Goldsmiths Choral Union is one of London’s leading choirs, giving quality performances of great choral works in London’s major venues, and rehearsing in central London.
Goldsmiths Choral Union has brought the finest classical music to London since 1932. We’re a friendly choir with around 100 members, based in South Kensington. We enjoy singing and appreciate the chance to sing in great venues. We work hard to continue to promote concerts in London’s major venues with professional soloists and orchestras.
GCU’s performances of works from the traditional choral repertoire, ranging from Handel’s Messiah, Haydn’s The Creation and Bach’s B Minor Mass to Elgar’s The Dream of Gerontius, have been praised for their freshness, clarity and emotional commitment.
Equally, GCU has performed less familiar works, such as Franz Liszt’s oratorio Christus and Sir Michael Tippett’s The Mask of Time. British premieres given over the years include Stravinsky’s Les Noces and Mahler’s Das Klagende Lied, and the first UK broadcast of Carl Orff’s Carmina Burana.
TENORS
Christopher BARNARD
Christopher BEELS
Michael BOWMER
BASSES
John ALLINSON
Nicholas BUCKLEY
Paul CHAMBERS
GCU was founded in 1932 in South London by Frederick Haggis at Goldsmiths College, University of London. At the outbreak of World War II the college was evacuated, but while other choirs disbanded, GCU continued to rehearse and perform in central London. Since then, GCU has built up an enviable reputation, first under the baton of Frederick Haggis and later under Brian Wright.
Liam CONNERY
Francoise DRAPER
Robin HAPPÉ
John CUMMING
Damien D’ARCY
Mike DAY
Patrons: Sir Thomas Allen, Neil Jenkins, The Worshipful Company of Goldsmiths
Robert SHAW
Oli SHEFFIELD
Marc FRESKO
Hugh MARCHANT
Music Director: Jack Apperley
Guy VOGEL
James PIERCY
Accompanist: Stephen Jones
David WILLINGHAM
Michael WOODS
Clive RICHARDS
Brian ROSEN
Please see the back cover for future Goldsmiths Choral Union concert dates.
Ian STEPHENSON
Charles THOMSON
Chris WATTS
Registered Charity number: 1044507
Goldsmiths Choral Union presents a delightful evening of music for choir and orchestra.
BAROQUE INSPIRATIONS
Handel Coronation Anthems
Vivaldi Gloria
Buxtehude Ad Manus
Shaw To the Hands
Jack Apperley Conductor
Lily Platts Soprano
Hannah Cox Soprano
Peter Dockrill Alto
The Working Consort
Goldsmiths Choral Union Affinity Chamber Orchestra
Immerse yourself in the resplendent world of Baroque music in this choral concert featuring the majestic sounds of Handel’s Coronation Anthems and the radiant brilliance of Vivaldi’s Gloria as well as Buxtehude’s exquisite Ad Manus, beautifully complemented by the ethereal sounds of Caroline Shaw’s response To the Hands.
Jack Apperley Conductor
Originally from Stourbridge, Jack grew up playing the piano, the viola and singing. After studying at the University of Birmingham under Simon Halsey CBE, he then completed his Masters at the Royal Academy of Music with Professor Patrick Russill, graduating with distinction, winning the Sir Thomas Armstrong Leadership prize.
As the Associate Chorus Director of the London Symphony Chorus, Music Director of Goldsmiths Choral Union and Concordia Voices, and Conductor of Epsom Chamber Choir, Jack has established a reputation for thorough rehearsals filled with energy, humour and precision, as well as compelling concerts, championing new works alongside classical mainstays.
He is increasingly in demand as a choral director both in the UK and abroad. Recently, Jack has worked with the London Symphony Chorus, the City of Birmingham Symphony Chorus, BBC Symphony Chorus, Brighton Festival Chorus, University of Birmingham Voices and Royal College of Music Chorus. He has been engaged by some of the best choirs in Europe including le Choeur de Radio France, Gothenburg Symphony Chorus and Vocal Ensemble, and the Hungarian National Choir.
