Handel, Messiah

2017

in 2018

Saturday 24th March at 7.00pm Bernstein Chichester Psalms Rutter Gloria Barber Adagio for Strings Copland Appalachian Spring Copland Fanfare for the Common Man

Southern Sinfonia Matthew Owens conductor

Saturday 6 May, 9.30am to 6.00pm Come and Sing Day Faure Requiem with Matthew Owens in The Methodist Church, Wells

Saturday 10 November at 7.00pm Fauré Requiem Dove For an Unknown Soldier Choristers of Wells Cathedral Choir London Mozart players Matthew Owens conductor

George Frideric Handel (1685-1759)

Messiah (1741)

A Sacred Oratorio, words by Charles Jennens

Amy Carson soprano Louise Innes mezzo soprano Paul Phoenix tenor Craig Bissex bass Music for Awhile Orchestra (on period instruments) Maggie Faultless leader

Wells Cathedral Oratorio Society

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. Programme by Neill Bonham

became Kapellmeister to prince George, the Elector of Hanover, who in 1714 would become King George I of Britain. In 1712 the 27 years old Handel settled in England and in 1727 became a naturalised British subject. Within fifteen years he worked with, or started, three opera houses and between 1711 and 1739 more than 25 of Handel’s operas were premi- ered at the Queen’s Theatre alone (now Her Majesty’s Theatre). Handel wrote a total of 42 Italian operas. In 1737, aged 52, Handel suffered a stroke which left him with a disabled right hand and some confusion and it was not ex- Messiah is deservedly one of the most pected that he would play again. Howev- popular of all major musical works, at the er, after a stay at the spa in Aachen, he top of the charts. The music is of a high returned and turned his attention to ora- standard, with the dramatic changes of torio. Public taste for Italian operas had pace and style expected of a practiced declined and oratorio was popular, giving writer of operas. audiences a chance to hear works in their own language. When Handel followed this Handel was 56 when he composed Messi- trend he produced a series of 20 oratorios ah. He had received his training in his which helped him regain his title as the native Germany, in Halle and Hamburg, country’s favourite composer. and then in Italy. His influences were the German polyphonic and the Italian Ba- In 1741 Handel was invited to visit Dublin roque composers, especially Corelli and to stage a series of concerts. Shortly after Scarlatti. receiving this request, and in the period of just over three weeks, with much of Handel was much admired by J. S. Bach, the music borrowed from his operas, he who was born a month after him and who created Messiah. He staged a dozen suc- had tried but failed to meet him in Halle. cessful concerts there and then an- In 1703 at 18 years old Handel was play- nounced with a fanfare that his new ora- ing in the Hamburg opera house and pro- torio would receive its premiere on April duced his first two operas. In 1706 he 13, 1742. With 26 boys and 5 men, from travelled to Italy at the invitation of Ferdi- St Patrick’s and Christ Church cathe- nando de’ Medici who had a keen interest drals—plus soprano and contralto solo- in opera and was trying to make Florence ists who also helped with the choruses— Italy's musical capital. He also moved to he arranged for a public rehearsal to take Rome where he composed cantatas for place the day before. This caused a sensa- musical gatherings in the cardinals’ palac- tion and hundreds of eager listeners had es and produced another four very popu- to be turned away from the first perfor- lar operas. It is not recorded whether he mance. met Vivaldi when he produced his opera Messiah was Handel’s sixth of twenty-two Agrippina in Venice in 1709, just as Vivaldi English oratorios and, as with five of the was preparing to publish his L'Estro Ar- others, he had asked his close friend monico. Back in Germany, in 1710 Handel Charles Jennens to prepare the libretto.

