Haydn: The Creation

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 premières 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

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.

Nicholas BUCKLEY

Paul CHAMBERS

Liam CONNERY

Francoise DRAPER

Robin HAPPÉ

John CUMMING

Patrons: Sir Thomas Allen, Neil Jenkins, The Worshipful Company of Goldsmiths

Damien D’ARCY

Mike DAY

Music Director: Jack Apperley

Robert SHAW

Marc FRESKO

Accompanist: Stephen Jones

Oli SHEFFIELD

Guy VOGEL

Hugh MARCHANT

James PIERCY

David WILLINGHAM

Michael WOODS

Clive RICHARDS

Please see the back cover for Future Concert dates.

Brian ROSEN

Ian STEPHENSON

Charles THOMSON

Chris WATTS

Goldsmiths Choral Union presents a delightful evening of music for choir and orchestra.

Haydn: The Creation

Celebrating our 90th anniversary season, Goldsmiths Choral Union introduces our new Music Director, Jack Apperley.

What better way to celebrate new beginnings than by performing Haydn’s The Creation? This glorious masterpiece, a three-part oratorio composed in 1798, depicts and celebrates the creation of the world as related in John Milton’s epic poem Paradise Lost (1667) and the Book of Genesis.

INTERVAL – 25 MINUTES

Tamsin Raitt Soprano Andrew Woodmansey Tenor Jamie W. Hall Baritone Goldsmiths Choral Union Affinity Chamber Orchestra Jack Apperley Conductor

Jack Apperley conductor

Jack Apperley graduated from the Royal Academy of Music where he obtained a Masters in Choral Conducting. He was awarded a Distinction and received the Sir Thomas Armstrong Choral Leadership Prize.

Prior to this, Jack read Music at the University of Birmingham where he was mentored by Simon Halsey CBE. In 2019 Jack competed in the Jazep Vitols International Choral Conducting Competition and the World Choral Conducting Competition in Hong Kong, reaching the semifinals on both occasions. Jack was awarded Second Prize at the inaugural London International Choral Conducting Competition 2018. Jack is the conductor of University Upper Voices at the University of Birmingham and Music Director of the Imperial College Chamber Choir. He is the Music Director of Concordia Voices and also directs workplace choirs for the Royal College of Physicians, Silicon Valley Bank and the Workplace Choir Company.

Jack is the new Music Director of Goldsmiths Choral Union and is an Assistant Chorus Master of London Symphony Chorus. This role has seen Jack prepare the chorus for performances of Liszt’s Faust Symphony, Bernstein’s Chichester Psalms, Beethoven’s Ninth Symphony and Britten’s Spring Symphony, Mahler’s Eighth Symphony, Orff’s Carmina Burana and Luther Adams’ In the Name of the Earth In Spring 2019 Jack conducted the London Symphony Orchestra Community Choir in David Lang’s The Public Domain in the Barbican Centre.

While at the Royal Academy of Music, Jack participated in several masterclasses with ensembles such as the BBC Singers and the Clarion Choir as well as receiving tuition from Paul Brough, Jamie Burton, David Hill, Amy Bebbington and Roland Börger. Jack has also attended several summer schools hosted by Sing for Pleasure and the Yale School of Music where he was tutored by Manvinder Rattan, Sarah Tennant-Flowers and Simon Carrington respectively.

Tamsin Raitt soprano

Tamsin started her musical studies at the Royal Conservatoire of Scotland as a junior student where she was supported by the Rachel Barry Bursary awarded for ‘The Most Promising Young Singer’ at the 2012 North East of Scotland Music Festival.

She went on to study at the Royal Academy of Music under the tutelage of Kathleen Livingstone and Iain Ledingham, and received a Bachelor of Music with First Class Honours. Tamsin enjoyed her time at the Academy where she was a chorus member for the Kohn Foundation Bach Cantata Series and the proud receiver of the 2017 Arthur Burcher Memorial Prize for her third year recital. Tamsin sang in the Academy’s chamber choir on their annual tour to Neresheim Abbey in Southern Germany for three years running and was a soloist for their 25th Anniversary concert.

Tamsin performs regularly for oratorio works and was grateful to be supported by the Josephine Baker Trust during her studies. Upcoming engagements include Mozart’s Requiem, Bach’s and Vivaldi’s Magnificats and Handel’s Messiah

Tamsin is currently a Fellow of St Martin’s Voices and performs regularly at St Martin-in-the-Fields. Upcoming performances with the Fellowship include a Close Harmony concert and a Christmas Baroque concert. When not performing, Tamsin runs the CAVATINA Chamber Music Trust and is a House Manager at Wigmore Hall which she enjoys very much.