Jack is a prize-winner in several choral conducting competitions in Hong Kong, Latvia, Slovenia, and London. He has also participated in several masterclasses with the BBC Singers, Berliner Rundfunkchor, Stuttgart Kammerchor, Hungarian National Choir and St Jacob’s Kammerchor.
In addition to his regular musical commitments, Jack is frequently engaged to lead choral workshops with choirs including Goldsmiths Choral Union and Sevenoaks Philharmonic Society and promotors such as the Buxton International Festival.
Hannah Cox Soprano
Hannah grew up in London and studied voice, piano and cello before going to the University of Durham, where she held a choral scholarship at University College. Her choral training was honed through Genesis Sixteen, the Sixteen’s training programme, and went on to sing with professional choirs like Tenebrae. Solo performances include Pergolesi’s Stabat Mater, Mozart’s Requiem, Haydn’s The Creation and Will Todd’s Mass in Blue. Hannah also sang a number of Bach’s Cantatas and the St John Passion for the Dunelm Consort. Cross-genre, Hannah also sings with The London Contemporary Voices, and recently appeared with them and Florence and the Machine at the BBC Proms in September this year. Hannah specialises in outreach and learning work and has represented The Sixteen and Streetwise Opera in projects across the UK. She is currently the soprano section leader at All Saints’ Church, Putney Common.
The main focus of Hannah’s work is as a Music Therapist. She gained her MA from the Guildhall School of Music and Drama, and now oversees the music therapy provision at an NHS adult in-patient psychiatric unit in North London. She is also part of the music therapy team in the child development service at Chelsea and Westminster Hospital.
Lily Platts Soprano
Lily graduated from King’s College London, reading Music, receiving her performance tuition at the Royal Academy of Music under John Lattimore. Lily now studies with Paul Farrington and enjoys a freelance career as a soprano soloist.
Lily has sung with the Royal Academy of Music Chamber Choir under Patrick Russill, amongst other professional ensembles across London. Previously, Lily has held choral scholarships at St Martin-in-the-Fields, Lincoln and Llandaff Cathedrals. She studied at The Royal Welsh College of Music and Drama Junior Conservatoire, taking part in masterclasses with several eminent sopranos, including Dame Felicity Lott and Carolyn Sampson. Whilst in Cardiff, Lily performed with the BBC National Chorus of Wales for various TV and radio broadcasts, including multiple BBC Proms. In 2023, she was awarded a conducting fellowship with the Milton Keynes Chorale and still pursues conducting opportunities. In recent years, she has taken part in summer courses across Europe with directors including Mark Spyropoulos, Massimo Palombella, David Hill and John Rutter. When not singing, Lily can usually be found with a book in Kew Gardens.
Peter Dockrill Alto
Pete is a countertenor and Bioinformatician based in Oxford, where he sings as a Lay Clerk in the choir of The Queen’s College and works as an AI advisor for Magdalen College School. Following choral scholarships at Chelmsford, Southwark, Lincoln and Wells Cathedrals, Pete was a Lay Clerk in the choir of King’s College Cambridge and has since sung in a number of consort ensembles including Luceat, Deitatis and Contrapunctus.
The Lily Foundation
The Lily Foundation‘s mission is to improve the lives of people affected by mitochondrial disease, while working towards a future where it can be effectively treated or cured.
Mitochondrial disease is an incurable genetic disorder that affects people in very different ways. It often affects babies and young children, and the long-term prognosis is poor.
Please help us continue our work raising public awareness about the disease, funding research into finding treatments, and supporting patients and their families.
Join us at Holy Trinity Church, Sloane Square on Friday 13th December at 7.30pm.
The Working Consort
Sopranos: Alice Beverley, Charlotte Walters
Alto: Hannah Foakes
Tenors: Dom Edwards, Tom Norrington
Basses: Matthew Bernstein, Amatey Doku
[Joined by the soloists from tonight’s performance]
The Working Consort is a new collective of accomplished singers who live in London but work as professionals in other disciplines. They perform some of the most transportive classical and classical-cross-over vocal music with the aim of championing contemporary music making, composing and ways of performing with voices.
