: Tenor Er kommt, er kommt, He comes, He comes, der Bräut’gam kommt, the Bridegroom comes, ihr Töchter Zions, kommt heraus, O Zion's daughters, come out, Sein Ausgang eilet aus der Höhe his course runs from the heights in euer Mutter Haus. into your mother's house. Der Bräut’gam kommt, der einen Rehe The Bridegroom comes, who like a roe und jungen Hirschen gleich and young stag auf denen Hügeln springt leaps upon the hills; und euch das Mahl der Hochzeit bringt. to you He brings the wedding feast. Wacht auf, ermuntert euch, Rise up, take heart, den Bräut’gam zu empfangen; to embrace the bridegroom; dort, sehet, kommt er hergegangen. there, look, He comes this way.

3 Aria and Duet: Soprano and Bass Wenn kömmst du, mein Heil? When will You come, my Saviour? - Ich komme, dein Teil. - - I come, as Your portion. - Ich warte mit brennenden Öle. I wait with burning oil. Eröffne den Saal Now open the hall - Ich öffne den Saal - - I open the hall - zum himmlischen Mahl. for the heavenly meal. Komm, Jesu. Come, Jesus! - Ich komme, komm, liebliche Seele. - - I come, come, lovely soul! -

4 Chorale: Tenor

Zion hört die Wächter singen, Zion hears the watchmen sing, das Herz tut ihr vor Freuden springen, her heart leaps for joy within her, sie wachet und steht eilend auf. she wakens and hastily arises. Ihr Freund kommt von Himmel Her glorious Friend comes from heaven, prächtig, von Gnaden stark, von Wahrheit strong in mercy, powerful in truth, mächtig, ihr Licht wird hell, ihr Stern geht auf. her light becomes bright, her star rises. Nun komm, du werte Kron’, Now come, precious crown, Herr Jesu, Gottes Sohn, Lord Jesus, the Son of God! Hosianna! Hosannah! Wir folgen all We all follow zum Freudensaal to the hall of joy und halten mit das Abendmahl. and hold the evening meal together.

9 5 Recitative: Bass solo So geh herein zu mir, So come in to Me, du mir erwählte Braut! you My chosen bride! Ich habe mich mit dir I have to you von Ewigkeit vertraut. eternally betrothed Myself. Dich will ich auf mein Herz, I will set you upon My heart, auf meinen Arm gleich wie ein Sigel upon My arm as a seal, setzen, und dein betrübtes Aug’ ergötzen. and delight your troubled eye. Vergiß, o Seele, nun Forget, O soul, now die Angst, den Schmerz, the fear, the pain den du erdulden müssen; which you have had to suffer; auf meiner Linken sollst du ruhn, upon My left hand you shall rest, und meine Rechte soll dich küssen. and My right hand shall kiss you.

6 Aria and Duet: Soprano and Bass solos Mein Freund ist mein, My Friend is mine, -und ich bin sein,- - and I am yours, - die Liebe soll nichts scheiden. love will never part us. Ich will mit dir I will with You -du sollst mit mir- - you will with Me - im Himmels Rosen weiden, graze among heaven’s roses, da Freude die Fülle, where complete pleasure da Wonne wird sein. and delight will be.

7 Chorale: Chorus Gloria sei dir gesungen, Let Gloria be sung to You mit Menschen- und englischen Zungen, with mortal and angelic tongues, mit Harfen und mit Zimbeln schon. with harps and even with cymbals. Von zwölf Perlen sind die Pforten, Of twelve pearls the portals are made, an deiner Stadt sind wir Konsorten In Your city we are companions der Engel hoch um deine Thron. Of the angels high around Your throne. Kein Aug’ hat je gespürt, No eye has ever perceived, kein Ohr hat je gehört no ear has ever heard solche Freude, such joy des sind wir froh, like our happiness, io,io, io, io, ewig in dulci jubilo. eternally in dulci jubilo!

