McDowall: Da Vinci Requiem

This concert is in support of the people of Ukraine.

Save the Children is actively helping Ukrainian people and refugees. If you would like to, you can show your support by making a contribution via the link below.

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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 Guest Conductor 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 in oratorio works and was grateful to be supported by the Josephine Baker Trust during her studies. Upcoming engagements include Mozart’s Requiem, Haydn’s Nelson Mass and Handel’s Messiah. When not performing, Tamsin runs the CAVATINA Chamber Music Trust and is a House Manager at Wigmore Hall which she enjoys very much.

Rosamond Thomas mezzo-soprano

Rosamond Thomas graduated with Distinction from the Vocal Performance Masters program at the Universität für Musik und darstellende Kunst, Wien, where she studied under the tutelage of Regine Köbler, Christoph Meier and Florian Boesch. She has a First Class Honours BMus from the Royal Academy of Music, where she studied with a scholarship under the tutelage of Mary Nelson and Matthew Fletcher.

Rosamond is an experienced song recitalist, recently performing recitals in the Bösendorfer Salon and Gesellschaft für Musiktheater in Vienna, and in London singing programmes of songs by Roxanna Panufnik (Ryedale Festival), Ravel’s Trois chansons de Stéphane Mallarmé, contemporary songs written by RAM composers, and Rachmaninov songs in the Rachmaninov Festival at Pushkin House. She has sung in masterclasses with Helmut Deutsch (2020), Christoph Pregardien (2019, London Song Festival) and Justus Zeyen (2019).

As a concert singer, Rosamond has further enjoyed recent concert performances including Handel’s Messiah, selected oratorio arias and ensembles in Theater Schönbrunn with Erwin Ortner, Copland’s In the beginning (Mousai Singers), Bach’s Christmas Oratorio (Blackheath Centre for Singing), Duruflé’s Requiem (Concordia), Dvorak’s Stabat Mater (Fulham Camerata) and Mozart’s Mass in C Minor (Harrow School). Rosamond recently sang the roles of Asteria in Glück’s La Corona for Teatro Barocco and Dido in Purcell’s Dido and Aeneas at the University. She covered the role of Komponist in Strauss’ Ariadne auf Naxos and performed the role of L’Enfant in Ravel’s L’Enfant et les sortilèges, both in Schlosstheater Schönbrunn (2020/21) and sang Sorceress in Purcell’s Dido and Aeneas in the Ryedale Festival 2019. Previous stage work includes the role of Giulio Cesare in Handel’s Giulio Cesare for King’s College Opera in 2017, and scenes from Cimarosa’s Il matrimonio segretto (Elisetta, RAM 2019), Tchaikovsky’s Eugene Onegin (Olga), and Mozart’s Magic Flute (Third Lady).

Successes at the Academy included achieving the Arthur Burcher Memorial Prize twice, and the Andrew S Sykes Award. She represented the Academy at the Kathleen Ferrier Bursary Awards 2016, and was Highly Commended in the National Mozart Competition 2018.

Future engagements include Handel’s Israel In Egypt, Bach’s St John Passion and Chorus for the Glyndebourne Festival 2022.

Christopher Willoughby tenor

Christopher began his musical education as a chorister at Westminster Abbey from the age of ten before moving on to accept a music scholarship at Harrow School. After Harrow, Christopher was awarded a place on the VOCES8 Scholars Programme and spent two years as a Choral Scholar at Lincoln Cathedral before completing a BMus at Royal Holloway, University of London alongside a Choral Scholarship with the university’s highly respected Chapel Choir and a place on Genesis Sixteen. Highlights of Christopher’s time at Royal Holloway included singing the tenor solos in Beethoven’s Symphony No.9 at St John’s Smith Square with the London Mozart Players. Christopher has recently completed the Young Artist Programme at Waterperry Opera Festival in Donizetti’s Elixir of Love. Looking ahead to the future Christopher is delighted to be moving to Vienna for two years to study at the ‘Universität für Musik und darstellende Kunst Wien’ learning with Prof Margit Klaushofer and Prof Michael Schade. This will see Christopher performing Schubert’s Die Schöne Müllerin with fortepiano and the role of Grinwaldo in Handel’s opera, Rodelinda in Spring 2022. Christopher is also looking forward to appearing at the Melk International Baroque Festival in June 2022 as the Sailor in Dido and Aeneas by Purcell.