Each year, the group comes together for specific projects they are passionate about, focusing on close consort singing, ambitious but accessible repertoire and creative performance methods. Their first season in 2023 included performances of David Lang’s the little match girl passion, UK premieres of groundbreaking works by Meredith Monk, and most recently a programme dedicated to contemporary North American composers, including Caroline Shaw.
The Working Consort will be performing their first Christmas programme on the 20th December, 7:30pm, St Mary-at-Hill.
Tickets via www.theworkingconsort.com
Affinity Chamber Orchestra
The Affinity Chamber Orchestra is a professional London-based orchestra working in partnership with choirs, composers and event organisers. Founded in early 2022 by its current musical director, Matthew Down, it performed its successful debut concert with Goldsmiths Choral Union at Cadogan Hall, the programme consisting of Cecilia McDowall’s Da Vinci Requiem (2019), Joseph Haydn’s Mass in Time of War and Peter Warlock’s Capriol Suite.
The orchestra’s players are highly skilled musicians, many of whom are respected teachers of their instruments, who perform with leading London and international orchestras, seasoned chamber groups and as soloists. The orchestra aims to showcase its musicians, bringing life to creative ideas and projects in all styles of music.
Matthew Down Musical Director
In addition to being the founder and musical director of the Affinity Chamber Orchestra, Matthew has many years’ experience as a conductor, trumpet-player and teacher. He has a broad range of musical tastes, ranging from baroque to pop, performing music with great musicians and friends being at the heart of his musical life.
Good evening and welcome to Goldsmith Choral Union’s concert,
Baroque Inspiration
There are many hands and hearts in this richly flavoured programme. Buxtehude’s Ad Manus inspired Caroline Shaw to write her own To the Hands many centuries later, and I have chosen to interleave these works with Handel’s four Coronation Anthems, before we finish with Vivaldi’s Gloria.
I have a special fondness for one of the Coronation Anthems - Zadok the Priest. At seventeen I had an accident, and during my recovery, the local hospital’s Wishing Well Scheme offered to grant a wish for any young patient. For years I had harboured an ambition to conduct a performance of Zadok with a full orchestra and choir. The Birmingham Conservatoire gave me that opportunity at the Adrian Boult Hall and made a seventeen-yearold immensely happy and proud.
Buxtehude indulges repeatedly in the pain and pleasure of dissonance followed by consonant release, harmony and effortless flowing vocal lines. The hands of Christ on the cross are driven through with nails, pierced, and bloody. The wound is communicated with a repeated eighth note figure evoking nails and anguish.
Caroline Shaw’s work teems with humanity. She writes with an awareness that choral singing is an act of community - thinking about the issues in today’s world. She finds essential, expressive qualities and uses them to communicate, with or without words. Shaw’s brilliant inversion of “your hands” to “our hands” and the image of the caverna “the cleft in the rock”, a small place of refuge, the curl of an outstretched arm, or the grooves on the palm of a hand, are especially poignant.
Vivaldi’s Gloria is a cheerful celebration with an infectious optimism, rarely played for over two hundred years due to shifting musical tastes, but with an unforgettable rhythmic energy that makes it a favourite today.
Jack Apperley Music Director
George Frideric Handel 1685 - 1759
Coronation Anthems (1727)
Handel had only four weeks to write the four Coronation Anthems before the coronation of King George II. Although he had recently become a British subject and held the post of Composer of Music for his Majesty’s Chapel Royal, he was not the first choice of composer for such an important occasion. Nevertheless, after the King and Queen’s intervention, Handel gathered a group of forty voices (five of the ten Chapel Royal boys had recently left the choir as their voices had broken) with the Abbey choir, supplemented by famous Italian singers and a large orchestra of a hundred musicians in Westminster Abbey. Handel conducted, seated centrally behind the altar at a new organ, wearing his enormous white wig.