10 land more generally she ALI DARRAGH has given recitals as part Soprano of the Exon Singers Fes- tival in Tavistock, at Sto- Ali Darragh was born in gursey Parish Church, County Antrim, North- the Bishop’s Palace in ern Ireland and studied Wells, in Bristol and in English Literature and Bath. She performs reg- Art History at the Uni- ularly as a soloist with versity of St Andrews, choral societies with re- where she also held a cent performances in- choral scholarship. She cluding Mozart’s C Mi- has since performed nor Mass; ; with many of the lead- Haydn’s Nelson Mass; ing early music ensem- Handel’s Messiah and bles, with highlights Acis and Galatea; Bach’s including performances St John and St Matthew Passions, B Minor of Bach’s St Matthew Passion (with Colle- Mass and ; Karl Jenkins’s The gium Vocale, Gent /Philippe Herreweghe, Armed Man; and Purcell’s Dido and Aene- and the Dunedin Consort/John Butt) and as. She was also a soloist in a Gala Con- Blow’s Venus and Adonis (with The Musi- cert with Wells Cathedral Choir and solo- cians of the Globe Theatre, London/Phillip ists Dame Emma Kirkby, James Bowman, Pickett). She has sung frequently with the Daniel Norman and Neal Davies (Bach’s Gramophone and MIDEM award-winning Magnificat and Handel Utrecht Te Deum Dunedin Consort in works such as Han- and Jubilate). She is also in increasing de- del’s Messiah, Dixit Dominus and Bach’s B mand in the area of film music, with her Minor Mass and with which she recently most recent appearance being as ‘the made her solo CD debut in a recording of voice’ of Gillian Anderson on the sound- Bach’s St Matthew Passion released by track for the new ‘Moby Dick’ mini series! Linn Records. She has also sung with The Exon Singers (Matthew Owens), and with Ali has also been heavily involved with Chorus Angelorum (Gavin Carr), perform- Music in Hospitals – a registered charity ing ’s Trois Petites Litur- whose mission it is to improve the quality gies de la présence divine in Turin Opera of life of adults and children in hospitals House. and care homes through the joy and ther- apeutic benefits of live music. In 2011 she Ali is increasingly active as a soloist and was awarded a PhD in Architectural Histo- recitalist, with highlights including perfor- ry from the University of St Andrews. mances of Vivaldi’s solo cantata Nulla in Mundo with Philharmonia of Edinburgh and Brahms Liebesleider Walzer in Glas- SIMON CLULOW gow and at the Edinburgh Festival. In Countertenor Wells, as part of the ‘Early Music Wells’ series she has recently given a perfor- Simon Clulow began his singing career as mance of Handel’s Neun deutsche Arien, a boy chorister at St Mary’s, the parish and working with duet partner Lesley church of Nottingham. As a man he Jane Rogers, she has given a recital of Ba- moved straight on to alto, and first stud- roque music, including the original Handel ied with the countertenor John Whit- Messiah duets. In the Southwest of Eng- worth, a contemporary of Alfred Deller. After attending Nottingham Bluecoat 11 School, he read music at John Scott. It was on this Huddersfield, studying tour that his love of reg- with David Lennox, be- ular cathedral singing fore spending two years was rekindled. By 2001, at the R.N.C.M. At the after a P.G.C.E at Oxford college, he performed Brookes and a brief peri- Britten’s role of ‘Oberon’ od teaching music at to critical acclaim and The Amersham School, also sang as a lay clerk he had moved to Wells under Stuart Beer at as a Vicar Choral. Since Manchester Cathedral then he has taken many and with the early music solo engagements with acapella group local groups including ‘Gradualia’. After com- City Of Bath Bach Choir, pleting his performance Chew Valley Choral Soci- diploma, he spent sever- ety, The Beaumont Sing- al years touring with opera companies, ers and The Somerset Singers. including City Of Birmingham Touring This will be his 7th concert with Wells Ca- Opera (Les Boreades – Rameau) directed thedral Oratorio Society. Simon is im- by Graham Vick, English Bach Festival (L’orfeo – Monteverdi), Scottish-Opera-Go mensely proud to have been part of the cathedral choir that sang for the funeral -Round (Orfeo ed Euridice - Gluck) and appeared as Narciso in Handel’s Agrippina of Harry Patch (The Last Fighting Tommy), and as a Vicar Choral, he has sung solos at The Buxton Festival. before choir patron The Countess Of Wes- In the mid 90’s he moved to London and sex at St James’ Palace and on tour at began to concentrate on concert work Hong Kong City Hall, on choir recordings through The Music Makers agency. He has and broadcasts, in Haydn’s Nelson Mass enjoyed solo engagements in all the ma- with Dame and The Cathedral jor Baroque oratorios and in several of School Chamber Orchestra, and the solo the appropriate classical liturgical works ‘Now The Guns Have Stopped’ in the with a wide variety of choral societies choir’s concert performance of The across the UK. These include ‘Messiah’ at Armed Man (Jenkins). Simon currently York Minster and Wells Cathedral, the studies with Rosa Mannion, Professor of Bach Passions, Mozart Requiem, Vivaldi Vocal Studies at the Royal college Of Mu- Gloria, Saul at St John’s Smith Square, sic, and is also a singing teacher himself at Bach for Highgate Choral Millfield Senior School and The Wells Blue Society, works by Purcell at The York Early School. Music Festival, Bach at Wells, and Samson at Southwell Minster. IAIN MACLEOD-JONES In London, he also worked with several professional , including The BBC tenor Singers and the choirs of St Paul’s Cathe- dral and Westminster Abbey. Iain MacLeod-Jones began his singing ca- reer as a chorister in Liverpool’s Metro- In 1996 he went on the Christmas tour to politan Cathedral. He initially went on to Brazil with St Paul’s Cathedral Choir study medicine at Bristol University but (featuring a young Alistair Cook on the became increasingly involved in the Uni- treble line), under the direction of the late versity’s musical life and eventually took

