AU T U M N CONCE RT
MIDDLE TEMPLE 16 NOVEMBER 2016
Programme
WE ACKNOWLEDGE AND OFFER OUR WARM THANKS FOR SUPPORT FOR THIS EVENING’S CONCERT
JOSEPH HAYDN Patrons Anonymous Rachel Avery and Richard Coleman QC Anthony Boswood QC Sappho Dias and Timothy Dutton CBE QC Caroline Hutton and Rt Hon Dominic Grieve QC MP
Trustees: Anthony Boswood QC (Programme) Timothy Dutton CBE QC (Chairman) Kate Lumsdon (Choir) Stuart Ritchie QC (Marketing) Robin Tam QC Mark Trafford QC (Treasurer)
Benefactors Anonymous 23 Essex Street Chambers Christopher Wilson-Smith
Temple Church Robin Griffith-Jones (Master of the Temple)
Supporters 5 Essex Court Cloister Chambers Cluttons LLP Dr Vanessa Davies HH Judge Toby Hooper QC Associate David Wurtzel President: John Rutter CBE Music Director: Greg Morris
Secretary: Kay Matthews (kam@fountaincourt.co.uk) Help and Administration Master Treasurer and the staff at Middle Temple Kay Matthews (Choir Secretary) Lucy Scutt (Administration) Caroline Phillips (Fundraising) Jacquelyn Bell (Media and Publicity) Temple Music Foundation (Box Office) David Wurtzel (Programme Editor) Camilla Cameron (Publicity) Robert Cooper (Sound and Film Recording) Rob Pitts (Lighting)
The Creation
Soprano soloist Amy Haworth Tenor soloist Andrew Tortise Bass soloist DeAndre Simmons Orchestra The Temple Players Conductor and Music Director Greg Morris
There will be one interval
This concert is in aid of the National Brain Appeal and the Motor Neurone Disease Association for research into Motor Neurone Disease
Registered Charity Number 1163229
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A SNAPSHOT
From Overture to Act 1
In the programme for the first Bar Choral Society concert I began by quoting ‘If music be the food of love, play on’. I don’t apologise for repeating it. Tonight the concert takes place in the less usual venue of Middle Temple Hall. As a plaque on the wall in the entry testifies, Twelfth Night was first performed here in 1602. Which means that these words were first spoken here. They still seem a fitting introduction to the tradition of music and the Bar and a reminder that an important part of our cultural heritage began and is still fostered in the Inns. If you ask, what is an Inn for, please look around you tonight. The most recent ‘Temple premiere’ took place only last month, with the opera And London Burned. It was commissioned by Inner Temple from Matt Rogers (composer) and Sally O’Reilly (librettist) to commemorate the 350th anniversary of the Great Fire of London. Last year we celebrated the part we played in the events leading up to Magna Carta. In 2016 we recall how close the Great Fire came to destroying the Temple. That the important buildings were saved was due in large part to the efforts of Inner Temple’s then new Royal Bencher, James Duke of York. Taking a practical approach but no doubt relying on precedent, James used gunpowder to blow up some of the buildings to create a fire break. The conflagration indeed was stopped within yards of the Church; Inner Temple Hall (whose roof had caught fire) was saved; and the hall in which this concert takes place then, as later, survived. Tragically a later fire, due to enemy action, did destroy Inner Temple Hall and the interior of the Church. We think of James less kindly thanks to his subsequent career as king, but in the best spirit of fairness at the Bar, Inner Temple in gratitude for his 1666 efforts borrowed Middle Temple’s portrait of James and hung it in a place of honour. Bar Choral Society concert-goers fondly remember the part that organ music has played in the performances. Matt Rogers wrote in the programme that ‘This piece has been written for this [Temple Church] organ’ and that any further performance in another location ‘would always be an adaptation’. The Creation was composed a few years after Haydn’s second visit to London. In the programme notes Greg Morris explains this journey and its effect on Haydn. Apparently Mozart had warned him that he could not speak English but that has never stopped distinguished Middle Europeans from coming to this country, as the Bar, who has been enriched by them, knows. En route, Haydn stopped in Bonn, where, as one does, he met (or as we would say, connected with) the 20-year old Beethoven. ‘My arrival caused a sensation... It appears that everybody wants to know me,’ Haydn wrote home from England. Oxford awarded him an honorary degree and he conducted there Symphony No. 92 (the ‘Oxford’) on the occasion. In a more globalised world we expect artists to travel as a matter of course. Last week, Amy Howarth was in Australia and DeAndre Simmons (welcomed back for his second BCS concert) was in California. Like Hadyn, they speak in the universal language of music. One might even describe them as ‘citizens of the world’. That is meant as a compliment.
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DAVID WURTZEL
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his is our sixth concert. The Bar Choral Society was only an idea under discussion in early 2014. Using the well-known solicitor’s trick of imposing a deadline, in March 2014 we set a date for our first concert – 23rd June 2014 – and worked backwards from there to find six rehearsal dates and a programme of music. Then we started asking the profession if it would like to form a choir. The results have been impressive, but – given the profession’s habit of performing on the day – not surprising. 60 people turned up for our first rehearsal on 30th March 2014 and the membership of the Society now stands at about 140 all of whom sing. We perform at least two concerts each year. For each concert we number between 70-80 singers. Greg Morris is an inspired director. Our first concert was a mixture of short choral pieces with organ accompaniment and a soprano soloist. Our second in November 2014 saw us performing – the choir numbering 107 voices – the Faure Requiem and Vaughan Williams Five Mystical Songs with the wonderful baritone Roderick Williams, fresh from being the star soloist at The Last Night of the Proms. And Greg simply notched up the challenges just as we thought we’d reached our comfort zone. June 2015 was our first orchestra-accompanied concert performing the Nelson Mass with two utterly virtuoso performances by Elin Manahan-Thomas (Summertime) and DeAndre Simmons (Deep River). We are delighted to welcome back DeAndre tonight. By the autumn of 2015 we did a creditable Vivaldi Gloria and tackled the Monteverdi Ave Maris Stella from Vespers – six part harmonies which are challenging particularly with the choir and orchestra at opposite ends of the Church so that we could use the acoustic of the Round.
