CHAMBE∏ CHOI∏ I∏ELAND
NO∏THE∏NLIGHTS Guest Director Sofi Jeannin Saturday 19 February 2022 Pepper Canister, Dublin
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Guest Director Sofi Jeannin February 2022
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Welcome Friends and supporters, We welcome you back with open arms to our first performance of 2022. We have missed you, our audience, so much these last two years and after tentative returns late in 2021 we are thrilled to be back with a year-long programme of brilliantly diverse and eclectic choral music, education programmes, and a return to the recording studio. In March and April, Artistic Director, Paul Hillier, brings us on a retrospective of the contemporary choral works of British composer, Steve Martland—who left this world too soon in 2013—through to Tchaikovsky’s great choral masterpiece St John Chrysostom in the Autumn. We welcome guest director Grete Pedersen back to Chamber Choir Ireland in May, and extend a new welcome to Hungarian conductor Zoltán Pad in October. In April, we give the Irish premiere of a newly co-commissioned work by US composer John Luther Adams, A Brief Descent into Time, as we return in person as Choir-in-Residence at Cork International Choral Festival, and continue our cherished collaborations with New Music Dublin, Kilkenny Arts Festival and Irish Baroque Orchestra later in the year. There are many more programmes in the planning and we look forward to sharing details with you very soon. A year-long choral feast awaits, beginning with this evening’s performance, and we are delighted to welcome guest director Sofi Jeannin back to Dublin. Sofi wowed our Dublin audience with a programme of French choral music back in 2019 and now visits the other part of her heritage with music from Scandinavia. We look forward to transporting you to the imagery of the Northern Lights through the music of Finland, Denmark and Sweden. We are deeply grateful for the continued support of the Arts Council / an Chomhairle Ealaíon as well as grant aid received from Dublin City Council’s Arts Office. The friendship and encouragement extended by our Friend and Patron members over the last two years has been truly phenomenal—thank you. We look forward to welcoming you back more regularly in 2022 and to bringing our wonderful choral music programmes throughout the country. Majella Hollywood CEO, Chamber Choir Ireland —4—
Programme Aftonen Hugo Alfvén (Sweden, 1872–1960) Uti vår hage Hugo Alfvén (Sweden, 1872–1960) O jungfrun hon går i ringen Hugo Alfvén (Sweden, 1872–1960) Tre körvisor Wilhelm Stenhammar (Sweden, 1871–1927) Natt över Jorden Karin Rehnqvist (Sweden, b. 1957) Excerpts from Partsongs op 18 Jean Sibelius (Finland, 1865–1957) Lorca Suite Einojuhani Rautavaara (Finland, 1928–2016) Four Shakespeare Songs Jaakko Mäntyjärvi (Finland, b.1963) Till Österland Arr. by Håkan Parkman (Sweden, 1955–1988) THE PROGRAMME WILL RUN FOR C. 1 HOUR
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Programme Note This programme has an anchor in Nordic Romantic tradition with Alfvén, Stenhammar and Sibelius. Choral lyricism of the romantic era that meets folk tradition, with gentle polska 3 time rhythms, rounds and evocation of nature. But we will also take our audience on a journey to a more contemporary sphere with composers representing both exciting choral innovation as well as a natural continuation of the strong choral tradition of the North. Moods, characters and atmospheres will be contrasting. In music from Nordic countries, you will often encounter melancholy, a sense of longing, but there is also room for vivid imagery, Rautavaara’s setting of Lorca, Mäntyjärvi’s take on Shakespeare and also the particular sense of solitude and mysticism in Rehnqvist’s Natt över Jorden (Night over Earth). It’s a real pleasure to present this programme, to bring some of the cherished music from the North to Ireland where the vocal tradition is also very strong and instinctive and to share it with our audience. Welcome everyone! Sofi Jeannin, Guest Director
‘Aftonen’ (Evening) Hugo Alfvén (Sweden, 1872–1960) Skogen står tyst, himlen är klar. Hör huru tjusande vallhornet lullar. Kvällssolns bloss sig stilla sänker ner uti den lugna, klara våg. Ibland dälder, gröna kullar eko kring nejden far...
