ST PETER’S SINGERS OF LEEDS
Music Director: Simon Lindley
www.stpeters-singers.org.uk Registered Charity No 507174
BRITTEN – A CEREMONY OF CAROLS SAINT-SAËNS – CHRISTMAS ORATORIO
Popular European favourites including Panis Angelicus, Cantique de Jean Racine Carols by John Rutter with orchestral accompaniment
ST PETER’S SINGERS
NATIONAL FESTIVAL ORCHESTRA Sally Robinson leader
Soloists: Kristina James – Helen Strange Lucy Appleyard – Christopher Trenholme – Quentin Brown Alan Horsey organ David Houlder conductor
SATURDAY 30 NOVEMBER 2013, 7.30pm THE VENUE, Quarry Hill LS2 7PD
St Peter’s Singers Soprano Louise Garner Anne Griffiths Kristina James Christina Jones Sarah Potter Julie Oldfield Claire Rivers Sarah Rushton Helen Strange Jackie Coates Patricia Rose Amelia Shooter Anita Wiencelewski Alto Lucy Appleyard Lynne Farrer Helen Kingstone Kate Thatcher Jan Holdstock Vivienne Hughes Fiona Pacey Sally Richardson Alexandra Rous Linda Wellings
Tenor Richard Myhill Matthew Oglesby Gary Skyrme David Strachan Ian Wellings Paul Boocock Graeme Gooday Jonathan Morrish Christopher Trenholme Bass Quentin Brown Peter Crawshaw David Hawkin Jamie Stark Peter Boyle Tim Burleigh Christopher Spanton Phil Wilcox Alistair Wood
National Festival Orchestra Leader: Sally Robinson First Violins Sally Robinson Amanda Rowden-Martin Rachael England Levin Jones Second Violins Susan King Claire Smith Andrew Bedford
Violas Jason Glover Hilary Sowden Cellos Kim Mackrell Esther Harriot Double Bass Esther Stewart Harp Angelina Warburton
John Milford Rutter born 1945 NATIVITY CAROL Born in a stable so bare, born so long ago; Born ‘neath light of star He who loved us so. Far away silent He lay, born today, your homage pay, Christ is born for aye, born on Christmas Day. Cradled by mother so fair, tender her lullaby; Over her Son so dear angel hosts fill the sky. Wise men from distant far land, shepherds from starry hills Worship this Babe so rare, hearts with warmth He fills. Love in that stable was born into our hearts to flow; Innocent dreaming Babe, make me Thy love to know. Text by John Rutter Charles Gounod 1818-1893 Messe des Orphéonistes [Mass No 2]: GLORIA IN EXCELSIS DEO (Men’s Voices) Gloria in excelsis Deo Et in terra pax, hominibus bonae voluntatis. Laudamus te, benedicimus te, Adoramus te, glorificamus te. Gratias agimus tibi, propter magnam gloriam tuam. Domine Deus, Rex coelestis Deus Pater omnipotens. Domine Fili unigenite Jesu Christe; Domine Deus, Agnus Dei, Filius Patris. Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram.
Glory be to God on high, And in earth peace, Goodwill towards men. We praise Thee, we bless Thee, We worship Thee, we glorify Thee. We give thanks to Thee for Thy great glory. O Lord God, heavenly King, God the Father Almighty. O Lord, the only-begotten Son, Jesu Christ, O Lord God, Lamb of God, Son of the Father. That takest away the sin of the world, have mercy upon us. Thou that takest away the sin of the world, receive our prayer.
Qui sedes ad dexteram Patris miserere nobis. Quoniam tu solus sanctus Tu solus Dominus Tu solus altissimus Jesu Christe. Cum Sancto Spiritu In gloria Dei Patris.
Thou that sittest at the right hand of God the Father, have mercy upon us. For Thou only art holy, Thou only art the Lord, Thou only art most high, O Jesu Christ. With the Holy Spirit, in the glory of God the Father. Amen.