In May of this year Greg directed us in a mixed (and difficult) programme of Brahms, Schubert, Elgar and Parry. And tonight brings this year’s work by the choir to a conclusion with the glorious Creation. As to next year? Greg will be directing Bach’s St John Passion on 11th April in Temple Church. After that members of the choir will join members of the Parliament Choir to sing Walton’s Belshazzar’s Feast in the Royal Festival Hall on 17th May accompanied by the South Bank Sinfonia. These are two serious challenges for us musically, and I am sure we will rise to them. And in November 2017 our autumn concert will bring some musical light relief and possibly some choral jazz. I could not have hoped for the Bar Choral Society to get off to a better start. Personally, I have managed to make up some of the lost musical years when my head was buried in cases or work for the Bar. A wonderful team has grown up around the choir keeping the whole thing going with skill and good humour. Stuart Ritchie QC takes over as chair from tonight. I will keep singing as long as my lungs permit, and I look forward to next year’s concerts and a bright future for the BCS.
TIMOTHY DUTTON QC CBE www.barchoralsociety. co.uk
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SUPPORTING THE BAR CHORAL SOCIETY
Programme notes
There are a number of ways in which you can support the Bar Choral Society. Join our mailing list Be the first to find out about our forthcoming concerts and other events at www. barchoralsociety.co.uk
Become an Associate
£100-249
Receive acknowledgement in the programme book and on the BCS website alongside other Associates, priority booking for future events
Become a Supporter
£250-£499
Receive acknowledgement in the programme book and on the BCS website alongside other Supporters, priority booking for future events
Become a Benefactor
£500-£999
Receive acknowledgement in the programme book and on the BCS website alongside other Benefactors, priority booking for future events
Become a Patron
£1,000 plus
Receive acknowledgement in the programme book and on the BCS website alongside other Patrons, priority booking for future events.
Sponsor a performer Support us by sponsoring the orchestra, conductor or individual soloists
Sponsor a piece Support us by sponsoring particular choruses, arias or other items from our concert programmes.
Corporate Sponsors We can tailor a selection of benefits for Corporate Sponsors which can include: l Promoting your brand through our literature and media l Client entertainment at our concert venues l Networking opportunities l Opportunities to meet soloists and guest artists l Our corporate sponsors have included Saunderson House, No. 5 Chambers and Harbour Litigation Funding For more information about how you can support us please contact Caroline Phillips, Fundraising Consultant cphillips@caroline-phillip.co.uk Tel 01249 716 716 Registered Charity Number 1163299 6
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n 28th September 1790, one of the richest and most influential members of the Hungarian nobility, Prince Nikolaus Esterházy, died. His son and successor, Prince Anton, did not share his father’s love of music, and so his Kappellmeister, the esteemed composer Joseph Haydn, suddenly found himself a free agent after almost three decades in the service of the Esterházy family at their isolated court near Eisenstadt. Little more than three months later, Haydn found himself in England, fêted and celebrated by aristocracy, impressarios, concert-goers, fellow musicians and the press. The visit proved to be the spur to a period of renewed creativity for Haydn, and ultimately led to the composition of one of the finest of all oratorios, The Creation. During his thirty years’ service to the Esterházy family, Haydn had worked more or less secluded from the musical mainstream of Europe, although his fame as a composer already spread throughout the continent. His duties at Esterhaza were extensive and time-consuming, and although he was in command of a court musical establishment, he was far removed from any musical activities except his own. But Haydn’s nature was such he turned this to his advantage: “ My prince was content with all my works, I received approval, I could, as head of an orchestra, make experiments, observe what created an impression, and what weakened it, thus improving, adding, cutting away, and running risks. I was set apart from the world, there was nobody in my vicinity to confuse and annoy me in my course, and so I had to become original.” There is no doubt that the vast corpus of works Haydn composed in the service of the Esterházy family until 1790 would place him firmly in the pantheon of great composers – they are original, daring, witty and full of Haydn’s character, and in
the genres of the string quartet and symphony in particular Haydn was a true leading light. But in one area of composition Haydn’s visit to London in 1791-2 was to prove stimulating and eyeopening to him in equal measure – choral music. In May 1791, Haydn attended the Handel Commemoration in Westminster Abbey. He was immensely moved by the large-scale performances: “he confessed that when he heard the music of Hendl in London, he was struck as if he had been put back to the beginning of his studies and had known nothing up to that moment. He meditated on every note and drew from those most learned scores the essence of true musical grandeur.” When Haydn left London after his second visit there in 1795, he carried with him a libretto reputedly put together for Handel himself, but never set by him, and which was loosely based on Milton’s Paradise Lost. On his return to Vienna, Haydn had the libretto translated into German by Baron Gottfried van Swieten, an important patron of music in Vienna and himself a composer (though Haydn described his symphonies as being “as stiff as the baron himself ”). Van Swieten recognised that the libretto “would provide Haydn with the ideal opportunity to display the full powers of his inexhaustible genius”. Haydn spent 1797 and the early part of 1798 on the composition of The Creation, and approached his work with great seriousness: “I was never so religious as during the composition of The Creation; daily I fell on my knees and asked God for strength.” It was first performed on 29 and 30 April 1798 at the Schwarzenburg Palace in Vienna. Its popularity was such, it had to be repeated on 7 and 10 May. Of the first public performance in 1799 a critic wrote “one can hardly imagine the silence and the attention with which the work was received, broken only by soft exclamations at the most remarkable passages”. The following year it was heard in France, London, Berlin and 7
Programme Prague, and then rapidly spread throughout the continent – its immediate and universal acceptance was astonishing. It is not hard to explain the oratorio’s initial success or its continued popularity. The opening Depiction of Chaos is the most daring and original part of the work, creating disorientation by constantly refusing the expected harmonic resolution. There follows the awe-inspiring depiction of the creation of light, surely one of the most famous single moments in all oratorio. Thereafter, the music is a joyous and vivacious celebration of life in its myriad forms, each day of creation ended with a magnificent hymn of praise. Part 3 celebrates the life of unfallen humanity in the Garden of Eden. The level of attention to detail in the music is astonishing, from the “foaming billows” to the “dusky mists”; from the “depths of abyss” to “th’ethereal vaults”; from the “roaring lion” to the “sinuous worm”. There is no inherent drama in the text, but Haydn is perhaps the composer above all others to whom that was no impediment, with that “inexhaustible genius” for a constant flow of musical ideas, and above all a grasp of overall structure and Handelian choral grandeur. When Haydn wrote The Creation everyone was a creationist – the theory of evolution was still more than half a century away. To modern audiences, there is undoubtedly a sense of naivety about the libretto. Despite this, or perhaps rather because of it, this most life-affirming of oratorios remains as powerful as ever in its expression of sheer joy and wonder at the natural world. But in an era of uncertainty over the effects of climate change, it is perhaps also a work which has rather more urgent message than is immediately apparent.
