MESSIAH G.F. Handel

THE WINKLEIGH SINGERS

DEVON BAROQUE Artistic Director Margaret Faultless (1685-1759) George Siona Stockel – soprano Stephen Harvey – counter tenor Nathan Vale – tenor Andrew Ashwin – bass Conductor – Roland Smith Saturday 27 November 2004 St Peter’s Church, Barnstaple Charles Jennens (1700-1773)

PROGRAMME £1 MESSIAH time he assimilated all those nation’s Messiah was composed at Handel’s G.F. Handel; Libretto selected from musical styles and specialised in usual quick speed, but was premiered a biblical texts by Charles Jennens and oratorios. These oratorios were almost year later in Dublin without Jennens’s Composed: 1741 always dramatic narratives, functioning involvement. Handel appears to have First Performed: Dublin 1742 like English operas composed for been reluctant to present such a sacred performances in theatres such as Covent subject matter in a London theatre, which The establishment of Messiah as a Garden. Most are based on Biblical or seems wise considering the Bishop of venerated English institution for religious stories, but some, such as Semele London’s outrage in 1732 when cathedral Christmas and Choral Societies has a and Hercules, are blatantly secular. Even choristers had sung in Esther. The theatre, long and complicated history. A few Messiah, which does not tell a story in and Handel’s music, were still perceived excerpts are familiar to almost everybody, conventional terms and is therefore unlike by many ecclesiastics as profane and unlike any other work by its prolific almost all other baroque oratorios, amply subversive. Even Dean Jonathan Swift, a and misunderstood composer. Messiah demonstrates Handel’s abilities as an cranky old man with Gulliver’s Travels remains Handel’s best known work, operatic composer. long behind him, almost prevented the although this was not a status that it The libretto for Messiah was designed Dublin performance by threatening to enjoyed until the last few years of his life, and selected from the New and Old forbid singers from St Patrick’s Cathedral brought about by annual performances in Testaments with utmost care by Charles to take part. Swift relented, but the Handel’s oratorio seasons and charitable Jennens (1700-73), a literary scholar contention Messiah aroused was still benefit at the Foundling Hospital and editor of Shakespeare’s plays who considerable enough to persuade Handel (an organisation for underprivileged was educated at Balliol College, Oxford. that the London premiere, a year later, children, and which still exists today as However, despite his merit and ability, should be advertised under the title “A The Thomas Coram Foundation). It was Jennens never gained his Degree or much Sacred Oratorio”, thus avoiding any not originally envisaged as a Christmas recognition from society because he was charge of blasphemy. tradition, but its microcosm of Christian a non-juror, refusing to acknowledge the For this occasion Jennens used his doctrine and faith was intended as a Hanoverian dynasty as legitimate heirs influence to supervise the wordbook – the timely thought-provoker for Lent and to the throne of England. Yet Jennens 1743 equivalent of what you are reading Easter. could not be a Jacobite (i.e. a supporter now – and presents the work very much The popularity of the work grew of the deposed Catholic Stuarts) either as if it were an , organised into three through events such as the Handel because he was staunchly Protestant. Such distinct ‘Acts’ and subdivided into scenes: Centenary Commemoration figures are often forgotten by the over- I i) the prophecy of Salvation; (Westminster Abbey, 1784) and huge- simplification of history, but Jennens’s ii) the prophecy of the coming of scale Victorian epics typified by thousands upper-middle class background enabled Messiah and the question, despite of performers crammed into the Crystal him to live in some comfort at a fine (i), of what this may portend for Palace. All such events progressively house in Gospall, Leicestershire, and the World; strayed further from Handel’s musical