sub-titled ‘A Sacred Oratorio’, very much as if it were an opera, organised into three distinct ‘Acts’ and subdivided into scenes: I (i) The prophecy of Salvation; (ii) the prophecy of the coming of Messiah and the question of what this may portend for the World; (iii) the prophecy of the Virgin Birth; (iv) the appearance of the Angels to the Shepherds; (v) Christ’s redemptive miracles on earth. II (i) The redemptive sacrifice, the scourging and the agony on the cross; (ii) His sacrificial death, His passage through Hell and Resurrection; (iii) His Ascension; (iv) God discloses his identity in Heaven; (v) Whitsun, the gift of tongues, the George Frideric Handel (1685-1759) beginning of evangelism; (vi) the world and its rulers reject the Although its structure resembles that of Gospel; conventional opera, it is not in dramatic (vii) God’s triumph. form; there are no impersonations of III (i) The promise of bodily resurrection characters and very little direct speech. and redemption from Adam’s fall; Jennens was a devout Christian, wealthy (ii) the Day of Judgement and general landowner and patron of music and his Resurrection; text is an extended reflection on Jesus (iii) the victory over death and sin; Christ as Messiah. In writing to Jennens, (iv) the glorification of the Messianic Handel frequently referred to it as ‘Your victim. Messiah’ and it was probably Jennens’s idea in the first place. After he had In the “Pastoral Symphony” (entitled Pifa) written the libretto and sent it to Handel, that introduces the shepherds, Handel it was he who had to continually pressure refers to the music of the pifferari, coun- Handel to complete it, and sometimes he try bagpipers in the Italian mountains complained about some of the items and who play in the villages during the Christ- requested revisions. mas season. There were protests about the presenta- Despite Jennens’s promotion, the first tion of the Messiah as a subject for an London performance of Messiah was not entertainment. So, for the first London well received. It was only in 1750, when performance a year later at Covent Gar- Messiah began to be presented in annual den, Jennens used his influence to super- performances for a London charity at the vise the ‘wordbook’ — the 1743 pro- Foundling Hospital, that the public em- gramme notes. He presented the work, braced the work. The Hallelujah Chorus at

19th and 20th centuries, helping to make the work viable for large choral festivals with many hundreds of singers, sometimes over a thousand. The first published score of Messi- ah was issued in 1767, eight years after Handel’s death, though this was based on relatively early manuscripts and included none of Handel’s later revisions. This evening’s performance uses Wat- kins Shaw’s final edition of 1992 that he had worked on between 1957 and 1965. He had access to many of Handel’s papers, includ- The chapel of the London Foundling Hospital ing his conducting score from the first Dublin performance. This the end of the second part was the point edition of Messiah revolutionised its in- in the oratorio, during one of the early terpretation, and has been called ‘a land- London performances, that King George II mark in what we now know as the Early is said to have risen to his feet. Audiences Music movement.’ have repeated this practice ever since. Before the first performance Handel had made numerous revisions to his manuscript score, in part to match the forces available for the 1742 Dublin premiere. Between 1742 and 1754 he continued to revise and recompose individual movements, sometimes to suit the requirements of particular singers, sometimes at Jennens’s insist- ence. Over subsequent years Handel revised Messiah many times to accommodate new soloists, performing forces, and audiences. He performed it 36 times, every time at Eastertide. Handel died in 1759. Two significant performances of Messiah were given in Westminster Abbey in 1784, as part of a “Commemoration of Handel” festival with as many as 500 musicians, setting a standard for further large- scale performances. In 1789 Mozart re -orchestrated the work to bring to it The chorus, orchestra and organ in the dimensions of a Classical period Westminster Abbey during the orchestra. Other versions came in the Handel Commemoration in 1784

1. Sinfonia (Overture) come, saith the Lord of hosts. (Haggai 2: 6-7) (Malachi 3: 1) 2. Recitative Tenor 6. Air Mezzo soprano Comfort ye, comfort ye my people, But who may abide the day of His saith your God. Speak ye comfortably coming, and who shall stand when He to Jerusalem, and cry unto her, that appeareth? For He is like a refiner’s fire. her warfare is accomplished, that her (Malachi 3: 2) iniquity is pardoned. The voice of him that crieth in the wilderness; prepare ye 7. Chorus the way of the Lord; make straight in And He shall purify the sons of Levi, the desert a highway for our God. that they may offer unto the Lord an (Isaiah 40: 1-3) offering in righteousness. (Malachi 3: 3) 3. Air Tenor 8. Recitative Mezzo soprano Ev’ry valley shall be exalted, and ev’ry Behold, a virgin shall conceive and mountain and hill made low; the crook- bear a son, and shall call His name ed straight and the rough places plain. Emmanuel, God with us. (Isaiah 40: 4) (Isaiah 7: 14; Matthew 1: 23) 4. Chorus 9. Air and Chorus Mezzo soprano And the glory of the Lord shall be O thou that tellest good tidings to Zion, revealed, and all flesh shall see it to- get thee up into the high mountain. gether: for the mouth of the Lord hath O thou that tellest good tidings to spoken it. (Isaiah 40: 5) Jerusalem, lift up thy voice with 5. Recitative Bass strength; lift it up, be not afraid; say unto the cities of Judah, behold your Thus saith the Lord, the Lord of hosts: God! Arise, shine, for thy light is come, Yet once a little while and I will shake and the glory of the Lord is risen upon the heavens and the earth, the sea thee. (Isaiah 40: 9) and the dry land. And I will shake all nations; and the desire of all nations 10. Recitative Bass shall come. The Lord, whom ye seek, For behold, darkness shall cover the shall suddenly come to His temple, earth, and gross darkness the people; even the messenger of the Covenant, but the Lord shall arise upon thee, and whom ye delight in; behold, He shall His glory shall be seen upon thee.