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PART I 1 THE REPRESENTATION OF CHAOS 2 RECITATIVE (RAPHAEL, URIEL, CHORUS) (Genesis: Chapter 1, verses 1-4)
By heaven’s fire the sky is enflamed and awful rolled the thunders on high. Now from the floods in steam ascend reviving showers of rain, the dreary wasteful hail, the light and flaky snow.
RAPHAEL
In the beginning God created the Heaven, and the earth; and the earth was without form and void; and darkness was upon the face of the deep. CHORUS
And the Spirit of God moved upon the face of the waters. And God said: Let there be Light, and there was Light. URIEL
And God saw the Light, that it was good; and God divided the Light from the darkness. 3 ARIA WITH CHORUS (URIEL, CHORUS) URIEL
Now vanish before the holy beams the gloomy dismal shades of dark; the first of days appears. Disorder yields to order the fair place. Affrighted fled hell’s spirits black in throngs; down they sink in the deep of abyss to endless night. CHORUS
Despairing rage and torment attends their rapid fall. A new-created world springs up at God’s command. 4 RECITATIVE (RAPHAEL) (Genesis: Chapter 1, verse 7) And God made the firmament, and divided the waters which were under the firmament from the waters which were above the firmament. And it was so. Outrageous storms now dreadful arose; as chaff by the winds are impelled the clouds.
5 C HORUS WITH SOPRANO SOLO (GABRIEL, CHORUS) GABRIEL
The marv’lous work beholds amaz’d the glorious hierarchy of Heav’n; and to th’ ethereal vaults resound the praise of God, and of the second day. CHORUS
And to th’ ethereal vaults resound the praise of God, and of the second day. 6 RECITATIVE (RAPHAEL) (Genesis: Chapter 1, verses 9-10) And God said: Let the waters under the heaven be gathered together unto one place, and let the dry land appear; and it was so. And God called the dry land: earth, and the gathering of waters called he seas; and God saw that it was good. 7 ARIA (RAPHAEL) Rolling in foaming billows uplifted roars the boist’rous sea. Mountains and rocks now emerge; their tops into the clouds ascend. Thro’ th’ open plains outstretching wide in serpent error rivers flow. Softly purling glides on thro’ silent vales the limpid brook. 8 RECITATIVE (GABRIEL) (Genesis: Chapter 1, verse 11) And God said: Let the earth bring forth grass, the herb-yielding seed, and the tree yielding fruit after his kind, whose seed is in itself upon the earth; and it was so.
9 ARIA (GABRIEL) With verdure clad the fields appear delightful to the ravish’d sense; by flowers sweet and gay enhanced is the charming sight. Here vent their fumes the fragrant herbs; here shoots the healing plant. By loads of fruit th’ expanded boughs are press’d; to shady vaults are bent the tufty groves; the mountain’s brow is crown’d with closed wood. 10 RECITATIVE (URIEL) And the heav’nly host proclaimed the third day, praising God and saying: 11 CHORUS Awake the harp, the lyre awake! With mirth and joy your voices raise! In triumph acclaim the pow’r of the Lord! For he the heavens and earth has clothed in stately dress. 12 RECITATIVE (URIEL) (Genesis: Chapter 1, verse 14, with lines inserted and the last line from verse 16) And God said: Let there be lights in the firmament of heaven to divide the day from the night, and to give light upon the earth; and let them be for signs and for seasons, and for days, and for years. He made the stars also. 13 RECITATIVE (URIEL) In splendour bright is rising now the sun and darts his rays; an am’rous joyful happy spouse, a giant proud and glad, to run his measur’d course. With softer beams and milder light steps on the silver moon through silent night. The space immense of th’ azure sky innum’rous host of diant orbs adorns. And the sons of God announced the 9
PROGRAMME
fourth day in song divine, proclaiming thus his power: 14 CHORUS WITH SOLOISTS CHORUS
The heavens are telling the glory of God. The wonder of his works displays the firmament. GABRIEL, URIEL, RAPHAEL
To day, that is coming, speaks it the day; the night, that is gone, to following night. CHORUS
The heavens are telling the glory of God. The firmament displays the wonder of his works. GABRIEL, URIEL, RAPHAEL
In all the land resounds the word, never unperceived, ever understood. CHORUS
The heavens are telling the glory of God. The firmament displays the wonder of his works.
PART II 15 RECITATIVE (GABRIEL) (Genesis: Chapter 1, verse 20) And God said: Let the waters bring forth abundantly the moving creature that hath life, and fowl, that may fly above the earth in the open firmament of heaven. 16 ARIA (GABRIEL) On mighty pens uplifted soars the eagle aloft, and cleaves the air in swiftest flight to the blazing sun. His welcome bids to morn the merry lark, and cooing, calls the tender dove his mate. From ev’ry bush and grove resound the nightingale’s delightful notes. No grief affected yet her breast, 10
nor to a mournful tale were tun’d her soft enchanting lays. 17 RECITATIVE (RAPHAEL) (Genesis: Chapter 1, from verses 21 and 23) And God created great whales, and ev’ry living creature that moveth. And God blessed them, saying: Be fruitful all, and multiply! Ye winged tribes, be mulitply’d and sing on ev’ry tree! Multiply, ye finny tribes, and fill each wat’ry deep! Be fruitful, grow, and multiply! And in your God and Lord rejoice! 18 RECITATIVE (RAPHAEL) And the angels struck their immortal harps and the wonders of the fifth day sung. 19 Terzetto (Gabriel, Uriel, Raphael) GABRIEL
Most beautiful appear, with verdure young adorn’d, the gently sloping hills. Their narrow sinuous veins distill in crystal drops the fountain fresh and bright. URIEL
In lofty circles play and hover thro’ the sky the cheerful host of birds. And in the flying whirl, the glitt’ring plumes are died, as rainbows, by the sun. RAPHAEL
See flashing thro’ the wet in thronged swarms the fry on thousand ways around. Upheaved from the deep, th’ immense Leviathan sports on the foaming wave. GABRIEL, URIEL, RAPHAEL
How many are thy works, O God? Who may their numbers tell? Who, O God? Trio (Gabriel, Uriel, Raphael and Chorus) GABRIEL, URIEL, RAPHAEL
The Lord is great and great his might.