devote his time to artistic pursuits in the iii) the prophecy of the Virgin Birth; world, attempting to make and absence of a prominent public life. iv) the appearance of the Angels to ridiculously large, often with Jennens had been a known admirer the Shepherds; ‘new’ parts created for extra instruments. of Handel’s music since 1725, when v) Christ’s redemptive miracles on However, ill advised ‘improvements’ grew he commenced regular subscriptions earth; to such an extent that by the nineteenth for publications of Handel’s operas by II i) the redemptive sacrifice, the century editors and conductors had ordering a copy of Rodelinda. By the scourging and the agony on the distorted Messiah beyond its Handelian mid-1730s Jennens became personally cross; origin. It is such misunderstanding that acquainted with Handel, and before ii) His sacrificial death, His led Berlioz to describe Handel’s music Messiah had already furnished Handel passage through Hell and His as “a barrel of roast pork and beer” – with texts for the dramatic oratorio Saul Resurrection; the French innovator of romanticised (1738), the extensive masque L’Allegro, iii) His Ascension; orchestration obviously failed to recognise il Penseroso ed il moderato (1740), and iv) God discloses his identity in a kindred brilliance that radiates from later also provided the text for the striking Heaven; so much of Handel’s original score. The masterpiece Belshazzar (1744). It is also v) Whitsun, the gift of tongues, the overwhelming popularity of Messiah not now suspected that Jennens may have beginning of evangelism; only led to a misconception of Handel’s been involved with Handel’s only other vi) the world and its rulers reject the musical character and artistic intentions, scriptural oratorio Israel in Egypt (1738). Gospel; but also eclipsed almost every other work Despite a difficult working relationship vii) God’s triumph; he composed except the Water Music and – Handel later preferred to collaborate III i) the promise of bodily resurrection Fireworks Music – both also highly un- with lesser but more amiable writers – and redemption from Adam’s fall; typical of his orchestral abilities. Jennens remained a life-long admirer and ii) the Day of Judgement and general Handel, arguably the most supporter of Handel’s music. His own Resurrection; cosmopolitan and versatile theatrical personal library of Handel manuscripts, iii) the victory over death and sin; composer of the baroque period, was the ‘Aylesford’ Collection (now held at iv) the glorification of the Messianic born and trained in Germany, achieved Manchester Central Library), was copied victim. mastery and success in every musical genre by Handel’s assistants from the autograph Jennens’s own explanation of while in Italy, and then settled for nearly scores, and remains a priceless resource for Messiah, printed and distributed to five decades in England, during which Handel scholars. his contemporary audience, can also illuminate a modern audience. It explains Song: Tenor upon His shoulder; and His name shall be Jennens’s thought process in taking Ev’ry valley shall be exalted, and ev’ry called Wonderful, Counsellor, the Mighty seemingly random scriptures from the mountain and hill made low; the crooked God, the Everlasting Father, the Prince of Mosaic Old Testament and the more straight, and the rough places plain. Peace. (Isaiah 9:6) benign teachings of the New Testament, (Isaiah 40:4) Pifa reconciling apparent paradoxes, and Chorus Recitative: Soprano enhancing our appreciation and And the glory of the Lord shall be There were shepherds abiding in the field, understanding of Handel’s musical revealed, and all flesh shall see together; keeping watch over their flocks by night. settings. for the mouth of the Lord hath spoken it. (Luke 2:8) There is no definitive musical text for (Isaiah 40:5) Accompagnato: Soprano Messiah because of the many changes Accompagnato: Bass And lo, the angel of the Lord came upon Handel was obliged to make during Thus saith the Lord, the Lord of Hosts; them, and the glory of the