Jamie 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.

Da Vinci Requiem (2019)

Cecilia McDowall (b. 1951)

This is only the third performance of the 2019 significant 7-movement work from Cecilia McDowall which represents an imaginative pairing of extracts from the notebooks of Da Vinci with texts from the Latin Missa pro defunctis.

Leonardo da Vinci sketched and scribbled throughout his life, to record his observations, to test theories, and to develop new ideas or refine old ones. The thousands of sheets that were left at his death were gathered together by his friends and bound into a collection of notebooks. Cecilia McDowall has been familiar with The Notebooks of Leonardo da Vinci since discovering them on the family bookshelves as a child. They were a wedding present from her mother to her father in 1946 and were greatly cherished, giving much fascination to all. When she was approached by the Wimbledon Choral Society in 2017 to write a new work, the serendipitous timing of the anniversary of Leonardo’s death with the concert date (almost 500 years to the day) made it an apt subject to choose.

Cecilia has said that she found the task of selecting the texts to set both interesting and enriching. The first decision was which sections of the Missa pro defunctis text to use. There are 12 common parts to the Requiem but she felt some were less relevant in today’s climate; the Dies Irae, for example, seemed unsuitable, and the Libera me and In Paradisum are part of the burial service. Cecilia selected the Introit & Kyrie, the Lacrimosa (from the Sequentia), the Sanctus & Benedictus, the Agnus Dei and the Lux aeterna. Then there followed the task of selecting quotes from the Leonardo Notebooks or from other non-sacred sources. Leonardo wrote little about religion being more concerned, instead, with pragmatic details and scientific concerns, but he did write about how he saw man’s place within the natural world. In addition, in this work, there is a poem written in response to one of Leonardo’s paintings.

The Da Vinci Requiem carries the dedication ‘in loving memory of Helly Bliss and for all those who grieve.’ Helly was a dear close friend of the composer with an exceptional ability for bringing people together; she was tireless in her work for charity through music, all enhanced by her warm-hearted disposition.

The Requiem is scored for double wind, horns, trumpets, timpani, percussion (glockenspiel, suspended cymbal, side drum, tambourine and vibraphone) harp and strings. In seven movements, it is in arch form progressing from a dark contemplative opening towards a rousing apogee, giving way to a luminous, hopeful conclusion.

The first movement, Introit and Kyrie, is marked sonorous, dark, flowing and opens with a slow, unsettling chromatic line in the lower instruments (bass clarinet, bassoon, contrabassoon and low strings) whilst slowly ascending. The first twenty bars are underpinned by an ominous timpani roll surrounded by clarinet, harp and horn. The choir is introduced by a gentle rocking figure, which Cecilia has likened to the action of praying with rosary beads, and this gives comfort amid the dark and disquiet. The baritone soloist enters with the requiem text followed by the soprano soloist, singing Leonardo’s words, ‘why do you toil so much?’ The soloists continue in dialogue above the chorus. The Kyrie introduces a brighter, lighter texture in a major tonality accompanied by wind and glockenspiel.

The second movement sets the poem by Dante Gabriel Rossetti (1828-1882), For ‘Our Lady of the Rocks’ by Leonardo da Vinci. Rossetti wrote the poem in front of the painting on display in the National Gallery. The Virgin of the Rocks was painted around 1507-8 and is believed to contain an invocation against the bubonic plague which was raging in Milan, where he lived at the time. The poem was written in 1848, itself a time of political revolution and turmoil in Europe, and gives a very stark reading of the painting, perhaps intimating the dark and difficult circumstances of its creation, seeing in it death, pain, bitterness and the occult. This movement for soprano solo, described as poised, with intensity, introduces a dissonant, sharper edge to the work and is more lightly scored with its downward sliding strings.

The third movement, with tender simplicity, is for chorus only and forms a stand-alone anthem. It combines the Lacrimosa text with two quotes from the Notebooks touching on how the Lord should be obeyed, and on the origin of tears; ‘tears come from the heart, not from the brain’. This movement is the most melodic of the Requiem, opening with a simple oboe line supported by strings.