His glory lasts for ever and evermore. CHORUS
The Lord is great and great his might. His glory lasts for ever and evermore.
INTERVAL 20 Recitative (Raphael) (Genesis: Chapter 1, verse 24) And God said: Let the earth bring forth the living creature after his kind; cattle and creeping thing, and beasts of the earth after their kind. 21 Recitative (Raphael) Straight opening her fertile womb, the earth obey’d the word, and teem’d creatures numberless, in perfect forms and fully grown.Cheerful, roaring, stands the tawny lion. In sudden leaps the flexible tiger appears. The nimble stag bears up his branching head. With flying mane and fiery look, impatient neighs the sprightly steed. The cattle in herds already seeks his food on fields and meadows green. And oe’r the ground, as plants, are spread the fleecy, meek and bleating flock. Unnumber’d as the sands in whirls arose the host of insects. In long dimension creeps with sinuous trace the worm.
23 RECITATIVE (URIEL) (Genesis: Chapter 1, verse 27; Chapter 2, verse 7, last line) And God created man in his own image. In the image of God created he him. Male and female created he them. He breathed into his nostrils the breath of life, and man became a living soul. 24 ARIA (URIEL) In native worth and honor clad, with beauty, courage, strength adorn’d, to heav’n erect and tall, he stands a man, the Lord and King of nature all. The large and arched front sublime of wisdom deep declares the seat. And in his eyes with brightness shines the soul, the breath and image of his God. With fondness leans upon his breast a partner for him form’d, a woman fair and graceful spouse. Her softly smiling virgin looks, of flow’ry spring the mirror, bespeak him love, and joy, and bliss. 25 RECITATIVE (RAPHAEL) (Genesis: Chapter 1, from verse 31) And God saw ev’ry thing that he had made; and behold, it was very good; and the heavenly choir in song divine thus closed the sixth day. 26
22 ARIA (RAPHAEL) Now heav’n in fullest glory shone; earth smiles in all her rich attire. The room of air with fowl is fill’d; the water swell’d by shoals of fish; by heavy beasts the ground is trod. But all the work was not complete. There wanted yet that wond’rous being, that grateful should God’s pow’r admire, with heart and voice his goodness praise.
CHORUS
Achieved is the glorious work; the Lord beholds it and is well pleas’d. In lofty strains let us rejoice! Our song let be the praise of God. Terzetto (Gabriel, Uriel, Raphael) GABRIEL, URIEL
On thee each living soul awaits; from thee, O Lord, they beg their meat. Thou openest thy hand, and sated all they are. 11
PROGRAMME
at dawning morn! How brighten’st thou, o Sun, the day, thou eye and soul of all!
RAPHAEL
But as to them thy face is hid, with sudden terror they are struck. Thou tak’st their breath away; they vanish into dust.
CHORUS
Achieved is the glorious work. Our song let be the praise of God. Glory to his name forever; he sole on high exalted reigns, alleluia.
Hail, bounteous Lord! Almighty, hail! Thy word call’d forth this wond’rous frame. Both earth and heaven worship Thee; we praise thee now and evermore.
CHORUS
Proclaim in your extended course th’ almighty pow’r and praise of God!
GABRIEL, URIEL, RAPHAEL
Thou lett’st thy breath go forth again, and life with vigor fresh returns. Revived earth unfolds new force and new delights.
CHORUS
RECITATIVE (ADAM AND EVE)
EVE
And thou, that rul’st the silent night, and all ye starry host, spread wide and ev’ry where his praise in choral songs about.
ADAM
Our duty we performed now, in off’ring up to God our thanks. Now follow me, dear partner of my life! Thy guide I’ll be, and and ev’ry step pours new delight into our breast, shews wonders ev’ry where. Then may’st thou feel and know the high degree of bliss the Lord allotted us, and with devoted heart his bounty celebrate. Come, follow me! Thy guide I’ll be.
ADAM
Ye strong and comb’rous elements, who ceaseless changes make, ye dusky mists and dewy streams that rise and fall thro’ th’ air... EVE, ADAM
...Resound the praise of God our Lord!
PART III
CHORUS
Resound the praise of God our Lord!
EVE
O thou for whom I am! My help, my shield, my all! Thy will is law to me. So God, our Lord, ordains, and from obedience grows my pride and happiness.
ALL
27 RECITATIVE (URIEL) In rosy mantle appears, by tunes sweet awak’d, the morning young and fair. From the celestial vaults pure harmony descends on ravished earth. Behold the blissful pair, where hand in hand they go! Their flaming looks express what feels the grateful heart. A louder praise of God their lips shall utter soon. Then let our voices ring, united with their song!
Resound the praise of God our Lord! Great is his name, and great his might. EVE
Ye purling fountains, tune his priase, and wave your tops, ye pines! Ye plants, exhale, ye flowers breathe at him your balmy scent!
EVE AND ADAM
By thee with bliss, O bounteous Lord, the heav’n and earth are stor’d. This world, so great, so wonderful, thy mighty hand has fram’d.
EVE
Spouse adored! At thy side purest joys o’erflow the heart. Life and all I am is thine; my reward thy love shall be.
CHORUS
For ever blessed be his pow’r! His name be ever magnified! ADAM
Of stars the fairest, O how sweet thy smile 12
ADAM
Ye living souls, extol the Lord!
The dew-dropping morn, O how she quickens all!
ALL
Him celebrate, him magnify!
EVE
The coolness of ev’n, O how she all restores!
ADAM, EVE
Ye vallies, hills, and shady woods, our raptur’d notes ye heard; from morn till ev’n you shall repeat our grateful hymns of praise!
31 CHORUS WITH SOLOISTS Sing to God and raise your voices! Praise him, praise him, every living creature! Celebrate his pow’r and glory! Let his name resound on high! The Lord is great, his praise shall last for aye. Amen! Amen!
Graceful consort! At thy side softly fly the golden hours. Ev’ry moment brings new rapture, ev’ry care is put to rest.
...Ye living souls, extol the Lord! CHORUS
30 RECITATIVE (URIEL) O happy pair, and always happy yet, if not, misled by false conceit, ye strive at more, as granted is, and more to know, as know ye should!