12 an Honours degree in Iain sang the lead role in music, studied for his Philip Glass Satyagraha in Masters, and became a the International Philip Lay Clerk in Bristol Ca- Glass Festival in Alkmaar, thedral Choir. Iain now Holland, performed the sings regularly as Vicar role of Tom Rakewell in Choral in Wells Cathe- Stravinsky The Rake’s dral Choir. As well as Progress for Bristol singing the eight weekly Opera, and appeared at services at Wells, he is the Edinburgh Festival often in demand as a so- Fringe in the lead role of loist for choirs across the a dramatised programme south-west and further of ’s afield. Iain also conducts Canticles. Iain has also the Maesbury Singers, been busy this year tak- teaches privately, runs ing part in events cele- his own graphic design brating Benjamin company, and administrates a Somerset- Britten’s centenary; these concerts includ- based children’s charity. ed a recital performance of Britten’s Can- ticles in Wells Cathedral, and a rare per- Solo engagements have included Mozart formance of The Heart of the Matter in Requiem with Stroud Choral Society; Ros- Bristol. Iain has appeared on recordings sini Petite Messe Solonelle with Yeovil both as a choir member and to critical ac- Choral Society; Britten St Nicholas in Bath; claim as a soloist, on the Hyperion, Priory, Finzi Farewell to Arms in Cheltenham with Lammas, Cantoris and Herald labels. the Gloucestershire Symphony Orchestra; Britten Serenade for tenor, horn and strings in Bradford-upon-Avon; Bach East- GREG SKIDMORE bass er Oratorio in Rome; Handel Messiah in Born in Canada, Greg Skidmore arrived in Tewkesbury Abbey; Mozart Requiem in England as an undergraduate at Royal Cheltenham; Bach Mass in B minor in Holloway College, University of London. Sherborne Abbey with Emma Kirkby; Gou- After graduating with First Class Honours nod Messe Solonnelle de Saint Cecile for in Music, his post-graduate Choral Schol- Wrington Choral; Handel Samson in High- arship at Wells Cathedral lead him to Lay bridge; Bach in Bristol Ca- Clerkships at Gloucester Cathedral and thedral; Bach Easter Oratorio in Glaston- Christ Church Cathedral in Oxford. He now bury; Schütz Weihnachts Historie in Liver- lives in London and is pursuing a varied pool; Haydn Marie Theresa Mass in Brad- career of consort, choral, and oratorio ford-upon-Avon; Haydn Nelson Mass in singing. Exeter Cathedral with the Exeter Philhar- monia; D’Astorga Stabat Mater in Buck- Solo engagements include Bach’s St. fast Abbey; Bach Mass in B minor in the Matthew and St. John Passions, Mass in B Church of the Holy Redeemer, Chelsea; Minor, Christmas Oratorio, and Magnifi- and Rossini Petite Messe Solonelle in Bath cat all with Ex Cathedra; Stravinsky’s Can- Abbey. Future engagements next season ticum Sacrum, Fauré’s Requiem, and Han- include Handel Acis & Galatea, Puccini del’s Messiah with the CBSO in Symphony Messe di Gloria, Charpentier Te Deum, Hall, Birmingham; Messiah with the Irish and Haydn Great Organ Mass. Baroque Orchestra; Purcell’s Ode for St Cecili’s Day and Handel’s Dixit Dominus 13 with the