Andrew Woodmansey tenor

Andrew Woodmansey is a freelance Tenor studying for a Master’s degree under Neil Baker at Trinity Laban, supported by the Elliot Rosenblatt Memorial Scholarship, and the Williams Trust.

Andrew has a particular interest in contemporary opera and concert works, having recently played roles in operas by Mark Springer, Harvey Brough, John Sturt, Louise Kublicki, Michael Gordon, Kieron Smith, Laurence Panter and an adaptation by Peter Wiegold. These included appearances at the Playground Theatre, Wilton‘s Music Hall, The Cockpit Theatre, RADA Studio, and OSO Arts. He has also premiered a number of songs and choral works, and is working on a recital of works by some of London’s composers.

Andrew has also performed widely in the cornerstones of the classical canon. Having played Don Ottavio in Mozart’s Don Giovanni and Tamino in Mozart’s Die Zauberflöte, with Surrey Opera and King’s Opera. Other Canon works include concert solos in Bach’s St John Passion (Evangelist and Arias) Beethoven’s 9th Symphony, Mozart’s Requiem in D minor, Haydn’s The Creation, Handel’s Ode on St Cecilia’s Day, Orff’s Carmina Burana, Stainer’s The Crucifixion, Handel’s Messiah, Finzi’s In Terra Pax, Vaughan Williams Fantasia on Christmas Carols and Haydn’s Nelson Mass. These include performances with Magna Sinfonia, The Brandenburgh Festival Chorus and Orchestra, Feltham Choral Society, Maidstone Singers, Guernsey Choral and Orchestral Society and the Old Royal Naval College Chapel Choir.

Andrew is a sought-after Choral Deputy, regularly deputising in cathedrals, churches and concert choirs across London, Cambridge, Oxford, and various towns and cities in the UK. Andrew was a Choral Scholar at The Old Royal Naval College Chapel under Ralph Allwood and a member of the National Youth Chamber Choir under Ben Parry.

Jamie W. Hall baritone

Jamie W. Hall is a performer who has built up an exciting and varied career in music, from concert soloist and recitalist to skilled ensemble singer, conductor and even composer with a number of published works to his name. In recent years however, Jamie’s focus has been on singing, continuing to perform online to a growing audience during the COVID crisis - a move commended by the RPS in 2020.

Whilst he continues to feed his passion for choral music as a full-time member of the BBC Singers, Jamie is fast gaining recognition as a versatile and engaging performer of Art Song, and his performances, both live and recorded, have been enjoyed across the world.

Growing up in a Yorkshire mining village in the 1980s, Jamie’s route into classical music was somewhat unconventional. With only a few piano lessons and an adolescence spent busking show tunes behind him, he nevertheless followed his heart and found himself studying music at university where he discovered both his voice and a love of classical music. Jamie’s debut recording - of Franz Schubert’s Die Schöne Müllerin - was released in February.

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 the choir of 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.

Peace and Refreshment

This is one of the most life-affirming pieces ever composed - a wide-eyed wonder at the beauties and variety of creation. Haydn wrote in a letter to a friend, ‘often, when I was struggling with all kinds of obstacles…. a secret voice whispered to me: “There are so few happy and contented people in the world; sorrow and grief follow them everywhere; perhaps your labour will become a source from which the careworn… will for a while derive peace and refreshment.”

The Inspiration

Joseph Haydn’s epic Classical masterpiece had its origins in London. Sprung from the confines of the isolated Esterhazy Castle where he was Kapellmeister, he moved into central Vienna in his mid sixties, while remaining financially supported by the new head of the family. This freedom encouraged him to travel, and it was on concert tours to London in 1791 and 1795 that he attended performances of Handel’s grand scale choral works, Israel in Egypt and The Messiah. Having primarily composed instrumental and orchestral music, these pieces made a huge impact and inspired him to write a great theatrical choral work with a biblical theme for this enthusiastic English oratorio public as well as his Viennese audiences.

The Libretto

The libretto, inspired by the Book of Genesis, the Psalms and Milton’s Paradise Lost, has produced a richly idyllic set of images but caused much discussion and editing. Most sources agree that an English text (originally offered to Handel who did not develop the idea) was handed to Haydn by John Peter Salomon, the impresario. Haydn’s friend and patron, Baron Gottfried van Swieten, translated and adapted the text to produce a German and English libretto for the music, and Haydn finished his composition in a few months conducting it himself with the first performance sung in German in Vienna on 29th April 1798. The performance was rapturously received.