Quiet are the forests and clear the skies Hark the enchanting song of the French horn. The glow of the evening sun gently descends sending rays across the calm, clear waves, Through the valleys, from the hillsides sounds a quiet echo.
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‘Uti vår hage’ (Out in our meadow) Hugo Alfvén (Sweden, 1872–1960) Uti vår hage där växa blå bär. Kom hjärtansfröjd! Vill du mig något, så träffas vi där. Kom liljor och akvileja, kom rosor och salivia! Kom ljuva krusmynta, kom hjärtansfröjd!
Out in our pasture grow blueberries fine. Come, my heart’s delight! If you want me, we’ll meet there! Come lilies and columbine, come roses and sage! Come sweet crisp-leafed mint, come joy from the heart!
Fagra små blommor där bjuda till dans. Kom hjärtansfröjd! Vill du, så binder jag åt dig en krans. Kom liljor och akvileja, kom rosor och salivia! Kom ljuva krusmynta, kom hjärtansfröjd!
Fair little flowers will ask for a dance. Come, my heart’s delight! If you want, I’ll make you a crown of flowers. Come lilies and columbine, come roses and sage! Come sweet crisp-leafed mint, come joy from the heart!
Kransen den sätter jag sen i ditt hår. Kom hjärtansfröjd! Solen den dalar, men hoppet uppgår. Kom liljor och akvileja, kom rosor och salivia! Kom ljuva krusmynta, kom hjärtansfröjd!
The crown of flowers I’ll put in your hair. Come, my heart’s delight! The sun rises and sets, but hope stays strong. Come lilies and columbine, come roses and sage! Come sweet crisp-leafed mint, come joy from the heart!
Uti vår hage finns blommor och bär. Kom hjärtansfröjd! Men utav alla du kärast mig är. Kom liljor och akvileja, kom rosor och salivia! Kom ljuva krusmynta, kom hjärtansfröjd!
Out in our pasture are flowers and berries. Come, my heart’s delight! Of all that I know, I love you the most. Come lilies and columbine, come roses and sage! Come sweet crisp-leafed mint, come joy from the heart!
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‘O jungfrun hon går i ringen’ (A Maiden Joins the Dance) Hugo Alfvén (Sweden, 1872–1960) Och jungfrun hon går i ringen med rödan gullband. Det binder hon om sin kärastes arm.
A maiden joins the dance now with ribbons of gold, The arms of her lover she tied with a bow.
Men kära min lilla jungfru, knyt inte så hårdt. Jag ämnar ej att rymma bort.
“But prithee, my little sweetheart, why tighten the bow? You know from thee I never would go.”
Och jungfru hon går och lossar på rödan gullband. Så hastigt den skälmen åt skogen då sprang.
So trusting, the maiden loosened the bows gold and red. The scoundrel then off to the woods quickly fled.
Då sköto de efter honom med femton gevär. Och vill ni mig något, så ha ni mig här.
Her brothers with clubs and rifles then after him ran. But he laughed and shouted, “Catch me if you can!”
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Tre körvisor (Three choral ballads) Wilhelm Stenhammar (Sweden, 1871-1927) I. September Alle de voksende skygger har vævet sig sammen til en, ensom på himmelen lyser en stjerne så strålende ren, skyerne have så tunge drømme, blomsternes øjne i duggråd svømme, underligt aftenvinden suser i linden.
All the growing shadows have woven themselves into one, alone in the sky shines A star so bright and pure. The clouds have such heavy dreams, flowers’ eyes overflow with dew, And strangely sings the evening breeze, Sighing in the linden tree.
II. I Seraillets have (In the Seraglio Garden) Rosen sænker sit hoved, tungt af dug og duft, og pinjerne svaje så tyst og mat i lumre luft. Kilderne vælte det tunge sølv i døsig ro, minareterne pege mod himlen op i tyrketro, og halvmånen driver så jævnt afsted over det jævne blå og den kysser rosers og liljers flok, alle de blomster små i Seraillets have.