Orchestra of the can be heard on discs re- Age of the Enlighten- leased by Decca, ment; Purcell’s Fairy Deutsche Grammophon, Queen with the Gabrieli Harmonia Mundi USA, Consort at the Spitalfields Hyperion, Linn, and oth- Festival; the first ever ers and his solo recording English translation of debut, released in 2011, Bach’s St. Mark Passion was as Christus on Ex Ca- with the Derby Bach thedra's recording of the Choir; Mendelssohn’s Eli- Lassus St. Matthew Pas- jah; Carl Orff’s Carmina sion. Burana; the Brahms, Mo- While at Christ Church in zart, Duruflé, and Carl Rütti Requiems; Britten’s Oxford, he began a course of doctoral re- Cantata Misericordium; Purcell’s King Arthur and search in Musicology at the University of Oxford Dido and Aeneas (as Aeneas); numerous Bach cantatas including bass solo cantatas and started his own men’s voices consort, I Dedicati, with whom he has explored the Ich habe genug and Ich will den Kreuzstab; music of Isaac, Schütz, Byrd, Monteverdi, and Monterverdi’s 1610 Vespers at the Brighton Early Music Festival. and other masters from the 16th and 17th centuries. He has given workshops in the His solo work has taken him to Washing- ton National Cathedral in the United UK, France, and New Zealand specialising in various collections of Renaissance poly- States; the Scuola Grande di San Rocco in Venice; Hamburg’s Laeiszhalle; Birming- phonic repertoire and is increasingly en- gaged in Canada as a guest conductor, ham Town Hall; the Queen Elizabeth Hall and St. John’s Smith Square in London; choral mentor, and producer. He has been published in Early Music and his writing and many other venues throughout the UK. has appeared in programmes and CD liner notes for , The Sixteen, Equally comfortable in choral and consort The Cardinall’s Musick, The Gabrieli Con- singing, he has appeared with The Tallis sort, Tenebrae, and Ex Cathedra. Scholars, The Sixteen, The Cardinall’s Mu- sick, I Fagiolini, Tenebrae, The Gabrieli MATTHEW OWENS conductor Consort, Polyphony, The BBC Singers, Ex Matthew Owens is Organist and Master of Cathedra Consort, Alamire, The Dunedin the Choristers of Wells Cathedral, having Consort, The Singers, Ox- previously been Organist and Master of ford Camerata, The Choir of the Enlight- the Music at St Mary’s Episcopal Cathe- enment, Collegium Vocale Ghent, Cappel- dral, Edinburgh (1999-2004), and Sub Or- la Amsterdam, The National Chamber ganist of Manchester Cathedral. He is also Choir of Ireland, La Grand Chapelle Conductor of the Wells Cathedral Oratorio (Madrid), Currende (Antwerp), Psallente Society, and was President of the Cathe- (Leuven), and the Tafelmusik Baroque dral Organists’ Association from 2010-13. Chamber Choir (Toronto), among others. He is the Founder Artistic Director of two Greg has also sung with the choirs of initiatives at Wells: Cathedral Commis- Westminster Abbey; St Paul's, Westmin- sions, a scheme which enables the cathe- ster, and Winchester cathedrals; and St. dral choir to commission new works from George’s Chapel at Windsor Castle. He pre-eminent British composers; and new