ADAM
EVE, ADAM
28 DUET (EVE, ADAM AND CHORUS)
But, without thee, what is to me the morning dew, the breath of even, the sav’ry fruit, the fragrant bloom? With thee is ev’ry joy enhanced, with thee delight is ever new; with thee is life incessant bliss; thine it whole shall be.
29 DUET (ADAM AND EVE)
ADAM
Ye, that on mountains stately tread, and ye, that lowly creep; ye birds that sing at heaven’s gate, and ye, that swim the stream...
ADAM, EVE
ADAM
How grateful is of fruits the savour sweet! EVE
How pleasing is of fragrant bloom the smell! 13
BIOGRAPHIES GREG MORRIS (Conductor and Music Director) reg Morris is Associate Organist of the Temple Church in London, Musical Director of Collegium Musicum of London, and founding Musical Director of the Bar Choral Society. An acclaimed solo recitalist, Greg has performed widely throughout the UK and Europe. He gave the world premiere of David Briggs’ Organ Concerto, and subsequently recorded the work with the Northern Chamber Orchestra. His three solo CDs have received widespread critical acclaim; the most recent, the first to be recorded on the newly restored organ of the Temple Church, was released by Signum in 2014, and has been described by Gramophone as ‘a singularly impressive release’. His recital last year commemorating the 150th anniversary of Nielsen’s birth, including the composer’s final work Commotio, was broadcast live on BBC Radio 3, and other recent recital venues include Munich and Rosenheim, Germany. Since 2006, Greg has accompanied the acclaimed Temple Church Choir. He has performed with them on BBC Radio 3, in CD recordings, and in the presence of Her Majesty the Queen, as well as on tours to Washington D.C., Holland, Singapore and Australia. He has appeared at the BBC Proms with the BBC Singers, and is in demand as a freelance accompanist and ensemble player. Greg also works extensively as a conductor. Recent highlights include directing the Temple Singers and Players in Purcell’s magnificent ode, Hail! Bright Cecilia in Middle Temple Hall, and a new work by Jonathan Dove, Arion and the Dolphin, a collaboration between Collegium Musicum of London and the Girls’ Choir of St Catharine’s College, Cambridge. Plans for 2017 include Bach’s John Passion during Holy Week at the Temple Church, and Monteverdi’s Vespers in a performance celebrating the 450th anniversary of
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the composer’s birth at St James’ Piccadilly. Greg also founded and directs a choir at his local primary school in Cambridge. Greg held scholarships at St George’s Chapel, Windsor, Jesus College, Cambridge and St Martinin-the-Fields. He was awarded the Silver Medal of the Worshipful Company of Musicians for his prizewinning performance in the FRCO diploma, and was subsequently Assistant Director of Music at Blackburn Cathedral.
AMY HAWORTH (Soprano soloist) he English soprano, Amy Haworth, studied music at Trinity College Cambridge where, as a choral scholar under the direction of Richard Marlow, she toured Europe, America and South Africa as well as appearing on a number of recordings and featuring on numerous broadcasts. Since that time she has developed the reputation of a highly acclaimed choral and consort singer working with most of the country’s leading vocal ensembles. She continues to tour and record regularly with The Tallis Scholars, The Cardinall’s Musick, Consortium, Synergy Vocals and Ensemble Plus Ultra. In regular demand as a soloist, her voice has been described as ‘ravishing’ by BBC Radio 3’s CD Review. Recent performances have included Mozart’s Mass in C minor, Bach’s B minor Mass, St Matthew and St John Passions, Beethoven’s Missa Solemnis, Buxtehude’s Membra Jesu Nostri, Brahms’ Requiem, Orff’s Carmina Burana, Verdi’s Requiem and Rossini’s Petite Messe Solonnelle. She has performed at The Royal Festival Hall, the Queen Elizabeth Hall, The Royal Albert Hall and the Barbican in London, the Concertgebouw in Amsterdam, the Chatelet Music Theatre in Paris, the Walt Disney Concert Hall in Los Angeles, Carnegie Hall in New York as well as other venues across
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North and South America, Europe and the Far East. She has closely worked with such distinguished conductors as Bernard Haitink, Diego Masson, Thierry Fischer, David Robinson, Stefan Asbury and the late Sir Richard Hickox amongst others, and has appeared with ensembles and orchestras that range from the LA Philharmonic, Ensemble Modern and ICTUS to the Britten Sinfonia, the London Sinfonietta and the London Symphony Orchestra. Increasingly in demand for her work in contemporary music she has been involved in numerous premieres and distinguished projects. These have included a performance of Ferneyhough’s Missa Brevis, broadcast for Radio 3 as part of the Aldeburgh Festival, the UK premiere of Luigi Nono’s celebrated Prometeo at the Royal Festival Hall and in 2009 her BBC proms solo debut in George Crumb’s Ancient Voices of Children. As a member of Synergy Vocals she has closely with the luminary composer Steve Reich and his ensemble since 2005, and was involved in the European premiere of his work You Are. In March 2009, they performed together at the opening concert series of the Alice Tully Hall at the Lincoln Center, New York and in 2016 have toured extensively as part of his 80th birthday celebrations. In 2013, Amy recorded her debut solo CD recordings of Baroque Songs and Arias and Schubert Songs with the Madison Bach Musicians and is currently planning a tour of the West Coast of the USA with the group. Last week she appeared with The Tallis Scholars at St Mary’ Cathedral, Perth.
ANDREW TORTISE (Tenor)
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ndrew Tortise was a choral scholar at Wells Cathedral before taking up a place at Trinity College, Cambridge to read for a degree in music and sing in
the chapel choir under the late Richard Marlow. He was active at Cambridge both as a tenor soloist and as a piano accompanist. He made his opera debut in Paris as Apollo in Semele in 2004. Since then he has appeared as Marzio in Mitradate at Salzburg, Ferrando in Cosi fan tutte and Quint in The Turn of the Screw in Lyon, the tenor arias in Bach’s St Matthew Passion at Glyndebourne, David in Die Meistersinger von Nurnberg and Ferrando for Welsh National Opera, Novice in Billy Budd and Janek in The Makropulos Affair for Dutch National Opera and Robert (Skin Deep) for Opera North, with conductors including Rinaldo Alessandrini, William Christie and Marc Minkowski. He will be returning to Covent Garden (where he most recently sang Holy Fool in Boris Gudonov) for Die Meistersinger and Mozart’s Mitradate. Andrew has sung a wide range of repertoire for many ensembles in the UK and further afield. His concert work has included appearances with the Scottish Chamber Orchestra (Bach Mass in B Minor), Monteverdi Choir and Orchestra (Orfeo), BBCSSO, BBC Symphony Orchestra, London Symphony Orchestra (Billy Budd), LPO, Orchestra of the Age of Enlightenment (Bach St Matthew Passion and Britten’s Serenade for Tenor, Horn and Strings), Gabrieli Consort, Combattimento Consort, Mozarteum Orchestra Aarhus Symphony Orchestra and Rotterdam Philharmonic, and the Academy of Ancient Music (Bach St John Passion). He has also worked with conductors including Sir John Eliot Gardiner, Stephen Cleobury, Yannick Nézet-Séguin, Ivor Bolton, Daniel Harding and Sir Colin Davis. Future engagements include CBSO (Handel Semele), BBCSSO (Birtwistle’s The Last Supper), La Calisto with La Nuova Musica and Bach cantatas with Arcangelo at Wigmore Hall.