The rose lowers its head, heavy with dew and fragrance, And the pines sway so silent and faint in the sultry air. The fountains pour their heavy silver in sleepy tranquility, minarets point at Heaven in the Turkish faith, And the half moon slowly drifts away over the evening-blue, And kisses the beds of roses and lilies, all those tiny flowers In Seraglio’s Garden.
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III. Havde jeg, o havde jeg en dattersøn, o ja! (If I Had, O if I Had a Grandson, O Yes!) Havde jeg, o havde jeg en dattersøn, o ja! og en kiste med mange, mange penge, så havde jeg vel også havt en datter, o ja! og hus og hjem og marker og enge.
If I had, O if I had a daughter’s son [grandson], O yes! and a treasure chest with many, many coins, then I would have surely had a daughter, O yes! and a house and home and fields and meadows.
Havde jeg, o havde jeg en datterlil, o ja! og hus og hjem og marker og enge, så havde jeg vel også havt en Kærrest, o ja! med kister med mange, mange penge
If I’d had, O if I’d had a little daughter, O yes! and a house and a home and fields and meadows, then I would have surely had a lover, O yes! and treasure chests with many, many coins.
Natt över Jorden (Night over Earth) Karin Rehnqvist (Sweden, b. 1957) Nu är det natt över jorden. Darrande stjärna, gläns! Världarna vandra så fjärran. Mörkret är utan gräns. Marken och mullen och mörkret, varför älskar jag dem? – Stjärnorna vandra så fjärran. Jorden är människans hem
Night on our earth now has fallen. Shimmering starlight sheen! Our small worlds wander so distant. Darkness so endless seems. Darkness and depth and the dusk hour, why, why do I love them? Though the stars wander so distant. Earth is still our human home.
TEXT BY ERIK BLOMBERG. ENGLISH TRANSLATION LINDA SCHENCK.
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Excerpts from Partsongs op 18 Jean Sibelius (Finland, 1865-1957) No. 1 ‘Sortnut ääni’ (The Voice Now Stilled) Mikä sorti äänen suuren, äänen suuren ja sorian, äänen kaunihin kaotti, jok’ ennen jokena juoksi, vesivirtana vilasi, lammikkona lailatteli?
What came to still that mighty voice whose song was great and graceful? What came to silence that fair song which flowed as a river’s flood, darted like a little brook, lays no more like a stagnant pond?
Suru sorti äänen suuren, äänen suuren ja sorian, äänen armahan alenti, jottei nyt jokena juokse, vesivirtana vilaja, lammikkona lailattele.
Sadness stilled the mighty voice, its song so graceful yet so great, wound the bless’d tune to a close. It flows no longer like the flood, nor darts like a little brook, lays no more like a stagnant pond.
Suru sorti äänen suuren, äänen suuren ja sorian.
Sadness stilled the mighty voice, its song so graceful yet so great.
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No. 3 ‘Venematka’ (The Journey by Boat) Vaka vanha Väinämöinen laskea karehtelevi tuon on pitkän niemen päästä, kylän kurjan kuuluvilta. Laski laulellen vesiä, ilon lyöen lainehia. Neiet niemien nenissä katselevat, kuuntelevat: “Mi lienee ilo merellä, mikä laulu lainehilla, ilo entistä parempi, laulu muita laatuisampi?”
Old Väinämöinen, that sturdy fellow, set off with a song to plow the waters. He cast off his boat from the headland and left the ill-fated village behind him. With a merry song he plowed the waters down the force, through buffeting billows. The maidenfolk stood at the end of the headland, and watched and listened from the shore: “What joyful strains come off the waters? What song is this that rides the waves? What joy which other joys surpasses? What voice which outsings other bards?”
Laski vanha Väinämöinen, laski päivän maavesiä, päivän toisen suovesiä, kolmannen kosen vesiä. Laski laullellen vesiä, ilon lyöen lainehia.
Onward went Väinämöinen on his journey, one whole day down inland rivers, a second through low-lying marshes, a third day down the rushing rapids. With a merry song he plowed the waters down the force, through buffeting billows.
