Academy of Ancient Music & VOCES8 | St. John Passion | July/August 2019 by Academy of Ancient Music

29 JULY â&#x20AC;&#x201C; 3 AUGUST 2019

MUSIC FESTIVAL

For up-to-date information about the Milton Abbey International Music Festival and to purchase advance tickets, please go to the Festival webpage—

MUSIC FESTIVAL

Welcom voces8.foundation/miltonabbey

VE N U E

B A R

All concerts take place in Milton Abbey Church. Milton Abbey, Milton Abbas, Dorset, DT11 0BZ

The Festival bar is located in The King’s Room opposite the Abbey and will be open for postconcert and interval drinks.

miltonabbey.org T I C K E TS PA R K I N G Limited parking is available in front of the school building, with overflow car parks elsewhere in the school grounds. Car parking marshals will be on hand to guide you. F I L M I N G All of this year’s concerts will be filmed and recorded for broadcast. Each of the evening concerts will be premiered on VOCES8’s Facebook page at 7pm on the evening following the live performance, beginning with Compline and Reflections on 30 July. Please help us to ensure the best possible recording by making sure that mobile phones and other personal equipment are turned off, and keeping noise and movement to a minimum during the performances.

Where applicable, tickets can be purchased online via the Festival webpage, and on the door while stocks last. We welcome cash, cheque and credit card payments at the Box Office at the main entrance to the Abbey Church. Under-18 tickets are priced at £5 for all concerts for which tickets are sold. Please note that there is no concessionary rate for other age groups. M E R C H A N D I S E A selection of merchandise, including CDs and sheet music, will be available for purchase at each event. If your first choice is not available please see our shop for a larger range— voces8.com/shop

Welcome to the Milton Abbey International Music Festival. The 2019 edition reaches further than it ever has before, with a collection of concerts that involve over 250 musicians performing music from 12th century chant to a UK premiere. Those of you familiar with VOCES8 will know that the group’s ethos is centred around celebrating the joy of singing, and as such, performing choral masterworks is a central pillar of the festival programming. This year VOCES8 and the VOCES8 Scholars are joined by Apollo5 for Bach’s St. John Passion, and our summer school participants will close the week with Haydn’s vivid Creation; we are delighted to be joined for both concerts by the world-renowned Academy of Ancient Music, who will be playing on instruments from the baroque and classical periods.

me Barnaby Smith Artistic Director, VOCES8 Foundation

Filling this glorious abbey with a diverse selection of music is an important role of the festival. We want ancient to meet modern, to inform new ideas with tradition, and to combine these into something which both celebrates heritage and creates new history. Alongside the traditional sacred offices of Compline and Evensong, Paul Smith and Neil Valentine will launch the new album Reflections, a secular sonic experience also centred around the monastic themes of contemplation and meditation. In the spirit of embracing the future, we are also pleased to be recording and filming all of the concerts and streaming the content on various media platforms so that we can reach a global audience with our music and message. The festival is giving its first ever UK premiere by welcoming American composer Taylor Scott Davis, whose Magnificat is scored for the largest orchestral forces of the week, bringing the abbey into a world of resplendent sonority. It is programmed alongside works by Mozart and the much-loved Violin Concerto no.1 by Max Bruch, played by superstar violinist Thomas Gould. We can’t allow dancing down the aisles in that particular instance, but you are welcome to scratch that itch when Andy Dickens comes to town for some jazz, joined this year by his daughter and former VOCES8 member, Emily. The site here at Milton Abbey will be buzzing with people attending our annual VOCES8 Summer School; if the abbey door is open, you are welcome to wander in and enjoy as much of the performing and rehearsing as you can. Our voices help us to make friends; sharing something so personal in such an open way is a very powerful vehicle to help build strong communities, and we look forward to welcoming you to our community this week.

It is my great pleasure to welcome you to another fabulous week of music making at the VOCES8 Summer School and the Milton Abbey International Music Festival. Since last August, my travels have taken me to many different parts of the world, and I’m ever more aware of the diversity of our summer school participants as I encounter so many regular attenders of the course in different parts of the world. This sense of geographical spread but unified feeling about the joy of choral music is one that neatly encapsulates our work. On a personal note, it has been wonderful to have quite a few participants from the 2018 course involved in the recording process for my new album, Reflections, which we will be launching at this year’s Festival. I’m indebted to all who contributed their time and talent to this adventure. As we look ahead to a week of fun, laughter, passionate music making and perhaps a little sunshine, I’m excited by the variety and quality of workshops and performances that we will be involved with this year, and the wealth of world class visiting artists that will join VOCES8, the VOCES8 Scholars and Apollo5. If you see someone who is new to the summer school or the Festival looking a little lost, please say hello and offer them a hand of friendship. In a world that seems intent on building barriers and walls at the moment, let’s make sure that we spend our time together this week in the spirit of collaboration and community.

Paul Smith CEO, VOCES8 Foundation

We are here as a multinational singing community and our simple intention is to share the joy of singing in a choir with others. I hope you will leave at the end of the week feeling suitably fatigued by the activities but elated by your achievements and the music you have experienced. Above all, I hope you will feel emotionally nourished by all that we have done together. Thank you for being part of our community this week.

The Festival Ho

Hosts

Bawden

The British vocal ensemble VOCES8 is proud to inspire people through music and share the joy of singing. Touring globally, the group performs an extensive repertory both in its a cappella concerts and in collaborations with leading orchestras, conductors and soloists. Versatility and a celebration of diverse musical expression are central to the ensemble’s performance and education ethos. VOCES8 has performed at many notable venues including Wigmore Hall, Bridgewater Hall, Elbphilharmonie, Cité de la Musique, Vienna Konzerthaus, Tokyo Opera City, NCPA Beijing, Mariinsky Theatre Concert Hall, Victoria Concert Hall Singapore and the Palacio de Bellas Artes Mexico City. This season they will add the Sydney Opera House, Muziekgebouw aan’ t IJ and La Seine Musicale Paris to that list. Keen musical collaborators, this season will see concerts with the Academy of Ancient Music, Manchester Camerata, the Edvard Grieg Kor, Hugo Ticciati, the Orchestre Philharmonique de Monte-Carlo, and with Gramophone Magazine ‘Artist of the Year 2018’ baroque violinist Rachel Podger, with whom the critically acclaimed ‘Guardian Angel’ project will continue. Touring highlights of the season include concerts throughout the UK – including the ensemble’s debut performance at the BBC Proms in London – as well as in Europe, across USA and Japan, and debut visits to Australia and Lithuania. With an ongoing programme of recordings, videos and live broadcasts, VOCES8 is heard regularly on international television and radio. The ensemble is a Decca Classics artist and has released acclaimed recordings that have all reached the top of the classical charts. ‘Enchanted Isle’ was released in January 2019. VOCES8 has premiered commissions from Roxanna Panufnik, Alexander Levine, Alec Roth, Ben Parry, Ola Gjeilo, Philip Stopford, Graham Lack, Thomas Hewitt Jones and Owain Park. 2019 will see the premiere of a commission by Jonathan Dove to mark the culmination of his period as the group’s Composer in Residence. VOCES8 is passionate about music education and is the flagship ensemble of the music charity VOCES8 Foundation. Engaging in a broad range of outreach work that reaches up to 40,000 people a year, the group runs an annual programme of workshops and masterclasses at the Foundation’s home in London, the VOCES8 Centre at St Anne & St Agnes Church. Dedicated to supporting promising young singers, the group awards eight annual choral scholarships through the VOCES8 Scholars initiative. These scholarships are linked to the annual Milton Abbey Summer School at which amateur singers of all ages are invited to work and perform with VOCES8. The ensemble is proud to be the Associate Ensemble for Cambridge University and delivers a Masters programme in choral studies.

(Left to right) Christopher Moore Baritone Eleonore Cockerham Soprano Katie Jeffries-Harris Alto Jonathan Pacey Bass Barnaby Smith Alto and Artistic Director Andrea Haines Soprano Sam Dressel Tenor Blake Morgan Tenor

As official Ambassadors for Edition Peters, the ensemble publishes educational material including the ‘VOCES8 Method’. Developed by Paul Smith, co-founder of VOCES8, this renowned and unique teaching tool is available in four languages and adopts music to enhance development in numeracy, literacy and linguistics. Also available are two anthologies of its arrangements, and an ever-expanding ‘VOCES8 Singles’ range. This season the ensemble becomes Ambassador for the Tido App, an inspirational resource and learning tool. The VOCES8 Method and music arrangements will be made available on the Tido platform during the 2018/19 season. VOCES8 is very grateful for support from Arts Council England, the Merchant Taylors’ Company, the Worshipful Company of Plaisterers, Holman Fenwick Willan and T.M.Lewin.

Mon 29 July 7.30pm | Free entry

The ancient monastic evening service of Compline will be sung by VOCES8, Apollo5 and the VOCES8 Scholars, featuring music from three of continental Europe’s finest early composers. The Spanish master Thomas Luis de Victoria provides the central works of the liturgy: The Hymn, Te lucis ante terminum; the Responsary, In manus tuas; and the Nunc Dimittis. These pieces are bookended by music from composers of the generation before Victoria: an introit by the Frenchman Jean Mouton, and the final votive antiphon by the great Italian Cipriano de Rore.

Jean Mouton (bef. 1459-1522) – Salva nos, Domine

VOCES8 | Apollo5 | VOCES8 Scholars

Com

Salva nos domine vigilantes, custodi nos dormientes, ut vigilemus cum Christo, et requiescamus in pace. Save us, O Lord, waking, and guard us sleeping, that we may watch with Christ, and rest in peace.

Thomas Luis de Victoria (1548-1611) – Te lucis ante terminum Te lucis ante terminum, rerum Creator, poscimus ut pro tua clementia sis præsul et custodia.

To Thee, before the close of day Creator of the world, we pray that with Thy wonted favour, Thou wouldst be our guard and keeper now.

Procul recedant somnia et noctium phantasmata; hostemque nostrum comprime, ne polluantur corpora.

From all ill dreams defend our eyes, from nightly fears and fantasies; tread underfoot our ghostly foe, that no pollution we may know.

Presta, Pater piissime, Patrique compar Unice, cum Spiritu Paraclito regnans per omne sæculum.

O Father, that we ask be done through Jesus Christ Thine only Son, who, with the Holy Ghost and Thee, shall live and reign eternally.

Amen.

Thomas Luis de Victoria – In Manus Tuas In manus tuas, Domine, commendo spiritum meum. Into your hands, O Lord, I commend my spirit.

mpline Thomas Luis de Victoria – Nunc Dimittis Nunc dimittis servum tuum, Domine, secundum verbum tuum in pace: Quia viderunt oculi mei salutare tuum Quod parasti ante faciem omnium populorum: Lumen ad revelationem gentium, et gloriam plebis tuae Israel.

Lord, now lettest thou thy servant depart in peace: according to thy word. For mine eyes have seen: thy salvation, Which thou hast prepared: before the face of all people; To be a light to lighten the Gentiles: and to be the glory of thy people Israel.

Gloria Patri, et Filio, et Spiritui Sancto: Sicut erat in principio, et nunc, et semper, et in sæcula sæculorum. Amen.

Glory be to the Father, and to the Son: and to the Holy Ghost; As it was in the beginning, is now, and ever shall be: world without end. Amen.

Cipriano de Rore (1516-1565) – Ave Regina caelorum, Mater Regis Angelorum Ave regina caelorum, Mater regis angelorum O Maria, flos virginum,

Hail, queen of heaven, mother of the king of the angels, Mary, flower of virgins,

Velut rosa velut lilium. Funde preces ad Dominum Pro salute fidelium,

like as the rose and the lily. Pour forth prayers to your Son for the salvation of the faithful,

Amen.

The service will last for approximately 30 minutes and will be sung throughout.

VOCES8 Sch

holars

The VOCES8 Scholars are eight talented young singers at the beginning of their professional careers. The programme was first set up in 2015, and offers choral scholarships to young singers who want to gain valuable experience and contacts in the music industry. It provides a unique perspective and training across various different skills, including performing, recording and workshop leading, all led by the members of VOCES8 and the VOCES8 Foundation team. The main element of the Scholars programme takes place at the Milton Abbey International Music Festival and Summer School. During this week, the Scholars have the opportunity to form an ensemble to prepare several a cappella items for public performance, and receive coaching from members of VOCES8 and other visiting artists. They are also able to observe VOCES8â&#x20AC;&#x2122;s education work and to assist the amateur singers by acting as section leaders. Previous Scholars have performed in chorus and step-out solo roles alongside VOCES8 at important concerts, and many members of the programme continue to assist with and to lead singing workshops as part of the VOCES8 Foundationâ&#x20AC;&#x2122;s wider education programme. In the past three years several former Scholars have been appointed to permanent roles within Apollo5 and VOCES8.