It was a truly sumptuous occasion, although not all went perfectly as the Archbishop of Canterbury waspishly wrote on his order of service: ‘Anthem in confusion’. On a specially built raised walkway, the procession to the Abbey took two hours. The King wore crimson velvet trimmed with ermine and gold lace. H. C. Robbins Landon writes “On that splendid day of 11th October 1727, the Queen’s rather ample figure glittered from head to foot with jewels, not only her own (which were fabulously valuable) but with a large quantity borrowed from all sorts of sources, public and private.” The Coronation Anthems were a huge success, the greatest public ceremonial music of its kind, and Zadok the Priest, with its brilliantly controlled opening, a special favourite. The words of Zadok the Priest have been sung at every coronation since that of King Edgar in 973, and Handel’s setting has been sung at every one since 1727.
Having settled in England in 1714, Handel lived as a guest of the Earl of Burlington in Burlington House, Piccadilly and later, in Cannons in Edgware, owned by the Earl of Carnarvon/Chandos. Handel had come to the notice of the royal family and became a favourite of Queen Anne, and later of King George I, especially after the great delight of the Water Music, composed for a party on the
King’s Barge. The King rewarded Handel with a pension and employed him to teach the three daughters of the Prince of Wales. Handel’s fondness for them was signified later in the selection of ‘Kings’ daughters were among thy honourable women’ within the Coronation Anthems. In his newly purchased house in Brook Street, Handel composed the Coronation Anthems and remained there composing, training singers, holding rehearsals and concerts for the rest of his life. London in 1723 was the operatic centre of the world, with the finest Italian singers. The Royal Academy at the Haymarket flourished with Handel’s operas for nine years, after which it was dissolved due to fierce rivalries and arguments among the performers.
In 1741, Handel wrote what was to become his most famous work: Messiah. It greatly improved his financial situation although failing eyesight became an increasing burden during the last ten years of his life. He continued to play the organ; when he could no longer see what he had written, he would improvise with his customary brilliance. Handel was both rich and poor during his lifetime. A bachelor and without offspring, he left his estate to his sister’s children, and a year’s salary to all of his servants. He died in 1759 and was buried, as he requested, in Westminster Abbey.
Antonio Lucio Vivaldi 1678 – 1741
Gloria RV589 (around 1708/1715)
Born in Venice, Antonio Vivaldi was the eldest of six children, and his father, a violinist in the orchestra of St Mark’s Basilica, tutored him in the violin. At the age of
24, the so-called Prete Rosso (red-headed priest) was too delicate to discharge his religious duties, so he worked at the Ospedale della Pietà in Venice, an orphanage for the illegitimate daughters of Venetian noblemen and their mistresses. It had a superb choir and orchestra who performed behind screened-off galleries. A virtuoso violinist himself, Vivaldi’s main interest was as a violin
teacher, but he also composed, writing many of his concertos, cantatas and sacred music for the orphanage. The Gloria is a joyful hymn of praise and worship divided into twelve relatively brief movements, ranging from festive brilliance to profound sadness, and it is a testament to Vivaldi’s skill that the work overall maintains a cohesive structure. The distinctive opening chorus, ‘Gloria’, a jubilant call to worship with strong motoric rhythm contrasts with the meditative next movement ‘Et in terra pax hominibus’ representing the earth’s peaceful response to the angel’s song. Vivaldi writes movements of a lilting soprano duet and others with beautiful choral four-part harmonies. ‘Quoniam tu solus Sanctus’ is reminiscent of the opening movement, moving on to finish with a fugue on the words ‘Cum Sancto Spiritu’.
Vivaldi travelled throughout Europe, and Italy, spending a large part of his time writing operas and supervising their production. A prolific composer of the Baroque era, although his popular reputation is largely due to his numerous instrumental compositions, notably the violin concerto The Four Seasons, his vocal music is of considerable importance.
After burning bridges in his native Venice and squandering a hefty fortune, he returned to Vienna, hoping to attract a commission from the Austrian court. One month after arrival, he succumbed to a gastrointestinal illness and died on 28th of July 1741, at the age of 63. He received a pauper’s burial.