Prolific composer conductor and organist Charles Gounod perhaps never completely fulfilled his early promise. Study at the Paris Conservatoire resulted in his winning the coveted Prix de Rome at the age of twenty-one. On return to the French capital from his Italian sojourn (1840-1842), Gounod was Organist at St Cloud and even considered ordination to the priesthood at one stage. Composition and conducting took precedence over his ecclesiastical activity during the second part of his busy career. Though more effective in smaller forms than large-scale concepts, Gounod achieved immense popularity as a composer during his lifetime – not least for his opera Faust and for the oratorios he composed following commissions from the Birmingham Festival – La Rédemption (1882) and Mors et vita (1885). His vocal embellishment of the first of Bach’s 48 Preludes and Fugues which he clothed with the Ave Maria has been published in numerous versions. Gounod left Paris in 1870 during the Franco-Prussian hostilities and settled in London, becoming first conductor of the Royal Choral Society and taking charge of concerts in 1871 at the celebrations marking the opening of the Royal Albert Hall. Of his sixteen mass settings, the 1855 Messe Solennelle de Sainte Cécile is much the most popular and has sustained a place in the repertoire while his twelve later masses have sunk without trace. Also popular was the Messe des Orpheonistes for tenors and basses; but, although still sung liturgically at the London Oratory and at Westminster Cathedral, this is heard less often today and the Gloria from that Mass [by far the most stirring movement] is being given a rare outing tonight. Boldly rhetorical right from the outset, the music is underpinned by a sense of majesty combined with some good old-fashioned vulgarity of expression and determination of purpose. [Edward] Benjamin, Lord Britten of Aldeburgh 1913-1976 A CEREMONY OF CAROLS, Op 28 [1942] 1 PROCESSION Hodie Christus natus est; hodie Salvator apparuit;
Hodie in terra canunt angeli, laetantur archangeli, Hodie exsultant justi dicentes Gloria in excelsis Deo. Alleluia! Today was Christ born; today the Saviour hath appeared; Today the angels sing on earth, the archangels rejoice, Today the righteous rejoice and sing Glory be to God on high. Alleluia! 2. WOLCOM YOLE Wolcum be thou hevenè king. Wolcum Yole! Wolcum, born in one morning. Wolcum for whom we sall sing. Wolcum be ye Stevene and Jon. Wolcum Innocentes everyone. Wolcum, Thomas marter one. Wolcum, be ye, Good Newe Yere. Wolcum, seintes lefe and dere, Wolcum Yole! Wolcum! Candelmesse, Quene of bliss. Wolcum bothe to more and lesse. Wolcum be ye that are here. Wolcum Yole! Wolcum alle and make good cheer. Wolcum alle another yere. Wolcum Yole! Wolcum! 3. THERE IS NO ROSE There is no rose of such virtue As is the rose that bare Jesu: Alleluya. For in this rose contained was Heaven and earth in little space: Res miranda. By that rose we may well see That he is God in person three: Pari forma. The angels sung the shepherds to: “Gloria in excelsis Deo”, Gaudeamus. Leave we all this worldly mirth, And follow we this joyful birth: Transeamus. 4a. THAT YONGE CHILD That yongë child when it gan weep With song she lulled him asleep; That was so sweet a melody It passèd alle minstrelsy. The nightingalë sang also: Her song is hoarse and nought thereto: Whoso attendeth to her song And leaveth the first then doth he wrong. 4b. BALULALOW O my deir hert, young Jesus sweit, prepare thy creddil in my spreit, And I sall rock thee in my hert and never mair from thee depart. But I sall praise thee evermoir with sangis sweit unto thy gloir; The knees of my heart sall I bow, and sing that richt Balulalow! John, James and Robert Wedderburn [fl 1548] after Martin Luther [1483-1546]
5. I SING OF A MAIDEN I sing of a maiden that is makèles: King of all kings to her son she ches. He came al so stille there his moder was, As dew in Aprille that falleth on the grass. He came al so stille to his moder bour, As dew in Aprille that falleth on the flour. He came al so stille there his moder lay, As dew in Aprille that falleth on the spray. Moder and mayden was never none but she; Well may such a lady Goddes moder be. 6. THIS LITTLE BABE This little Babe so few days old is come to rifle Satan’s fold; All hell doth at his presence quake though he himself for cold do shake; For in this weak unarmèd wise the gates of hell he will surprise. With tears he fights and wins the field, his naked breast stands for a shield; His battering shot are babish cries, his arrows looks of weeping eyes, His martial ensigns Cold and Need and feeble Flesh his warrior’s steed. His camp is pitchèd in a stall, his bulwark but a broken wall; The crib his trench, haystacks his stakes; of shepherds he his muster makes; And thus, as sure his foe to wound, the angels’ trump alarum sound. My soul, with Christ join thou in fight, stick to the tents that he hath pight. Within his crib is surest ward, this little Babe will be thy guard. If thou wilt foil thy foes with joy, then flit not from this heavenly Boy Robert Southwell [c1561-1595] 7. INTERLUDE [Solo Harp] 8. IN FREEZING WINTER NIGHT Behold, a silly tender babe in freezing winter night, In homely manger trembling lies; alas, a piteous sight! The inns are full, no man will yield this little pilgrim bed. But forced he is with silly beast, in crib to shroud his head. This stable is a Prince’s court, this crib his chair of State; The beast are parcel of his pomp, this wooden dish his plate. The persons in that poor attire his royal liveries wear; The Prince himself is come from Heav’n; this pomp is prizèd there.