Jessica Kinney

Roberta Diamond

Sophie Timms

Laura Lopes

Charlie Hodgkiss

Euan Williamson

Tim Vaughan

Peter Norris

Reflecti This concert will begin immediately after Compline.

NEIL VALENTINE

began his musical career as a violinist, until he grew really tall and at 14 switched to the viola, never to look back. He studied at York University and Trinity College of Music and was a member of Southbank Sinfonia in 2007. During his time with the orchestra he discovered creative music workshops, and became the Trainee Animateur with Wigmore Hall. He is an Associate Musician of the Bournemouth Symphony Orchestra working across all of the BSO Participate Strands. He has also delivered music projects, workshops and performances with the Philharmonia Orchestra, LSO, RPO, London Music Masters, Hatfield Chamber Music Festival, Spitalfields Music, BBC SO, BBC Proms, Hatch My Ideas!, VOCES8, Wigmore Hall and St Paul's Sinfonia. He has worked closely with Music Hubs and services across the country as well as being a Music Mentor and Presenter for Music for Youth. He currently works on a number of music projects supporting older people suffering from Dementia including Music for a While, a project between the BSO and Arts and Health South West. Music for a While was

shortlisted for the Arts & Health Award at the 2017 RSPH Health and Wellbeing Awards. In 2016 he founded abcconcerts.com, a concert series for babies and toddlers in the South of England that aims to take down all the barriers to live music which parents and their little ones face. His solo project LASTLIGHT combines classical and folk traditions with live looping, electronics, effects and laptops, all mixed together from his viola. This way of making music is very exciting and freeing, allowing original music and exciting new arrangements to blossom and develop within the natural beauty of the string sound. He is delighted to bring this musical vision to REFLECTIONS and is so grateful to all the participants and artists of Milton Abbey 2018 and 19 for the support and engagement with this new musical experience. He is about to take up the role of Creative Director at the University of Winchester Music Centre, and is really excited to bring his passion for music and people to this setting.

PAUL SMITH

is an innovative and creative performer, an inspirational educator and an empowering public speaker. He is the co-founder of VOCES8, author of ‘The VOCES8 Method’ and CEO of the VOCES8 Foundation. A composer, conductor and classical artist, Paul is passionate about the impact singing and the arts can have in the widest possible context – from academic improvement to social skills and building more cohesive communities. He uses that passion to design and deliver unique, inclusive and uplifting performance projects. In the 2018-19 season, highlights include leading the ‘Singing Brussels’ massed choir project at BOZAR in Brussels; launching his new album and concert

programme titled ‘Reflections’; leading a community programme with the Curtis Institute and Live Connections in Philadelphia; premiering his new work ‘Dunelm Lux Aeterna’ with VOCES8 and students in Durham Cathedral; leading the ‘Voices of Tomorrow’ programme at ‘The Voices of Spirit’ international choir festival in Graz; conducting the Orchestre D’Auvergne in ‘The Winter House’, a new concert created by Paul for young students; leading a new initiative at La Seine Musicale in Paris; continuing his work at the University of Cambridge, and conducting programmes in the UK, France, Germany, the USA and Japan. “The co-founder of VOCES8, Paul Smith is also a very fine composer.” —Gramophone Magazine

ions Mon 29 July 8.00pm | ÂŁ5

Paul Smith | Neil Valentine | Clare Stewart | VOCES8 | Apollo5

A performance celebrating the launch of the new album, released on 2 August

REFLECTIONS is an immersive, interactive experience created by Paul Smith to be performed with strings, piano, electronics and voices. This genre-bending album draws inspiration from plainchant to lullabies, African songs to early opera and contemporary choral music. In making this album, Smith writes music inspired by his travels in Asia, Europe, Africa and America, and the voices of many of those people on that journey appear on the recording. After the performance you are invited to a reception in the Kingâ&#x20AC;&#x2122;s Room where copies of the CD will be available.

The international award-winning British vocal ensemble Apollo5 delights audiences with versatile and engaging performances on the concert platform, singing repertoire ranging from renaissance, classical and contemporary choral music to folk, jazz and pop. Frequently performing in their home city of London they have sung in venues including the Royal Albert Hall, Kings Place (London A Cappella Festival), the Barbican, the Houses of Parliament and Wembley Arena. As well as concerts across the UK Apollo5 has enjoyed giving performances internationally. Last season the five outstanding vocalists undertook a month-long debut tour of the USA and in 2016 they made their south Asian debut, taking part in the Taipei International Choral Festival. Over the last two years they have given performances in Italy, Germany, Holland and France. This season includes international performances in France (Via Aeterna Music Festival), Poland (for La Folle Journée) and a collaboration with the Academy of Ancient Music. Apollo5 is part of the VOCES8 Foundation, and leads its

innovative education programme aiming to inspire creativity through music. Working alongside VOCES8 and Paul Smith the programme reaches 40,000 young people annually in the UK, Germany, France, Sweden, the USA and Asia. The Foundation has its home at the VOCES8 Centre, at St Anne and St Agnes Church. In partnership with the Diocese of London, it has established a hub for excellence in education, outreach and the performance of vocal music. Apollo5 leads regular workshops, masterclasses, and a children’s concert series at the VOCES8 Centre, as well as longer term projects and residency programmes. Apollo5 has released albums with VOCES8 Records, including ‘The Spirit Like a Dove’, music by Josquin des Prez performed with the Ingenium Ensemble, and ‘With a Song in my Heart’, an album of folk, jazz and pop. Also released is ‘Journey’ on the Edition Peters Sounds label featuring the group with former King’s Singer Paul Phoenix. A new album ‘O Radiant Dawn’, which explores the human journey through birth, love, struggle, the end of life and reflection was released in May 2019 and reached no.3 in the UK Specialist Classical chart.

LEARN DIFFERENTLY

“

“A host of opportunities to shine –

both inside and outside the classroom.

Good Schools Guide

Please enjoy our beautiful and inspiring grounds during the music festival. To find out more about how the school provides the ideal balance of support and challenge for boys and girls aged 13 to 18, please contact: admissions@miltonabbey.co.uk | 01258 881804 www.miltonabbey.co.uk Winner: School of the Year | Silver Awards: Teacher of the Year & Student of the Year | Pearson BTEC Awards 2019

presents

re:sound festival 2019 The VOCES8 Foundation is very excited to launch its inaugural annual concert season, the re:sound festival. Featuring six performances from VOCES8 Foundation artists as well as invited ensembles, there will also be an extensive number of educational workshops, masterclasses and other free interactive events suitable for all ages. Join us at the VOCES8 Centre at St Anne & St Agnes Church, the home of the Foundation, as we experience the joy of sounds of inspiring music reverberating through the community.

VOCES8 Centre, City of London Re:sounding through time, space and the community voces8.foundation/resound

Tues 30 July 7.00pm | £20 full price | £10 restricted view | £5 Under 18s

VOCES8 VOCES8 performs a concert of highlights from their season, featuring musical styles ranging from sacred classical to jazz and pop a cappella arrangements. The programme will be announced from the stage by members of the group.

Andrew Wilkinson

See page 6 for VOCES8’s biography

Weds 31 July 6.00pm

Luke Bond

Organ Recital Before the semi-liturgical performance of J.S Bach’s St. John Passion which begins at 6.30pm, Luke Bond plays selected organ works by Bach on the Abbey’s organ. Audience members are invited to use this time to meditate on the sublime music and the Passion story which will follow.

LUKE BOND

is the Assistant Director of Music at St George’s Chapel, Windsor Castle. He accompanies or conducts the world famous choir in its round of eight choral services each week in addition to being organist at services of national and international significance. Luke was the organist at the wedding of the Duke and Duchess of Sussex, Princess Eugenie and regularly plays at services attended by Queen Elizabeth II. Outside of St George’s Luke enjoys collaborating with a range of artists and ensembles. He has played with The BBC Welsh Symphony Orchestra, The Royal Philharmonic Orchestra, The Philharmonia and the South Bank Sinfonia. Luke was invited by the British Council to represent them on a concert tour with one of the Moscow State orchestras in Southern Russia. Luke also collaborates in smaller ensemble work and is currently preparing a CD of Saxophone and organ repertoire with Joel Garthwaite. Luke is soloist or accompanist on over twelve CDs, most recently a recording a disc of music for Advent, Christmas and Epiphany with the choir of St George’s on the Hyperion label. His first solo organ CD received five star reviews in the leading musical Press and the disc Truro 125 was an editor’s choice for the whole of 2016 in Gramophone Magazine.

Passion Weds 31 July 6.30pm | £20 full price | £10 restricted view | £5 Under 18s

St John

Johann Sebastian Bach (1685-1750) – Johannes-Passion, BWV 245 Director: Barnaby Smith

Evangelist: Sam Dressel | Christus: Jonathan Pacey | Pilatus: Christopher Moore V VOCES8 | A Apollo5 | S VOCES8 Scholars

BARNABY SMITH is Artistic Director of the internationally renowned vocal ensemble,VOCES8 and as such is in demand as a conductor, choir trainer, countertenor and arranger. Barnaby completed his studies in Specialist Early Music Performance at the Schola Cantorum Basiliensis where he was a pupil of Andreas Scholl. Barnaby is also an alumnus of the Britten-Pears Young Artists Programme. With a schedule that takes him around the world, recent highlights include performances at the Royal Albert Hall, the Barbican Centre, Wigmore Hall, Bridgewater Hall, Elbphilharmonie Hamburg, Konzerthaus in Vienna, Tokyo Opera City, Cité de la Musique, NCPA Beijing, Mariinsky Theatre Concert Hall, Victoria Concert Hall Singapore, Palacio de Bellas Artes Mexico City, Utrecht Early Music Festival and residencies at the St Andrew’s Voices Festival and St Magnus Festival. This season he will add the BBC Proms, Sydney Opera House, Muziekgebouw Amsterdam and La Seine Musicale Paris to that list. Repertoire highlights include Purcell: Dido and Aeneas, Handel: Messiah, Dixit Dominus and Coronation Anthems, Bach: Magnificat in D and St John Passion, Haydn: Creation, Mozart: Requiem and Symphony no. 40, Vaughan-Williams: Five Mystical Songs, Dove: The Passing of the Year and new commissions by Ola Gjeilo and Jonathan Dove. Barnaby’s collaborations include Rachel Podger, Jonathan Dove, Jacob Collier, Academy of Ancient Music, London Philharmonic Orchestra, Tokyo Philharmonic Orchestra, Monte Carlo Symphony and he directed the music for the Olympic Mascots Film Scores at Abbey Road Studios with the British Film Orchestra. Barnaby is also Artistic Director of the Milton Abbey International Music Festival, and co-curates and teaches on the MMus programme in Choral Studies at Cambridge University. As a soloist Barnaby has also worked under the baton of conductors including Paul McCreesh and Masaaki Suzuki. On disc Barnaby has released commercially on Decca Classics, Universal, Sony, Warner, Naxos, Signum Classics and VCM Records. He has four no.1 selling albums on the Decca Classics and VCM Records labels, was delighted to receive the award for Album of the Year 2015 from Classic FM, was voted Choral Disc Choice Award by BBC Music Magazine in June 2014 and has won nine Contemporary A Cappella Recording Awards.

VOCES8 | Apollo5 | VOCES8 Scholars | Academy of Ancient Music | Barnaby Smith

THE ACADEMY OF ANCIENT MUSIC is an orchestra with a worldwide reputation for excellence in baroque and classical music, founded by Christopher Hogwood in 1973.

Egypt, Purcell’s Dido and Aeneas and Mozart’s The Marriage of Figaro. AAM’s education and outreach programme, AAMplify, nurtures the next generation of audiences and musicians, ensuring that its work inspires people of all ages, backgrounds and cultural traditions.

Taking inspiration directly from the music’s composers and using period-specific techniques, instruments and original sources, the ensemble’s discography numbers over 300, many of which are still considered definitive performances (among its countless accolades for recording are Classic BRIT, Gramophone and Edison awards). It has now established its own record label, AAM Records, and is proud to be the most listened-to orchestra of its kind online.

Their 2019-20 season is set to be equally exciting; to include collaborations with Rowan Pierce, Bojan Čičić, Viktoria Mullova, Benjamin Appl, David Blackadder and Jean Rondeau with performances of Handel’s Rejoice!, and the exhilarating Arrival of the Queen of Sheba, as well as Haydn, JS and CPE Bach’s Sacred Cantatas.

2018-2019 season highlights included collaborations with Michael Collins, Lucie Horsch, Nicolas Altstaedt, VOCES8 and the Choir of King’s College, Cambridge, along with performances of Bach’s St Matthew Passion, Handel’s Israel in

Based in Cambridge, the AAM is Orchestra-in-Residence at the city’s university, Associate Ensemble at London’s Barbican centre, and Orchestra-in- Residence at the Grange Festival, Chiltern Arts Festival, Music at Oxford and the Apex, Bury St Edmunds. Visit aam.co.uk to find out more.