The Sanctus and Benedictus is at the heart of the work. Rhythmic, with energy, it is vigorous with a syncopated drive to it. Brightly scored for trumpets and drums, the glockenspiel picks out some descending choral lines. In contrast the Benedictus is lyrical and expressive with a delicate flute motive above the chorus; the upper voices floating, angelic, and the men’s voices reinforced by the timpani, give a flavour of monks singing plainchant.

The fifth movement, Agnus Dei, is marked expressive, intense, and opens with the plainsong incipit for the Agnus Dei. The plainchant gives the motive for this movement which threads its way throughout. It is scored for sombre wind, brass and low strings. The soprano soars over the chorus with text taken from Leonardo’s Bestiary, in which he describes the purity of the lamb. The penultimate movement for baritone soloist, O you who are asleep, sets only text by Leonardo in which he makes a comparison between sleep and death. It possesses a mood of calmness, like that of a lullaby, gently rocking in compound time between major and minor; between sleep and death. The soloist is accompanied by harp, clarinet and light strings.

The last movement, Lux aeterna, brings a bright, luminous, shimmering quality to it effected by tremolando strings. The text here combines the Latin mass with words attributed to Leonardo; ‘once you have tasted flight, you will forever walk the earth with your eyes turned skyward, for there you have been, and there you long to return.’

The closing bars feature a series of overlapping ascending almost-octatonic scales, starting in the bass and layering upwards through the voices; two solo violins ladder ever higher, vanishing into nothingness, concluding the work with a powerful allusion to Leonardo’s artistic concept of ‘The Perspective of Disappearance’.

© Paul Chambers 2019

1 — Introit and

Kyrie

Requiem aeternam dona eis Domine Et lux perpetua luceat eis. Te decet hymnus, Deus, in Sion Et tibi reddetur votum in Jerusalem: Exaudi orationem meam, ad te omnis caro veniet. Requiem aeternam dona eis, Domine; Et lux perpetua luceat eis.

O Leonardo, why do you toil so much? Because movement will cease before we are weary of being useful.

Shadow is not the absence of light: merely the obstruction of luminous rays by an opaque body. We are all exiled living within the frame of a strange picture. Kyrie eleison. Christie eleison. Kyrie eleison.

2 — The Virgin of the Rocks

Mother, is this the darkness of the end, The Shadow of Death? And is that outer sea Infinite imminent Eternity?

And does the death-pang by man’s seed sustained In Time’s each instant cause thy face to bend Its silent prayer upon the Son, while He Blesses the dead with His hand silently To His long day which hours no more offend? Mother of grace, the pass is difficult, Keen as these rocks, and the bewildered souls Throng it like echoes, blindly shuddering through. Thy name, O Lord, each spirit’s voice extols, Whose peace abides in the dark avenue Amid the bitterness of things occult.

3 — I obey thee, O Lord (Lacrimosa)

I obey thee, O Lord, first because of the love which I ought to bear thee: secondly, because thou knowest how to shorten or prolong the lives of men.

Tears come from the heart, not from the brain. Our body is subject to heaven, and heaven is subject to the spirit.

Lacrimosa dies illa, Qua resurget ex favilla Judicandus homo reus. Huic ergo parce Deus: Pie Jesu Domine, dona eis requiem. Amen

Translation

Eternal rest give unto them, O Lord And let perpetual light shine upon them. A hymn, O God, becometh thee in Sion, and a vow shall be paid to thee in Jerusalem: Hear my prayer; all flesh shall come to thee. Eternal rest give unto them, O Lord, And let perpetual light shine upon them.

Lord, have mercy. Christ, have mercy. Lord have mercy.

Translation

Full of tears will be that day When from the ashes shall arise The guilty man to be judged. Therefore spare him, O God: Merciful Lord Jesus, grant them eternal rest. Amen

4 — Sanctus and Benedictus

Sanctus, sanctus, sanctus, Dominus Deus Sabaoth. Pleni sunt caeli et terra gloria tua. Hosanna in excelsis.