Dieterich Buxtehude 1637 - 1707
Ad Manus (Membra Jesu nostri No.3) BuxWV 75
Buxtehude grew up in Helsingborg, Skåne, and followed in his father’s profession as organist in St. Mary’s in Helsingør (both then part of Denmark).
Aged thirty, Buxtehude became the organist and Kapellmeister at the Marienkirche in cosmopolitan and vibrant Lübeck, the free imperial city in Northern Germany. A condition of his appointment to replace
Dieterich Buxtehude, playing a viol, from the painting Musical Company by Johannes Voorhout (1674)
organist Franz Tunder was to marry Tunder’s daughter, Anna Margaretha with whom he had seven daughters. Buxtehude’s duties included composing works for public festivals and for the marriages and funerals of the great merchant families of the City. He remained there for the rest of his life, organising musical evenings, which attracted musicians from all over Europe. These were free concerts as they took place in church, financed by the thriving Lübeck business community.
Famous for his organ virtuosity and innovative vocal works producing effortlessly flowing vocal lines, Buxtehude’s style greatly influenced Bach who, aged twenty, walked 200 miles in the winter to listen to and learn from Buxtehude’s extravagant and brilliant organplaying and compositions. Handel and Telemann were also huge admirers, but not keen enough on his eldest daughter, whose hand in marriage was part of a contract to succeed Buxtehude as organist!
Mozart
Sadly, much of his music has been lost, but fortunately not Membra Jesu Nostri, a contemplative sung devotion composed for Holy Week in 1680 and dedicated to his friend Gustav Düben. A cycle of seven cantatas, each one is dedicated to a part of Jesus’ crucified body. Ad Manus is To the hands. The text is a mixture of biblical passages and a popular Lutheran medieval Latin poem Salve Mundi Salutare. The music’s intimate yearning is set in a rich musical context: contrapuntal skill, harrowingly anguished, sometimes tenderly serene.
He wrote on the title page of the manuscript score that the work should be “sung with the humblest devotion of the whole heart.”
Caroline Shaw 1982 - present
To the Hands (2016)
A response to Ad Manus from Dieterich Buxtehude’s 17th century masterpiece, Membra Jesu Nostri.
Caroline Shaw’s To the Hands extends the image of Jesus Christ’s hands in Ad manus to depict displaced people reaching for succour, the Statue of Liberty whose “beacon hand beckons,” the folded hands of a grandmother left behind, and an enveloping embrace.
Composer, vocalist, and violinist Caroline Shaw is best known for her Pulitzer-winning composition Partita for 8 Voices. She composed the Partita for Roomful of Teeth, a contemporary vocal ensemble (of which she is a member).
Shaw has written her own programme notes which are as follows:
To the Hands begins inside the 17th century sound of Buxtehude. It expands and colours and breaks this language, as the piece’s core considerations, of the suffering of those around the world seeking refuge, and of our role and responsibility in these global and local crises, gradually come into focus. The prelude turns the tune of
Ad manus into a wordless plainchant melody, punctured later by the strings’ introduction of an unsettling pattern. The second movement fragments Buxtehude’s choral setting of the central question, “quid sunt plagae istae in medio manuum tuarum,” or “what are these wounds in the midst of your hands.” It settles finally on an inversion of the question, so that we reflect, “What are these wounds in the midst of our hands?” We notice what may have been done to us, but we also question what we have done and what our role has been in these wounds we see before us.
The text that follows in the third movement is a riff on Emma Lazarus’s sonnet The New Colossus, famous for its engraving at the base of the Statue of Liberty. The poem’s lines “Give me your tired, your poor, / Your huddled masses yearning to breathe free” and its reference to the statue’s “beacon-hand” present a very different image of a hand—one that is open, beckoning, and strong. No wounds are to be found there—only comfort for those caught in a dangerous and complex environment.
While the third movement operates in broad strokes from a distance, the fourth zooms in on the map so far that we see the intimate scene of an old woman in her home, maybe setting the table for dinner alone. Who is she, where has she been, whose lives has she left? This simple image melts into a meditation on the words in caverna from the Song of Solomon, found in Buxtehude’s fourth section, Ad latus.