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

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

22. Chorus 27. Recitative Tenor Behold the Lamb of God, that taketh All they that see Him laugh Him to away the sin of the world. (John 1: 29) scorn; they shoot out their lips, and 23. Air Mezzo soprano shake their heads, saying: (Psalm 22: 7) He was despised and rejected of men, 28. Chorus a man of sorrows and acquainted with “He trusted in God that He would grief. He gave His back to the smiters, deliver Him; let Him deliver Him, and His cheeks to them that plucked if He delight in Him.” (Psalm 22: 8) off His hair: He hid not His face from 29. Recitative Tenor shame and spitting. (Isaiah 53: 3, 6) Thy rebuke hath broken His heart: 24. Chorus He is full of heaviness. He looked for Surely He hath borne our griefs, and some to have pity on Him, but there carried our sorrows! He was wounded was no man, neither found He any to for our transgressions, He was bruised comfort him. (Psalm 69: 20) for our iniquities; the chastisement of 30. Air Tenor our peace was upon Him. (Isaiah 53: 4-5) Behold, and see if there be any sorrow 25. Chorus like unto His sorrow. (Lamentations 1: 12) And with His stripes we are healed. 31. Recitative Tenor (Isaiah 53: 5) He was cut off out of the land of the 26. Chorus living: for the transgressions of Thy All we like sheep have gone astray; we people was He stricken. (Isaiah 53: 8) have turned every one to his own way. 32. Air Tenor And the Lord hath laid on Him the But Thou didst not leave His soul in iniquity of us all. (Isaiah 53: 6) hell; nor didst Thou suffer Thy Holy One to see corruption. (Psalm 16: 10)

33. Chorus 40. Air Bass Lift up your heads, O ye gates; and be Why do the nations so furiously rage ye lift up, ye everlasting doors; and the together, and why do the people King of Glory shall come in. imagine a vain thing? Who is this King of Glory? The Lord The kings of the earth rise up, and the strong and mighty, The Lord mighty rulers take counsel together against in battle. the Lord, and against His anointed. Lift up your heads, O ye gates; and be (Psalm 2: 1-2) ye lift up, ye everlasting doors; and the 41. Chorus King of Glory shall come in. Let us break their bonds asunder, Who is this King of Glory? The Lord of and cast away their yokes from us. Hosts, He is the King of Glory. (Psalm 2: 3) (Psalm 24: 7-10) 42. Recitative Tenor 34. Recitative Tenor He that dwelleth in Heav’n shall laugh Unto which of the angels said He at any them to scorn; time: “Thou art My Son, this day have I The Lord shall have them in derision. begotten Thee”? (Hebrews 1: 5) (Psalm 2: 4) 35. Chorus 43. Air Tenor Let all the angels of God worship Him. Thou shalt break them with a rod of (Hebrews 1: 6) iron; thou shalt dash them in pieces 36. Air Mezzo soprano like a potter’s vessel. (Psalm 2: 9) Thou art gone up on high; Thou hast 44. Chorus led captivity captive, and received gifts Hallelujah: for the Lord God Omnipo- for men; yea, even from Thine ene- tent reigneth. The kingdom of this mies, that the Lord God might dwell world is become the kingdom of our among them. (Psalm 68: 18) Lord, and of His Christ; and He shall 38. Air Soprano reign for ever and ever. King of Kings, How beautiful are the feet of them that and Lord of Lords. Hallelujah! preach the gospel of peace, and bring (Revelation 11: 15; 19: 6 & 16) glad tidings of good things. (Isaiah 52: 7; Romans 10: 15)