Benedictus qui venit nomine Domine. Hosanna in excelsis.

5 — Agnus Dei

Agnus Dei, qui tollis peccata mundi, dona eis requiem, sempiternam requiem.

One sees the supreme instance of humility in the lamb.

6 — O you who are asleep

O you who are asleep, what thing is sleep? Sleep resembles death.

Ah, why then do you not work in such a way that after death you might resemble yet a perfect life, when, during life, you are in sleep so like the hapless dead?

What is it that is much desired by men, but which they know not while possessing? It is sleep.

Since a well-spent day makes you happy to sleep, so a well-used life makes you happy to die.

7 — Lux aeterna

Lux aeterna luceat eis, Domine: cum sanctis tuis in aeternum, quia pius es.

Requiem aeternam dona eis, Domine, et lux perpetua luceat eis: cum sanctis tuis in aeternum quia pius es.

Once you have tasted flight, you will forever walk the earth with your eyes turned skyward, for there you have been, and there you will always long to return. O Leonardo.

Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

Holy, holy, holy Lord God of Hosts Heaven and earth are full of thy glory. Hosanna in the highest.

Blessed is he who cometh in the name of the Lord Hosanna in the highest.

Lamb of God, that takest away the sins of the world, Grant them rest, eternal rest

May light eternal shine upon them, O Lord, with thy saints for ever, for thou art merciful.

Eternal rest give to them, O Lord, and let perpetual light shine upon them: with thy saints for ever, for thou art merciful.

Eternal rest give to them, O Lord, and let perpetual light shine upon them.

Capriol Suite (1926)

Peter Warlock (1894-1930)

British composer Peter Warlock is the pseudonym for Philip Arnold Heseltine, who was born into a wealthy family with strong artistic connections. While it was Sibelius’s fifth symphony that first inspired David Lyon’s imagination, it was a performance of Frederick Delius’s Lebenstanz at the Royal Albert Hall that made a profound impression on Warlock. Delius became a mentor to him at an early age and was a lifelong friend.

Deciding not to follow the family tradition of work in the stock exchange or civil service, Warlock never established a conventional career. He was a published music critic, a music editor, and perhaps most significantly, a revolutionary scholar in the study, arrangement, and transcription of early music. To some, it was as if he led a double life, writing confrontational and controversial music critiques published under his given name while writing songs in his own original style using the pseudonym. It was during this period in his life, the 1920s, when much of his music was written, including his most famous work, the Capriol Suite.

This suite for string orchestra is a set of six contrasting dances in a renaissance style. Each movement is based on music in a manual of renaissance dances by the French priest Jehan Tabourot (1519–95). Coincidentally, this manual, Orchésographie, was also published under a nom de plume, the anagram Thoinot Arbeau. The essence of Warlock’s Capriol Suite is new and innovative; his treatment of the dances is very free and bears little resemblance to the tunes in their original form. Because of this, the work is widely considered more of an original composition than an arrangement of existing material.

Each of the dances is presented in the order in which they appear in Tabourot’s manual with the exception of Bransles, which includes portions of several different tunes. Each movement title reflects the specific dance being portrayed, for example Mattachins is a sword dance, and Bransles are country dances. The fifth and perhaps most famous movement’s title derives its name, Pieds-en-l’air, from the instruction given to the dancer, rather than the style of dance itself. Translated literally, Pieds-en-l’air means “feet in air,” instructing the dancer to glide across the floor as if their feet never touch the ground. Of particular note is Warlock’s occasional use of more adventurous harmonies. These discords, used very sparingly, not only exhibit Warlock’s unique stamp but also reveal these dances in a distinctly modern light.

Composed in 1926, Peter Warlock’s Capriol Suite is one of his most popular orchestral works. Although originally composed as a piano duet, Warlock soon orchestrated the suite for strings and full orchestra. Based on six Renaissance dances, Warlock is able to portray the mood and style of each movement with ease.