Lord shone the seasons it was performed. Some Yet once a little while and I will shake round about them, and they were sore numbers were recomposed, such as But the heav’ns and the earth, the sea and the afraid. (Luke 2:9) who may abide, which is best known as dry land: And I will shake all nations; Recitative: Soprano the alto virtuoso piece composed for the and the desire of all nations shall come. And the angel said unto them: Fear not, castrato Guadagni in 1750. Others were (Haggai 2:6-7) The Lord, whom ye seek, for behold, I bring you good tidings of customised for the soloists available, such shall suddenly come to His temple, even great joy, which shall be to all people. For as another version of But who may abide the messenger of the Covenant, whom ye unto you is born this day in the city of transposed up for an additional soprano delight in: behold, He shall come, saith David a Saviour, which is Christ the Lord. soloist in 1754. the Lord of Hosts. (Luke 2:10-11) Therefore it can be bewildering to sort (Malachi 3:1) Accompagnato: Soprano out exactly which authentic version of Song: Counter Tenor And suddenly there was with the angel, a Handel’s Messiah – if any – to perform. But who may abide the day of His multitude of the heavenly host, praising The most satisfying historically accurate coming, and who shall stand when He God, and saying: reconstructions generally date from the appeareth? For He is like a refiner’s fire. (Luke 2:l3) early 1750s. Ironically the rarest version (Malachi 3:2) Chorus heard in modern performances is the Chorus Glory to God in the highest, and peace on 1742 Dublin original. Yet Messiah, in And He shall purify the sons of Levi, that earth, good will towards men. one form or another, remains a well loved they may offer unto the Lord an offering (Luke 2:14) and familiar masterpiece that can cope in righteousness. (Malachi 3:3) Song: Soprano with being presented in numerous ways. Recitative: Counter Tenor Rejoice greatly, O daughter of Zion; Conductors usually pick and choose their Behold, a virgin shall conceive and bear a shout, O daughter of Jerusalem! Behold, favourite versions to make an inauthentic Son, and shall call his name Emmanuel, thy King cometh unto thee; He is the composite programme, but the character God with us. righteous Saviour, and He shall speak and flair of Handel’s music is rarely (Isaiah 7:14; Matthew 1:23) peace unto the heathen. anything other than supremely dominant. Song and Chorus: Counter Tenor (Zecharaiah 9:9-10) © David Vickers, http://gfhandel.org, O thou that tellest good tidings to Zion, Recitative: Soprano reproduced with permission. get thee up into the high mountain. O Then shall the eyes of the blind be thou that tellest good tidings to Jerusalem, opened, and the ears of the deaf MAJORA CANAMUS lift up thy voice with strength; lift it up, unstopped. Then shall the lame man leap (Virgil, Eclogue IV) be not afraid; say unto the cities of Judah, as an hart, and the tongue of the dumb And without controversy, great is behold your God! O thou that tellest shall sing. (Isaiah 35:5-6) the Mystery of Godliness: God was good tidings to Zion, Arise, shine, for thy Aria: Soprano manifested in the Flesh, justified by the Light is come, and the glory of the Lord is He shall feed His flock like a shepherd; Spirit, seen of Angels, preached among risen upon thee. and He shall gather the lambs with His the Gentiles, believed on in the World, (Isaiah 40:9; Isaiah 60:1) arm, and carry them in His bosom, and received up in Glory (I Timothy 3:16) Accompagnato: Bass gently lead those that are with young. In whom are hid all the Treasures of For behold, darkness shall cover the earth, (Isaiah 40:11) Come unto Him, all ye Wisdom and Knowledge (Colossians II:3) and gross darkness the people; but the that labour, come unto Him that are Lord shall arise upon thee, and His glory heavy laden, and He will give you rest. PART THE FIRST shall be seen upon thee. And the Gentiles Take His yoke upon you, and learn of Sinfony shall come to thy light, and kings to the Him, for He is meek