2 The Programme Judas Maccabaeus - George Frideric Handel There will be an interval during Act Two Conductor: Cathal Garvey Soprano: Anna Devin Mezzo Soprano: Anne Marie Gibbons Tenor: Paul Austin Kelly Baritone: Ashley Riches Southern Sinfonia Baroque Organist and Rehearsal Accompanist: Steve Bowey The use of period instruments was made possible by funds provided by a supporter of the Society, augmented by Newbury Town Council. Please visit http://www.newburychoral.org.uk/ConcertFeedback/ to give us your feedback on this concert. 3 Programme Notes by Jane Hawker Judas Maccabaeus George Frideric Handel (1685-1759) Written in 1746, Judas Maccabaeus was Handel’s first collaboration with librettist Reverend Dr Thomas Morell, whose letters give us an insight into the rewards and tribulations of working with the sixty- one-year-old composer. Dr Morell described Handel as having a ‘haughty disposition’ and was unimpressed with his knowledge of the English language; but he was nevertheless in awe of Handel’s enthusiasm and ability to compose tunes spontaneously to words suggested by Morell. From its first performance in 1747 in London’s Covent Garden Theatre (now Drury Lane), the oratorio was a huge success, prompting Morell to wish that he had asked for a percentage of the takings instead of a flat fee. Judas Maccabaeus is written in three acts. Morell based his text largely on two books of the Biblical Apocrypha, I and II Maccabees, written in Greek in the second century BC. They tell the story of Judas Maccabaeus, who gained his reputation as an inspirational and fearsome warrior for leading the Jewish people’s revolt against their pagan invaders. Between 170 and 165 BC, Judea was ruled by the Seleucid Empire, a Hellenistic state created when Alexander the Great’s lands were divided up, in what is broadly Syria today. The people were forced to worship the Greek pantheon with all its paraphernalia of idols and ‘polluted altars’. In 165 BC these were removed from the temples (‘hurl’d to the remotest corner of the world’ in Morell’s words) and the Jewish people were finally free to worship their god once more. This event is celebrated today as the feast of Hanukkah, or Festival of Lights. Handel chose the subject of this Jewish hero for his composition to celebrate the victory of the Duke of Cumberland over Charles Edward Stuart (Bonnie Prince Charlie) at the Battle of Culloden in 1746, putting an end to the Jacobite attempt to take the British 4 Programme Notes throne. His dedication of the piece to the Duke compares him to the oratorio’s eponymous ‘truly Wise, Valiant, and Virtuous Commander’. The best-known movement of the piece is undoubtedly See, the conquering hero comes. Handel transferred it to Judas Maccabaeus from another of his oratorios, Joshua, written a year later in 1748, with characteristic lack of pedantry and desire to work efficiently. The chorus remains part of both works. The tune was used by Beethoven, who wrote twelve variations for piano and cello, and it is also the tune of the popular English hymn Thine Be the Glory. Handel’s compositions were solidly grounded in the Germanic tradition of his contemporary Bach, given a dramatic twist by his extensive travels in Europe and experience of Italian opera, and reached their peak under the influence of the sacred and secular musical traditions of his adopted country. In Handel’s lifetime the British monarchy and public recognised him as a great composer and worthy successor to Henry Purcell, his forerunner in the English Baroque style. Both men are buried in Westminster Abbey. Act One opens in solemn mood with the captive people of Judah mourning the death of their leader, Judas’ father Mattathias, whose act of rebellion against their invaders marked the beginning of the uprising. Their sense of loss and hopelessness is lifted when Judas’ brother, Simon, reminds them that they are the chosen nation and must trust in God to help them. The Jewish people call for a new leader ‘bold and brave’ and Simon answers them that Judas is the man to set them free and lead them to victory. Judas accepts the challenge, as his father wished with his dying breath, and looks forward to the day when their liberty will be restored. The people are willing to follow Judas as their leader in battle, armed with their courage and belief that they have the power 5 Programme Notes of Jehovah behind them. Act One ends with the chorus ‘resolved on conquest or a glorious fall’. Act Two begins with a vigorous chorus proclaiming Judas’ triumph over the Jewish people’s conquerors. After the rage of battle there is a change of mood with the lyrical Tune your Harps, as the people are called upon to praise God that Zion will raise its head once more. Judas warns against attributing