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

AMY CARSON Soprano Amy Carson began her singing career as the youngest founding girl chorister at Salisbury Cathedral, and went on to study at Trinity College, Cambridge and the Royal Academy of Music. She has been fortunate enough to study with such eminent voice teachers as Patricia McCaffrey, Mikael Eliasen, and No- elle Barker both individually and on prestigious courses such as Academie du Festival d’Aix and The North Sea Vocal Academy. From a young age Amy has been performing and recording in venues around the world, both as a soloist and as an ensemble singer. She is a versatile artist, who performs recital, oratorio, and operatic repertoire and whose regular commitments in both choral and solo contexts mean she enjoys exciting and diverse performance opportunities. Highlights of Amy’s operatic roles include On the concert platform, Amy has sung Pamina (in a film of The Magic Flute directed much of the core repertoire from Montever- by Kenneth Branagh), Soprano chorus in The di to MacMillan, and has appeared as a solo- Rakes Progress and cover Alinda in L’incor- ist at many of the UK’s most prestigious ven- onazione di Dario (Garsington Opera), Amy ues including the Barbican, Wigmore Hall, St Cumnor in The Cumnor Affair (Tete a Tete John’s Smith Square, Cadogan Hall, and The Opera), Susanna in Marriage of Figaro, and Queen Elizabeth Hall. Highlights include Constance in Dialogue des Carmelites (Royal singing the Semi Chorus in the premiere of Academy Opera Scenes), Musetta in La Bo- James MacMillan’s St John Passion with the heme (Choir of London, conducted by Nick LSO (Barbican) conducted by Sir Colin Davis; Collon), Galatea in Acis and Galatea (Music Soprano soloist in St Matthew Passion for a While directed by Margaret Faultless), (Barbican) with The Monteverdi Choir con- The Spirit in Dido and Aeneas (alongside ducted by Sir John Eliot Gardiner, and a con- Magdalena Kožená conducted by Nicholas sort performance of St John Passion with the Kraemer), Soprano Role in The Fairy Queen OAE directed by Mark Padmore, which (at The Wigmore Hall conducted by Mat- toured Japan and Korea. thew Halls), Newspaper Seller, and Strolling Amy has sung with many of the UK’s leading Girl in Death in Venice (at The Queen Eliza- ensembles (with some solo appearances) beth Hall conducted by Richard Hickox and including The Sixteen, The Monteverdi Choir, at St Endellion Festival conducted by Martyn Tenebrae, The Gabrieli Consort, London Brabbins).

Voices, Philharmonia Voices, Contrapunctus, and The Choir of the Enlightenment. Amy has a long-standing partnership with accompanist Nicola Rose and together they have performed recitals across the South West and in London. They have recently recorded Aaron Copland’s song cycle of Twelve Poems of Emily Dickinson, which they plan to perform as part of a longer programme (that will also feature some of Amy’s own song compositions) in various UK venues next year. Recent projects include a major European tour of Bach’s St Matthew Passion and Mag- nificat with Sir John Eliot Gardiner and The Monteverdi Choir; a performance of Bach’s Magnificat with London Voices conducted by Francois Xavier Roth, and Amy’s debut appearance with Solomon’s Knot in The Dis- covery of Bomarzo, both at The Aldeburgh Festival 2016. Andersson A Little Night Music (West Green Upcoming engagements include singing in House‚ Opera Project)‚ Miss Baggott The L’Orfeo performances throughout Europe Little Sweep (Blackheath Halls Opera)‚ King and in the USA with The Monteverdi Choir, Galafro in Steffani’s Orlando generoso performing the role of Galatea in Acis and (Birmingham)‚ Bach’s Magnificat at Sage Galatea directed by Margaret Faultless, and Gateshead with the Royal Northern Sinfonia. singing St John Passion with Tilford Bach Further operatic roles include Sesto at Eng- Society directed by Adrian Butterfield. lish National Opera‚ Carmen (Castleward Opera and Opera Holland Park)‚ Cherubino Le Nozze di Figaro (Garsington)‚ Second Lady LOUISE INNES Die Zauberflöte (Aix-en-Provence)‚ and Mez- zo 1 in John Casken’s God’s Liar at the Al- Mezzo soprano meida Theatre and at La Monnaie. Other Louise Innes studied at City University‚ the roles include Dido Dido and Aeneas in Bor- Royal Scottish Academy of Music and Drama deaux‚ Dorabella Così fan tutte for British and at the National Opera Studio. Youth Opera‚ Siebel Faust with Opera de Massy‚ Rosette Manon for Opera North‚ The Recent and future engagements include the Oracle Minotaur for Scottish Opera‚ Hamor title role Carmen and Sesto La Clemenza di Jephtha with Opera Fuoco and Laura Iolanta Tito for Opera North‚ Javotte Manon (Teatro with the Royal Scottish National Orchestra alla Scala‚ Milan‚ the Royal Opera House‚ under Alexander Lazarev. Frequent engage- Covent Garden and on tour in Japan)‚ Mrs ments with Les Solistes de Lyon include a