With joy approach O Christian wight, do homage to thy King; And highly praise his humble pomp, wich he from Heav’n doth bring. Robert Southwell [c1561-1595] 9. SPRING CAROL Pleasure it is to hear iwis, the birdís sing. The deer in the dale, the sheep in the vale, the corn springing. God’s purveyance for sustenance, it is for man, it is for man. Then we always to Him give praise, and thank Him then. William Cornish [1465-1523] 10. DEO GRATIAS Deo gracias! Adam lay ybounden, bounden in a bond, Four thousand winter thought he not too long; And all was for an apple, an apple that he took, As clerkës finden written in their book. Ne had one apple taken been, the apple taken been, Ne had never Our Lady a been Heaven’s Queen. Blessèd be the time that apple takèn was. Therefore we moun singen: Deo gratias! 11. RECESSION Hodie Christus natus est; hodie Salvator apparuit; Hodie in terra canunt angeli, laetantur archangeli, Hodie exsultant justi dicentes Gloria in excelsis Deo. Alleluia! Today was Christ born; today the Saviour hath appeared; Today the angels sing on earth, the archangels rejoice, Today the righteous rejoice and sing Glory be to God on high. Alleluia! The story of Britten’s sojourn in the United States with his life-long companion Peter Pears is the stuff of legend. The composer’s pacifism was well-known and Britten has invariably suffered a “bad press” on account of it. The facts seem to have been that the two English musicians left Britain in May of 1939 for what was intended as a threemonth trip to Canada and the USA. On the outbreak of hostilities in September of 1939, the couple stayed abroad – having consulted the British Embassy who wished them to remain as some kind of “cultural ambassadors” state-side. It’s highly likely that Britten’s fondness for visiting second-hand bookshops led directly to the creation of what are, with the honourable exception of the 1962 War Requiem, their composer’s most famous works: the opera Peter Grimes and A Ceremony of Carols.