Violin I

Viola

Flute

Organ

Bojan Čičić * Elin White Persephone Gibbs James Toll

Jordan Bowron Charlotte Fairbairn

Rachel Brown Guy Williams

Jan Waterfield

Cello

Oboe

Jonathan Rees Imogen Seth-Smith

Leo Duarte Lars Henriksson

Double Bass

Bassoon

Timothy Amherst

Inga Maria Klaucke

Violin II Rachell Wong Davina Clarke William Thorp *

Viola da Gamba Reiko Ichise

* viola d’amore

St John Passion FROM 1723 UNTIL his death Bach was employed as Kantor at the Thomasschule in Leipzig. It was a prestigious but demanding post, requiring him not only to teach at the school but also to play the organ, train the choir and compose the music for the city’s two principal Lutheran churches, Thomaskirche and Nikolaikirche, as well as supervising and training the musicians at two others. Despite this heavy workload and frequent disputes with his employers, Bach composed some of his greatest music during this period. His choral compositions alone include such enduring masterpieces as the Mass in B minor, Magnificat, Christmas Oratorio, and the St. John and St. Matthew Passions. The St. John Passion was first performed in Leipzig on Bach’s first Good Friday there: 7 April 1724. Altogether it was heard four times during the composer’s lifetime, each time with substantial alterations as Bach strove, as ever, for perfection. In post-Reformation Germany the ancient Good Friday tradition of reciting the Passion story in Latin to unaccompanied plainchant developed into a more extended form, still unaccompanied and with a strictly biblical text but now in a vernacular translation. By the close of the 17th century, though, the oratorio-Passion was rapidly taking over. This was a far more elaborate affair with choir and orchestra, soloists with named roles, and with hymns and meditative arias to nonbiblical texts interpolated between the sections of the Gospel narrative. It was this type of dramatic Passion, only recently adopted by his conservative predecessor, Johann Kuhnau, which Bach used as the model for his greatly expanded St. John and St. Matthew Passions (the only two extant examples of the five Passion settings it is believed that he composed). These majestic works are truly remarkable achievements: whilst they amply fulfil their liturgical function as extended ‘sermons in music’ they are at the same time fully integrated music dramas, unprecedented in their scale and power.

In comparison with the immense St. Matthew Passion, scored for two choirs and two orchestras and lasting nearly 3½ hours, the earlier St. John Passion seems much smaller and more intimate. It is, though, a considerably more dramatic work than the St. Matthew. Although harmonically and rhythmically complex, the St. John has a concise, clearly defined structure built around five distinct elements. The first of these is the Gospel narrative, sung in a series of recitatives with accompaniment provided by a small continuo group of instruments. The central figure is the Evangelist, with roles for Jesus, Pilate, Peter and other minor characters. Because of their sparse accompaniments it would be easy to regard these recitatives as simply a narrative device. In fact, with his exceptional sensitivity to every inflexion of the words, Bach’s recitatives are much more than that; they are always profoundly expressive and on occasions full of pathos, as for example when Peter ‘went out and wept bitterly’. The crowd scenes provide the second element.These choruses, a number of which are extraordinarily ferocious, vividly portray the intense emotional atmosphere surrounding Christ’s trial and crucifixion, with intricate vocal writing supported by a busy orchestral texture. Thirdly, there is the almost operatic splendour of the arias, when the narrative pauses and a soloist meditates on the significance of the unfolding events. The fourth element consists of the chorales. These Lutheran hymn-tunes, melodically simple but richly harmonized by Bach, would have been extremely familiar to the Leipzig congregations. Whether they actually joined in with them is unclear, but they certainly provided the people with regular moments of reassurance and reflection, and the opportunity for a personal connection with the performance.

The final components of Bach’s carefully devised musical architecture are the two monumental choruses which frame and support the entire musical edifice. Thus we hear first-hand accounts from the principal individuals and groups at the centre of the drama, thoughtful commentary from anonymous bystanders, and the general response of the congregation. These different levels of action and commentary give the work considerable musical variety and an unmistakably theatrical dimension as the perspective shifts from one viewpoint to another. The imposing opening chorus, ‘Herr, unser Herrscher’ (Lord, our Master), establishes the underlying theme and mood of the work; over a restless orchestral accompaniment the choir sings in praise of Jesus and the universal significance of his Passion. The story itself begins with Christ and his disciples in the garden of Gethsemane, and moves on to his betrayal by Judas and his arrest. Then comes Jesus’s appearance before the High Priest, and Peter’s denial. Breaks in the narrative occur with the chorales and with moving arias for the alto, soprano and tenor soloists, the texts of which are carefully chosen to reflect on a particular aspect of the Gospel. For example, after the Evangelist has sung the words, ‘Jesus was followed by Simon Peter’, the soprano soloist, speaking for the people, delivers her radiant aria, ‘Ich folge dir gleichfalls’ (I follow with joyful footsteps). The jagged rhythms and nervous energy of the tenor aria ‘Ach, mein Sinn’ (Ah, my soul), which comes after Peter’s third denial, powerfully convey the disciple’s shame and anguish. The ensuing chorale, which concludes Part One, makes it clear that Peter’s experience holds an important lesson for all believers. In Part Two the drama gathers momentum and becomes increasingly intense. Jesus appears before Pilate, who argues at some length with the crowd

about the prisoner’s alleged guilt, after which Jesus’s scourging is graphically depicted by the Evangelist in a long, tortured melisma. In this section of the work the chorus plays a crucial role as the frenzied mob, with vicious chromatic lines driving their way relentlessly through the complex textures. Bach’s varied repetition of choruses with similar musical ideas is carefully calculated to ratchet up the tension. In complete contrast, the solo arias for bass and tenor consist of delicate instrumental textures and images of heavenly grace. Pilate finally gives in to the crowd’s insistent demand that he release Barabbas, and Jesus is led away to be crucified. The Gospel narrative then tells of Pilate’s inscription of the words ‘Jesus of Nazareth, King of the Jews’ on the cross; the soldiers’ casting of lots to decide which of them shall have Jesus’s clothes, colourfully illustrated in a chattering chorus; and Jesus’s concern for his mother. Eventually Jesus utters his last words, ‘Es ist vollbracht’ (It is accomplished), set to a descending phrase which is then echoed by the viola da gamba in one of Bach’s most unusual arias. It begins as a despairing lament but this is abruptly interrupted by the triumphant image of ‘the hero from Judah’. The lament returns and the aria ends in sombre mood with the alto soloist repeating Jesus’s last words. Mirroring the opening movement, the work approaches its conclusion with an extended valedictory lullaby, ‘Ruht wohl’ (Rest well), which must surely be one of the most poignant choruses that Bach ever wrote. The closing chorale is a triumphant affirmation of faith and trust in the Resurrection. The Johannes-Passion is a challenging work that makes considerable demands not only on the performers but also upon the listeners, as indeed it was always intended to do. Despite the harrowing events so graphically depicted in Bach’s intensely dramatic music, the Johannes-Passion’s overriding message is one of compassion, hope and ultimate salvation.

Programme notes by John Bawden

St John Passion Numbers alongside movement titles denote the soloist for the movement and correspond to the list of singers

Erster Teil

Part One

Chor Herr, unser Herrscher, dessen Ruhm In allen Landen herrlich ist! Zeig uns durch deine Passion, Daß du, der wahre Gottessohn, Zu aller Zeit, Auch in der größten Niedrigkeit, Verherrlicht worden bist!

Chorus Lord, our ruler, Whose fame In every land is glorious! Show us, through Your passion, That You, the true Son of God, Through all time, Even in the greatest humiliation, Have become transfigured!

2a. Evangelist Jesus ging mit seinen Jüngern über den Bach Kidron, da war ein Garte, darein ging Jesus und seine Jünger. Judas aber, der ihn verriet, wußte den Ort auch, denn Jesus versammlete sich oft daselbst mit seinen Jüngern. Da nun Judas zu sich hatte genommen die Schar und der Hohenpriester und Pharisäer Diener, kommt er dahin mit Facheln, Lampen und mit Waffen. Als nun Jesus wußte alles, was ihm begegnen sollte, ging er hinaus und sprach zu ihnen:

2a. Evangelist Jesus went with His disciples over the brook Cedron, where there was a garden, into which Jesus entered with His disciples. Judas, however, who betrayed Him, also knew the place, for Jesus often met there with His disciples. Now Judas, having gathered a band of servants of the high priests and Pharisees, came there with torches, lamps, and weapons. Now Jesus, knowing all that would happen to Him, went out and said to them:

Jesus Wen suchet ihr?

Jesus Whom do you seek?

Evangelist Sie antworteten ihm:

Evangelist They answered Him:

2b. Chor Jesum von Nazareth.

2b. Chorus Jesus of Nazareth.

2c. Evangelist Jesus spricht zu ihnen:

2c. Evangelist Jesus said to them:

Jesus Ich bin’s.

Jesus I am He.

Evangelist Judas aber, der ihn verriet, stund auch bei ihnen. Als nun Jesus zu ihnen sprach: Ich bin’s, wichen sie zurücke und fielen zu Boden. Da fragete er sie abermal:

Evangelist Judas, however, who betrayed Him, stood also with them. Now when Jesus said to them: I am He, they drew back and fell to the ground. Then He asked them again:

Jesus Wen suchet ihr?

Jesus Whom do you seek?

Evangelist Sie aber sprachen:

Evangelist They said, however:

2d. Chor Jesum von Nazareth.

2d. Chorus Jesus of Nazareth.

2e. Evangelist Jesus antwortete:

2e. Evangelist Jesus answered:

Jesus Ich hab’s euch gesagt, daß ich’s sei, suchet ihr denn mich, so lasset diese gehen! 3. Choral O große Lieb, o Lieb ohn alle Maße, Die dich gebracht auf diese Marterstraße! Ich lebte mit der Welt in Lust und Freuden, Und du mußt leiden.

Jesus I have told you, that I am He, if you seek Me, then let these go!

3. Chorale O great love, o love beyond measure, that brought You to this path of martyrdom! I lived with the world in delight and joy, and You had to suffer.

4. Evangelist Auf daß das Wort erfüllet würde, welches er sagte: Ich habe der keine verloren, die du mir gegeben hast. Da hatte Simon Petrus ein Schwert und zog es aus und schlug nach des Hohenpriesters Knecht und hieb ihm sein recht Ohr ab; und der Knecht hieß Malchus. Da sprach Jesus zu Petro:

4. Evangelist So that the word might be fulfilled, which He spoke: “I have lost none that You have given to me.” Then Simon Peter, who had a sword, drew it out and struck at the servant of the high priest and cut off his right ear; and the servant’s name was Malchus. Then Jesus said to Peter:

Jesus Stecke dein Schwert in die Scheide! Soll ich den Kelch nicht trinken, den mir mein Vater gegeben hat?

Jesus Put your sword in its sheath! Shall I not drink the cup, which My Father has given to Me?

5. Choral Dein Will gescheh, Herr Gott, zugleich Auf Erden wie im Himmelreich. Gib uns Geduld in Leidenszeit, Gehorsam sein in Lieb und Leid; Wehr und steur allem Fleisch und Blut, Das wider deinen Willen tut! (“Vater unser im Himmelreich,” verse 4)

5. Chorale Your will be done, Lord God, likewise on earth as in heaven. Grant us patience in time of sorrow, to be obedient in love and suffering; check and guide all flesh and blood that acts contrary to Your will!

6. Evangelist Die Schar aber und der Oberhauptmann und die Diener der Jüden nahmen Jesum und bunden ihn und führeten ihn aufs erste zu Hannas, der was Kaiphas Schwäher, welcher des Jahres Hoherpriester war. Es war aber Kaiphas, der den Juden riet, es wäre gut, daß ein Mensch würde umbracht für das Volk.

6. Evangelist The band, however, and the captain and the servants of the Jews took Jesus and bound Him and led Him first to Annas, who was the father-in-law of Caiaphas, the high priest that year. It was Caiaphas, however, who counselled the Jews, that it would be good for one man to be destroyed for the people.

7. Arie 4 Von den Stricken meiner Sünden Mich zu entbinden, Wird mein Heil gebunden. Mich von allen Lasterbeulen Völlig zu heilen, Läßt er sich verwunden.

7. Aria 4 To untie me from the knots of my sins, my Saviour is bound. To completely heal me of all blasphemous sores, He allows Himself to be wounded.

8. Evangelist Simon Petrus aber folgete Jesu nach und ein ander Jünger.

8. Evangelist Simon Peter however followed after Jesus with another disciple.

9. Arie 2 Ich folge dir gleichfalls mit freudigen Schritten Und lasse dich nicht, Mein Leben, mein Licht. Befördre den Lauf, Und höre nicht auf, Selbst an mir zu ziehen, zu schieben, zu bitten.