and lowly of heart, Accompagnato: Tenor brightness of thy rising. and ye shall find rest unto your souls. Comfort ye, comfort ye my people, (Isaiah 60:2-3) (Matthew 11:28-29) saith your God. Speak ye comfortably Song: Bass Chorus to Jerusalem, and cry unto her, that her The people that walked in darkness have His yoke is easy, and his burthen is light. warfare is accomplish’d, that her Iniquity seen a great light; and they that dwell in (Matthew 11:30) is pardoned. The voice of him that crieth the land of the shadow of death, upon in the wilderness; prepare ye the way of them hath the light shined. (Isaiah 9:2) INTERVAL of twenty minutes the Lord; make straight in the desert a Chorus highway for our God. For unto us a Child is born, unto us a PART THE SECOND (Isaiah 40:1-3) Son is given, and the government shall be Chorus Behold the Lamb of God, that taketh Recitative: Tenor Song: Soprano away the sin of the world. Unto which of the angels said He at any I know that my Redeemer liveth, and (John 1:29) time: Thou art My Son, this day have I that he shall stand at the latter day upon Song: Counter Tenor begotten Thee? (Hebrews 1:5) the earth. And though worms destroy He was despised and rejected of men, Chorus this body, yet in my flesh shall I see God. a man of sorrows and acquainted with Let all the angels of God worship Him. (Job 19:25-26) For now is Christ risen grief. (Isaiah 53:3) He gave His back to (Hebrews 1:6) from the dead, the first fruits of them that the smiters, and His cheeks to them that Song: Soprano sleep. plucked off the hair: He hid not His face Thou art gone up on high; Thou hast led (I Corinthians 15:20) from shame and spitting. captivity captive, and received gifts for Chorus (Isaiah 50:6) men; yea, even from Thine enemies, that Since by man came death, by man came Chorus the Lord God might dwell among them. also the resurrection of the dead. For as in Surely He hath borne our griefs, and (Psalms 68:18) Adam all die, even so in Christ shall all be carried our sorrows! He was wounded for Chorus made alive. our transgressions, He was bruised for our The Lord gave the word; great was the (I Corinthians 15:21-22) iniquities; the chastisement of our peace company of the preachers. Accompagnato: Bass was upon Him. (Psalms 68:11) Behold, I tell you a mystery; we shall not (Isaiah 53:4-5) Duet and Chorus: Soprano, Counter all sleep, but we shall all be changed in a Chorus Tenor moment, in the twinkling of an eye, at the And with His stripes we are healed. How beautiful are the feet of Him that last trumpet. (Isaiah 53:5) bringeth glad tidings of salvation; that (I Corinthians 15:51-52) Chorus saith unto Sion: Thy God reigneth! Break Song: Bass All we, like sheep, have gone astray; we forth into joy, glad tidings, Thy God The trumpet shall sound, and the dead have turned every one to his own way, reigneth! shall be raised incorruptible, and we shall and the Lord hath laid on Him the (Romans 10:15/Isaiah 52:7,9) be changed. For this corruptible must put iniquity of us all. Song: Soprano on incorruption and this mortal must put (Isaiah 53:6) Their sound is gone out into all lands, and on immortality. Accompagnato: Tenor their words unto the ends of the world. (I Corinthians 15:52-53) All they that see Him laugh Him to scorn; (Romans 10:18 / Psalms 19:4) Recitative: Counter Tenor they shoot out their lips, and shake their Song: Bass Then shall be brought to pass the saying heads, saying: (Psalms 22:7) Why do the nations so furiously rage that is written: Death is swallowed up in Chorus together, and why do the people imagine victory. He trusted in God that He would deliver a vain thing? The kings of the earth rise (I Corinthians 15:54) Him; let Him deliver Him, if He delight up, and the rulers take counsel together Duet: Counter Tenor, Tenor in Him. (Psalms 22:8) against the Lord, and against His O death, where is thy sting? O grave, Accompagnato: Tenor Anointed. where is thy victory? The sting of death is Thy rebuke hath broken His heart: He is (Psalms 2:1-2) sin, and the strength of sin is the law. full