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Mass in Time of War (1796)

Joseph Haydn (1732-1809)

In 1796, when Haydn was composing this first of his six late masses, Europe was in turmoil. Napoleon’s army was winning one battle after another in Italy and now threatened the entire continent. In August, the government in Vienna ordered its troops to be mobilized and prepared for war. Although Haydn was ostensibly writing a mass to celebrate the name day of the Princess Maria Hermenegild Esterhazy, the wife of his employer, he could hardly ignore the atmosphere all around him. While he did not often express political views, his title for this mass, Missa in tempore belli (Mass in Time of War), as well as its music reflect a sense of foreboding as Austria and its allies were about to face Napoleon.

This mass is thought to be the one that Haydn premiered on September 13, 1796 in Eisenstadt to commemorate the princess’s name day. He then gave a public performance of it on December 26 of that year in suburban Vienna. Along with the Lord Nelson Mass, another work concerned with war, it has remained one of Haydn’s most popular religious works. The nervous quality of the introductions to the first and last movements and the brilliant symphonic writing and military fanfares made this work a novel and moving experience for the apprehensive, patriotic audiences that heard the first performances.

The famous timpani solo near the beginning of the Agnus Dei creates a tone of apprehension, “as if one heard the enemy approaching in the distance,” as one of Haydn’s associates remarked. This passage, which was imitated by Beethoven in the Agnus Dei of his Missa Solemnis, gives the Mass in Time of War its popular nickname, the Paukenmesse, or Timpani Mass. The timpani solo is followed by terrifying trumpet fanfares, and military music then leads into an unusually forceful and urgent setting of “dona nobis pacem” (“grant us peace”).

The dramatic, symphonic character of this last movement, as well as the beautiful virtuosic cello solo in the Gloria are among the features that offended some later critics, who found them too secular for a mass. But these were preconceptions about religion from a later age. Haydn would no doubt have been surprised at the controversy, since he himself was a devout Catholic. Rather, he found a new way of treating the traditional mass text, one that looked forward more to Beethoven than it looks back to earlier settings.

When Haydn brought the work to Vienna, he augmented the orchestration, writing more extensive parts for the clarinets and horns and adding a flute to the orchestra. He evidently preferred this larger orchestration, since he kept it for the first printed edition.

The war against Napoleon continued throughout the remainder of Haydn’s lifetime. Shortly before his death in 1809, Napoleon occupied Vienna, but war and culture were different from what we might expect today. One of Napoleon’s first commands was to station a guard before the aged composer’s house to protect him from danger. During Haydn’s last days, a French officer came to visit him and sang for him an aria from his oratorio The Creation.

Programme notes by Martin Pearlman (Boston Baroque)

Kyrie

Kyrie eleison. Christe eleison. Kyrie eleison.

Gloria

Gloria in excelsis Deo. Et in terra pax hominibus bonæ voluntatis. Laudamus te; benedicimus te; adoramus te; glorificamus te. Gratias agimus tibi propter magnam gloriam tuam.

Domine Deus, Rex coelestis, Deus Pater omnipotens. Domine Fili unigenite Jesu Christe. Domine Deus, Agnus Dei, Filius Patris.

Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram. 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.

Credo

Credo in unum Deum; Patrem omnipotentem, factorem coeli et terrae, visibilium omnium et invisibilium. Et in unum Dominum Jesum Christum, Filium Dei unigenitum, Et ex Patre natum ante omnia sæcula. Deum de Deo, lumen de lumine, Deum verum de Deo vero, Genitum non factum, consubstantialem Patri: per quem omnia facta sunt. Qui propter nos homines, et propter nostram salutem descendit de coelis.

Kyrie

Lord, have mercy. Christ, have mercy. Lord, have mercy.

Gloria

Glory be to God in the highest. And in earth peace to men of good will. We praise Thee; we bless Thee; we worship Thee; we glorify Thee. We give thanks to Thee for Thy great glory.

O Lord God, Heavenly King, God the Father Almighty.

O Lord Jesus Christ, the only begotten Son. Lord God, Lamb of God, Son of the Father.

Thou that takest away the sins of the world, have mercy upon us.

Thou that takest away the sins of the world, receive our prayer.

Thou that sittest at the right hand of the Father, have mercy upon us.

For thou only art holy, thou only art the Lord, thou only art the most high, Jesus Christ. Together with the Holy Ghost in the glory of God the Father. Amen.