9. Aria 2 I follow You likewise with happy steps and do not leave You, my Life, my Light. Pursue your journey, and don’t stop, continue to draw me on, to push me, to urge me.

10. Evangelist Derselbige Jünger war dem Hohenpriester bekannt und ging mit Jesu hinein in des Hohenpriesters Palast. Petrus aber stund draußen für der Tür. Da ging der andere Jünger, der dem Hohenpriester bekannt war, hinaus und redete mit der Türhüterin und führete Petrum hinein. Da sprach die Magd, die Türhüterin, zu Petro:

10. Evangelist This same disciple was known to the high priest and went inside with Jesus in the high priest’s palace. Peter however stood outside at the door. Then the other disciple, who was known to the high priest , went outside and spoke with the girl guarding the door and brought Peter inside. Then the maid, the doorkeeper, said to Peter:

Magd 1 Bist du nicht dieses Menschen Jünger einer?

Maid 1 Aren’t you one of this man’s disciples?

Evangelist Er sprach:

Evangelist He said:

Petrus 10 Ich bin’s nicht.

Peter 10 I am not.

Evangelist Es stunden aber die Knechte und Deiner und hatten ein Kohlfeu’r gemacht (denn es war kalt) und wärmeten sich. Petrus aber stund bei ihnen und wärmete sich. Aber der Hohepriester fragte Jesum um seine Jünger und um seine Lehre. Jesus antwortete ihm:

Evangelist However the soldiers and servants stood around and they had made a coal fire (for it was cold) and warmed themselves. Peter however stood with them and warmed himself. But the high priest questioned Jesus about His disciples and about His teachings. Jesus answered him:

Jesus Ich habe frei, öffentlich geredet für der Welt. Ich habe allezeit gelehret in der Schule und in dem Tempel, da alle Juden zusammenkommen, und habe nichts im Verborgenen geredt. Was fragest du mich darum? Frage die darum, die gehöret haben, was ich zu ihnen geredet habe! Siehe, dieselbigen wissen, was ich gesaget habe.

Jesus I have freely and openly spoken before the world. I have taught all the time in the synagogue and in the temple, where all Jews gather, and I have said nothing in secret. Why do you ask me about this? Ask those about it, who have heard what I said to them! Behold, these same people know what I have said.

Evangelist Als er aber solches redete, gab der Diener einer, die dabeistunden, Jesu einen Backenstreich und sprach:

Evangelist As He was saying this, however, one of the servants who stood by gave Jesus a blow on his cheek and said:

Diener 6 Solltest du dem Hohenpriester also antworten?

Servant 6 Is this how You answer the high priest?

Evangelist Jesus aber antwortete:

Evangelist Jesus however answered:

Jesus Hab ich übel geredt, so beweise es, daß es böse sei, hab ich aber recht geredt, was schlägest du mich?

Jesus If I have spoken ill, then make it known that it is ill spoken; however if I spoke rightly, why do you strike Me?

11. Choral Wer hat dich so geschlagen, Mein Heil, und dich mit Plagen So übel zugericht’? Du bist ja nicht ein Sünder Wie wir und unsre Kinder, Von Missetaten weißt du nicht.

11. Chorale Who has struck you thus, my Saviour, and with torments so evilly used You? You are not at all a sinner like us and our children, You know nothing of transgressions.

Ich, ich und meine Sünden, Die sich wie Körnlein finden Des Sandes an dem Meer, Die haben dir erreget Das Elend, das dich schläget, Und das betrübte Marterheer.

I, I and my sins, that can be found like the grains of sand by the sea, these have brought You this misery that assails You, and this tormenting martyrdom.

St John Passion 12a. Evangelist Und Hannas sandte ihn gebunden zu dem Hohenpriester Kaiphas. Simon Petrus stund und wärmete sich, da sprachen sie zu ihm:

12a. Evangelist And Hannas send Him bound to the high priest Caiaphas. Simon Peter stood and warmed himself, when they said to him:

12b. Chor Bist du nicht seiner Jünger einer?

2b. Chorus Aren’t you one of His disciples?

12c. Evangelist Er leugnete aber und sprach:

12c. Evangelist He denied it however and said:

Petrus 10 Ich bin’s nicht.

Peter 10 I am not.

Evangelist Spricht des Hohenpriesters Knecht’ einer, ein Gefreundter des, dem Petrus das Ohn abgehauen hatte:

Evangelist One of the high priest’s servants, a friend of the man whose ear Peter had cut off, said:

Knecht 6 Sahe ich dich nicht im Garten bei ihm?

Servant 6 Didn’t I see you in the garden with Him?

Evangelist Da verleugenete Petrus abermal, und alsobald krähete der Hahn. Da gedachte Petrus an die Worte Jesu und ging hinaus und weinete bitterlich.

Evangelist Then Peter denied it again, and just then the cock crew. Then Peter recalled Jesus’ words and went out and wept bitterly.

13. Arie 5 Ach, mein Sinn, Wo willt du endlich hin, Wo soll ich mich erquicken? Bleib ich hier, Oder wünsch ich mir Berg und Hügel auf den Rücken? Bei der Welt ist gar kein Rat, Und im Herzen Stehn die Schmerzen Meiner Missetat, Weil der Knecht den Herrn verleugnet hat.

13. Aria 5 Alas, my conscience, where will you flee at last, where shall I find refreshment? Should I stay here, or do I desire mountain and hill at my back? In all the world there is no counsel, and in my heart remains the pain of my misdeed, since the servant has denied the Lord.

14. Choral Petrus, der nicht denkt zurück, Seinen Gott verneinet, Der doch auf ein’ ernsten Blick Bitterlichen weinet. Jesu, blicke mich auch an, Wenn ich nicht will büßen; Wenn ich Böses hab getan, Rühre mein Gewissen! (“Jesu Leiden, Pein und Tod,” verse 10)

14. Chorale Peter, who did not recollect, denied his God, who yet after a serious glance wept bitterly. Jesus, look upon me also, when I will not repent; when I have done evil, stir my conscience!

Zweiter Teil

Part Two

15. Choral Christus, der uns selig macht, Kein Bös’ hat begangen, Der ward für uns in der Nacht Als ein Dieb gefangen, Geführt für gottlose Leut Und fälschlich verklaget, Verlacht, verhöhnt und verspeit, Wie denn die Schrift saget. (“Christus, der uns selig macht,” verse 1)

15. Chorale Christ, who makes us blessed, committed no evil deed, for us He was taken in the night like a thief, led before godless people and falsely accused, scorned, shamed, and spat upon, as the Scripture says.

16a. Evangelist Da führeten sie Jesum von Kaiphas vor das Richthaus, und es war frühe. Und sie gingen nicht in das Richthaus, auf daß sie nicht unrein würden, sondern Ostern essen möchten. Da ging Pilatus zu ihnen heraus und sprach:

16a. Evangelist Then they led Jesus before Caiaphas in front of the judgment hall, and it was early. And they did not go into the judgment hall, so that they would not become unclean; rather that they could partake of Passover. Then Pilate came outside to them and said:

Pilatus Was bringet ihr für Klage wider diesen Menschen?

Pilate What charge do you bring against this Man?

Evangelist Sie antworteten und sprachen zu ihm:

Evangelist They answered and said to him:

16b. Chor Wäre dieser nicht ein Übeltäter, wir hätten dir ihn nicht überantwortet.

16b. Chorus If this man were not an evil-doer, we wouldn’t have turned Him over to you.

16c. Evangelist Da sprach Pilatus zu ihnen:

16c. Evangelist Then Pilate said to them:

Pilatus So nehmet ihr ihn hin und richtet ihn nach eurem Gesetze!

Pilate Then take Him away and judge Him after your law!

Evangelist Da sprachen die Jüden zu ihm:

Evangelist Then the Jews said to him:

16d. Chor Wir dürfen niemand töten.

16d. Chorus We may not put anyone to death.

16e. Evangelist Auf daß erfüllet würde das Wort Jesu, welches er sagte, da er deutete, welches Todes er sterben würde. Da ging Pilatus wieder hinein in das Richthaus und rief Jesu und sprach zu ihm:

16e. Evangelist So that the word of Jesus might be fulfilled, which He spoke, where He indicated what death He would die. Then Pilate went back into the judgment hall and called Jesus and said to Him:

Pilatus Bist du der Jüden König?

Pilate Are You the King of the Jews?

Evangelist Jesus antwortete:

Evangelist Jesus answered:

Jesus Redest du das von dir selbst, oder haben’s dir andere von mir gesagt?

Jesus Do you say this of yourself, or have others said this of Me?

Evangelist Pilatus antwortete:

Evangelist Pilate answered:

St John Passion Pilatus Bin ich ein Jüde? Dein Volk und die Hohenpriester haben dich mir überantwortet; was hast du getan?

Pilate Am I a Jew? Your people and the high priests have delivered You to me; what have You done?

Evangelist Jesus antwortete:

Evangelist Jesus answered:

Jesus Mein Reich ist nicht von dieser Welt; wäre mein Reich von dieser Welt, meine Diener würden darob kämpfen, daß ich den Jüden nicht überantwortet würde; aber nun ist mein Reich nicht von dannen.

Jesus My Kingdom is not of this world; if my Kingdom were of this world, my servants would fight over this, so that I would not be handed over to the Jews; now however my Kingdom is not from here.

17. Choral Ach großer König, groß zu allen Zeiten, Wie kann ich gnugsam diese Treu ausbreiten? Keins Menschen Herze mag indes ausdenken, Was dir zu schenken.

17. Chorale Ah great King, great for all times, how can I sufficiently proclaim this love? No human’s heart, however, can conceive of a fit offering to You.

Ich kann’s mit meinen Sinnen nicht erreichen, Womit doch dein Erbarmen zu vergleichen. Wie kann ich dir denn deine Liebestaten Im Werk erstatten?

I cannot grasp with my mind, how to imitate Your mercy. How can I then repay Your deeds of love with my actions?

18a. Evangelist Da sprach Pilatus zu ihm:

18a. Evangelist Then Pilate said to Him:

Pilatus So bist du dennoch ein König?

Pilate Then You are a King?

Evangelist Jesus antwortete:

Evangelist Jesus answered:

Jesus Du sagst’s, ich bin ein König. Ich bin dazu geboren und in die Welt kommen, daß ich die Wahrheit zeugen soll. Wer aus der Wahrheit ist, der höret meine Stimme.

Jesus You say I am a King. I was born for this, and came into the world, that I might bear witness to the Truth. Whoever is of the truth hears My voice.

Evangelist Spricht Pilatus zu ihm:

Evangelist Pilate said to Him:

Pilatus Was ist Wahrheit?

Pilate What is truth?

Evangelist Und da er das gesaget, ging er wieder hinaus zu den Jüden und spricht zu ihnen:

Evangelist And when he had said this, he went out again to the Jews and said to them:

Pilatus Ich finde keine Schuld an ihm. Ihr habt aber eine Gewohnheit, daß ich euch einen losgebe; wollte ihr nun, daß ich euch der Jüden König losgebe?

Pilate I find no fault in Him. However, you have a custom, that I release someone to you; do you wish now, that I release the King of the Jews to you?

Evangelist Da schrieen sie wieder allesamt und sprachen:

Evangelist Then they all cried out together and said:

18b. Chor Nicht diesen, sondern Barrabam!

18b. Chorus Not this one, but Barrabas!

18c. Evangelist Barrabas aber war ein Mörder. Da nahm Pilatus Jesum und geißelte ihn.

18c. Evangelist Barrabas however was a murderer. Then Pilate took Jesus and scourged Him.

19. Arioso 11 Betrachte, meine Seel, mit ängstlichem Vergnügen, Mit bittrer Lust und halb beklemmtem Herzen Dein höchstes Gut in Jesu Schmerzen, Wie dir auf Dornen, so ihn stechen, Die Himmelsschlüsselblumen blühn! Du kannst viel süße Frucht von seiner Wermut brechen Drum sieh ohn Unterlass auf ihn!

19. Arioso 11 Contemplate, my soul, with anxious pleasure, with bitter joy and half-constricted heart, your highest Good in Jesus’ suffering, how for you, out of the thorns that pierce Him, the tiny ‘keys of Heaven’ bloom! You can pluck much sweet fruit from his wormwood; therefore gaze without pause upon Him!

20. Arie 7 Erwäge, wie sein blutgefärbter Rücken In allen Stücken Dem Himmel gleiche geht, Daran, nachdem die Wasserwogen Von unsrer Sündflut sich verzogen, Der allerschönste Regenbogen Als Gottes Gnadenzeichen steht!