13 recital of French salon music at the Musée d’Orsay with pianist Cedric Thiberghien‚ Rossini Petite Messe Solennelle in Quebec and Vancouver‚ and Sorceress Dido and Ae- neas at the Théâtre des Célestins‚ Lyon‚ An- gelica in Vaughan Williams’ The Poisoned Kiss‚ Hamor Jephtha in Lucerne and at the The Théâtre des Champs-Elysées and Mer- cedes Carmen at ROH and with Sir John Eliot Gardiner at the Opera Comique‚ Paris and the Festival de Granada. On the concert platform Louise has performed Handel’s Messiah in Barcelona with the Orchestra of the Age of Enlightenment‚ with the Scottish Chamber Orchestra‚ and with the National Orchestra of Seville‚ Duru- flé Requiem and Beethoven Mass in C with the Scottish Chamber Orchestra‚ Beethoven 9 at Aldeburgh‚ and a selection of Sibelius songs with the Basel Chamber Orchestra at studied voice and academic studies, spend- the Folle Journée Festival in Nantes. Record- ing his spare time singing in various styles ings include Ino Semele with Opera Fuoco and guises – as a member of Manchester and Second Cretan Woman Idomeneo with Cathedral Choir, fronting a Big Band as well the Scottish Chamber Orchestra and Sir as recording with a Dutch group called Charles Mackerras. ‘Janus’. There followed a six-year period during which he continued to diversify, singing as a soloist in oratorio, taking part in pop PAUL PHOENIX and classical sessions, coaching the choris- Tenor ters of Westminster Under School and performing with the Monteverdi Choir. Paul’s long career in music began when he became a Chorister at St. Paul’s Cathedral, In 1997, Paul successfully auditioned for The London. He sang in the Queen’s Silver Jubi- King’s Singers. Averaging more than 120 lee service in 1977 and as the best-known concerts annually, he sang in many of the boy soloist of his generation he recorded the world’s greatest concert halls, from Sydney Ivor Novello award-winning theme Nunc Opera House to New York’s Carnegie Hall, Dimittis by Geoffrey Burgon in the BBC adap- and travelled as far as Chile and New Zea- tation of John Le Carré’s Tinker Tailor Soldier land, Russia, China and South Africa. As well Spy in 1979, for which he was later awarded as a packed concert schedule, King’s Singers a gold disc. recordings were released to critical acclaim. Paul was co-producer on the 2009 Grammy- Paul’s musical education continued at the winning album, Simple Gifts, and performed Royal Northern College of Music, in Man- on the 2011 Grammy-winning recording, chester between 1986 and 1991 where he Light and Gold, featuring works by the Amer-