Credo

I believe in one God; the Father almighty, maker of heaven and earth, and of all things visible and invisible. And in one Lord Jesus Christ, the only begotten Son of God, begotten of the Father before all worlds; God of God, light of light, true God of true God, begotten not made; being of one substance with the Father, by Whom all things were made. Who for us men and for our salvation descended from heaven;

Et incarnatus est de Spiritu Sancto ex Maria Virgine: et homo factus est. Crucifixus etiam pro nobis sub Pontio Pilato, passus et sepultus est. Et resurrexit tertia die secundum Scripturas. Et ascendit in coelum: sedet ad dexteram Patris. Et iterum venturus est cum gloria, judicare vivos et mortuos: cujus regni non erit finis. Et in Spiritum Sanctum, Dominum, et vivificantem: qui ex Patre Filioque procedit. Qui cum Patre et Filio simul adoratur et conglorificatur: qui locutus est per Prophetas. Et in unam sanctam catholicam et apostolicam Ecclesiam. Confiteor unum baptisma, in remissionem peccatorum. Et expecto resurrectionem mortuorum et vitam venturi sæculi. Amen.

Sanctus

Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Osanna in excelsis.

Benedictus

Benedictus qui venit in nomine Domini. Osanna in excelsis.

Agnus Dei

Agnus Dei, qui tollis peccata mundi, miserere nobis.

Agnus Dei, Dona nobis pacem.

and was incarnate by the Holy Ghost, of the Virgin Mary, and was made man.

He was crucified also for us, suffered under Pontius Pilate, and was buried.

And on the third day He rose again according to the Scriptures: and ascended into heaven.

He sitteth at the right hand of the Father; and He shall come again with glory to judge the living and the dead; and His kingdom shall have no end. I believe in the Holy Ghost, the Lord and giver of life, Who proceedeth from the Father and the Son, Who with the Father and the Son together is worshipped and glorified; as it was told by the Prophets. And I believe in one holy catholic and apostolic Church. I acknowledge one baptism for the remission of sins. And I await the resurrection of the dead and the life of the world to come. Amen.

Sanctus

Holy, Holy, Holy, Lord God of Hosts. Heaven and earth are full of Thy glory. Hosanna in the highest.

Benedictus

Blessed is He that cometh in the name of the Lord. Hosanna in the highest.

Agnus Dei

Lamb of God, Who takest away the sins of the world, have mercy upon us.

Lamb of God, Grant us peace.

Affinity Chamber Orchestra

Strings

Leader Alexandra Caldon

2 Esther King Smith

3 Tim Warburton

4 Ellie Percy 5 Rob Simmons 6 Anna Giddey 7 Darius Thompson 8 Libby Croad

Second Leader Liz Partridge

2 Ted Barry 3 Emily Steinitz 4 Adrian Dunn 5 Hazel Coreea 6 Harri Allen

Viola Leader Dan Manente 2 Oliver Wilson 3 Louise Parker 4 Sam Kennedy

Cello Leader Joe Giddy 2 Amy Goodwin 3 Ariana Zaldi 4 Celine Barry

Bass Leader Dave Brown 2 Alice Kent

Flutes Jane Harris

+ piccolo Alyson Frazier Oboes Ilid Jones

+ cor anglais Helen Barker

Clarinets Andy Harper

+ bass clarinet Nicky Baigent

Basson Alex Thorneloe

+ contra bassoon Alex Davidson

Horns

Richard Ashton Kevin Elliot

Trumpet Alex Cromwell Matthew Down

Timpani Rob Farrer

Percussion Bobby Ball Harp Oliver Wass

Basso continuo - chamber organ Stephen Jones

SOPRANOS

Christina

ALTOS

TENORS

BASSES

Goldsmiths Choral Union

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Goldsmiths Choral Union

Goldsmiths Choral Union is one of London’s leading amateur 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 amateur 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.

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 Mr Frederick Haggis and later under Brian Wright.

Uniquely in 90 years, GCU has had only two Music Directors.

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

Guest Conductor: Jack Apperley

Accompanist: Stephen Jones

Please see the back cover for Future Concert dates.