Joseph Haydn 1732-1809

A bilingual text making publishing history was issued in 1800, and the work was performed all over Europe, where it became Haydn’s most popular work. Tonight we are singing from an edition by Nicholas Temperley who in 1988 produced a scholarly and respectful English libretto altering the worst of the word-order inversions without obliterating its primitive charm.

The Form

The Creation is in three parts, the first part describing the first four days making the world out of chaos with heaven and earth, land and sea and plant life. The second part adds the fifth and sixth days creation of animals and man. The third part is a celebration of the happy pair, Adam and Eve, in Eden with an ending skillfully foreshortened before anything goes wrong.

The pattern of the story is told in triplets - a recitative by archangels Gabriel/Eve (soprano), Uriel (tenor) or Raphael/Adam (bass) followed by an aria and then a climactic chorus.

The Philosophy

Haydn had been fascinated on his first visit to London by the forty-foot telescope of William Herschel - the discoverer of Uranus. Four years later, Haydn set the words of Psalm 19 in “The Heavens are telling the glory of God”; the image of the stars and planets joining with the mountains, rivers and seas of the earth in song to the creator.

Haydn’s own catholic faith took the form of belief in a rationally and scientifically ordered universe and its essentially optimistic view of humanity; he put less emphasis on conflict, guilt and retribution, more on cheerfulness and reconciliation. This was not at the time the style of the Catholic church, which was quick to take offence at the work’s non-moralistic tone and banned it from being performed in places of worship.

The Music Hadyn’s ability to conjure picturesque musical descriptions, from the opening representation of chaos with its stark chords and shifting, unsettling harmonies on muted strings portraying formlessness, to the blazing ‘Let there be Light - and there was Light’, makes this music so compelling. In part two in Gabriel’s aria ‘On mighty pens uplifted soars the eagle aloft’’ Haydn’s naturalistic bird and animal imitations are particularly charming, mixing his skill and experience of symphonic style and counterpoint with a freedom and sheer brilliance of effect.

A Viennese journalist, Joseph Richter, wrote that ‘I wouldn’t have believed that mere human lungs and sheep gut and calf’s skin could create such miracles… I never left a theatre more contented, and all night I dreamed of the Creation of the World’.

Good evening everyone and welcome to this evening’s concert

When I was asked what piece I would like to perform in my first concert as Music Director of Goldsmiths Choral Union, I couldn’t think of anything more appropriate than Haydn’s The Creation. It is a piece that captures perfectly the excitement, optimism and unknown possibility that marks the dawn of this new chapter in my professional life and that of the musical life of Goldsmiths Choral Union.

Haydn is typically painted as a happy, cheeky, optimistic character. This is quite probably true, but something that strikes me both through The Creation and his other large choral-orchestral work The Seasons, is his confidence. When he first came to London in the 1790s he encountered Handel’s English oratorios, including The Messiah and Israel in Egypt, for the first time. Nobody had dared attempt to emulate the work of Handel in this medium.

Haydn was the “composer of the moment” and he saw himself as the heir to Handel, and if anyone was going to write something that could get close to emulating the widely heralded success of The Messiah then it would be him. He was of course successful. During Haydn’s lifetime the piece was performed over forty times outside Vienna: elsewhere in Austria and Germany, throughout England, and in Switzerland, Italy, Sweden, Spain, Russia and the United States.

One of the great interpreters of Haydn, Sir Simon Rattle, has said that The Creation gives the “idea of the journey of a person’s whole life.” Tonight’s concert marks the beginning of my creative journey and partnership with Goldsmith’s Choral Union. I hope that together we can enjoy many happy and memorable concerts, and that we will become an integral part of the London choral community.

Jack Apperley music director

The Creation

PART ONE

1 - Introduction: The Representation of Chaos

THE FIRST DAY

2 - Recitative and Chorus

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 and Chorus

Uriel

Now vanish before the holy beams the gloomy dismal shades of dark; the first of days appears.

Disorder yields to order fair the place. Affrighted fled hell’s spirits, black in throngs; down they sink in the deep of abyss, to endless night.

Chorus

Despairing cursing rage attends their rapid fall. A new created world springs up at God’s command.

THE SECOND DAY

4 - Accompanied Recitative

Raphael

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 arise; as chaff by the winds are impelled the clouds. By heaven’s fire the sky is enflamed and awful roll the thunders on high. Now from the floods in steams ascend

reviving showers of rain, the dreary wasteful hail, the light and flaky snow.