14 ican composer Eric Whitacre. In 2013, The King’s Singers were voted into the Gramo- phone Magazine Hall of Fame. 2014 marked Paul’s last concert with The King’s Singers and the launch of PurpleVo- cals: Perform and Engage, his coaching and engagement consultancy. Paul’s PurpleVo- cals work takes him around the world, with recent visits to Colombia playing Aristeo in a new production of Orfeo with the renowned ensemble L’Arpeggiata, to China coaching and speaking in Beijing, Shanghai, Nanjing and Shenyang, the USA coaching and performing the role of Evangelist in Bach’s St. Matthew Passion under the direction of Craig Jessop, with the American Festival Cho- rus, and as guest coach with the Philadelphia Boys Choir, as well as across the UK and Eu- rope. This season Paul’s varied work sees him coaching and performing in Germany as guest soloist with the WDR Orchestra in the He has sung with numerous choirs in London Köln Philharmonie, and working in Finland, and throughout the South West. He is a Italy, Iceland, Switzerland, Hong Kong, China member of the Choir of the English Concert, and the USA. and guests regularly as soloist with the Sher- Paul lives in Cambridge, England with his borne Chamber Choir. He has sung as a lay- wife, Helena and two sons, William and Ed- clerk of Bath Abbey since 2001 and contin- ward. When not singing he cycles in aid of a ues to deputise there, and he is also a depu- friend’s charity. ty of Westminster Abbey. Having been a regular deputy with the choir of Wells Cathedral for many years, Craig was BISSEX appointed Vicar Choral in the summer of 2016 and commenced his permanent duties in September of that year. Craig was a chorister at Manchester Cathe- Craig teaches vocal studies both privately dral and studied piano and percussion at and at Monkton Combe School, Bath. He is Chetham’s School of Music. He went on to also a skilled accompanist, working regularly study piano at Trinity College of Music, per- with singers and instrumentalists. cussion at the Guildhall School of Music and Drama, and singing at Bath Spa University. He continues his professional vocal training under the guidance of his teacher, Rosa Craig is now a successful oratorio and recital Mannion. soloist, and performs regularly around the UK and often abroad.

MATTHEW OWENS Conductor Matthew Owens is Organist and Master of the Choristers of Wells Cathedral. In addition to being responsible for the 1100 year old tradition of daily sung worship at Wells Ca- thedral, Owens has toured, broadcast, and recorded extensively with Wells Cathedral Choir which, in 2011, was named by an in- ternational jury for Gramophone as the best choir in the world with children, and the sixth greatest overall. In 2014 he prepared the choristers for Bach’s St Matthew Pas- sion, with the Berlin Radio Choir, the Berlin Philharmonic Orchestra, and Sir Simon Rat- tle, for the BBC Proms. Owens is the Founder Artistic Director of three initiatives at Wells: Cathedral Commissions, a scheme which commissions new works from pre-eminent British composers; the cathedral’s innovative festival, new music wells; and its counter- part, Early Music Wells. nor Mass, Lutheran Mass in F, Christmas Oratorio); Bernstein (Chichester Psalms); He was educated at Chetham’s School of Brahms (Ein Deutsches Requiem, Alto Rhap- Music; The Queen’s College, Oxford; the sody); Britten (War Requiem, Saint Nicholas); Royal Northern College of Music; and the Elgar (The Dream of Gerontius, The King- Amsterdam Conservatorium. Studying with dom); Fauré (Requiem); Handel (Messiah, Gordon Stewart, Margaret Phillips, and Four Coronation Anthems); Holst (The Plan- Jacques van Oortmerssen, he won all the ets); Mendelssohn (Elijah); Mozart (Requiem, major prizes in the diplomas of the Royal C Minor Mass); Orff (Camina Burana); Verdi College of Organists. His career appoint- (Requiem); Walton (Belshazzar’s Feast); and ments include Tutor in Organ Studies at the major works by Finzi, Purcell, Rutter, RNCM and Chetham’s, and working for BBC Vaughan Williams, and Vivaldi. He has guest Religious Broadcasting (1994-99); Sub Or- conducted, among others, the Southern ganist of Manchester Cathedral (1996-99), Sinfonia, the Scottish Ensemble, the Nash Conductor of The Exon Singers (1997-2011), Ensemble, and the Hungarian National Phil- and Organist and Master of the Music at St harmonic Orchestra, and has directed choral Mary’s Episcopal Cathedral, Edinburgh (1999 workshops and summer schools throughout -2004); he also served as President of the the UK and abroad – including Australia, Cathedral Organists’ Association (2010-13). China, Germany, Hong Kong, Luxembourg, Owens is Musical Director of the Wells Ca- New Zealand, and the USA. As a conductor thedral Oratorio Society, a chorus of over he has made over 30 CDs with major labels 150 singers with which he has performed including Hyperion, Signum, Regent, and major works of Bach (St John Passion, B mi- Resonus Classics.