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No. 4 ‘Saarella palaa’ (Fire on the Island) Saarella palaa. Tuli saarella palavi. Kenpä tuolla tulta poltti? Sulho tuolla tulta poltti. Mitä sulho raatelevi? Korjoansa kirjottavi. Mitä tuolla korjasella? Neittä tuolla korjasella. Mitä neito raatelevi? Neito kultakangasta kutoo,
There is fire on the island, There is fire to be seen. Who has set the blaze alight? The bridegroom lit the blaze. What purpose behind his toil and fire? A top coat of tar for his fine new sled. And what does he plan to do with it? Why, carry the maid, his bride-to-be! The maid, too, is toiling, but over what? She weaves golden braid into fine cloth, and spins silver threads with ease.
No. 6 ‘Sydämeni laulu’ (Glade of Tuoni) Tuonen lehto, öinen lehto! Siell’ on hieno hietakehto, sinnepä lapseni saatan.
Glade of Tuoni, dusky glade! You shield a soft and sandy cradle, where I shall bring my child at last.
Siell’ on lapsen lysti olla, Tuonen herran vainiolla, kaitsea Tuonelan karjaa.
There is no happier place to roam, than the Lord of Tuoni’s fertile fields, where the child may play shepherd to the flock.
Siell’ on lapsen lysti olla, illan tullen tuuditella helmassa Tuonelan immen.
There is no place of rest so sweet than in the lap of the mistress of Tuonela, lulled to sleep by her lullaby.
Onpa kullan lysti olla, kultakehdoss’ kellahdella, kuullella kehrääjälintuu.
Nowhere does slumber come so deep than rocked in a hammock of gold to the strains of the nightjar’s song.
Tuonen viita, rauhan viita! Kaukana on vaino, riita, kaukana kavala maailma.
Leafy Tuoni, glade of peace! Strife wields no power o’er your domain, remote from the wicked world.
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Lorca Suite Einojuhani Rautavaara (Finland, 1928–2016) 1. Canción de jinete (Song of the Horseman) Córdoba. Lejana y sola.
Cordoba. Far off and solitary.
Jaca negra, luna grande, y aceitunas en mi alforja. Aunque sepa los caminos yo nunca llegaré a Córdoba.
A black horse, a round moon, there are olives in my pack. Although I know the roads I will never get to Cordoba.
Por el llano, por el viento, jaca negra, luna roja. La muerte me está mirando desde las torres de Córdoba.
Across the plain, into the wind, a black horse, a red moon. Death is staring at me from the towers of Cordoba.
¡Ay qué camino tan largo! ¡Ay mi jaca valerosa! ¡Ay, que la muerte me espera, antes de llegar a Córdoba!
Oh, how long is the road! Oh, how brave is my horse! Oh, see how death is waiting for me, before I get to Cordoba!
Córdoba. Lejana y sola.
Cordoba. Far off and solitary.
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2. El grito (The Scream) La elipse de un grito, va de monte a monte.
The ellipse of a cry sighs from hill to hill.
Desde los olivos, será un arco iris negro sobre la noche azul.
Rising from the olive trees, it appears as a black rainbow upon the azure night.
¡Ay!
Ay!
Como un arco de viola, el grito ha hecho vibrar largas cuerdas del viento.
Like the bow of a viol, the cry causes the long strings of the wind to vibrate.
¡Ay!
Ay!
(Las gentes de las cuevas asoman sus velones)
(The people of the caves hold out their oil lamps.)
¡Ay!
Ay!
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3. La luna asoma (The Moon Rises) Cuando sale la luna se pierden las campanas y aparecen las sendas impenetrables.
When the moon comes out the bells fade away and impenetrable paths appear.
Cuando sale la luna, el mar cubre la tierra y el corazón se siente isla en el infinito.
When the moon comes out, the ocean covers the earth and the heart feels itself island in the infinite.
Nadie come naranjas bajo la luna llena. Es preciso comer fruta verde y helada.
No one eats oranges under the full moon. Better to eat fruit green and icy.