In the fifth movement, the harmony is passed around from one string instrument to another, overlapping only briefly, while numerical figures are spoken by the choir. These are global figures of internally displaced persons, by country, sourced from the Internal Displacement Monitoring Centre (IDMC) data reported in May 2015 (accessed on 20/03/2016 at www.internal-displacement. org). Sometimes data is the cruelest and most honest poetry.
The sixth and final movement unfolds the words in caverna into the tumbling and comforting promise of “ever ever” — “ever ever will I hold you, ever ever will I enfold you”. They could be the words of Christ, or of a parent or friend or lover, or even of a nation.
Caroline Shaw
Caroline Shaw. Image: Kait Moreno
CONCERT
Handel The King shall rejoice
The King shall rejoice in thy strength, O Lord. Exceeding glad shall he be of thy salvation. Glory and great worship has thou laid upon him. Thou hast prevented him with the blessings of goodness, And hast set a crown of pure gold upon his head. Alleluia.
Buxtehude Ad Manus
Quid sunt plagae istae quid sunt plagae istae in medio manuum tuarum?
Salve Jesu, pastor bone, Fatigatus in agone, Qui per lignum es distractus, Et ad lignum es compactus, Expansis sanctis manibus.
Manus sanctae, vos amplector, Et gemendo condelector, Grates ago plagis tantis, Clavis duris, guttis sanctis, Dans lacrymas cum osculis. In cruore tuo lotum Me commendo tibi totum, Tuae sanctae manus istae Me defendant, Jesu Christe, Extremis in periculis.
Quid sunt plagae istae quid sunt plagae istae in medio manuum tuarum?
What are these wounds in the middle of Thy hands?
Hail, Jesu the Good Shepherd Thou, Now wearied by thy agony
As thou were tortured on Thy Cross By nails upon cruel wood Thy sacred Hands were outstretched for me.
Blessed Hands, I now embrace you Weeping, I rejoice in You And offer thanksgiving for the blows The cruel nails, the sacred Blood, My kisses mingling with my tears.
Washed in the fountain of Thy Bloo I place me wholly in Thy trust. Now may those blessed Hands of Thine Protect me, Jesu Christ, and guard In my last hour of need.
What are these wounds in the middle of Thy hands?
Handel Let thy hand be strengthened
My heart is inditing
Let thy hand be strengthened and thy right hand be exalted. Let justice and judgment be the preparation of thy seat! Let mercy and truth go before thy face, Alleluia.
My heart is inditing of a good matter; I speak of the things which I have made, unto the King. Kings’ daughters were among the honourable women. Upon thy right hand did stand the Queen in vesture of gold, And the King shall have pleasure in thy beauty. Kings shall be thy nursing fathers, and queens thy nursing mothers.
INTERVAL 20 MINUTES
Handel Zadok the priest
Zadok the priest and Nathan the prophet anointed Solomon King. And all the people rejoiced and said: God save the King, long live the King, God save the King! May the King live forever. Amen. Alleluia. Amen.
Shaw To the Hands
I. Prelude (no text)
II. in medio / in the midst
(Text from Buxtehude’s Ad manus - Zechariah 13.6 - adapted by Caroline Shaw, with the addition of ‘in medio manuum nostrarum’ ‘in the midst of our hands’)
Quid sunt plagae istae / what are those wounds quid sunt plagae istae / what are those wounds in medio manuum tuarum / in the midst of your hands in medio / in the midst quid sunt plagae istae / what are those wounds quid sunt plagae istae / what are those wounds in medio manuum nostrarum / in the midst of our hands
llI. Her beacon-hand beckons
(Text from CS responding to the 1883 sonnet ‘The New Colossus’ by Emma Lazarus, which was mounted on the pedestal of the Statue of Liberty in 1903)
Her beacon hand beckons: give give to me those yearning to breathe free
tempest-tossed they cannot see what lies beyond the olive tree whose branch was lost amid the pleas for mercy, mercy give give to me your tired fighters fleeing flying from the from the from let them i will be your refuge i will be your refuge we will be we will
IV. ever ever ever
(Text by CS - the final line, ‘in caverna’ is from Buxtehude’s Ad latus - the line from the Song of Songs, ‘in foraminibus petrae, in caverna maceriae’ or ‘in the clefts of the rock, in the hollow of the cliff’)
ever ever ever in the window sills or the beveled edges of the aging wooden frames that hold old photographs hands folded gently in her lap
ever ever in the crevices the never-ending efforts of the grandmother’s tendons tending to her bread and empty chairs left for Elijah where are they now in caverna in caverna
V. Litany of the Displaced
The choir speaks global figures of internal displacement, sourced from the Internal Displacement Monitoring Centre (http://www. internal-displacement.org/global-figures - accessed 01/03/2016). The numbers spoken are the numbers of internationally displaced persons by country, in ascending order. These are people, some of whom may have legal refugee status, who have been displaced within their own country due to armed conflict, situations of generalized violence or violations of human rights.