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BIOGRAPHIES
DE ANDRE SIMMONS (bass)
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merican bass, DeAndre Simmons, having been hailed as the ‘class act’ by the Los Angeles Times, continues to gain recognition for his beautifully velvet voice, incisive musicianship and captivating stage presence. He has performed with the Philadelphia Orchestra, Opera Philadelphia, San Diego Opera, Los Angeles Philharmonic, Columbia Pro Cantare, Opera Panama, Pacific Opera Victoria, Castleton Festival under Maestro Lorin Maazel, Santa Barbara Symphony, London Philharmonic, Kansas City Symphony, RAI orchestra and at the Hollywood Bowl. DeAndre has sung in the West Coast premiere of A Wedding by William Bolcom, the Canadian premiere of Regina by Marc Blitzstein and the East Coast premiere of Margaret Garner by Richard Danielpour and libretto by Toni Morrison. He was also cast as Detective Watts in the workshop of ‘Séance on a wet afternoon,’ a new opera by musical composer Stephen Schwartz. DeAndre has performed in all 50 states, in musicals, operas or recitals, as well as in Canada, South America, Africa, Europe and the UK. Highlights of his career include singing in Mozart’s Requiem before Pope John Paul II and being one of ten performers asked to participate in a special concert for Nelson Mandela. In 2015 he was invited to perform for the World Childhood Foundation’s 16th Anniversary Gala in the presence of HM Queen Silvia of Sweden. As an American, DeAndre considers it a distinct honor to have had the privilege to perform for Presidents Barack Obama, George W. Bush, Bill Clinton, George H.W. Bush, Ronald Regan, Gerald Ford and Richard Nixon. This season and continuing his successful run of recitals, DeAndre has performed Schubert’s Die 16
Winterreise in California, Ohio and Massachusetts. Music critic Daniel Kepl wrote, ‘Simmons’ innate musicianship and vocal presence was apparent from the first notes of the opening song in the cycle. . .Immediately filling the nave with his authoritative technique and interpretive intellect, it was Simmons’ disarmingly silken voice that surprised, tempering his vocal prowess with gentle prescience. ‘ Other performances this season include Händel’s Messiah with the Santa Barbara Choral Society and Orchestra, Ferrando in Il Trovatore with the Astoria Music Festival, and Beethoven’s Ninth Symphony with the Santa Barbara Symphony under Nir Kabretti conducting. A lover of song, DeAndre is often presented in recital both nationally and internationally, featuring works from Vivaldi to Stephen Sondheim. Upcoming recitals will find him in California, New Mexico, Massachusetts, Virginia, Nevada and Ohio. He performed in recital in Paris as part of a collaboration between Carnegie Hall and the Rothschild Foundation. At Ms Horne’s request, he took part in the Gala Concert for the The Marilyn Horne Legacy - The Song Continues celebration. The New York Times said that, “Mr. Simmons used his elegant voice to fine effect in dramatically charged interpretations of Brahms’ Vier Ernste Gesänge.” DeAndre is equally at home on the musical theatre stage and often performs the music of musical theatre in recital and in concert. His recent cabaret of songs by Stephen Sondheim titled, ‘Just me and Stephen: the songs of Stephen Sondheim’ has been highly regarded and is now in popular demand across the country. Future performances include dates in Los Angeles and New York. DeAndre is an alumnus of The Curtis Institute of Music in Philadelphia and a three time alumni of The Music Academy of the West where he studied with legendary mezzo-soprano Marilyn Horne.
AMANDA BOSTOCK (soprano) am a barrister practising primarily in extradition and criminal law at Furnival Chambers. I have been a huge fan of music since a very early age inspired by my wonderful grandfather who played the piano with such feeling and love for the music that anyone listening to him was transfixed. As one of his biggest fans, he promised me his piano if I could obtain my grade 8 qualification. So, aged 6, I started lessons and didn’t stop playing and enjoying music from that day forward. Although I did ultimately gain ownership of the piano, in spite of the restriction of having tiny hands, my real passion soon became singing and I was an active soprano throughout my teenage years both in a number of choirs and as a soloist in various concerts and competitions. The highlight of my young vocal career was undoubtedly being part of a vocal masterclass with Richard Miller at the Mozarteum in Salzburg. Being surrounded by the incredible atmosphere of so many talented musicians was hugely inspiring and is one of my fondest memories. However, I wanted a career at the Bar and, as is so often the case, it took over my life completely. Singing training did not mesh well with University life and when I did eventually look into starting training again with my old teacher who had miraculously moved to London, I found that I simply did not have the time (or indeed the money at that point) to pick up where I left off. I was also more than a little nervous of what I might sound like after the best part of ten years off. So when I read the advert for the Bar Choral Society it presented to me, as I am sure it did many others, the perfect opportunity to get involved in
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singing again. With rehearsals just a few minutes’ walk from chambers and a director who does not mind if you are late or unable to make some rehearsals, I had no excuse. I adored the music that we performed for our first concert and was pleasantly surprised to find the choices to be challenging rather than run of the mill. Having only been in school level choirs and then mainly singing as a soloist, I do not know many of the choral classics and it has been brilliant to start learning and performing them with the BCS. My family are also thrilled to see me back in the choir stalls and have yet to miss a concert. The atmosphere at the BCS is brilliant. Busy people finding a snippet of time to enjoy themselves in a beautiful location and without any pressure to do anything other than relax and take pleasure in singing some wonderful music at the end of a hard day. I know those feelings shine through in our performances and I very much hope that those listening enjoy hearing the music as much as we enjoy singing it.