Cuando sale la luna de cien rostros iguales, la moneda de plata solloza en el bolsillo.
When the moon of a hundred equal faces comes out, the silver coins weep in the pocket.
4. Malagueña La muerte entra y sale de la taberna.
Death enters, and leaves, the tavern.
Pasan caballos negros y gente siniestra por los hondos caminos de la guitarra.
Black horses and sinister people travel the deep roads of the guitar.
Y hay un olor a sal y a sangre de hembra, en los nardos febriles de la marina.
And there’s a smell of salt and of female blood in the fevered tuberoses of the shore.
La muerte entra y sale y sale y entra la muerte de la taberna.
Death enters and leaves, and leaves and enters the death of the tavern. — 16 —
Four Shakespeare Songs Jaakko Mäntyjärvi (Finland, b.1963) 1. Come Away, Death Feste: Come away, come away, death, And in sad cypress let me be laid; Fly away, fly away, breath; I am slain by a fair cruel maid. My shroud of white, stuck all with yew, O prepare it; My part of death no one so true Did share it. Not a flower, not a flower sweet, On my black coffin let there be strewn: Not a friend, not a friend greet My poor corpse where my bones shall be thrown: A thousand thousand sighs to save, Lay me, O, where Sad true lover never find my grave, To weep there.
2. Lullaby First Fairy: You spotted snakes with double tongue, Thorny hedgehogs, be not seen; Newts and blind-worms, do no wrong, Come not near our fairy queen. Chorus: Philomel, with melody Sing in our sweet lullaby; Lulla, lulla, lullaby, lulla, lulla, lullaby: Never harm, Nor spell nor charm, Come our lovely lady nigh; So, good night, with lullaby. — 17 —
First Fairy: Weaving spiders, come not here; Hence, you long-legg’d spinners, hence! Beetles black, approach not near; Worm nor snail, do no offence. Chorus: Philomel, with melody, etc.
3. Double, Double Toil and Trouble [SCENE I. A cavern. In the middle, a boiling cauldron. Thunder. Enter the three Witches] First Witch Thrice the brinded cat hath mew ’ d. Second Witch Thrice and once the hedge-pig whined. Third Witch Harpier cries ‘Tis time, ‘tis time. First Witch Round about the cauldron go; In the poison ’d entrails throw. Toad, that under cold stone Days and nights has thirty-one Swelter ’d venom sleeping got, Boil thou first i’ the charmed pot. ALL Double, double toil and trouble; Fire burn, and cauldron bubble. Second Witch Fillet of a fenny snake, In the cauldron boil and bake; Eye of newt and toe of frog, Wool of bat and tongue of dog, Adder ’s fork and blind-worm’s sting, Lizard’s leg and owlet ’s wing, — 18 —
For a charm of powerful trouble, Like a hell-broth boil and bubble. ALL Double, double toil and trouble; Fire burn and cauldron bubble. Third Witch Scale of dragon, tooth of wolf, Witches’ mummy, maw and gulf Of the ravin’d salt-sea shark, Root of hemlock digg’d i’ the dark, Liver of blaspheming Jew, Gall of goat, and slips of yew Sliver’d in the moon’s eclipse, Nose of Turk and Tartar’s lips, Finger of birth-strangled babe Ditch-deliver’d by a drab, Make the gruel thick and slab: Add thereto a tiger’s chaudron, For the ingredients of our cauldron. ALL Double, double toil and trouble; Fire burn and cauldron bubble. Second Witch Cool it with a baboon’s blood, Then the charm is firm and good. [HECATE speaks and sings to the other three Witches, then retires.] Second Witch By the pricking of my thumbs, Something wicked this way comes. Open, locks, Whoever knocks!
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4. Full Fathom Five Ariel: Full fathom five thy father lies; Of his bones are coral made; Those are pearls that were his eyes: Nothing of him that doth fade But doth suffer a sea-change Into something rich and strange. Sea-nymphs hourly ring his knell: [Spirits, within:] Ding-dong. Ariel: Hark! now I hear them— [Spirits, within:] Ding-dong, bell.