of heaviness. He looked for some to Chorus (I Corinthians 15:55-56) have pity on Him, but there was no man, Let us break their bonds asunder, and cast Chorus neither found He any to comfort Him. away their yokes from us. But thanks be to God, who giveth us the (Psalms 69:20) (Psalms 2:3) victory through our Lord Jesus Christ. Song: Tenor Recitative: Tenor (I Corinthians 15:57) Behold, and see if there be any sorrow like He that dwelleth in heaven shall laugh Song: Soprano unto His sorrow. (Lamentations 1:12) them to scorn; the Lord shall have them If God be for us, who can be against us? Accompagnato: Tenor in derision. (Romans 8:31) Who shall lay anything to He was cut off out of the land of the (Psalms 2:4) the charge of God’s elect? It is God that living: for the transgressions of Thy people Song: Tenor justifieth, who is he that condemneth? It was He stricken. (Isaiah 53:8) Thou shalt break them with a rod of is Christ that died, yea rather, that is risen Song: Tenor iron; thou shalt dash them in pieces like a again, who is at the right hand of God, But Thou didst not leave His soul in hell; potter’s vessel. (Psalms 2:9) who makes intercession for us. nor didst Thou suffer Thy Holy One to Chorus (Romans 8:33-34) see corruption. (Psalms 16:10) Hallelujah, for the Lord God Omnipotent Chorus Chorus reigneth. (Revelation 19:6) The kingdom Worthy is the Lamb that was slain, and Lift up your heads, O ye gates; and be ye of this world is become the kingdom hath redeemed us to God by His blood, lift up, ye everlasting doors; and the King of our Lord, and of His Christ; and He to receive power, and riches, and wisdom, of Glory shall come in. Who is this King shall reign for ever and ever. (Revelation and strength, and honour, and glory, and of Glory? The Lord strong and mighty, 11:15) King of Kings, and Lord of Lords. blessing. Blessing and honour, glory and the Lord mighty in battle. Lift up your (Revelation 19:16) Hallelujah! power, be unto Him that sitteth upon the heads, O ye gates; and be ye lift up, ye throne, and unto the Lamb, for ever and everlasting doors; and the King of Glory INTERVAL of five minutes ever. shall come in. Who is this King of Glory? (Please remain near your seats) Amen. The Lord of Hosts, He is the King of Glory. (Psalms 24:7-10) PART THE THIRD Devon Baroque choral ensembles. Recent projects have Michael ChanceandMark Padmore) and vocal soloists(includingLynn Dawson, Biber toBach andoftenincludeswindor Corelli, Handel and Vivaldi, rangesfrom South West. Their repertoire centres on landscapeofthe addition totheartistic established itselfasanindispensable capacity audiencesDevon Baroque has three seasonsofover to concerts thirty audiences.In itsfirst to contemporary personality bringingthemusicalive match scholarshipwithastrong musical copied reproductions. Theorchestra oroncarefully the eighteenthcentury from onoriginalinstruments perform live inthe West Country, andthey players andcontinuo,allofwhom form abaroque . players were inspired toinviteher in 1999ledby Margaret Faultless where String Teacher’s Associationworkshop The ensembleevolved from a European of baroque repertoire intheSouth West. for exuberantandpolishedperformances orchestra withatremendous reputation Devon Baroque isaprofessional chamber Patron directorArtistic Trumpet Harpsichord Violone ’Cello Viola Second violins First violins Devon Baroque The core group consistsofstring Sir Roger Norrington Margaret Faultless Steve Cutting Andrew Daldorph Jan Spencer Mike Edwards Steve Gleed Carson Mary Julie Hill Francis Silkstone Margaret Faultless concert soloist withmanychoirsand concert London. projects attheRoyal Academy ofMusic, in theHague andsheregularly directs guest teacherattheRoyal Conservatory University Baroque Project, Union Baroque Orchestra, founderofthe Director ofStudies oftheEuropean significant postsineducationasthe the LondonHaydn She Quartet. holds Music forAwhile andisamemberof directorartistic ofthebaroque ensemble their firsttripto Mexico. andeducationprojects in in concerts Glyndebourne. She directed theorchestra