Vl. i will hold you
(Text by CS - the final line is a reprise from the Zechariah text)
i would hold you i would hold you ever ever will I hold you ever ever will I enfold you in medio in medio manuum tuarum
Vivaldi Gloria
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. Domine Deus, Rex coelestis, Deus Pater omnipotens.
Domine Fili unigenite, Jesu Christe. Domine Deus, Agnus dei, Filius Patris. Qui tollis peccata. Domine Deus Rex coelestis. Agnus Dei, miserere, Filus Patris, miserere nobis. Qui tollis peccata mundi suscipe deprecationem nostram.
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, Amen.
Glory to God in the highest And on earth peace to men of goodwill. We praise you, we bless you, we adore you, we glorify you.
We give thanks for your great glory. Lord God, King of Heaven, God the Father Almighty.
Lord the only begotten Son, Jesus Christ. Lord God, Lamb of God, Son of the Father. You who takes away the sins of the world, have mercy on us. Receive our prayers. You who sits at the right hand of the Father have mercy on us.
For you alone are the Holy One, you alone are the Lord. You alone are the Most High, Jesus Christ, with the Holy Spirit, in the glory Of God the Father, Amen.
Affinity Chamber Orchestra
Violin Leader Sarah Moffat
2 Kirra Thomas
3 Karin Bjork
4 Mary Robertson
5 Oakki Lao
Second Leader Sophie Simpson
2 Hazel Brooks
3 Felicity Broome-Skelton
4 Liz Partridge
5 Ben Sansom
Viola Leader John Rogers
2 Michael Bennet
Cello Leader Henrik Persson
2 Poppy Walshaw
Bass Leader Rosie Moon
Trumpets
1 Simon Munday
2 Paul Sharp
3 Mat Down
Horns
1 Richard Ashton
2 Kevin Elliot
Oboe
1 Geoff Coates
2 Oonagh Lee
Bassoon Becca Hammond
Continuo organ
Charles Andrews
Timpani Ben Fullbrook
Goldsmiths Choral Union
SOPRANOS
Susan BATES
Albina BELABIOD
Margaret BEELS
Alison BUCKLEY
Irene CLUGSTON
Catherine COOKE
Jane CORKILL
Tiara DE MEL
Elizabeth EDWARDS
Adrienne FRESKO
Inez GALLAGHER
Olivia GRANT
Siobhan HOMBARUME
Tanya HUEHNS
Paula JONES
Brenda LARGE
Jenny LEACH
Sarah MARZE
Frosso MILTIADOU
Margaret MOORES
Rachel NICHOLSON
Sarah NYAKAZINGO
Corinne PIGNARD
Carolina PORTELA
Jennifer RUHLE
Sarah SAYSELL
Vix SHERLIKER
Celia SIMPSON
Ruth STEPHENS
Emily STUART
Arisa TURNER
Jill TYLER
Charlotte WILLIAMS
Jenny WU
CONTRALTOS
Lindsay ALLEN-MERSH
Mary BOSWORTH-SMITH
Anna BROWN
Rosemary BURKE
Jayne CALVERT
Hester COLEY
Hazel ELLIS
Mariana FARAH
Gloria GEE
Sherry HUTCHINSON
Irene ILIAS
Elin JONES
Lauren KAVANAGH
Alison LEGGATT
Beth LEGGETT
Sue LUSH
Sue MILLAR
Selina MILLS
Kelly MORGAN
Betty NEWBURY
Sharon PIERSON
Heather RAYNER
Silvia RESEGHETTI
Mary Pat ROBERTSON
Liz ROE
Natalia SACO
Judith SIMPSON
Arabella STUART
Sonya TAYLOR
Margaret THOMAS
Anna WALTON
Victoria WARE
Polly WATTS
Naomi WEBER
Rowena WINKLER
Jenny YOUNG
TENORS
Quito CLOTHIER*
Cameron DI LEO
Robin HAPPÉ
John LARNER
Sean McGETTIGAN