20. Aria 7 Consider, how His blood-stained back in every aspect is like Heaven, in which, after the watery deluge was released upon our flood of sins, the most beautiful rainbow as God’s sign of grace was placed!

21a. Evangelist Und die Kriegsknechte flochten eine Krone von Dornen und satzten sie auf sein Haupt und legten ihm ein Purpurkleid an und sprachen:

21a. Evangelist And the soldiers wove a crown of thorns and set it upon His head, and laid a purple mantel on Him, and said:

21b. Chor Sei gegrüßet, lieber Jüdenkönig!

21.b Chorus Hail to You, dear King of the Jews!

21c. Evangelist Und gaben ihm Backenstreiche. Da ging Pilatus wieder heraus und sprach zu ihnen:

21c. Evangelist And gave Him blows on the cheek. Then Pilate went back outside and spoke to them:

Pilatus Sehet, ich führe ihn heraus zu euch, daß ihr erkennet, daß ich keine Schuld an ihm finde.

Pilate Behold, I bring Him out to you, so that you recognize, that I find no fault in Him.

Evangelist Also ging Jesus keraus und trug eine Dornenkrone und Purpurkleid. Und er sprach zu ihnen:

Evangelist Then Jesus went out and wore a crown of thorns and a purple mantel. And Pilate said to them:

Pilatus Sehet, welch ein Mensch!

Pilate Behold, what a Man!

Evangelist Da ihn die Hohenpriester und die Diener sahen, schrieen sie und sprachen:

Evangelist When the high priests and servants saw Him, they screamed and said:

21d. Chor Kreuzige, kreuzige!

21d. Chorus Crucify, crucify!

21e. Evangelist Pilatus sprach zu ihnen:

21e. Evangelist Pilate said to them:

Pilatus Nehmet ihr ihn hin und kreuziget ihn; denn ich finde keine Schuld an ihm!

Pilate You take Him away and crucify Him; for I find no fault in Him!

St John Passion Evangelist Die Jüden antworteten ihm:

Evangelist The Jews answered him:

21f. Chor Wir haben ein Gesetz, und nach dem Gesetz soll er sterben; denn er hat sich selbst zu Gottes Sohn gemacht.

21f. Chorus We have a law, and according to that law He should die; for He has made Himself into God’s Son.

21g. Evangelist Da Pilatus das Wort hörete, fürchtet’ er sich noch mehr und ging wieder hinein in das Richthaus und spricht zu Jesu:

21g. Evangelist When Pilate heard this, he became more afraid and went back inside to the judgment hall and said to Jesus:

Pilatus Von wannen bist du?

Pilate Where do You come from?

Evangelist Aber Jesus gab ihm keine Antwort. Da sprach Pilatus zu ihm:

Evangelist But Jesus gave him no answer. Then Pilate said to Him:

Pilatus Redest du nicht mit mir? Weißest du nicht daß ich Macht habe, dich zu kreuzigen, und Macht habe, dich loszugeben?

Pilate You don’t speak to me? Don’t You know that I have the power to crucify You, and the power to release You?

Evangelist Jesus antwortete:

Evangelist Jesus answered:

Jesus Du hättest keine Macht über micht, wenn sie dir nicht wäre von oben herab gegeben; darum, der mich dir überantwortet hat, der hat’s größ’re Sünde.

Jesus You would have no power over Me, if it were not given to you from above; therefore, he who has delivered Me to you has the greater sin.

Evangelist Von dem an trachtete Pilatus, wie er ihn losließe.

Evangelist From then on Pilate considered how he might release Him.

22. Choral Durch dein Gefängnis, Gottes Sohn, Muß uns die Freiheit kommen; Dein Kerker ist der Gnadenthron, Die Freistatt aller Frommen; Denn gingst du nicht die Knechtschaft ein, Müßt unsre Knechtschaft ewig sein.

22. Chorale Through Your prison, Son of God, must freedom come to us; Your cell is the throne of grace, the sanctuary of all the righteous; for if you had not undergone servitude, our slavery would have been eternal.

23a. Evangelist Die Jüden aber schrieen und sprachen:

23a. Evangelist The Jews, however, screamed and said:

23b. Chor Lässest du diesen los, so bist du des Kaisers Freund nicht; denn wer sich zum Könige machet, der ist wider den Kaiser.

23b. Chorus If you let this man go, you are not a friend of Caesar; for whoever makes himself a king is against Caesar.

23c. Evangelist Da Pilatus da Wort hörete, führete er Jesum heraus und satzte sich auf den Richtstuhl, an der Stätte, die da heißet: Hochpflaster, auf Ebräisch aber: Gabbatha. Es war aber der Rüsttag in Ostern um die sechste Stunde, und er spricht zu den Jüden:

23c. Evangelist When Pilate heard this, he brought Jesus outside and sat upon the judgment seat, at the place that is called High Pavement, in Hebrew however: Gabbatha. But it was the Sabbath-day at Passover at the sixth hour, and he said to the Jews:

Pilatus Sehet, das ist euer König!

Pilate Behold, this is your King!

Evangelist Sie schrieen aber:

Evangelist But they shrieked:

23d. Chor Weg, weg mit dem, kreuzige ihn!

23d. Chorus Away, away with Him, crucify Him!

23e. Evangelist Spricht Pilatus zu ihnen:

23e. Evangelist Pilate said to them:

Pilatus Soll ich euren König kreuzigen?

Pilate Shall I crucify your King?

Evangelist Die Hohenpriester antworteten:

Evangelist The high priests answered:

23f. Chor Wir haben keinen König denn den Kaiser.

23f. Chorus We have no King but Caesar.

23g. Evangelist Da überantwortete er ihn daß er gekreuziget würde. Sie nahmen aber Jesum und führeten ihn hin. Und er trug sein Kreuz und ging hinaus zur Stätte, die da heißet Schädelstätt, welche heißet auf Ebräisch: Golgatha.

23g. Evangelist Then he delivered Him to be crucified. They took Jesus and led him away. And He carried His Cross, and went up to the place that is called the Place of the Skull, which is called in Hebrew: Golgatha.

24. Arie 11 und Chor Eilt, ihr angefochtnen Seelen, Geht aus euren Marterhöhlen, Eilt -- Wohin? -- nach Golgatha! Nehmet an des Glaubens Flügel, Flieht -- Wohin? -- zum Kreuzeshügel, Eure Wohlfahrt blüht allda!

24. Aria 11 and Chorus Hurry, you tempted souls, come out of your caves of torment, hurry – where? – to Golgatha! Take up the wings of faith, fly – where? -- to the Hill of the Cross, Your salvation blooms there!

25a. Evangelist Allda kreuzigten sie ihn, und mit ihm zween andere zu beiden Seiten, Jesum aber mitten inne. Pilatus aber schrieb eine Überschrift und satzte sie auf das Kreuz, und war geschrieben: “Jesus von Nazareth, der Jüden König.” Diese Überschrift lasen viel Jüden, denn die Stätte war nahe bei der Stadt, da Jesus gekreuziget ist. Und es war geschrieben auf ebräische, griechische und lateinische Sprache. Da sprachen die Hohenpriester der Jüden zu Pilato:

25a. Evangelist There they crucified Him, and two others with Him on either side, Jesus however in the middle. Pilate however wrote a signpost and set it upon the Cross, and there was written on it: “Jesus of Nazareth, the King of the Jews.” This signpost was read by many Jews, for the place where Jesus was crucified was near the city. And it was written in the Hebrew, Greek and Latin languages. Then the high priests of the Jews said to Pilate:

25b. Chor Schreibe nicht: der Jüden König, sondern daß er gesaget habe: Ich bin der Jüden König.

25b. Chorus Do not write: The King of the Jews, rather that He said: I am the King of the Jews.

25c. Evangelist Pilatus antwortet:

25c. Evangelist Pilate answered:

Pilatus Was ich geschrieben habe, das habe ich geschrieben.

Pilate What I have written, I have written.

26. Choral In meines Herzens Grunde Dein Nam und Kreuz allein Funkelt all Zeit und Stunde, Drauf kann ich fröhlich sein. Erschein mir in dem Bilde Zu Trost in meiner Not, Wie du, Herr Christ, so milde Dich hast geblut’ zu Tod! (“Valet will ich dir geben,” verse 3)

26. Chorale In the bottom of my heart Your name and Cross alone sparkles at all times and hours, for which I can be joyful. Shine forth for me in that image as comfort in my need, how You, Lord Christ, so gently bled to death!

St John Passion 27a. Evangelist Die Kriegsknechte aber, da sie Jesum gekreuziget hatten, nahmen seine Kleider und machten vier Teile, einem jeglichen Kriegesknechte sein Teil, dazu auch den Rock. Der Rock aber war ungenähet, von oben an gewürket durch und durch. Da sprachen sie untereinander:

27a. Evangelist The soldiers however, that had crucified Jesus, took His clothing and made four parts, one part for each soldier, the same also with His robe. The robe, however, had no seam, being woven from top to bottom. Then they said to each other:

27b. Chor Lasset uns den nicht zerteilen, sondern darum losen, wes er sein soll.

27b. Chorus Let’s not divide this, rather let’s toss for it, to see whose it will be.

27c. Evangelist Auf daß erfüllet würde die Schrift, die da saget: “Sie haben meine Kleider unter sich geteilet und haben über meinen Rock das Los geworfen.” Solches taten die Kriegesknechte. Es stund aber bei dem Kreuze Jesu seine Mutter und seiner Mutter Schwester, Maria, Kleophas Weib, und Maria Magdalena. Da nun Jesus seine Mutter sahe und den Jünger dabei stehen, den er lieb hatte, spricht er zu seiner Mutter:

27c. Evangelist So that the Scripture might be fulfilled, which says: “They have divided my clothing among themselves and have cast lots over my robe.” These things the soldiers did. However there stood by Jesus’ Cross His mother and His mother’s sister, Mary, the wife of Cleophas, and Mary Magdalene. Now when Jesus saw His mother and the disciple standing near, whom He loved, He said to His mother:

Jesus Weib, siehe, das ist dein Sohn!

Jesus Woman, behold, this is your son!

Evangelist Darnach spricht er zu dem Jünger:

Evangelist Afterwards He said to the disciple:

Jesus Siehe, das ist deine Mutter!

Jesus Behold, this is your mother!

28. Choral Er nahm alles wohl in acht In der letzten Stunde, Seine Mutter noch bedacht, Setzt ihr ein’ Vormunde. O Mensch, mache Richtigkeit, Gott und Menschen liebe, Stirb darauf ohn alles Leid, Und dich nicht betrübe! (“Jesu Leiden, Pein und Tod,” verse 20>)

28. Chorale He took good care of everything in the last hour, still thinking of His mother, He provided a guardian for her. O mankind, do justice, love God and humanity, die without any sorrow, and do not be troubled!

29. Evangelist Und von Stund an nahm sie der Jünger zu sich. Darnach, als Jesus wußte, daß schon alles vollbracht war, daß die Schrift erfüllet würde, spricht er:

29. Evangelist And from that hour the disciple took her to himself. Afterwards, when Jesus knew that everything was already accomplished, so that the Scripture might be fulfilled, He said:

Jesus Mich dürstet!

Jesus I thirst!

Evangelist Da stund ein Gefäße voll Essigs. Sie fülleten aber einen Schwamm mit Essig und legten ihn um einen Isopen, und heilten es ihm dar zum Munde. Da nun Jesus den Essig genommen hatte, sprach er:

Evangelist There was a vessel full of vinegar. They filled a sponge with vinegar and placed it on a hyssop, and held it directly to His mouth. Now when Jesus had taken the vinegar, He said:

Jesus Es ist vollbracht!

Jesus It is finished!

30. Arie 4 Es ist vollbracht! O Trost vor die gekränkten Seelen! Die Trauernacht Läßt nun die letzte Stunde zählen. Der Held aus Juda siegt mit Macht Und schließt den Kampf. Es ist vollbracht!

30. Aria 4 It is finished! O comfort for the ailing soul! The night of sorrow now measures out its last hour. The hero out of Judah conquers with might and concludes the battle. It is finished!

31. Evangelist Und neiget das Haupt und verschied.

31. Evangelist And bowed His head and departed.

32. Arie 9 und Chor Mein teurer Heiland, laß dich fragen, Da du nunmehr ans Kreuz geschlagen Und selbst gesagt: Es ist vollbracht, Bin ich vom Sterben frei gemacht? Kann ich durch deine Pein und Sterben Das Himmelreich ererben? Ist aller Welt Erlösung da? Du kannst vor Schmerzen zwar nichts sagen; Doch neigest du das Haupt Und sprichst stillschweigend: ja.

32. Aria 9 and Chorus My precious Saviour, let me ask, Now that you have been nailed to the Cross and have said yourself: It is finished, Am I made free from death? Can I, through your pain and death inherit the kingdom of heaven? Has the redemption of the whole world arrived? You cannot say a single thing out of pain; yet you bow Your head and say silently: yes.