she regularly leadstheorchestra at Frans Bruggen andIvanFischer, and Mark Elder, Sir Roger Norrington, conductors suchasSir Simon Rattle, repertoire enableshertowork with Age ofEnlightenment, where thediverse Proms. and hasappeared assoloistattheBBC recorded thecompleteBach cantatas Baroque Orchestra withwhichshehas leader oftheprestigious Amsterdam foremost baroque violinistsandisthe century. Margaret isoneofEurope’s traditional manneroftheeighteenth the ensemblefrom theviolinin the toMargaretpart Faultless, whodirects through listeningandperformance. promote creativity andappreciation a growing educationprogramme to In thegroup has additiontoconcerts in Exeter CathedralwithEmma Kirkby. opera Acis andGalatea andagalaconcert oftheHandel included performances Siona now appearsregularly asa Margaret co-foundedandisthe She isaleaderoftheOrchestra ofthe The orchestra’s successisdue inlarge

Siona Stockel Margaret Faultless which shewasafinalist. Vocal CompetitioninApril 2004,in Britannica Musica Sir AnthonyLewis the Royal CollegeofMusic inthe her singingandwaschosentorepresent Michael ChanceandJames Bowman. such renowned singersasEmma Kirkby, tosinginmasterclasses with opportunity year. Whilst atCollege,Siona hadthe inJulyin vocal performance ofthis awarded herPostgraduate Diploma Argenta andAshleyStafford andwas continued hertrainingwithNancy College ofMusic, Londonwhere she attheRoyalwent ontostudyfurther Vocal Performance in2002.She then Distinction inherMasters Degree in College ofMusic andDrama witha Devon, graduatedfrom theRoyal Welsh Siona Stockel, whooriginatesfrom Siona Stockel –Soprano Siona haswonanumberofawards for Andrew Ashwin Nathan Vale Stephen Harvey and otherchoirs, Stephen hastoured chamber Ex Cathedra. With these Cathedral choirandtheprofessional Cummings. in Varazdin, Croatia, under Laurence in Handel’s AlcestewithAestas Musica in Cardiff, andhe recently performed and Drama andtheSherman Theatre at theRoyal Welsh College of Music staged Queen inscenesandperformances Solomon andEcho inPurcell’s The Fairy stage production ofHandel’s oratorio, thetitle role ina includes performing and Telemann.Purcell other majorworks by Handel, Bach, far includedfoursolorecitals alongwith Wiltshire andtheirwork togetherhasso group The Bradford Baroque Band in the recently formedperiodinstrument Cardiff. Stephen currently with performs musicatStcontemporary David’s Hall in Renaissance musicintheBath festival to a varied repertoire rangingfrom throughout thecountry, singing with manychoirsandchoralsocieties his reputation asasoloist,performing RWCMD, Stephen hasbeenbuilding vocal studieswithNicholas Powell. Stafford andiscurrently his furthering Chance, Nancy ArgentaandAshley distinguished singerssuchasMichael inmanymasterclasses with performed Diploma in Vocal Performance. He has graduating in1999withaLicentiate Welsh CollegeofMusic andDrama Stephen studiedattheRoyal Harvey Stephen –Counter Harvey Tenor London, Oxford andCambridge. Handel’s Foundling Hospital Anthemin Magnificat andChristmas Oratorio and ofBach’sAmoroso, andperformances Handel’s solocantataforsoprano,Delirio baroque violinist Monica Huggett staging tour withThe Paddock Companyand and CalliopeinHandel’s operaAlceste. Galatea in Handel’s Acis andGalatea, cantata Alpestre Monte, therole of Handel’sincluded performing solo Orchestra. Recent appearanceshave L’indiscret andtheEighteenth Century including the Welsh Baroque Orchestra, her working withmanyperiodensembles Royal College,andthishasresulted in period inwhichshespecialisedatthe earlyrepertoire,suited toperforming a Her lightandagilevoice isparticularly in increasing demandforoperaticroles. andis orchestras throughout thecountry Stephen currently singswithLichfield Stephen’s operaticexperience Since completinghisstudiesatthe Siona’s future plansincludeanational He tookupsinging agedseventeen musical lifeasa pianistandtrombonist. eastofEngland andbeganhis the north Twenty-four year oldAndrew grew upin Andrew Ashwin – Bass Foundation. byDavies The andissupported Elmley scholarship. He studieswithRyland of