5 - Solo with Chorus

Gabriel

The marv’lous work beholds amazed 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, etc

THE THIRD DAY

6 - Recitative

Raphael

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. Through open plains outstretching wide in serpent error rivers flow. Softly purling glideth on through silent vales the limpid brook

8 - Recitative

Gabriel

And God said: Let the earth bring forth grass, the herb yielding seed and the fruit 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 ravished sense; by flowers sweet and gay enhanced is the charming sight. Here vent their fumes the fragrant herbs; here shoots the healing plant.

By load of fruits th’ expanded boughs are pressed; to shady vaults are bent the tufty groves; the mountain’s brow is crowned with closed wood.

10

- Recitative

Uriel

And the heavenly host proclaimed the third day, praising God and saying:

11

- Chorus

Awake the harp, the lyre awake! In shout and joy your voices raise! In triumph sing the mighty Lord! For he the heavens and earth has clothed in stately dress.

THE THIRD DAY

12 - Recitative

Uriel

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 - Accompanied 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 measured 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 radiant orbs adorns, and the sons of God announced the fourth day in song divine, proclaiming thus his pow’r:

14

- Chorus with Trio

Chorus

The heavens are telling the glory of God; The firmament displays The wonder of his works.

Gabriel, Uriel and Raphael

Today 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 and Raphael

In all the land resounds the word, never unperceived, ever understood.

Chorus

The heavens are telling, etc

INTERVAL PART TWO

THE FIFTH DAY

15 - Recitative

Gabriel

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 sky 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, nor to a mournful tale were tuned her soft, enchanting lays.

17

- Accompanied Recitative

Raphael

And God created great whales, and every living creature that moveth, and God blessed them, saying: Be fruitful all, and multiply! Ye winged tribes, be multiplied, 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 sang.

19 - Trio and Chorus

Gabriel

Most beautiful appear, with verdure young adorned, the gently sloping hills. Their narrow, sinuous veins distil in crystal drops the fountain fresh and bright.

Uriel

In lofty circles plays and hovers through the sky the cheerful host of birds. And in the flying whirl, the glitt’ring plumes are dyed, as rainbows, by the sun.

Raphael

See flashing through the wet in thronged swarms the fry on thousand ways around. Upheaved from the deep, the immense Leviathan sports on the foaming wave.

Gabriel, Uriel and Raphael

How many are thy works, O God! Who may their numbers tell? Who? O God! Who may their numbers tell?

Gabriel, Uriel, Raphael and Chorus

The Lord is great, and great his might. His glory lasts for ever and for evermore.

THE SIXTH DAY

20

- Recitative

Raphael

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 obeyed the word, and teemed 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 their food on field and meadows green. And o’er the ground, as plants, are spread the fleecy, meek and bleating flocks. Unnumbered as the sands in whirls arise the host of insects.

In long dimensions creeps with sinuous trace the worm.

22 - Aria Raphael

Now heav’n in all her glory shines; earth smiles in all her rich attire.

The room of air with fowl is filled; the water swelled by shoals of fish; by heavy beasts the ground is trod.

But all the work was not complete. There wanted yet that wondrous being that grateful should God’s power admire, with heart and voice his goodness praise.

23 - Recitative Uriel

So 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 - Recitative Uriel

In native worth and honour clad, with beauty, courage, strength adorned, to heav’n erect and tall, he stands a man, the Lord and King of nature all.

The large and arched brow 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 the partner for him formed, 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

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

- Chorus and Trio

Chorus

Achieved is the glorious work; the Lord beholds it and is pleased. In lofty strains let us rejoice! Our song let be the praise of God!

27

- Trio

Gabriel and Uriel

On thee each living soul awaits; from thee, O Lord, they beg their meat. Thou openest thy hand, and sated all they are.

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.

Gabriel, Uriel and Raphael

Thou lett’st thy breath go forth again, and life with vigour fresh returns. Revived earth unfolds new force and new delights.

28 - Chorus

Chorus

Achieved is the glorious work, Our song let be the praise of God! Glory to his name for ever; he sole on high exalted reigns, Alleluia.

PART THREE: ADAM AND EVE IN EDEN

29 - Accompanied Recitative

Uriel

In rosy mantle appears, by tunes sweet awaked, 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!