Jesu, der du warest tot, Lebest nun ohn Ende, In der letzten Todesnot Nirgend mich hinwende Als zu dir, der mich versühnt, O du lieber Herre! Gib mir nur, was du verdient, Mehr ich nicht begehre! (“Jesu Leiden, Pein und Tod,” last verse)

Jesus, You, who were dead, live now unendingly, in the last pangs of death I will turn nowhere else but to You, who has absolved me, O beloved Lord! Only give me what You earned, more I do not desire!

33. Evangelist Und siehe da, der Vorhang im Tempel zeriß in zwei Stück von oben an bis unten aus. Und die Erde erbebete, und die Felsen zerrissen, und die Gräber täten sich auf, und stunden auf viel Leiber der Heiligen.

33. Evangelist And behold, the curtain in the temple was torn in two pieces from top to bottom. And the earth shook, and the cliffs were rent, and the graves opened up, and many bodies of saints arose.

34. Arioso 8 Mein Herz, in dem die ganze Welt Bei Jesu Leiden gleichfalls leidet, Die Sonne sich in Trauer kleidet, Der Vorhang reißt, der Fels zerfällt, Die Erde bebt, die Gräber spalten, Weil sie den Schöpfer sehn erkalten, Was willst du deines Ortes tun?

34. Arioso 8 My heart – while the entire world with Jesus’ suffering likewise suffers; the sun drapes itself in mourning, the curtain is rent, the crag crumbles, the earth trembles, the graves split open, since they behold the Creator growing cold; - how shall you react from your depths?

35. Aria 3 Zerfleiße, mein Herze, in Fluten der Zähren Dem Höchsten zu Ehren! Erzähle der Welt und dem Himmel die Not: Dein Jesus ist tot!

35. Aria 3 Dissolve, my heart, in floods of tears to honor the Highest! Tell the world and heaven the anguish: Your Jesus is dead!

36. Evangelist Die Jüden aber, dieweil es der Rüsttag war, daß nicht die Leichname am Kreuze blieben den Sabbat über (denn desselbigen Sabbats Tag war sehr groß), baten sie Pilatum, daß ihre Beine gebrochen und sie

36. Evangelist The Jews however, since it was the Sabbath day, so that the corpses would not remain on their crosses over the Sabbath (for this particular Sabbath day was very great), asked Pilate for

St John Passion abgenommen würden. Da kamen die Kriegsknechte und brachen dem ersten die Beine und dem andern, der mit ihm gekreuziget war. Als sie aber zu Jesu kamen, da sie sahen, daß er schon gestorben war, brachen sie ihm die Beine nicht; sondern der Kriegsknechte einer eröffnete seine Seite mit einem Speer, und alsobald ging Blut und Wasser heraus. Und der das gesehen hat, der hat es bezeuget, und sein Zeugnis ist wahr, und derselbige weiß, daß er die Wahrheit saget, auf daß ihr gläubet. Denn solches ist geschehen, auf daß die Schrift erfüllet würde: “Ihr sollet ihm kein Bein zerbrechen.” Und abermal spricht eine andere Schrift: “Sie werden sehen, in welchen sie gestochen haben.”

their bones to be broken and that they be taken away. So the soldiers came and broke the bones of the first and the other one, who had been crucified with Him. But when they came to Jesus, and they saw that He was already dead, they did not break His bones; instead one of the soldiers opened His side with a spear, and immediately blood and water came out. And he that saw this, bore witness to it, and his testimony is true, and this same knows that he speaks the truth so that you believe. For all this has happened in order that the Scripture might be fulfilled: “You shall break none of His bones.” And in addition another Scripture says: “They will behold what they have pierced.”

37. Choral O hilf, Christe, Gottes Sohn, Durch dein bitter Leiden, Daß wir dir stets untertan All Untugend meiden, Deinen Tod und sein Ursach Fruchtbarlich bedenken, Dafür, wiewohl arm und schwach, Dir Dankopfer schenken! (“Christus, der uns selig macht,” verse 8)

37. Chorale O help, Christ, Son of God, through Your bitter Passion, that we, being always obedient to You, might shun all vice, Your death and its cause consider fruitfully, so that, although poor and weak, we might offer you thanksgiving!

38. Evangelist Darnach bat Pilatum Joseph von Arimathia, der ein Jünger Jesu war (doch heimlich aus Furcht vor den Jüden), daß er möchte abnehmen den Leichnam Jesu. Und Pilatus erlaubete es. Derowegen kam er und nahm den Leichnam Jesu herab. Es kam aber auch Nikodemus, der vormals bei der Nacht zu Jesu kommen war, und brachte Myrrhen und Aloen untereinander, bei hundert Pfunden. Da nahmen sie den Leichnam Jesu und bunden ihn in leine Tücher mit Spezereien, wie die Jüden pflegen zu begraben. Es war aber an der Stätte, da er gekreuziget war, ein Garte, und im Garten ein neu Grab, in welches niemand je geleget war. Daselbst hin legten sie Jesum, um des Rüsttags willen der Jüden, dieweil das Grab nahe war.

38. Evangelist Afterwards Joseph from Arimathia, who was one of Jesus’ disciples (though secretly out of fear of the Jews), asked Pilate whether he might take away Jesus’ body. And Pilate permitted it. Therefore he came and took the body of Jesus away. But Nicodemus also came, who previously had come to Jesus in the night, and brought myrrh and aloe with him in hundred-weights. Then they took the body of Jesus and wrapped it in linen cloths with spices, as is the Jewish custom of burial. However, there was a garden near the place where He was crucified, and in this garden a new grave, in which no one had ever been laid. In that same grave they laid Jesus, according to the Sabbath wishes of the Jews, since the grave was nearby.

39. Chor Ruht wohl, ihr heiligen Gebeine, Die ich nun weiter nicht beweine, Ruht wohl und bringt auch mich zur Ruh! Das Grab, so euch bestimmet ist Und ferner keine Not umschließt, Macht mir den Himmel auf und schließt die Hölle zu.

39. Chorus Rest well, you blessed limbs, now I will no longer mourn you, rest well and bring me also to peace! The grave that is allotted to you and encloses no further suffering, opens heaven for me and closes off Hell.

40. Choral Ach Herr, lass dein lieb Engelein Am letzten End die Seele mein In Abrahams Schoß tragen, Den Leib in seim Schlafkämmerlein Gar sanft ohn eigne Qual und Pein Ruhn bis am jüngsten Tage! Alsdenn vom Tod erwecke mich, Dass meine Augen sehen dich In aller Freud, o Gottes Sohn, Mein Heiland und Genadenthron! Herr Jesu Christ, erhöre mich, Ich will dich preisen ewiglich!

40. Chorale Ah, Lord, let Your dear little angel, at my final end, take my soul to Abraham’s bosom. Let my body, in its little sleeping chamber, absolutely softly, without any anguish or pain, rest until the last day! At that day wake me from death, so that my eyes may see You in all joy, o Son of God, my Savior and Throne of grace! Lord Jesus Christ, hear me, I will praise You eternally!

Thurs 1 August 2.30pm | Free entry

VOCES8 Scholars | Summer School Singers

Chamber Concert The VOCES8 Scholars and the members of the Milton Abbey Summer School present their Chamber Group repertoire which they have been rehearsing with members of VOCES8 since the beginning of the week. The concert will include classical choral pieces alongside jazz, pop, and improvised arrangements.

The programme will be announced from the stage.

Thurs 1 August 5.30pm | Free entry

VOCES8 | VOCES8 Scholars | Summer School Singers

Choral Evensong

The assembled staff and participants of the VOCES8 Summer School sing Festival Choral Evensong, directed by Festival Director Barnaby Smith. The service will follow the Church of England liturgy from the Book of Common Prayer and will include the following music: William Byrd (c.1539-1623) – Preces & Responses Psalm 8 (chant: Henry Lawes (1596-1662))

Charles Villiers Stanford (1852-1924) – Magnificat and Nunc Dimittis in C, Op. 115 Edward C. Bairstow (1874-1946) – Blessed City, Heavenly Salem Hymn: Dear Lord and Father of Mankind (Repton)

Thurs 1 August 7.30pm | £15 (on the door only)

Andy Dickens and his Band | Emily Dickens

A triumphant return for Andy Dickens and his band, this year joined by his daughter – former VOCES8 soprano Emily Dickens. Andy will announce his set from the stage. ANDY DICKENS

is a freelance jazz trumpeter who plays swing, mainstream, Dixieland and New Orleans Jazz.

Turner; Jools Holland; Duncan Lamont; David Newton; Pete King and Peter Ind.

Andy’s lively trumpet and flugelhorn playing evokes the warmth and exuberance of Mardi Gras New Orleans; the heat of Chicago clubland and the excitement of small-band New York swing.

His current list of musical associates includes Julian Marc Stringle; Adrian Cox; Pete Allen; Tim Husskisson; Trevor Whiting; Duncan Hempstock; Emily Dickens; Al Nichols; Simon Picton; Graham Hughes; Bobby Worth; Martin Litton and Craig Milverton.

A frequent guest at European jazz festivals, he has played with many English and American notables including Slim Gaillard; Ken Peplowski; Joe Darensbourg; Franz Jackson; Jason Marsalis; Humphrey Littleton; Terry Lightfoot; Judith Durham; Clark Tracey; Bruce

Often featured as a guest musician with other bands his own concerts are punctuated with song and off-beat observations, and his typically wry presentation results in a programme that is entertaining and draws from the finest traditions in jazz.

Andy Dickens and his Band

Fri 2 August 7.00pm | £20 full price | £10 restricted view | £5 Under 18s Director: Barnaby Smith | Violin: Thomas Gould Wolfgang Amadeus Mozart (1756-1791) – Overture to Die Zauberflöte, K.620 Max Bruch (1838-1920) – Violin Concerto No. 1 in G Minor, Op. 26 I. Vorspiel: Allegro moderato II. Adagio III. Finale: Allegro energico Interval – 20 minutes

Wolfgang Amadeus Mozart – Laudate Dominum, K.339 Soprano: Andrea Haines | Director: Sally Kelley Laudate Dominum, omnes gentes; laudate eum, omnes populi.

O praise the Lord, all ye heathen: praise him, all ye nations.

Gloria Patri, et Filio, et Spiritui Sancto: Sicut erat in principio, et nunc, et semper, et in sæcula sæculorum. Amen.

Glory be to the Father, and to the Son: and to the Holy Ghost; As it was in the beginning, is now, and ever shall be: world without end. Amen.

Taylor Scott Davis (1980- ) – Magnificat UK Premiere

Senesin Pl

III

Magnificat anima mea Dominum;

Et misericordia ejus a progenie in progenies timentibus eum. Fecit potentiam in bracchio suo; Dispersit superbos mente cordis sui.

My soul doth magnify the Lord. And my spirit hath rejoiced in God my Saviour.

II Shall I rejoice for Christ in me, the first of such to say? All that this child shall ever say or be now lives and grows in me. Shall I rejoice for Christ in me, his name forever mine? I yield to him my life’s identity; Christ lives and grows in me. Shall I rejoice for Christ in me; both glory and disgrace? My song shall be both joy and agony, Christ lives and grows in me. Shall I rejoice for Christ in me, as clouds and shadows rise? I ponder scenes that I don’t want to see. Christ lives and grows in me. Terry York

And his mercy is on them that fear him: throughout all generations. He hath shewed strength with his arm: he hath scattered the proud in the imagination of their hearts

IV Deposuit potentes de sede, et exaltavit humiles. Esurientes implevit bonis, et divites dimisit inanes. Suscepit Israel, puerum suum, recordatus misericordiae suae, Sicut locutus est ad patres nostros, Abraham et semini ejus in saecula. He hath put down the mighty from their seat: and hath exalted the humble and meek. He hath filled the hungry with good things: and the rich he hath sent empty away. He remembering his mercy hath holpen his servant Israel: As he promised to our forefathers, Abraham and his seed for ever.

V Gloria Patri, et Filio, et Spiritui Sancto: sicut erat in principio, Et nunc, et semper: et in Saecula saeculorum. Amen. Glory be to the Father, and to the Son: and to the Holy Ghost; As it was in the beginning, is now, and ever shall be: world without end.Amen.