14 music wells, a festival over thirty CDs as a con- which is a retrospective ductor or solo organist of the last forty years of with major labels includ- music as well as featur- ing Hyperion and Re- ing many premieres. In gent. addition to being respon- sible for the 1100 year As an organist, Matthew has given recitals in Aus- old choral tradition of daily worship at Wells tralia, France, the Re- public of Ireland, Swit- Cathedral, Matthew has zerland, New Zealand, toured, broadcast, and recorded extensively USA, and throughout the UK, including many festi- with Wells Cathedral Choir which, in 2011, val appearances, and at venues such as St Paul’s was named by an inter- national jury for Gramo- Cathedral, Westminster Cathedral, and St John’s phone as the best choir in the world with children, and the sixth Smith Square. He has championed new music, particularly of British composers, greatest overall. premiering many new works by leading Born in 1971, Matthew was educated at composers ranging from Jools Holland to Chetham’s School of Music and The James MacMillan, and to Sir Queen’s College, Oxford. As a postgradu- Peter Maxwell Davies. He is active as a ate he received the highest award for per- composer himself and has works pub- formance, the Professional Performance lished by Oxford University Press and No- Diploma, with distinction, and the college vello. He was made an Honorary Fellow of Bach prize at the Royal Northern College the Guild of Church Musicians in Novem- of Music; gained a Master’s Degree from ber 2012. the University of Manchester; won thir- teen prizes in the diplomas of the Royal MUSIC FOR AWHILE College of Organists, and was awarded the ORCHESTRA Silver Medal of the Worshipful Company Artistic Director: Maggie Faultless of Musicians. He then studied at the Sweelinck Conservatorium in Amsterdam. Since its first performance in 1996, Music His major organ studies were with Gordon for Awhile has continued to inspire audi- Stewart, Margaret Phillips, and Jacques ences and performers with concerts in a van Oortmerssen. From 1994-99, he was variety of venues, and at its own Summer Tutor in Organ Studies at the RNCM and Festival in the magical setting of All Saints, Chetham’s and worked for BBC Religious Alton Priors. Musicians from Europe’s Broadcasting. From 1997-2011 he was most acclaimed ensembles come together Conductor of The Exon Singers. to perform a wide range of repertoire spanning over two centuries. Music for As well as guest conducting a number of Awhile specialises in performing English professional orchestras, Matthew has di- opera from Purcell’s time, and thanks to rected choral workshops and summer sponsorship from the Cecil King Memorial schools throughout the UK and abroad – Foundation it also features the music of J. including recent visits to Australia, China, S. Bach. The ensemble regularly expands Germany, Hong Kong, Luxembourg, New to form a larger orchestra enabling it to Zealand, and the USA – and has made perform major choral works in venues 15 such as Westminster Abbey, Gloucester, Viola Hereford and Bristol Cathedrals. It also Rachel Byrt, Jordan Bowron, has its own chamber music series, held in Katherine Hart smaller venues appropriate to the reper- Cello toire. Music for Awhile has established Andrew Skidmore, Jonathan Rees contacts with schools and groups of Bass young musicians in order to attract chil- Jan Spencer dren to rehearsals and concerts, and pro- Oboes vides important access to live music for Frances Norbury, Gail Hennessy, the local rural community. Bethan White Horns Violin 1 Anneke Scott, Nicholas Benz Maggie Faultless, Anna Curzon, Bassoon Rachel Stroud, Claudia Norz, Zoe Shevlin Stephen Pedder Harpsichord Violin 2 Pawel Siwczak Jean Paterson, Dan Edgar, Nia Lewis, Organ Kathryn Parry Bryan Anderson

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 one tius; Fauré’s Requiem; Handel’s Four of the Southwest’s leading choral socie- Coronation Anthems; Mendelssohn’s ties. It performs the great choral works Elijah; Mozart’s Requiem and C Minor with some of the UK’s finest soloists Mass; Orff’s Carmina Burana; Verdi’s and professional orchestras in the glori- Requiem; and major works by Finzi, ous surroundings of ‘The Queen of Eng- Purcell, Rutter, and Vaughan Williams. lish Cathedrals’. Numbering around 160 The Society also presents Handel’s ever voices, WCOS gives three concerts a -popular Messiah, each December. year, under the direction of the distin- WCOS hosts an annual Come and Sing guished conductor, Matthew Owens, day each spring, to which any singers Organist and Master of the Choristers are welcome to learn and perform a 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 and www.wcos.org.uk

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

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

Mrs J Frith Mrs M Matthews Mrs A Wood Mrs C Fussell Mrs N McGiveron

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.

18 Armandine Gallery

Pictures Prints Framing

23 Sadler Street WELLS BA5 2RR 01749 671255

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