30 - Duet with Chorus (Hymn)

Adam and Eve

By thee with bliss, O bounteous Lord, the heav’n and earth are stored. This world, so great, so wonderful, thy mighty hand has framed.

Chorus

For ever blessed be his pow’r! His name be ever magnified!

Adam

Of stars the fairest, O how sweet thy smile at dawning morn! How bright’nest thou, O sun, the day, thou eye and soul of all!

Chorus

Proclaim in your extended course the glorious pow’r and might of God!

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

Ye strong and cumbrous elements, who ceaseless changes make, ye dusky mists and dewy steams, who rise and fall through the air:

Adam, Eve and Chorus

Resound the praise of God our Lord! Great his name, and great his might.

Eve

Ye purling fountains tune his praise, and wave your tops ye pines!

Ye plants exhale, ye flowers breathe at him your balmy scent!

Adam

Ye that on mountains stately tread, and ye, that lowly creep, ye birds that sing at heaven’s gate, Ye that through waters glide,

Adam, Eve and Chorus

Ye living souls extol the Lord! Him celebrate, him magnify!

Adam

and Eve

Ye valleys, hills, and shady woods, our raptured notes ye heard; from morn to ev’n you shall repeat our grateful hymns of praise.

Adam, Eve and Chorus

Hail, bounteous Lord! Almighty, hail! Thy word called forth this wondrous frame. Thy pow’r adore the heav’n and earth: we praise thee now and evermore.

31 - Recitative

Uriel

O happy pair, and ever happy still, Unless, by false conceit misled, ye strive at more than granted is, and more would know than know ye should!

32 - Chorus

Sing the Lord, ye voices all! Utter thanks, ye all his works! Celebrate his pow’r and glory! Let his name resound on high! The Lord is great; his praise shall never end. Amen.

Anonymous English text compiled from Biblical sources and from Paradise Lost by John Milton (1608–74)

Affinity Chamber Orchestra

Strings

Leader Alexandra Caldon 2 Esther King Smith 3 Tim Warburton 4 Emma Blanco 5 Rob Simmons 6 Anna Giddey

Second Leader Liz Partridge 2 Ted Barry 3 Rosie Tompsett 4 Paul Barrett

Viola Leader Dan Manente 2 Fiona Thompson 3 Michael Bennet

Cello Leader Joe Giddey 2 Amy Goodwin 3 Celine Barry

Bass Leader Dave Brown 2 Alice Kent

Flutes 1 Jane Smith 2 Janna Huneke 3 Rachael Down Oboes 1 Helen Barker 2 Jennie Lee Keetley

Clarinets 1 Shaun Thompson 2 Nicky Baigent

Basson 1 Alex Thorneloe 2 Alex Davidson

TENORS

BASSES

Christopher BEELS

Contra bassoon Francesca Carpos

Michael BOWMER

Mike COWLEY

John ALLINSON

Simon BRANDES

Francoise DRAPER

Horns 1 Richard Ashton 2 Kevin Elliot

Nicholas BUCKLEY Peter COLEMAN

John CUMMING

Damien D’ARCY

Trumpets 1 Alex Caldon 2 Matthew Down

Robert SHAW Guy VOGEL David WILLINGHAM Michael WOODS

Trombones 1 Steve Turton 2 Matt Eckland 3 Chris Gill

Timpani Rob Farrer

Continuo - Piano forte Stephen Jones

Mike DAY

Marc FRESKO

Hugh MARCHANT

John MARTIN

James PIERCY

Clive RICHARDS Ian STEPHENSON Charles THOMSON

SOPRANOS

Christina ARBENZ

Fiorella BADIN

Margaret BARRETT

Sue BATES

Margaret BEELS Susan BELL

Emma BRYAN Neve BURTON Ruby CHENEY

Catherine COOKE

Jane CORKILL

Katherine DALEY Elizabeth EDWARDS Adrienne FRESKO

Jenny GARRETT

Betty

TENORS

Michael WOODS

BASSES

John

Goldsmiths Choral Union

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.

For more information please contact:

Friends Membership Secretary Email: gcufriends@btopenworld.com

We thank the following for their continuing support:

HONORARY LIFE FRIENDS

William Gould David Hayes Denzil Jarvis Mike Lock Jan Lowy Sue Peacock

FRIENDS Anonymous Andrew Calvert

John Dempster

Hamish Donaldson Caroline Green Elizabeth Grimsey

Joanna Kenny Barbara Janes Carole Lewis Godfrey Rock Jane Sawyer Mrs Marylin Smith Duncan Stuart Clive Tucker David Willingham