THOMAS GOULD is an artist who “refuses to be defined by a single genre” (The Guardian), and a violinist with wide-ranging musical interests. Gould has fast established for himself a reputation as one of Britain’s foremost interpreters of contemporary music whilst also remaining dedicated to the core classical repertoire. Gould is leader of Britten Sinfonia, one of the world’s most celebrated unconducted ensembles, and frequently directs the orchestra from the violin. His recording of Bach’s Goldberg Variations arranged for strings by D. Sitkovetsky with Britten Sinfonia (Harmonia Mundi, 2015) was received to great critical acclaim. From 2005-2016 Gould was leader of Aurora Orchestra. Gould’s solo albums include Beethoven’s Violin Concerto and Vaughan Williams’The Lark Ascending with Sinfonietta Riga (Live in Riga, Edition Classics, 2015), an album of contemporary works for solo violin (Bach to Parker, Champs Hill Records, 2014), and Nico Muhly’s Seeing is Believing with Aurora Orchestra (Decca, 2011). He has recorded two albums with the swing band The Man Overboard Quintet and several other jazz releases. Gould trained at the Royal Academy of Music where he is now an associate. He plays a Giovanni Battista Guadagnini violin made in 1782.

no layers VIOLIN I

VIOLIN II

FLUTE

TRUMPET

Beatrix Lovejoy Barbara Zdziarska Yuri Kalnits Alison Gordon Clare Taylor Stelios Chatziiosifidis

Simon Kodurand Vicki Hodgson Minsi Yang Douglas Harrison Ana Vandepeer

Gareth McLearnon Abbigail Burrows

Craig Burnett Howard Rowntree

OBOE

TROMBONE

Janey Burgess Ilid Jones

Andy Flaxman Rob Moseley David Eaglestone

VIOLA Jon Thorne Joe Fisher Ben Harrisson Jenny Ames CELLO Yvonne Parsons Alba Merchat Claire Constable Ben Stevens BASS Jonathan Moss Alice Kent

CLARINET Kimon Parry Naomi Bristow

TIMPANI

BASSOON

PERCUSSION

Lois Au Lawrence O’Donnell

Sarah Hatch Matthew Farthing

HORN

HARP

Mark Bennett Adam Howcroft Matthew Cooke Nicholas Ireson

Eleanor Turner

Scott Bywater

SALLY KELLEY, this year’s

TAYLOR DAVIS serves as the

Festival Conducting Intern, is pursuing her doctorate in choral conducting and entrepreneurial music at Ball State University in Indiana, where she has served as conductor of the University Choral Union. She also helps lead the PRISM Project, a performing arts program for students with exceptionalities. Previously, she taught at Middle Tennessee State University for six years.

Director of Music and Worship at St. Andrew United Methodist Church in Plano, Texas. A 2003 graduate and notable alumnus of Centenary College of Louisiana, Taylor earned a Bachelor of Sacred Music degree while studying conducting with Dr. Julia Brasher Thorn, and has studied composition with Dr. Eric McIntyre, Alice Parker and Jane Marshall. Davis is in high demand as a composer and has received commissions from a wide variety of groups. His music has been performed throughout the US, Europe, South America, and South Africa, as well as by the Grammy- winning group Conspirare and VOCES8.

MY INITIAL INTENTION for this programme was to showcase the Magnificat by Taylor Davis, a work being given its UK Premiere – and only its second performance worldwide – this evening. When surveying the manuscript of the Magnificat, to me its signature traits seemed to be melodic beauty, vivacious orchestral colouring, virtuosity and grandeur; beautiful simplicity spun into an aural world of ravishing delight. The work of Mozart immediately sprang to my mind as a good comparison, as did the concerto from Max Bruch, which I hope bridges the gap between the enlightenment of the 18th century, and that which Davis and the whole choral world is currently enjoying in the present day. The programme finally takes a similar shape to that of a classical orchestral concert; an overture followed by a concerto, with a symphony in the second half; albeit with vocal fireworks as much as orchestral ones. I have taken the liberty of inserting an amuse bouche before the premiere to help settle the ears and clean the palate. The evening is particularly special to me personally – and to many other participants from our VOCES8 Summer School – as we are delighted to be presenting the programme in memory of Margaret Haynes who passed away earlier this year. Margaret was an avid supporter of the festival, and a participant for many years on the summer course. She was also responsible for giving me my first conducting job(!), and for uniting myself and Thomas Gould to play this very concerto over a decade ago; she always told me it was one of her favourite pieces. Margaret was a passionate supporter of the arts, and gave us so much help and encouragement in our formative years; we miss her dearly, but are so thrilled to welcome her family here tonight as we play in her honour. During a programme meeting at Margaret’s house, I vividly remember her saying: “Does it have a good tune, and does it have a part I can sing?” I think the answer tonight is a resounding, “YES!”.

Mozart: Overture to The Magic Flute Early in 1791 Mozart was deeply in debt, troubled by the disinclination of the Viennese public to embrace his recent

music and concert appearances and suffering seriously from the kidney failure that would take his life before the year was out, so when Emanuel Schickaneder, a slightly shady actor and theatre entrepreneur, suggested in May that they collaborate on a new opera that was sure to be a hit, the composer jumped at the chance. The Viennese public was especially fond at that time of comic pieces with Oriental or fantastic settings, and Schickaneder had achieved a fine success soon after he arrived with the “magic opera” Oberon by composer Paul Wranitzky and librettist Carl Ludwig Giesecke. For a sequel he proposed to write the libretto for a Singspiel called Die Zauberflöte (The Magic Flute) – a comic musical with spoken dialogue based on Liebeskind’s story Lulu from Wieland’s 1786 collection of Oriental fairy-tales called Dschinnistan, for which Mozart would provide the music. Schickaneder could offer no money immediately, but promised Mozart he would get all the rental fees for subsequent productions after the premiere. The Magic Flute was premiered at Schickaneder’s Theaterauf-der-Wieden on September 30, 1791; Mozart conducted. The audience responded without much enthusiasm, probably bewildered by the seeming inconsistencies in the plot, and by the awesome variety of Mozart’s music. However, word of this new musical curiosity quickly spread throughout the city, and the crowds came to see it for themselves. The Magic Flute was a hit, and Schickaneder announced his 100th performance of the opera in November 1792. It was heard in at least 59 towns before 1800, and reached Vienna in 1802 and New York in 1833. Mozart enjoyed little of this success however, because by November 1791 his health had given way to such an alarming degree that he was forced to take to his bed. The Magic Flute was constantly in his thoughts, and he would sit each evening imagining the progress of the performance – “Now the first act is ending.... Now comes the Queen of the Night,” he would mutter. Just nine weeks after he had unveiled The Magic Flute to an astonished world, Mozart was dead. The Overture to The Magic Flute is one of the supreme orchestral works of the 18th century. Rich in sonority, concise in construction, profligate in melodic invention and masterful in harmonic surety, it balances the seemingly polar opposites

Senesino Players of the opera – profundity and comedy – with surpassing ease and conviction. The slow introduction opens with the triple chords associated with the solemn ceremonies of the priests, the Overture’s only thematic borrowing from the opera. The Allegro is built on a tune of opera buffa jocularity treated, most remarkably, as a fugue. The complementary theme, initiated by the flute, is characterized by its sensuous ascending chromatic scales. The balance of the Overture follows traditional sonata form, with the triple chords of the priests reiterated to mark the beginning of the development section.

Bruch: Violin Concerto No. 1 in G Minor, Op. 26 Max Bruch belongs to a select group of composers who sold the copyrights of their greatest hits for a pittance and spent the rest of their lives bitterly regretting their hasty actions— two others were Edward Elgar (Salut d’amour) and Fats Waller (Ain’t Misbehavin’, Honeysuckle Rose). The work in question was Bruch’s Violin Concerto No 1 in G minor, Op 26, which nowadays comes at or near the top of listeners’ polls as the most popular violin concerto, and is routinely bracketed with those by Beethoven, Mendelssohn, Brahms and Tchaikovsky. Bruch, born in Cologne in 1838 and trained by Ferdinand Hiller and Carl Reinecke, began writing the G minor concerto in the summer of 1864, when he was based in Mannheim and had recently met the great Hungarian violinist Joseph Joachim. During the concerto’s tortuous gestation, Bruch moved to Koblenz in 1865 to take the post of Court Kapellmeister and then moved on again in 1867 to Sondershausen. Along the way he rewrote the concerto ‘at least half a dozen times’, and a number of violinists were associated with its development and the refining of the solo part, although the major contribution was made by Joachim, himself a fine composer. ‘My violin concerto is progressing slowly—I do not feel sure of my feet on this terrain’, Bruch wrote to his old teacher Hiller in November 1865. Bruch sought technical advice from the Mannheim concertmaster Johann Naret-Koning and by early 1866 he had completed his first draft. This version was premiered in Koblenz on 24 April, at the last winter concert of the Musik-Institut, with Bruch conducting and Otto von Königslöw, professor at the Cologne Conservatory and leader of the Gürzenich Orchestra, as soloist. Having heard it in performance Bruch was dissatisfied, and during the summer he sent the manuscript to Joachim in Hanover. In August he received a very detailed letter, making a number of structural suggestions. Joachim also reassured him that it was appropriate to call the work a concerto rather than a fantasy. After making his revisions and detailing them to Joachim, Bruch went to Hanover, where the two men worked together on the concerto and then performed this second version with the Court Orchestra. On 5 January 1868, Joachim premiered the final version in Bremen, and on 6 July it was introduced to London at a Philharmonic Concert in the Hanover Square Rooms, with the orchestra’s Austrian

concertmaster Ludwig Straus as soloist. The critic of The Times found it ‘full of pretension, but almost destitute of interest’, a verdict posterity has not endorsed. Bruch follows Mendelssohn in having the three movements play almost continuously. At the start he pays homage to Beethoven by opening with a soft timpani roll and takes another leaf out of Mendelssohn’s book by doing without a full orchestral tutti. Instead orchestra and soloist alternate brief flourishes before the orchestra sets the Allegro moderato on its way. Bruch carefully styles this movement a Prelude because, although it is basically in sonata form with the usual two contrasting themes, he telescopes the recapitulation into almost nothing. After the return of the opening flourishes, the orchestra ushers in a meditative passage for the soloist, leading to the beautiful first theme of the Adagio. Again, although this lovely movement—the heart of the concerto—is essentially in sonata form, with three themes, its recapitulation is drastically foreshortened. The Finale (Allegro energico) is introduced by the orchestra and the solo violin takes off on a Hungarian-tinged theme, no doubt a tribute to Joachim, with characterful double-stops. It is most unusual to have all three movements of a concerto in sonata form but, as noted, Bruch treats this form in an original and arresting way. The second theme of the Finale is broader, allowing the soloist points of expansion, and the closing Presto wind-up, combining both themes, is extremely exciting. The G minor concerto was always Bruch’s most popular work, eclipsing his other music even in his lifetime, greatly to his irritation. Its length made it easy to programme, while its strong melodic profile helped audiences to take it in at first hearing.

Mozart: Vesperae Solennes de Confessore ‘Laudate Dominum’ K. 339 Mozart’s religious music is the least important part of his output; his relations with the church were troubled, and unlike Bach, he lived in a milieu where the profoundest ideas of the time were not practised in church. At the same time there are remarkable, profound church works that will never be forgotten. While in the service of the autocratic Bishop of Salzburg, Mozart bridled at his official duties and wrote some of his most remarkable works. His very last Salzburg liturgical work, the Vesperae solennes de Confessore (Solemn Vespers), is a masterpiece and a foreshadowing of the two great unfinished religious works of his Vienna period, the Mass in C Minor and the Requiem. The work shows all of the stylistic tendencies of the Austrian Baroque, and just before the final dazzling Magnificat is an inward and luscious Laudate Dominum for soprano and chorus, a work beautiful enough for a place in any of his operas but somehow breathing an inward spiritual air perfectly appropriate to a church service.

by Barnaby Smith

Sat 3 August 4.00pm | £20 full price | £10 restricted view | £5 Under 18s

VOCES8, the VOCES8 Scholars and the Milton Abbey International Music Festival Chorus, accompanied by the Academy of Ancient Music under the direction of Barnaby Smith, combine to close the Festival with Haydn’s oratorio The Creation. Director: Barnaby Smith See page 16 for Barnaby’s biography Soprano: Mary Bevan Alto: Katie Jeffries-Harris Tenor: Sam Dressel Bass: Jonathan Pacey Academy of Ancient Music

Gala Co

During the concert the Junior Course 2019 will present a short performance of their own creation, written and perfected over the course of the week. Milton Abbey Summer School Junior Course

The Junior Course members present their Grand Finale Performance, featuring:

The Junior Course Members | Neil Valentine | Paul Smith | Fizz Margereson | Kate Apley

MARY BEVAN, praised by Opera for her “dramatic wit and vocal control” in stand-out performances on opera and concert platforms, enjoys huge success in baroque, classical, and contemporary repertoire, and appears regularly with leading orchestras and ensembles around the world. In the 2018/19 season, Bevan debuts at the Royal Danish Opera as Bellezza in Il Trionfo del tempo e del desinganno, sings Merab/Saul at the Göttigen Handel Festival, title role Handel Susanna with Chamber Orchestra Basel and Paul McCreesh, a New Year gala with the OAE, and performs the world premiere of Roxanna Panufnik’s Faithful Journey with Mirga Gražinytė-Tyla and the CBSO. Further ahead she will return to ENO and make her Opera Monte Carlo debut. On the concert platform, Bevan headlined a tour of Asia with The English Concert and Harry Bicket, sang Richard Ayres’ In the Alps with Nicholas Collon and the Aurora Orchestra, performed a Handel Residency week with Emmanuelle Haïm at the Aix-en-Provence Festival, Bach Magnificat with the Britten Sinfonia, Mozart Requiem with the English Chamber Orchestra, Fauré Requiem with the Philharmonia Orchestra and Orquestra Sinfonica de Sevilla, and Mozart Coronation Mass with Southbank Sinfonia. In recital Bevan has performed at the Wigmore Hall, Oxford Lieder Festival, Leeds Lieder Festival, Danube Music Festival, St John’s Smith Square, Musée d’Orsay Paris, Concertgebouw Amsterdam and Rhinegold LIVE. Bevan trained at the Royal Academy Opera, and read Anglo-Saxon Norse and Celtic at Trinity College, Cambridge. She is an Associate of the Royal Academy of Music and a winner of the Royal Philharmonic Society’s Young Artist award and UK Critics’ Circle Award for Exceptional Young Talent in music.