At one emporium, he picked up George Crabb’s poem The Borough and, at another (in Halifax, Nova Scotia), Britten obtained The English Galaxy of Shorter Poems by Gerald Bullett – a tome that included a number of appropriate texts in middle English. Britten’s original plan for 1942 involved the production of a harp concerto that never came to fruition. His study of, and interest in, the harp was, however, firmly kindled within his creative spirit – an enthusiasm matched by his attraction to items in the Bullett anthology – and this evening’s work is the result. The composition of what became the Ceremony of Carols is framed by a procession and recession, utilising the traditional words and music of a plainchant Antiphon proper to Christmas – Hodie Christus natus est –to which Britten makes a small amendment.. This utterance begins and ends the piece and, like the central harp Interlude (the musical material of this is derived from the Procession and Recession) is of considerable import in the creation of atmosphere and ambience as well as proportion and structure to the formal plan of the movements. The text of initial Carol. Wolcome Yole, sets the Nativity within its special liturgical context by mentioning the significant feast days additional to that in celebration of the Birth of Christ; thus we hear of St Stephen (whose festival is on Boxing Day), the Holy Innocents (who are commemorated on December 28), New Year’s Day, and the feast of the Epiphany (the “twelfth day” of Christmas as well as Candlemass (2 February) on which last-mentioned day the true and ancient festival of Christmas concludes and the Cribs are taken down. There is no rose is a macaronic text in which the meaning of the vernacular is succeeded by brief Latin stanzas such as Res Miranda (wondrous thing), Pares forma (of equal form), Gaudeamus (Let us rejoice) and Transeamus (let us go over – perhaps from earth to heaven?). The music is spectacular in its contrasts and in the surprises it presents. Unsurprisingly, this is probably the best-loved of all Britten’s compositions. Gabriel Fauré 1845-1924 CANTIQUE DE JEAN RACINE [Verbe égal au très-haut] Verbe égal au Très-Haut, notre unique espérance, jour éternel de la terre et des cieux, de la paisible nuit nous rompons le silence; Divin Sauveur, jette sur nous les yeux; répands sur nous le feu de ta grâce puissante que tout l’enfer fuie au son de ta voix. Dissipe le sommeil d’une âme languissante qui la conduit à l’oubli de tes lois! O Christ sois favorable à ce peuple fidèle pour te bénir maintenant rassemblé; reçois les chants qu’il offer à ta gloire immortelle, et de tes dons qu’il retourne comblé. Word equal to the Most High, our one true hope, eternal day of the earth and of the
heavens, we break the silence of the peaceful night; Divine Saviour, cast your eyes upon us; spread over us the fire of your mighty grace so that hell itself flees at the sound of your voice. Dispel the slumber of a pining soul which drives it to forget your laws! O Christ, show favour to these faithful people now assembled to praise you. Receive these songs that they offer to your immortal glory, and these full offerings returned to you. The evocative text of this greatly-loved Cantique, although ascribed to the great Racine, is actually a translation by the great dramatist from a Latin original emanting from the pen of the fourth century St Ambrose, Archbishop of Milan. The ancient office hymn on which Racine’s words are based is Consors Paterni luminis [O Light of light, O Dayspring bright, co-equal with the Father’s might], set for Tuesday Matins and even today included in the modern Latin Breviary. Fauré’s fabulous setting was written when he was just nineteen and won him first prize on his graduation from the Ecole Niedermeyer. The accompaniment used tonight is John Rutter’s. John Milford Rutter born 1945 LOVE CAME DOWN AT CHRISTMAS Love came down at Christmas, Love all lovely, love divine; Love was born at Christmas, Star and angels gave the sign. Worship we the Godhead, Love incarnate, love divine; Worship we our Jesus: But wherewith for sacred sign? Love shall be our token, Love shall be yours and love be mine, Love to God and to all men, Love for plea and gift and sign. Christina Rossetti [1830 -1894] From Time Flies: a Reading Diary, 1885 - based on 1 John Chapter 4, Verse 16: God is love John Rutter’s contribution to the choral repertoire is inestimable. His graceful and fluent melodies, combined with immense skill as an orchestrator, make his anthems and church music, as well as secular pieces, models of the genre. Two of his most celebrated “choral hymns” were both written in response to American commissions – All things bright and beautiful from Princeton’s Westminster Choir College and For the beauty of the earth for the Texas Choral Directors’ Association.