As an organist, Owens has given recitals in the Cranmer Anthem Book (launched in Oc- Australia, France, Ireland, Spain, Switzerland, tober 2017), a project which will set all 92 New Zealand, the USA, and throughout the Collects from the Book of Common Prayer to UK, and he is currently performing the com- music, by some of the world’s finest compos- plete works of Bach at Wells Cathedral over ers. As a composer himself, Owens is pub- a series of 36 recitals. lished by Oxford University Press, Novello, and the Royal School of Church Music. He Owens has championed new music, particu- was made an Honorary Fellow of the Guild of larly of British composers, conducting over Church Musicians in November 2012, and a 200 world premieres, including works by Prebendary (Canon) of Wells Cathedral – leading composers ranging from Jools Hol- land to Sir James MacMillan, and John Rutter “for outstanding service” to the Diocese and Cathedral – in October 2017. to Sir Peter Maxwell Davies. He is Director of

MUSIC FOR AWHILE Violin 1 Maggie Faultless , Rachel Stroud, ORCHESTRA Henry Tong, Anna Curzon, Flora Curzon Artistic Director: Maggie Faultless Violin 2 Dan Edgar, Nia Lewis, Claudia Norz, Since its first performance in 1996, Music for Stephen Pedder, Alice Earll Awhile has continued to inspire audiences and performers with concerts in a variety of Viola venues, and at its own Summer Festival in Nick Logie, Roc Fargas, Jordan Bowron, the magical setting of All Saints, Alton Priors. James Orrell Musicians from Europe’s most acclaimed Cellos ensembles come together to perform a wide Lucy Scotchmer, Bianca Riesner, range of repertoire spanning over two cen- Tabea Debus turies. Music for Awhile specialises in performing English opera from Purcell’s time, Bass and thanks to sponsorship from the Cecil Bill Hunt, Zaynab Martin King Memorial Foundation it also features Oboe the music of J. S. Bach. The ensemble regu- Leo Duarte, Bethan White larly expands to form a larger orchestra ena- Bassoon bling it to perform major choral works in venues such as Westminster Abbey, Zoe Shevlin Gloucester, Hereford and Bristol Cathedrals. Trumpet It also has its own chamber music series, Paul Bosworth, Darren Moore held in smaller venues appropriate to the Timpani repertoire. Music for Awhile has established Feargus Brennan contacts with schools and groups of young Harpsichord musicians in order to attract children to re- hearsals and concerts, and provides im- Sean Heath portant access to live music for the local Organ rural community. Jeremy Cole

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

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

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.