MARTHA COVER (Alto)
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y day job is being joint head of Coram Chambers, which is a family and mental health set. I specialise in the law relating to child abuse and adoption. It is completely absorbing but demanding work. As I head down Chancery Lane on Monday evenings, I feel the case falling away as I enter choir-land. I am from Toronto. I was brought up playing the piano and singing in church with a big choir. We had an ambitious programme of music every year, mainly Handel and Bach, with the occasional foray into Faure. Sorry. We were rather High Church. We sang every 17
BIOGRAPHIES
word that could be sung in the service, including the psalms. Merbecke’s communion setting is indelibly printed on my mind. At 16, I abandoned classical music, started listening to Bob Dylan, Nina Simone and Muddy Waters, and joined a blues/folk group. At university I sang Gilbert and Sullivan for the first and last time. When I came to London, I joined the London Choral Society who then sang with the London Philharmonia, but I had to give it up when I moved house and changed jobs. I have not sung with a choir for many years, but jumped at the chance to join the BCS when it was first formed.
LUCINDA MACKWORTHYOUNG (Alto)
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or many years I’d wanted to join a choir, but didn’t know of a local one or one that could be fitted in around my midweek 8am to 7.30pm City piano students. Also, I had memories of a disastrous audition for the Bach Choir with the late Sir David Willcocks. Knowing I was interested, a soprano with whom I was working at the time encouraged me to try, but I was floored by the Messiaen-like sight singing … Then, being married to a barrister and living in the Temple, I heard that the Bar Choral Society was forming. My husband (Oliver Sells) and I were both keen. Not only was it scheduled for Monday, a non-teaching evening for me, but (best of all!) No Audition Required! Greg’s expert tuition is a real joy. Each rehearsal begins with an array of vocal warm-ups and continues with fast and focused coaching. The mysteries of how to pronounce sung words to deliver the musical message are revealed, and there is no shortage of encouragement. 18
The mutual support and camaraderie of my fellow altos is an important part of the experience and it’s good, too, to feel that my voice, after a break of many years and about an octave lower, is back in use. A high moment last week was when an alto observed that she liked to sit near enough to hear me -even though my sight-singing’s not always the greatest. No change there, then, but there’s nothing to beat the feeling of being wanted just the way you are. Following this concert I am much looking forward to Bach’s St. John Passion on the 11th April and the promise of something “light-hearted, jazzy and West End” to end the year. You would be so welcome to join.
ERICA POWER (soprano) am a member of Crown Office Chambers, where my practice consists largely of clinical negligence and product liability. I have sung more or less all my life. My first exposure to “proper” choral singing came at school where we joined forces with a nearby boys’ school to sing the Messiah. I am not sure that it was the best performance ever, but it marked the beginning of a lifelong love for that work. A later performance of the Bruckner E Minor Mass with another school provided me with my first experience of the physical thrill of singing utterly exquisite music in ensemble. I have felt that thrill on many occasions since, but the Bruckner was undoubtedly the starting point and provides the measure by which I judge all others. After graduating from Cambridge I spent a year doing an LLM at the University of Virginia, where I joined a female close harmony group. It made an interesting change from the classical repertoire,
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and if pushed I could probably remember most of the “Chattanooga Choo Choo”. On my return to London I was persuaded by an old school friend to join the Royal Choral Society and I stayed there for nearly sixteen years, only leaving when my husband (who is a diplomat) was posted abroad. In my years with the RCS I was fortunate enough to sing a wide range of works under a number of excellent conductors. One of the more memorable was the Dvorak Stabat Mater under Valery Gergiev. It stands out not only because of the music, but also the effect of Gergiev’s appearance at the rehearsal (which I can best describe as jet-lagged French philosopher) on some of the female members of the choir. For logistical reasons the RCS would not be an option when we returned to the UK, and I was therefore thrilled to find the BCS, which is absolutely perfect for me. I can leave my desk shortly before 6.00pm on a Monday, spend an hour and a half singing in the wonderful acoustic of the Temple Church and be home in time for supper. The standard of singing is extremely high, and Greg Morris is a fabulous (and extremely patient) chorus master. I am sure that I am not the only member of the BCS who is profoundly grateful to Tim Dutton for his inspiration in founding this wonderful choir.
NICOLA SHANNON (Soprano) ’m a Criminal practitioner at Lamb Building, called by Middle Temple in 1997. The BCS came at just the right time: with a slightly more settled pattern in work emerging (as I began to sit as a Recorder), and after an unsettled period outside it, I was longing for something new and refreshing when Tim Dutton QC’s advert arrived. I signed up by return.
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I am grateful to have experienced early the thrill of singing together in wonderful venues – my first musical memory is of singing ‘Joseph’ in the Usher Hall in Edinburgh with my school, progressing slightly abruptly to Mozart’s Requiem (the Dies Irae was very exciting!) in Greyfriars Kirk, and then, after a move south with my family, an almost daily routine of choir practices of different flavours – chamber music, madrigals and larger choral works, culminating in a tour to Canada to sing Faure’s Requiem for the first time (the second, ironically, was in the BCS’s inaugural concert). Arriving at university in Cambridge, for some reason I didn’t think to join the College Choir: I think I thought that was for ‘proper musicians’, but instead threw myself into theatre, and musical theatre in particular. I enjoyed happy productions at the ADC and elsewhere, trying to remember my few lines and to come in at the right place, while learning lots from those who went on to greater things. The rigours and unpredictability of practice distracted me from classical music-making for many years. Although it was never too far away, with annual stints in my church’s Christmas Choir, more regular singing was instead of contemporary worship music with its band, and pop and jazz on the side. With the BCS, however, has come a whole new ‘season of singing’. To my surprise it has not only been a wonderful training-ground in itself, but has opened so many other doors. This term I am singing with another choir as well as volunteering for a BCS joint venture which will see us singing Walton in the Royal Festival Hall next year. In between, I have picked up requests to ‘fill in’ elsewhere, with the confidence now to accept, and, thanks to Greg Morris, a little more skill to enjoy it. My long- undernourished musical soul is now alive and growing and I love it.