Love came down at Christmas is a more gently reflective setting than either All things bright and beautiful or For the beauty of the earth but is music very much in the same vein, and yet it is far less well known – even amongst its creator’s prodigious corpus of seasonal music for Advent and Christmas. Somehow, Love came down has, thus far, escaped inclusion in any of Rutter’s numerous choral compilations; the piece’s appearance in print in 1971 meant that it was too late for Carols for Choirs 2 and it has not emerged in a form other than a choral leaflet. It’s very much vintage Rutter, and a setting of the pre-Raphaelite Christina Rossetti’s evocative text that lingers long in the memory. INTERVAL OF TWENTY MINUTES César Franck 1822-1890 PANIS ANGELICUS [1861/1872] [Messe Solennelle] Panis angelicus fit panis hominum; Dat panis coelicus figuris terminum: O res mirabilis! Manducat Dominum pauper, servus et humilis The bread of angels becomes the bread of men; The heavenly bread ends all prefigurations: How wondrous a thing is that! The flesh of the Lord is eaten by the poor and the humble, the servants of the Lord César Franck [1822-1890] – 1872 Text from Sacris solemniis – Thomas Aquinas [1225-1274] – translation by SGL Franck’s long period of service as Organist of St Clothilde, Paris, extended from 1858 until his death. His playing was of legendary quality and his immense charismatic appeal as a teacher (notably as Professor of Organ at the Conservatoire) proved profoundly influential upon generations of leading French musicians - Chausson, d’Indy and Dukas among them. Like Jongen, Franck was a native of the Belgian city of Liège. Resident from the age of fifteen in the French capital, his entire professional life was spent in service to music in its many manifestations. A visionary violin sonata, major orchestral repertoire including the under-rated Variations Symphoniques for piano and orchestra, choral and chamber music all claim the attention of the discerning music-lover. By his skilled use of “cyclic” techniques his influence on 20th century musical development was significant. His enthusiasm for, and commitment to, the organs of Aristide Cavaillé-Coll is integral to a proper understanding of the colours demanded by his output for the solo organist which is, arguably, the most significant of any 19th century composer. Scores are carefully marked with the exact registrations (the choice of stops) which Franck intended the player to utilise. Importantly, the precise directions of the methods by which musical rise and fall - ebb and flow of
phrase - is to be achieved present the organist with significant challenges of control on instruments not provided with some of Cavaillé-Coll’s most characteristic mechanisms. One of the most famous melodies of all time, Franck’s Panis angelicus probably began life as an organ improvisation played at Christmas 1861 at St Clothilde. It was first published eleven years later in a version for organ, harp, cello and doublebass as an additional movement within the composer’s Messe à Trois Voix. The piece has been arranged many times since, and the choral version by John Rutter used this evening is so tastefully done as to sound as if it were Franck’s original. The annals of musical history are littered with details of famous performances and recordings from Count John McCormack in Dublin’s Phoenix Park in 1932 to the visionary playing of Yo-Yo Ma at the funeral mass for Senator Edward Kennedy broadcast live on the American networks on August 29, 2009. A very fine recording for solo cello by Julian Lloyd Webber was included in his 1998 album Cello Moods. Camille Saint Saëns 1835-1921 CHRISTMAS ORATORIO, Op 12 [Oratorio de Noël] 1858
1 Prélude dans le style de Séb: Bach Allegretto
2 Recitative & Chorus [Solo Quartet] Et pastores erant, in regione eadem vigilantes, et custodientes vigilias noctis super gregem suum. Et ecce Angelus Domini stetit juxta illos, et claritas Dei circumfulsit illos, et timuerunt timore magno. Et dixit illis angelus: Nolite timere! Ecce enim evangelio vobis gaudium magnum, quot erit omni populo: quia natus est vobis hodie Christus Dominus in civitate David. Et hoc vobis signum: Invenietis infantem pannis involutum, et positum in praesepiio. Et subito facta est cum Angelo multitudo militae coelestis, laudantium Deum, et dicentium: [Chorus] Gloria in altissimis Deo, et in terra pax hominibus bonae voluntatis.
And there in same country shepherds abiding in the fields, keeping watch over their flocks by night. And lo! the Angel of the Lord came upon them, and the glory of the Lord shone round about them, and they were sore afraid. And the Angel said unto them: Fear not! For behold, I bring you good tidings of great joy, which shall be to all people: for unto you is born this day in the City of David a Saviour, which is Christ the Lord. And this shall be a sign unto you: ye shall find the Babe wrapped in swaddling clothes, and lying in a manger. And suddenly there was with the Angel a multitude of the heavenly host, praising God, and saying: Glory to God in the highest, and on earth peace, goodwill towards men. Luke Chapter 2, Verses 8 to 14 3 Aria [Mezzo Soprano] Andante espressivo Expectans expectavi Dominum; et intendit mihi. I waited patiently for the Lord: and He inclined unto me, and heard my calling Psalm 40, Verse 1 4 Aria & Chorus Moderato commodo [Tenor] Domine, ego credidi, quia tu es Christus, filius Dei visi. [Chorus] Qui in nunc mundum venisti. Lord, I have believed that you are the Christ, the Son of the living God, who hast come into this world. John Chapter 6, Verse 69 and Chapter 5, Verse 2 5 Duet Allegretto moderato Benedictus qui venit in nomine Domini! Deus Dominus, et illuxit nobis. Deus meus es tu, et confitebor tibi. Deus meus es tu, et exaltabo te.