Soprano Margaret Raynes Deborah Jonas Nigel Lloyd Sarah Allen Marion Robinson Amanda Karpinski John Morton Dora Almy Frances Rowe ¶ Jessica Leach Bernard North Ann Baker Lucy Rowntree Alex Lemanski Andrew Phillips Juliet Bench Maggie St Quintin Barbara Leuwer Sarah Villiers Pam Booth Janet Saxon Riches ¶ Robin Walker ¶ Helen Bowen Margaret Sutton Jennifer Mackenzie John Williams X Kate Brown Pamela Tomlinson Philippa Mains Christine Tudor Mary Massey Bass Denise Bush David Abels Barbara Calverley Helen Wade Della Menday ¶ Lynne Waldron Liz Metcalfe Christopher Boddie Felicity Chapman Michael Calverley Katherine Constable Jan Weaver Mary Newman Jo Weir Claire Parr John Castree Vanessa Coode Geoffrey Clarke Julia Davies Lucy Williams Claire Pennack Jane Withey Amanda Phillips Peter Farrell Alison Edwards Colin Ferguson Cheryl Evans-Jones Cheska Polderman Alto Janet Ravenscroft David Flinders ¶ Caroline Fletcher Jenny Abraham Niall Garden Heather Forgham Margaret Rayfield Christine Barker Louise Richards Walford Gillison Sandra Freeborn Sandra Barwise Adrian Grey Carolyn Fussell Janet Rundell Anne Beechey Mary Sage Harry Guthrie † Margaret Gelder Vivienne Burgess Wesley Hallam Sue Gould Celia Smith Louise Burton Sue Stoughton- Michael Harris Maureen Grant Liz Clay Stephen Foulkes X Antonia Gwynn Harris Rosemary Cooke Celia Townend Trevor Hazelgrove Jane Hancock Polly Corbishley Richard Henderson Susan Hanson Emma Trantham Sue Curragh Sue Wells Derek Hiller Sarah Hare Gill Deamer Chris Jenkins ¶ Margaret Olivia Wilkinson Sian Decamp Fenella Williams Dennis Johnson Heffernan Joan Dovey John King Jenny Henderson Kate Wilson Robin Duys ¶ Jo Wright Richard Lander Rachel Hewson Kate Fielder Michael Leach Kate Horbury Barbara Green Tenor Brian Marshall Dorothy Hunter Helen Griffiths Neill Bonham ¶ John Potts Carolyn Legg Shelley Gudgin Alan Brown Alan Rayfield Ruth Lickfold Faith Guest Ian Bynoe David Rees-Jones X Della Luetchford Wendy Gregory Oliver Chubb † David Rosser Rosemary Lunn Elizabeth Hand Ben Clay ¶ Robert Smallcombe Jennie Lunnon Catherine Hay Andrew William Truscott Nancy McGiveron ¶ Gilly Hayward Cruickshank Kenneth Wade Sarah May Mary I’Anson Alexandra de ¶ Committee Janice Merritt Jane James Glanville Louise Palmer † Choral Scholar Lynne Jarman Martin Godfrey X Guest Singer Ann Parsons Jane Jarratt Peter Harle Maureen Pickford Janet Johnson Martin Lovell Pamela Pye ¶ -

Mr Iain & Prebendary Mrs Sue Gould Mrs Nancy McGiveron Helen Ball Mr Nigel Hamilton QC Mrs Suzanne Metters Mr David Bollington Mrs Susan (Mr Keith) Hanson Mr John Morton Mr Alan & Mrs Jo Brown Mrs Sarah Hare Mrs Judith Oliver Mr Robert C Brown Captain & Mrs Patrick Mr Gerald & Mrs Rosemary Mr Michael J Cansdale A C Harland Parsons Mrs Felicity Chapman Mr Michael & Mrs Mr John & Mrs Joy Mr Geoff Clarke Catherine Hay Rattenbury Miss Beulah J Connolly Mrs Myra Higgins Mr Alan Rayfield Mr David Corp Mr Derek and Mrs Susan Mr Philip Hugh Roberts Mr Charles Crawfurd Hiller Mr Brian Roberts-Wray Mrs Sheila Crease Mrs Mary I’Anson Mr David Rosser Dr & Mrs A Crossland Mr John Iddles Ms Frances Rowe Mr Andrew Cruickshank Mr Chris Jenkins Mr Alan Rowntree Mrs Julia Davies Mr Dennis (Mrs Janet) Mrs Maggie St Quintin Mr Niels Doble Johnson Mr Christopher R Mrs Valerie Edwards Mrs Amanda Karpinski Stonehouse Mrs Kate Fielder Mr Anthony Kaye Miss Susan Stoughton- Mrs Rosalie Fiennes Mrs Susan Kaye Harris Revd Frank Fisher Mr Richard Lander Mrs Margaret Sutton Mrs Carolyn Fussell Mrs Alex Lemanski Dr & Mrs Michael Waters Mr J Mike & Mrs Margaret Mr Nigel Lloyd Mr David Williams Gelder Mr & Mrs Martin Lovell Mr Walford Gillison Mrs Rosemary Lunn

Your continued support as a Friend of Wells Cathedral Oratorio Society is greatly appreciated and we look forward to seeing you at our concerts. The Society gives three concerts each year which include an annual performance of Handel’s Messiah in December. The other two concerts are in early November and in the Spring. The main features of the Friends scheme are: · Priority booking in September of up to four prime Nave tickets for each concert of the season · Names of Friends acknowledged in concert programmes · Annual Newsletter · Invitation to a social event with the Choir and Conductor each year · Annual subscription of £24 for the season which runs from September to May Contact our Friends Secretary, Frances Rowe: [email protected]