VOCES8 | VOCES8 Scholars | Milton Abbey Summer School Festival Chorus

JONATHAN PACEY has been singing with VOCES8 for four years. Before joining the group he was a choral scholar at Trinity College, Cambridge under Stephen Layton. Previous solo engagements include JS Bach Weinachtsoratorium, Mass in B Minor, and Johannespassion, as well as Tippett A Child of our Time, Mozart Requiem, Britten A Midsummer Night’s Dream (Peter Quince) and Handel Messiah.

Tenor SAM DRESSEL has been a full-time member of internationallyrenowned vocal ensemble VOCES8 since 2013. He began his singing career soon after graduating from Gonville and Caius College, Cambridge where he held a choral scholarship alongside his studies in French and Spanish. Since then he has toured extensively in Europe, Asia and America and recorded all of the group’s releases for Decca Classics.

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Solo engagements in 2018/19 include: Messiah, Haydn Creation and Evangelist in Bach St John Passion, all with Academy of Ancient Music; Haydn Seven Last Words of our Saviour with Manchester Camerata, Bridgewater Hall; Bach B Minor Mass with Australian National Academy of Music, Melbourne; and Mozart Requiem with O/Modernt Chamber Orchestra, King’s Place. Sam leaves VOCES8 in August 2019 to pursue a freelance career. He will continue to be involved with the VOCES8 Foundation (the charity of which VOCES8 is a part) as their first ever Associate Artist, with responsibility for their Scholars Programme for young professional choral singers. He will also continue to lead workshops and masterclasses as part of their extensive education and outreach programme.

Gala Concert HAYDN WITNESSED MANY radical changes in music during the course of his long life. He was eighteen when Bach died in 1750, not long before the close of the Baroque era, and seventy-two when Beethoven’s ‘Eroica’ Symphony was first performed in 1804, ushering in the Romantic period. Old forms of music were superseded by the symphony, sonata and string quartet, patronage moved from the church to the royal court, and public concerts were rapidly becoming immensely popular. Throughout all these changes, Haydn remained a pioneering figure. Other composers had written symphonies, sonatas and string quartets before him, but it was Haydn who first exploited the untapped potential of these forms, expanding and developing them to a hitherto unimagined degree. The almost childlike cheerfulness of Haydn’s music, its inexhaustible inventiveness and its perfection of design conceal a considerable inner strength. This fusion of exuberance, originality, classical elegance and intellectual power explains to a large extent the compelling appeal of his music. These are the qualities that placed Haydn far and away above the level of all except Mozart amongst his contemporaries, and kept him at the forefront of music during most of the eighteenth century. No wonder he was hailed as a genius throughout Europe, admired and revered by the public and by his peers. Mozart said, ‘Haydn alone has the secret both of making me smile and of touching my innermost soul’. Even Napoleon, on capturing Vienna, immediately ordered a guard of honour to be placed round Haydn’s house. For much of his life Haydn’s energies were devoted primarily to composing orchestral and instrumental music. The supreme choral masterpieces of his old age – The Creation, The Seasons and the six last great masses, including the well-known Nelson Mass – were all composed after 1795, the year in which he completed the last of his 104 symphonies. The oratorio as a musical form appeared briefly in

seventeenth century Italy, but was soon eclipsed by the much more popular operas. It was Handel who resurrected the oratorio from obscurity, transforming it from little more than an extended cantata into a powerful choral music drama that was soon to dominate public music-making in eighteenth and nineteenth century England. The succession of masterpieces that Handel wrote inspired many later composers, notably Haydn and Mendelssohn. During his first visit to London, Haydn attended one of the great Handel festivals held in Westminster Abbey and was completely overwhelmed by the experience, as a result of which he resolved to write an oratorio himself that would be worthy of Handel’s supreme examples. In 1796, inspired by what he had heard whilst in London, Haydn set to work on the score, which was not completed until 1798, by which time he was sixtysix. ‘I was never so devout as during that time when I was working on The Creation,’ he observed. The work received its first public performance in 1799 and was immediately recognised as a supreme masterpiece, receiving many performances all over Europe. In common with opera, and like most oratorios – though not Messiah – The Creation has named characters and is divided into acts and scenes. These consist of sequences of choruses, recitatives and arias. The work begins with an extended orchestral introduction, ‘Representation of Chaos.’ Parts One and Two then describe the six days of Creation, each of which follows a threefold pattern comprising biblical narrative, descriptive central section and hymn of praise. The three soloists represent the archangels Gabriel (soprano), Uriel (tenor) and Raphael (bass), with the chorus fulfilling an important role portraying angels glorifying their maker. Part Three is devoted entirely to the appearance of Adam and Eve (bass and soprano) who sing of the wonder and perfection of God’s newly created world and of their happiness together. Soloists and choir combine for the final uplifting chorus of praise.

The Creation represents a considerable dramatic development over its Handelian predecessors. Haydn’s bold use of orchestral colour, his adventurous harmony, exceptional rhythmic and melodic inventiveness, and the work’s strong overall unity bring the subject to life with an almost operatic vividness and power. The opening is a good illustration of Haydn’s innovative approach. The extended orchestral introduction, itself a departure from the conventional overture, is entitled ‘Representation of Chaos’ and immediately arrests the listener’s attention with its shifting, ambiguous harmonies on muted strings, brass and timpani. In the ensuing recitative Raphael tells us that ‘the earth was without form, and void’ and this is reflected in the sparse emptiness of the orchestral accompaniment. The choir continues in a mood of hushed stillness, until ‘and there was light’, at which point there is a sudden, massive fortissimo chord of C major from the now unmuted full orchestra. Even after two hundred years the effect is still immensely powerful. It was evidently totally overwhelming at the time, judging by the following account from one of Haydn’s friends: ‘… and at that moment when light broke out for the first time, one would have said that rays darted from the composer’s burning eyes. The enchantment of the electrified Viennese was so general that the orchestra could not proceed for some minutes,’ he wrote.

Academy of Ancient Music Violin I

Oboe

Thomas Gould James Toll Magdalena Loth-Hill Liz MacCarthy Persephone Gibbs

Leo Duarte Bethan White Clarinet Louise Strickland James Maltby

Violin II Rachell Wong Elin White William Thorp Alice Earll

Bassoon

Viola

Horn

Jordan Bowron Charlotte Fairbairn Heather Birt

Gavin Edwards David Bentley

Inga Maria Klaucke Damian Brasington David Chatterton

Trumpet Cello Jonathan Rees Imogen Seth-Smith Gavin Kibble Double Bass Timothy Amherst Dawn Baker

Robert Vanryne Peter Mankarious Trombone Sue Addison Stephanie Mancy Dyer Stephen Saunders Timpani

Flute

Benedict Hoffnung

Rachel Brown Guy Williams Flavia Hirte

Harpsichord Jan Waterfield

This is perhaps the most startling dramatic gesture of the whole work, but there are many other equally effective instances of musical word-painting, such as the storm scenes, the wonderful sunrise music and the colourful depiction of various animals and birds. It is also worth drawing attention to Haydn’s musical characterisation. For the angels he adopts a somewhat florid, lofty style, whilst for Adam and Eve the writing is simpler and more folk-like. In fact the whole work sparkles with the vitality and unfailing inspiration so characteristic of this remarkable composer, who was still experimenting and still surprising his delighted audiences right up to the end of his life.

Programme notes by John Bawden

Our Team

THE VOCES8 FOUNDATIONâ&#x20AC;&#x2122;S creative vision is a simple one: we want to teach the world to sing. We passionately believe in the power of singing to bring communities together, to increase mental and physical health and wellbeing, and to act as a positive and inspirational force in society. Our role is to inspire others to sing and find their voice and we believe that this is best achieved through offering excellence both in performance and teaching.

VOCES8 FOUNDATION Paul Smith CEO

Jan Keliris

Director of the VOCES8 Centre

Barnaby Smith

Artistic Director

Ann Wright

Director of Education

Chris Wardle

Director of External Relations

Thomas Webb-Wilson Foundation Administrator

Clare Stewart

Artistic Director of Apollo5

Louise Hughes

TRUSTEES

VOCES8 Project Development

VOCES8

APOLLO5

Roy Blackwell, Chair

John Smith

Andrea Haines

Clare Stewart

Sally Cantello

Duncan Souster

Eleonore Cockerham

Penelope Appleyard

William Conner

William Wallace

Barnaby Smith

Josh Cooter

Peter Dart

Ellie Wardle

Katie Jeffries Harris

Oliver Martin-Smith

Sam Dressel

Greg Link

Sarah Holford

Blake Morgan Chris Moore Jonathan Pacey

Our Supporters

As a leading small music charity in a climate in which funding for music education is under increasing pressure, the VOCES8 Foundation depends on the generosity of our Friends and supporters to help us achieve our ambitious goals to inspire communities across the world through music. We receive no regular public funding and contributions from our Friends make a vital difference to our programme of much needed activity.

WE ARE ENORMOUSLY GRATEFUL TO ALL OF OUR 2018-19 FRIENDS

VCM100 The Foundation would like to extend particular thanks to the members of the VCM100 for helping us to further our outreach work with children and young people, whilst crucially ensuring that our unique education programme remains sustainable.

COGNOSCENTE Annie Cygler

Katie & Colin Johnson

Anonymous

Matthew & Libbi Johnson

Mandy & Ian Farnsworth

Adrian Melrose

Chris and Linda Haines

Vernon Anderson, in memory of Beryl Anderson

AFICIONADO

Cynthia K. Bittner and Randal D. Schreiner

Helene Cox

Judy Stewart

David Bradley

Daniel & Katherine Creamer

Mary Teirlynck

John Brookes

Ian Garner

Stephanie Walker

Peter and Annette Dart

Mikael Georgii

William Wallace

Dr Andrew Duncombe

Bill Grose

Carol Ward

Phil Hallwood

Mr & Mrs Mark Holford

Ilana Wigfield

Richard Harris, on behalf of the L.G. Harris Trust

Lucy Makin

Judith Wilson

Sarah and Mark Holford Alison and Ed King

Ian Stewart

Lord Lisvane KCB DL and The Reverend Lady Lisvane

SUPPORTER

Mr and Mrs Peregrine Massey

Derek Bailey

Peter Maxwell-Brown

Adrian Melrose

Annabelle Baird

Graham & Penny Merriam

Emma Nixon and Phil Hallwood

Thorsten Bast

Petra & Peter Moelders

Lord Northampton

Neil Caplan

Richard Munro

Annie Cartwright

Libby Percival

Nelleke Dansen

Malcolm Stockdale

Patrick Fagan

Chris & Caroline Thompson

Lyn Gage

Helena Tinker

Jayne Gould

Janet Wardle

Christopher Halliday

John Wardle

Katie Hanson

Tony Willenbruch

Lucy Hart

David Worsley

We extend our warmest thanks to all of our many

Tom Holliday

Anna Yallop

members at the ‘Friends’ level of the programme.

Kathryn & Tom Mangold

Mr and Mrs Michael Payton Anne and John Smith Eleanor Wardle Gilly and Iain Webb-Wilson

FRIENDS

The VOCES8 Foundation gratefully acknowledges the support of the following businesses and institutions: Corporation of London, The Goldsmith’s Company Charity, HERA, The Helen Hamlyn Trust, Holman Fenwick Willan, The Worshipful Company of Plaisterers, TM Lewin, Tower Hamlets Arts and Music Education Fund, Vivendi

Performance. Education. Community.

VOCES8 FOUNDATION

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Teaching the World to Sing

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