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‘Till Österland’ Arr. by Håkan Parkman (Sweden, 1955–1988) Till Österland vill jag fara, där bor allra kärasten min. Bortom berg och djupa dalar, allt under så gröner en lind.
To Österland will I wander, There lives my dearest love. Over mountain and deep dale, Beneath so green a linden tree.
Min själ du göre dig redo den sanna vägen att gå över berg och torra hedar, förran natten faller oss på.
My soul, prepare yourself The true path to walk Over mountain and dry heath, Before night falls upon us.
Hör mig, I väktaremänner som mig nu möta här. Har I icke sett den vännen som min själ haver så kär?
Hear me, O watchmen Who me do come to meet. Have you not seen the friend My soul holds so dear?
Jag gick dock litet längre, alltom den mörka kväll. Där fann jag den som fägnar och älskat har min själ.
I walked a little further In the dark of the evening. There I found the one who is the joy and love of my soul.
En dag i dina gårdar är bättre än tusen år för oss här nere på jorden, I psalmen skrivit stār.
One day in your house Is better than a thousand years For us down here on earth.
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Sofi Jeannin Guest Director
RENOWNED FOR HER beautifully clear and succinct technique, and with a formidable repertoire knowledge and understanding across all genres, Swedish-born Sofi Jeannin has established herself as one of the finest and most respected choral specialists around today. Currently Chief Conductor of the BBC Singers and Music Director of la Maîtrise de Radio France, Jeannin was previously Music Director of the Choeur de Radio France, a post she took up in 2015. Through her work with the French Radio Chorus – the largest professional symphonic chorus in Europe – Jeannin became the collaborative conductor of choice for a number of prominent figures, including Gustavo Dudamel, Bernard Haitink, Christoph Eschenbach and Valery Gergiev, collaborating with orchestras such as l’Orchestre National de France, l’Orchestre Philharmonique de Radio France and the Los Angeles Philharmonic. In 2008, Jeannin was appointed Music Director of la Maîtrise de Radio France – the choir famously favoured by Messiaen and Dutilleux – where she continues to have the musical and pedagogical responsibility of 180 choristers. During her time with la Maîtrise, Jeannin has commissioned many new works, collaborating with composers such
as Kaija Saariaho, Peter Eötvös, John Adams and Thierry Escaich, and has given regular broadcasts on France Musique. She has conducted regularly at the St Denis Festival, including repertoire such as Messiaen Trois petites liturgies, Mozart Vespers and the Sinfonia Concertante with Renaud Capuçon and Adrien La Marca. In September 2018, Sofi Jeannin formally began her tenure with the BBC Singers as their new Chief Conductor. Recent and forthcoming performance highlights with the BBC Singers include appearances at the BBC Proms, including world premieres by Shiva Feshareki and Nico Muhly in the 2021 season; a collaboration with the Academy of Ancient Music and South Asian dance company Akademi exploring the dances of Rameau with classical and contemporary Indian dance; Poulenc’s iconic choral work Figure Humaine with jazz interpolations from BBC New Generation Artist Misha Mullov Abado, and Fauré’s Requiem alongside music by Bach, Isabella Leonarda and Reena Esmail at Milton Court Concert Hall in London. As part of the exploration of a vast selection of contemporary and core repertoire, the 2021/22 season begins with a collaboration with pianist Nicolas Hodges in a performance of Concerto Fantasie by Betsy Jolas alongside Schnittke’s Choir Concerto.