his achievement to mortal man; he has been guided by the unseen hand of God. But suddenly news reaches the Jewish people that the fearsome Seleucid commander, Gorgias, has been sent to ‘root out Israel’s strength’ and destroy their places of worship once again. In an instant the ‘wretched’ Israelites have gone ‘from joyous transport to desponding woe’. Judas’ brother Simon encourages them, telling them that God has a plan for them even when things look bleak. Judas rouses them to battle once more with Sound an Alarm, and the chorus answers his ‘pleasing dreadful call’. Act Two ends as the temple is purged of the trappings of the Greek gods, and the people vow never to bow down to them again, affirming their faith in ‘God and God alone’. Act Three starts with a celebration of the re-consecration of the temple with the Feast of Lights. News reaches the Israelites of Judas’ defeat of their enemy, who rode into battle on ‘huge tow’r-back’d elephants’, and soloists and chorus greet Judas with See, the conquering hero comes, followed by a triumphal march. Thanks are given to God for their victory, tempered by Judas’ request that those who have fallen in battle are remembered. When the people hear that the Roman Empire has promised to protect Judea from further incursions, they can finally rejoice wholeheartedly and the oratorio ends with the chorus singing Hallelujah, Amen. 6 Cathal Garvey — Musical Director Cathal Garvey hails from Ireland where he made his name as a choral and orchestral conductor. He began his career as an Opera Chorus Master working for most of Ireland’s major opera companies including Opera Ireland, Opera Theatre Company, Anna Livia Opera Festival, Opera South and Lyric Opera Productions. For these compa- nies he has worked on over fifty productions including La Bohème, Aïda, Lady Macbeth of Mtsensk, Madame Butterfly, Tosca, La Traviata, Carmen, Macbeth, Faust and Rigoletto. He acted as Assistant Conductor for several of these productions and has also conducted several musicals in Cork and Dublin. In recent years Cathal has conducted the National Symphony Orchestra of Ireland, the RTE Concert Orchestra, Irish Sinfonia, Dublin Symphony Orchestra, Dublin Baroque Players, Royal Irish Academy of Music Wind Ensemble and the Dublin Concert Band, among others, and from 2001 to 2006 was Principal Conductor of the Dublin Orchestral Players. From 2004 to 2009 he was Musical Director of the Dun Laoghaire Choral Society with whom he had a highly successful tenure, covering a wide range of sacred music and oratorios. Cathal began violin and piano studies in his native Cork at an early age, continuing at the Cork School of Music and later reading music at University College Cork. After completing his Masters Degree in Conducting he studied for two years at the prestigious College of Moscow Conservatory. Cathal's principal instrument is the violin; he was a member of the National Youth Orchestra of Ireland and he has played professionally with many orchestras including the National Symphony Orchestra of Ireland and the German-based Philharmonia of the Nations. Cathal moved to London in April 2009 to take up the position of Chorus Master and Assistant Conductor with Grange Park Opera. Since then, he has conducted London Medical Orchestra, Morley College Choir, King's College London Symphony Orchestra and is a regular guest conductor with London Repertoire Orchestra. He also tutors in Conducting at the Royal Academy of Music. Newbury Choral Society was delighted to appoint him as Musical Director in September 2009. 7 Anna Devin - Soprano A former member of the Jette Parker Young Artist at the Royal Opera House, Covent Garden, the Britten-Pears YAP and the National Opera Studio, Irish soprano Anna Devin is fast becoming established as one of today’s brightest young sopranos. Opera appearances 2013/14 include a return to Scottish Opera as Zerlina (Don Giovanni) and to the Royal Opera House as Flowermaiden (Parsifal). Later in the season, she will make her debut at the Handel Festival Göttingen as Clotilde in Faramondo, conducted by Lawrence Cummings and appear at the ROH Linbury Studio in a new commission by Luke Bedford. Further ahead, she returns to the ROH main stage as Nanetta (Falstaff) in 2014/15 and joins the English Concert under Harry Bicket as Oberto (Alcina) on tour in London, Madrid, Vienna, Paris and New York. Appearances in 2012/13 included Anna’s BBC Proms debut as Flowermaiden in Parsifal with the Hallé under Sir Mark Elder, a Debussy programme at the London Song Festival, Vreli (A Village Romeo and Juliet) at the Queen Elizabeth Hall with the London Concert Orchestra under Ronald Corp, and arias by Mozart, Verdi and Puccini, as well as Canteloube’s Songs of the Auvergne with the RTÉ NSO Dublin.