Moses TORTO*
David WILLINGHAM
Michael WOODS
* indicates Tenor
Choral Scholar
BASSES
John ALLINSON
David BALICA
Geoffrey BARNES
Simon BRANDES
Nicholas BUCKLEY
Charlie CARTER
Damien D’ARCY
Lewis DAVIES
Mike DAY
Gabriel DIAZ-EMPARANZA
Marc FRESKO
Matthew GREENWAY
Oscar HEALY
Stephen LAI
Mark PAKIANATHAN
James PIERCY
Clive RICHARDS
David ROE
Ian STEPHENSON
Chris WATTS
Jesmer WONG
JOIN US
Goldsmiths Choral Union is a high-quality choir that is still small enough to feel welcoming and inclusive.
We’re looking for singers with good voices and reasonable sight reading, who would relish the opportunity to perform wonderful music with top orchestras in fantastic venues. We’re welcoming new singers (all parts) or those who just want to give us a try and see if we might be the choir for you.
Being part of Goldsmiths is a great way to continue your passion for music after you leave college or university, and an opportunity to meet like-minded people from across London and the South-east.
www.goldsmithschoralunion.org/join-us
FRIENDS OF GCU
Enjoying this concert? Why not become a Friend of GCU?
GCU promotes and funds its own highly varied and adventurous concert programmes. Friends of GCU support the choir by making an annual donation, currently a minimum of £90. In recognition of their generosity and their valuable support, GCU offers Friends a complimentary ticket for each concert promoted by the choir.
We thank the following for their continuing support: FRIENDS
Anonymous
Anonymous
Andrew Calvert
John Dempster
Hamish Donaldson
Caroline Green
Elizabeth Grimsey
Joanna Kenny
Carole Lewis
Jane Sawyer
Mrs Marylin Smith
Duncan Stuart
Tony Stuart
Clive Tucker
Charles Thomson
David Willingham
HONORARY LIFE FRIENDS
Sarah Dorin
William Gould
David Hayes
Dinah Nichols
Mike Lock
Jan Lowy
Sue Peacock
TENOR SCHOLARSHIPS
We have an annual programme to support two young choral students. Our main recruitment is in May, but we are always interested to hear from applicants at any time.
Please contact secretary@goldsmithschoral.org.uk
FUTURE CONCERTS
CHRISTMAS MUSIC CONCERT
Modern and traditional Christmas music and carols with audience participation
In aid of The Lily Foundation
Holy Trinity Sloane Square
Friday 13th December at 7.30 pm
Tickets available from Choir members, on the door or via Eventbrite (booking fees apply)
BEETHOVEN SYMPHONY No. 9
Barbican
Saturday 28th December at 7.30 pm
Book online at www.barbican.org.uk
HYMNS OF PARADISE
Howells Hymnus Paradisi
Brahms Geistliches Lied
Haydn Little Organ Mass
Dyson Hierusalem
Vaughan Williams Fantasia on a Theme by Thomas Tallis
Smith Square Hall
Friday 28th March at 7.30 pm
Tickets available from Choir members, on the door or via Eventbrite (booking fees apply)
For more information about Goldsmiths Choral Union please visit our website at goldsmithschoralunion.org