Music where hegainedafullentrance currently astudentattheRoyal College Temple by Sir John Tavener. Nathan is commissioned on thenewly Veil ofthe where herecently appeared asasoloist under thedirection ofStephen Layton sings inthe Temple Church Choir for Helensburgh ChoralSociety. Denmark andBach Cantatas140and61 for theAarhusSymphony Orchestra in engagements includeHandel’s Messiah with pianistJonathan Beatty. Other of Die SchoneMagelone by Brahms Gurney Society andaperformance with thepianistPaul Plummer forthe plans includeanEnglish Song recital in demandasarecitalist. Future recital Makers Almanac,Nathan isincreasingly Glennie andtheArmonicoConsort. by Evelynwritten forandperformed The Prodigal Son by Jonathan Girling, commissioned soloist inthenewly Creation. Nathan wasalsothetenor Beethoven’s Mass inC and Haydn’s Requiem, Bach’s Mass inBMinor, Messiah, Monteverdi Vespers, Mozart’s in Bach’s St John Passion, Handel’s Haydn’s LeInfidelta Deluza, Evangelist Purcell’s The Queen, Fairy Nencio in Illuminations. Square singingBenjamin Britten’s Les September 2003atSt John’s, Smith Nathan madehisLondondebutin choral scholarshipat Wells Cathedral. including televisionandradiobroadcasts. manyengagements soloist, heundertook in Hereford CathedralChoirwhere, asa Nathan Vale begansingingasachorister NathanVale – Tenor Steffani and Handel (Bath). coveringof duetconcerts themusicof () andthesecondinaseries Anthem (Oxford), Alexander’s Feast Magnificat, Handel’s Foundling Hospital and numerous CDrecordings. broadcasts forBBCRadio2and3 Belgium) and hasmadevarious extensively (America,France, Germany, In additiontohissolowork, Nathan A finalistinthis year’s Young Song Recent have included performances After leavingschool,hetookupa Future includeBach’s performances and continued at the University of Birmingham where he studied with Andrea Calladine. He currently receives singing lessons in London with Russell Smythe and he studies at the Royal College of Music at post-graduate level. Over the summer Andrew was awarded the LRSM diploma with distinction from the Associated Board and he joined the prestigious Choir of the Chapel Royal at St James’s Palace. On stage Andrew has played both Figaro and Count Almaviva in The Marriage of Figaro, the title role in Don Giovanni, Papageno in , Marcello in La Bohème, Gremin in Eugene Onegin, Mr Trulove in The Rake’s Progress and Micha in The Bartered Bride.

He has appeared as soloist with many WinkleighSingers The choirs around the country including The Winkleigh Singers includes works by Britten, Bruckner, Newcastle Bach Choir in Bach’s Musical Director Roland Smith Byrd, Moeran, Rachmaninov, along with Magnificat alongside James Bowman, Honorary Patron Richard Stilgoe OBE a variety of lighter music, from madrigals Catherine Bott and James Gilchrist. He and part songs to the likes of What shall has also appeared with the acclaimed Sopranos Altos we do with the drunken sailor? and I do Birmingham choir Ex Cathedra for a Sandra Andrews Kate Pouncey like to be beside the seaside! A high point BBC recording of Carmina Burana. Cecily Blyther Sarah Slade of the exchange with Vox Hungarica was During a unique Good Friday service Moira Brewer Liz Smith a concert in Torrington Church of works he sang arias from Bach’s St Matthew Sally Daldorph Catherine Standing by Hungarian composers, including Passion in Southwell Minster. Tina Gladwin Carol Wisken a rare performance in this country of Future engagements include Mozart’s Sue MacGillivray Jesus and the Traders by Kodaly, sung in Requiem, Vaughan Williams’s Sea Vicki Redpath Hungarian. Symphony and Haydn’s Creation. He is Tattwa Gyani Members of the choir now come also playing the role of Schaunard in La Basses from an area including Bideford, Bohème. Tenors Les Billig South Molton, Torrington and their Over the last year Andrew has Ian Burnett Tom Dent surrounding villages, and of course from performed a series of solo recitals around Simon Standing David Dron Winkleigh itself. the country. His interest in song spans David White Rob Paynter Roland Smith