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Alongside her work with the BBC Singers, Jeannin has a busy and fulfilling guest career, with recent and future engagement highlights including appearances with orchestras such as the Halle, Royal Liverpool Philharmonic, Singapore Symphony, New Japan Philharmonic, Auckland Philharmonia, and Norrköping Symphony, conducting repertoire such as Haydn The Seasons, Poulenc Gloria, Stravinsky Symphony of Psalms, Britten, Sinfonia de Requiem, Faure Requiem, a selection of Bach oratorio and Passion movements, and Handel Messiah. Choral project highlights include appearances with the Swedish Radio Chorus, Coro Casa da Musica, DR VokalEnsemblet, Chamber Choir Ireland, NFM Choir, Wroclaw, and la Maîtrise de Radio France. Sofi Jeannin studied conducting and singing at the Stockholm Royal College of Music, the Nice Conservatoire and
then at the Royal College of Music, London, with Paul Spicer. She conducted her first BBC Radio 3 broadcast, the British premiere of Consolation I by Helmut Lachenmann, in 2006, and prepared the Royal College of Music Chorus for conductors including Bernard Haitink, Peter Schreier and David Willcocks. Committed to education and outreach work, Jeannin has worked with the chorus and orchestra of Kinshasa, Congo, and has also been involved in El Sistema, Greece since early 2017. She regularly gives workshops and masterclasses around the world. Sofi Jeannin has previously worked with Chamber Choir Ireland in October 2019, with a concert of stunning French choral compositions entitled ‘Résonances‘.
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Chamber Choir Ireland ‘It was at once a sheerly beautiful immersion in choral sonority’ IRISH TIMES, MARCH 2019 GARNERING A STRONG reputation for its unique approach to creative commissioning, recording and programming, Chamber Choir Ireland is the country’s flagship choral ensemble and national chamber choir under the Artistic Direction of the multiaward- winning conductor, Paul Hillier. The Choir’s programmes span from early renaissance to the present day, incorporating established choral classics with cutting edge commissions, and a style of performance that incorporates versatility, dynamism and often vocal pyrotechnics. Chamber Choir Ireland performances have been described as having a tone which is ‘liquid in its power and purity’ with a ‘strong vocal flexibility of style’ (Belfast Telegraph). The Choir has a strong commitment to touring in Ireland and continues to develop its touring network in order to present high quality choral concerts to audiences around the country. International touring has included the USA, UK, Belgium, Russia, Germany and South America. The choir has previously recorded for the Harmonia Mundi, RTE Lyric FM labels including the world premiere recording of works by Gerald Barry, Barry meets
Beethoven, featuring the Crash Ensemble and Stephen Richardson on the Orchid Classics label. The most recent release garnering a 5-star review in the Irish Times was Letters which included the CCI commission Triptych by David Fennessy and A Letter of Rights by Tarik O’Regan & Alice Goodman on the Naxos label (November 2020). Chamber Choir Ireland has a strong Learning and Participation programme, including in Composers in the Classroom, Choral Sketches, Sing! at Axis:Ballymun and a lecture series on the history of choral music in Ireland. Chamber Choir Ireland receives principal funding & support from the Arts Council/an Chomhairle Ealaíon, is supported by Dublin City Council, is a resident ensemble at the National Concert Hall of Ireland, Associate Artists to Dublin City University, and a member of TENSO – the network of professional chamber choirs in Europe. In 2021, Chamber Choir Ireland welcomed President of Ireland, Michael D. Higgins as Patron.