Blessed is he that cometh in the name of the Lord. God is the Lord that hast given us light. Thou art my God, and I will thank Thee. Thou art my God, and I will praise Thee. Matthew Chapter 21, Verse 9 Psalm 118, Verse 28 6 Chorus Allegro moderato Quare fremuerunt gentes? Et populi meditati sunt inania? Gloria Patri, gloria Filio, gloria Spiritui Sancto! Sicut erat in principio et nunc et semper et in saecula saeculorum. Amen. Why do the heathen so furiously rage together? And why do the people imagine a vain thing? 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. Psalm 2, Verse 1; Gloria Patri 7 Trio [Soprano, Tenor & Baritone] Andante con moto Tecum principium in die virtutis tuae. Tecum principium in splendoribus Sanctorum. In the day of Thy power shall the people offer Thee free-willing offerings with an holy worship‌. Psalm 110, Verse 3 8 Quartet Andantino Alleluja. Laudate, coeli, et exulta, terra, quia consolatus est Dominus populum suum; et pauperum suorum miserebitur. Hallelujah, praise you heavens, and exult, you earth, for th eLord has comforted his people and iwll have mercy on his poor. Isaiah Chapter 49, Verse 13
9 Quintet & Chorus Allegretto Consurge, Filia Sion. Alleluja. Lauda in nocte, in principio vigiliarum. Alleluja. Egregiatur ut splendor justus Sion, et Salvator ejus ut lampas accendatur. Alleluja. Arise, O daughter of Sion. Alleluia Arise, cry out in the night: in the beginning of the watches. Until the righteousness thereof go forth as brightness, and the salvation thereof as a lamp that burneth. Lamentations Chapter 2, Verse 19; Isaiah Chapter 62, Verse 1 10 Chorus Maestoso Tollite hostias, et adorate Dominum in atrio sancto ejus. Laetentur coeli, et exultet terra a facie Domini, quoniam venit. Alleluja. Bring presents, and come into His courts. Let the heavens rejoice, and let the earth be glad, for He cometh. Alleluia Psalm 96, Verses 8 & 11 Prodigiously prolific as a composer, hailed by Liszt as the greatest organist in the world, and widely acknowledged to be one of the foremost piano virtuosi, Saint-Saëns (his surname is that of the village of his forefathers) has not fared well at the hands of posterity and its assessment of his many-faceted talent. Indeed, his huge technical facility at music was very greatly envied by his contemporaries almost as much as his considerable material success in life. Yet such accounts of his long career as do exist (and there are precious few of them in English) dwell at length on his unhappy personal circumstances. It was not only his prosperity which made him unpopular: his caustic wit cannot have endeared him to those outside his circle of friends. Despite all this, he received widespread adulation and critical acclaim both as performer and composer. Gounod it was who christened him ‘The French Beethoven’, a label highly apt in terms of the most successful of his extensive output of works. The chamber music, sonatas, concertos and symphonies all make him a true heir of the Viennese school. There are, however, other strands of influence just as important – the Hispanic, the 17th century French dance and the frankly patriotic. As with Gounod, so it was Debussy who categorised Saint-Saëns as the ‘musician of tradition’. And the composer himself wrote, not altogether modestly: I live in music like a fish in water
and, more significantly in terms of his compositions, I produce music as an apple tree produces apples. Neither of these statements would appear to us to be especially self-deprecating, though the effortless melodic flow of his frequently heartfelt musical utterance might well lead us to second such assertions with acclamation. Saint-Saëns took his composing extremely seriously! Stylistically, the Christmas Oratorio of Saint-Saëns is rather more of a cantata than an oratorio, though musically constructed by in a loose interpretation of the oratorio style. The piece was, allegedly, composed in ten days in mid-December of 1858 for his choir at the magnificent Parisian Church of La Madeleine. The piquant harmonies and delightful instrumental scoring underpin gracious, and sometimes gloriously wrought, vocal and choral lines. The work is