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CHOIR MEMBERS & The Temple Players
BIOGRAPHIES
PAOLO SIDOLI (tenor) I am a Partner in Russell-Cooke LLP’s Commercial Litigation and Regulation team and my practice deals with a range of commercial litigation disputes, with a particular emphasis on fraud and asset recovery and professional regulation matters. My firm has worked with Tim Dutton CBE, QC and a number of the other members of Fountain Court for a number of years and we have has worked on a number of the leading reported professional regulation cases together. I sang enthusiastically in various choirs and concerts at school, church and university, but over the subsequent years my singing activity waned. However, that recently changed after Tim talked with great enthusiasm about the BCS and suggested that, despite the fact I am not a barrister, I should join the choir. Although by then it was too late to participate in the BCS’s inaugural concert, I was immediately taken in by the quality of that evening’s performance and joined up soon thereafter. Whilst it has been a little daunting after so many years to get up to speed with what can often be vocally challenging pieces in Latin and German, Greg’s patience and guidance during rehearsals and the support of the choir’s members make Monday evening practice one of the highlights of the week. I think we all gain great satisfaction learning and participating in the delivery of some beautiful works and supporting the wonderful soloists and musicians who have performed with us. This evening’s “Creation” will be my fourth concert with the BCS and I would thoroughly recommend to any members of the audience who have any interest in singing to join us without delay or hesitation. You certainly won’t regret it.
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MARK TRAFFORD QC (bass/baritone) he Church of the Good Shepherd in Hove on Christmas Day 1978 was my choral Olympics. A recording of my nervous treble Once in Royal solo still exists in an aunt’s drawer on an ADC 90 cassette; somewhere. It has not been brought out for a while. Ernest Love it was not, but my mother (here today I hope) was proud enough. And that was it; at least as far as choral music was concerned, until I met Tim Dutton. Tim was my enemy. He was on “the other side” to my team in a big case that went up to the Supreme Court on the quality of advocacy. The case was called Lumsdon v The Legal Services Board. The eagle-eyed amongst you will notice the name Lumsdon as a singer and a trustee of the Society. I was on her side; Tim was not, yet here we are all together. It was the power of Tim’s advocacy that led to the Bar Choral Society. My chambers had entered a competitive charity concert at Southwark Cathedral that year (we came second, as indeed we came second to Tim in the case itself) but it and then he re-ignited an interest, long dormant, in singing. It really is all down to Tim that everyone in the choir is here. His network, his persuasion and his friends have all contributed to something that takes us all, perhaps, a little above the normal fray. Music is always that somewhere else for many. The place where one’s normal life switches off voices and sounds from the past and the present so familiar, but often long-forgotten, come back. Some of us lay no great claim to musical greatness, but the choir has given us all great pleasure. There is such a thing as society and this small example of it is one that, we hope, ripples out to give those who are generous enough to come to the concerts as much pleasure as it gives us to rehearse and to perform. Thank you Tim.
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SOPRANOS Helen Barlow Isabel Barter Amanda Bostock Jennifer Darby Felicity Davies Laura Deuxberry Victoria Domenge Pia Dutton Elizabeth Grace Hannah Jones Ruth Jones Paola Kovacz von Csaky Katharine Lawrie Kate Lumsdon Natalie McNamee Kate Merz Gay Moon Lesley Neenan Lucinda Orr Mary Page Erica Power Julie Pritchard-Wall Jane Reeves Amanda Savage Charlotte Scott Rosie Scott Nicola Shannon Anne Smallwood Charlotte Thomas Jenny White Philippa Woodrow ALTOS Catherine Callaghan Victoria Clarke Diana Cotton QC Martha Cover Naomi Ellenbogen QC Diana Good Penny Hamilton
Jennifer Harvey Caroline Hutton Linden Ife Maggie Jones Julia Krish Lucinda MackworthYoung Yasmin Omotosho Daphne Perry Caroline Rutland Lucy Scuttford Catherine Shaw Stephanie Talbot Victoria von Wachter TENORS Robin Allen QC Anthony Boswood QC Timothy Brennan QC Michael Chapman Matthew Hardwick QC Matthew Knowles Martin Scutt Paolo Sidoli Patrick Talbot QC Jeffrey Trinklein Simon Weil BASS/BARITONES Giles Adams Francis Barlow QC Mark Bryant-Heron QC Andrew Clarke QC Timothy Dutton CBE QC David Green Stephen Gillespie Francis Hoar Roland Merz Ashitey Ollennu Andrew Peebles
Stuart Ritchie QC Chris Russell John Schmitt Oliver Sells QC Robin Tam QC Mark Trafford QC Edmund Vickers Sam Wallace
THE TEMPLE PLAYERS 1st Violins Nadja Zwiener Sarah Moffatt Sophie Barber Thérese Timoney Christiane Eidsten Dahl 2nd violins Rebecca Livermore Wiebke Thormählen Naomi Burrell Louella Alatiit Violas Alfonso Leal del Ojo Ricardo Cuende Isuskiza Marina Ascherson Cellos Joseph Crouch Jonathan Byers Double Bass Peter McCarthy Carina Cosgrave
Flutes Katy Bircher Jane Mitchell Leo Duarte Oboes Leo Duarte Hannah McLaughlin Clarinets Ingrid Pearson Julian Wheeler Bassoons Sally Holman Hayley Pullen Contra David Chatterton Horns Gavin Edwards David Bentley Trumpets Russell Gilmour William Russell Trombone Sue Addison Abigail Newman Steven Saunders Timps Scott Bywater
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Spring Concert 2017 The Spring Concert will be Bach’s St John Passion to take place on Tuesday, 11th April 2017 at 7.00 pm in Temple Church Evangelist: James Way Christus: Gareth John Soprano arias: Choristers of the Temple Church Alto: Will Towers Tenor: Matthew Sandy Bass and Pilate: Andrew Rupp Collegium Musicum of London Temple Players
ON EI NS IX One in six people in the UK suffer from a neurological disorder. This can be from birth, through a slowly developing illness or through brain injury. The National Brain Appeal is the charity dedicated to raising much-needed funds for The National Hospital for Neurology and Neurosurgery.
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We rely on donations to help fund vital technology, equipment, research programmes and building projects. Please show your support and donate. nationalbrainappeal.org
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people are living with MND in the UK
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MND is a fatal, rapidly progressing disease that affects the brain and spinal cord It attacks the nerves that control movement so muscles no longer work It can leave people locked in a failing body, unable to move, talk and eventually breathe It kills a third of people within a year and more than half within two years It has no cure
The Motor Neurone Disease Association is the only national charity in England, Wales and Northern Ireland focussed on MND care, research and campaigning.
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