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People Guest Director Sofi Jeannin Artistic Director Paul Hillier Patron Michael D Higgins President of Ireland Principal Funder Arts Council Additional Support Dublin City Council Dublin City University National Concert Hall Volunteers Audio Production Jiggery Pokery Productions Filming Red Paw Media
Sopranos Abbi Temple Elizabeth Adams Felicity Hayward Charlotte Trepess
Chief Executive Majella Hollywood
Altos Christina Whyte Laura Lamph Leanne Fitzgerald Stephen Wallace
Marketing and Development Manager Aoife Cuthbert
Tenors Rory Lynch Christopher Bowen* Graham Coooper* Nicholas Keay* Basses Jeffrey Ledwidge Paul McGough Eoghan Desmond William Gaunt *Deputy
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Concerts’ Manager David Darcy
Publicist Mary Folan Board of Directors Olga Barry Triona Ferriter Susan Lannigan Alastair Rankin Ian Smith Richard Twomey Brian Walsh (Chair)
Warmest thanks to our supporters Friends
Patricia Barker
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Alastair & Gilian Rankin Geraldine O’Sullivan
And those supporters who wish to remain anonymous
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Become a Supporter By becoming a supporter of Chamber Choir Ireland, you are helping us to continue the beautiful work that we do as Ireland’s flagship choral ensemble. Your contributions allow us to continue performing exciting and innovative programming, serving young people and adults across the country through our Learning and Participation activities, providing essential early-career support for emerging artists, and securing the future of choral music as a living artform in Ireland. There are plenty of ways that you can get involved; Make a one-off donation, become a member, or even gift a membership to a loved one. Explore our membership options below or visit www.chamberchoirireland.com/support
• Acknowledgement in programmes and on website • Advance look at our upcoming seasons, twice annually • 10% Discount on renewal if you refer a friend to become a member*
Student Friend €35/year
• 2 pairs of complimentary tickets • Acknowledgement in programmes and on website • Advance look at our upcoming seasons, twice annually • Invitation for you and a friend to an open rehearsal of Chamber Choir Ireland
Friend €100/year (€140 couple)
Patron €250/year
Becoming a Friend of Chamber Choir Ireland allows you to play an important role as a core supporter of our work— and gives you plenty of opportunities to get involved in our activities throughout the year. As a Friend, you will receive: • 2 complimentary tickets to a concert of your choice from our annual programme* • Invitation for you and a friend to an annual open rehearsal of Chamber Choir Ireland • Invitation for you and a guest to our annual supporters’ event
As a Patron of Chamber Choir Ireland, your support will allow us to continue entertaining, challenging, and inspiring audiences through our wide-ranging artistic programming and excellence in performance. You will receive all the benefits of a Friend PLUS: • 4 complimentary tickets to the concerts of your choice from our annual programme* • Invitation for you and 2 guests to an annual open rehearsal of Chamber Choir Ireland • Priority booking • 20% early bird discount*
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Learning Benefactor €500/year
As an Education Benefactor, your support will allow us to continue our Learning and Participation work with young people, providing valuable opportunities for students to develop skills, build confidence, express their creativity, and work together inside and outside of the classroom. You will receive all the benefits of a Patron PLUS: • 6 complimentary tickets to the concerts of your choice from our annual programme* • Free access to any concerts streamed online*
Next Generation Champion €1,500/year
As a Next Generation Champion, your support will light the way for the next generation of professional artists in choral music, providing essential support for our work with emerging singers, conductors, and composers. You will receive all the benefits of a Learning Benefactor PLUS: • 8 complimentary tickets to the concerts of your choice from our annual programme* • Free copies of all new CD releases* • Invitation to annual dinner with the CEO of Chamber Choir Ireland
Guardian €5,000/year
As a Guardian, your generosity not only provides essential support for our artistic programming, our community and educational activities, and our development of choral music as an artform—it secures the very future of Chamber Choir Ireland as an organisation. You will receive all the benefits of a Next Generation Champion PLUS: • Private recital for you and your friends by a vocal quartet of singers from Chamber Choir Ireland at a time and venue to be arranged* • The opportunity to receive dedicated acknowledgement of support for a concert or work of your choosing from our calendar, or to dedicate it to a loved one
*Supporters giving at the Patron level or above can choose to waive benefits marked with an asterisk, allowing Chamber Choir Ireland to claim tax back and increasing the value of your donation to Chamber Choir Ireland by 31%.
If you would like to discuss any of the options above, or how you can support Chamber Choir Ireland in your own way, contact Aoife Cuthbert: 086 083 6380 / aoife@chamberchoirireland.com — 29 —
Coming Up
Conductor Paul Hillier Sunday 13 March 2022 Pepper Canister Church, Dublin
Conductor Paul Hillier Cork International Choral Festival Friday 29 April 2022 DUBLIN DATE TO BE ANNOUNCED
Guest Director Grete Pederson Saturday 14 May 2022 All Hallows Chapel, Drumcondra — 30 —
WHERE LIFE SOUNDS BETTER 96-99fm | On Mobile | rte.ie/lyricfm
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Chamber Choir Ireland National Concert Hall Earlsfort Terrace, Dublin 2 email admin@chamberchoirireland.com www.chamberchoirireland.com — 32 —