has been singing since a wide range of repertoire including Brian Wilmot John Smith the age of seven, starting with more than Schubert, Brahms, Fauré, Duparc, twenty years in the church choir at Holy Poulenc, Tchaikovsky, Grieg, Finzi, Celebrating their twentieth anniversary Trinity, Cookham-on-Thames, where he Vaughan Williams, Barber and Bliss. this year, the Winkleigh Singers grew also had his first taste of choir directing. Recently he took part in masterclasses out of a small group who gathered for During the last few years he was in with Sarah Walker, David Owen-Norris the first time in May 1984 to indulge in Berkshire, Roland also sang with Palace and Iain Burnside at the Royal College that strange activity of singing madrigals. Chorale in London and as a guest with of Music. Their first public performance was a carol Le Madrigal de . concert at Winkleigh Parish Church in On moving to Devon, he founded December of that year. Since then regular the Winkleigh Singers and has sung concerts have been given not only in with a number of local choirs. He their home village but in many towns currently is a member of the award and villages throughout Devon, along winning Exeter Festival Chorus and of with three tours to France and, last year, Somerset Chamber Choir. As a member an exciting exchange with Vox Hungarica of the Association of British Choral involving concerts in Budapest and rural Directors, he has attended workshops and Devon. masterclasses led by a number of leading Past performances by the choir have choral directors, including Mike Brewer, Wine (£1.00) and orange juice (50p) included Handel’s Coronation Anthems Bob Chilcott and Jane Glover. will be available during the interval from and Dixit Dominus, Mozart’s Requiem, the back of the church. Please have the Solemn Vespers and various mass correct change ready, if possible, and settings, Bach cantatas, Poulenc Gloria, Acknowledgements move away from the serving area as soon Haydn’s Nelson Mass, Copland’s In the The vicar of St Peter’s Church, Barnstaple as you have obtained your drinks. Beginning, etc. Their a cappella repertoire The Friends of the Winkleigh Singers FORTHCOMING CONCERTS

Saturday 18th December 2004 at 7.00pm Saturday 12th March 2005 at 7.30pm THE WINKLEIGH SINGERS CHRISTMAS THE WINKLEIGH SINGERS CONCERT Torrington Parish Church Winkleigh Parish Church Dvorak Te Deum and Vivaldi Gloria “Luzany” Mass in D major and Carols for All with Andrew Daldorph, organ, and soloists Tickets £6.00 from the Royal Academy of Music

Saturday 23rd April 2005 at 7.30pm Sunday 16th January 2005 at 5.00pm THE WINKLEIGH SINGERS DEVON BAROQUE’S FIFTH BIRTHDAY St George’s Day Concert with The George Hotel, South Molton Crispian Steele-Perkins (trumpet) Bach Violin Concerto in E major Concerti Grossi by Handel and Corelli Various sonatas by Handel, Purcell and Tickets for Winkleigh Singers concerts are Stradella available from Ticket information (from 1st December) Winkleigh Singers Tickets, telephone 01803 867493 The Round House, Coombe Farm, www.devonbaroque.co.uk Chittlehampton, Devon EX37 9RD or on-line at http://www.winkleighsingers.org.uk

The Winkleigh Singers Honorary Patron Richard Stilgoe OBE FRIENDS OF THE WINKLEIGH SINGERS

We hope you have enjoyed this concert. If you did, Rev E R Andrews Mr A Jury we would like to invite you to become a Friend of the Mrs P Bacon Mr and Mrs K Laarveld Winkleigh Singers. Friends enjoy advance notice of choir Mr R Brewer Mr and Mrs C Markwick activities, discounts on concert tickets, opportunities Mr G Cameron Mr M Ogden to join in choir activities (for example, four of our Miss R M Diggle Mr and Mrs P Paynter Friends joined our tour to Hungary last year). To Mr and Mrs C Dixon Mrs V Paynter apply to become a Friend, there are forms available Mrs S Evans Mrs B Reardon-Smith at all our concerts and on our web site at http://www. Mr and Mrs R Fellowes Rev C C B Willis winkleighsingers.org.uk, or write to Rob Paynter, The Mr and Mrs D Ivory Mrs S R Wood Round House, Coombe Farm, Chittlehampton, Devon Anon Anon EX37 9RD.