disposed for strings, harp, five soloists, chorus and organ. The organ part is a principal element throughout. Saint-Saëns chose his verbal texts well, and responded splendidly to the inherent dramatic and illustrative possibilities with which his libretto presented him. About St Peter’s Singers www.stpeters-singers.org.uk St Peter’s Singers is a mixed choir of about forty voices based in the City of Leeds. For well over thirty years the Singers have enjoyed a close relationship with Leeds Minster (St Peter-at-Leeds), formerly Leeds Parish Church, where many concerts and liturgical appearances take place each season. At the same time, the choir performs at many other venues in and around Leeds, including Leeds Town Hall, St Anne’s Roman Catholic Cathedral and the Minster Churches of Dewsbury and Doncaster. York Minster has been the venue for three memorable presentations in recent years, and the choir sang Evensong at St Paul’s Cathedral on Easter Monday in 2005 and 2008, and at Guildford Cathedral on Spring Bank Holiday Saturday in 2011. Other Cathedrals visited recently have included Derby, Ely, Leicester, Ripon and Worcester. Recent choral endeavour by the Singers in receipt of national media coverage took place in early Summer of 2011 and included participation in BBC4’s award-winning production of Frankenstein’s Wedding telecast live from Kirkstall Abbey and the provision of Dominic Haslam’s exciting musical score for the critically acclaimed West Yorkshire Playhouse production of John Ford’s ‘Tis pity she’s a whore. A visit to Mallorca at the end of last month was the choir’s fourth overseas tour, following acclaimed trips to Romania in November 2007, Mallorca in October 2009 and Brittany in May 2011. The Singers were under the direction of Halifax-based conductor and organist Alan Horsey, formerly of Bradford Cathedral and the organist was David Houlder of Leeds Minster – who this year celebrates ten years of collaboration with St Peter’s Singers. About the National Festival Orchestra The National Festival Orchestra, leader Sally Robinson, has a brilliant reputation as one of the country’s leading theatre and concert orchestras. Based in the North of
England, with members drawn from all over the UK, the musicians combine a breadth of professional experience that ranges from playing for top symphony, chamber and opera orchestras to West End and Broadway shows. Many of the players are solo performers in their own right and their great versatility is apparent in the orchestra’s ability to play in many different styles - from Bach to Baccarach - from Strauss to Sondheim. As the orchestra of the outstandingly successful Sing Live UK, NFO regularly plays to sell-out audiences at leading British concert venues, including the Bridgewater Hall, Birmingham Symphony Hall and The Sage, Gateshead. Through BBC radio and television broadcasts and its critically acclaimed performances as resident orchestra for the International Gilbert and Sullivan Festival in Buxton, the orchestra has established an outstanding national – and international - reputation. In addition the orchestra covers a busy round of concerts, shows, and choral performances with some of the country’s finest choral societies. Highlights have included appearances at the London Palladium, the Royal Albert Hall, and also at huge festival events with stars of the calibre of soprano Lesley Garrett. CATCH ST PETER’S SINGERS AT THE POPULAR ANNUAL CHRISTMAS CONCERT AT LEEDS MINSTER “CAROLS FOR A CHORAL FUTURE” Wednesday 11 December 2013 at 7.00pm in the Minster [formerly Leeds Parish Church] ST PETER’S SINGERS CHOIRS OF LEEDS MINSTER LEEDS COLLEGE OF MUSIC COMMUNITY CHORAL SOCIETY DAVID HOULDER at the organ – GRAHAM ELLIS conductor ROTHWELL TEMPERANCE BAND [DAVID ROBERTS conductor] TICKETS FROM THE MINSTER & FROM CITY CENTRA BOX OFFICE, THE CARRIAGEWORKS 0113 224 3801 ST PETER’S SINGERS in 2014 Saturday 15 February at 7.30 pm at historic Wentworth Church, South Yorkshire BAROQUE FESTIVAL CONCERT with SHEFFIELD BACH CHOIR and the NATIONAL FESTIVAL ORCHESTRA Good Friday 19 April at 7.00 pm at Leeds Minster BACH MASS IN B MINOR with the NATIONAL FESTIVAL ORCHESTRA