Bach: Magnificat Roth: A Time to Dance
Our 90th ANNIVERSARY SEASON continues with a performance of Bach’s much-loved Magnificat, and Alec Roth’s A Time To Dance, a joyous celebration of times and seasons, and composed as a companion piece to the Magnificat.
Georgie Malcolm Soprano
Patrick Craig Alto
Chris Willoughby Tenor
Alex Bower-Brown Baritone
Goldsmiths Choral Union
Imperial College Chamber Choir
Affinity 415 Chamber Orchestra, featuring period instruments
Jack Apperley Conductor
INTERVAL – 25 MINUTES
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Georgie Malcolm soprano
Georgie Malcolm studied at the Royal Northern College of Music, gaining both her MMus and PGDip with distinction under Susan Roper and Elizabeth Ritchie. She received second prize at the National Mozart Singing Competition 2022, also winning their Schubert prize, and is fast establishing herself as a versatile singer of opera, oratorio and song.
Her operatic roles include La Contessa Di Almaviva in Le Nozze di Figaro at the RNCM (for which she was called ‘superb’ and praised for her ‘confident legato’), Venus in Blow’s Venus and Adonis in a touring production in Italy with L’Offerta Musicale di Venezia, and Monica in Menotti’s The Medium also at the RNCM. In 2022 she appeared as an emergency cover in Jonathan Dove’s Mansfield Park for Waterperry Opera, having learnt the role (Aunt Norris) previously at the RNCM. She was also a Young Artist at Buxton International Festival last summer, singing in the chorus of Rossini’s La Donna Del Lago and covering the role of Cleopatra in Antonio e Cleopatra by Hasse. In the Autumn of 2022 she joined the chorus of Opera North for a tour of Verdi’s La Traviata.
Georgie is gaining recognition on the concert platform, regularly performing as a soloist in oratorios and other concert works throughout the UK. Recent highlights include her Royal Albert Hall debut in Handel’s Messiah with The Really Big Chorus, conducted by Brian Kay, Handel’s Athalia (singing Josabeth) at Dartington Festival conducted by Laurence Cummings, Haydn’s Creation at Buxton International Festival, and Haydn’s Harmoniemesse with the BBC Philharmonic at the Bridgewater Hall under Ben Gernon, which was later broadcast on Radio 3. This evening marks her debut at Cadogan Hall.
Patrick Craig alto
Patrick Craig has had a varied and unique career combining singing, conducting and lecturing. He has sung countertenor with St Paul’s Cathedral Choir for over twenty-five years and is also a member of the award-winning group The Cardinall’s Musick. For twenty years he also toured the world singing a thousand concerts with The Tallis Scholars.
Patrick studied at the Royal College of Music with Ashley Stafford, where he sang lead roles in two Handel operas. He regularly sings Messiah, St John Passion and Nelson Mass solos in St Paul’s Cathedral, and has enjoyed recent solo opportunities singing Bach’s B minor Mass in St John’s Smith Square alongside Mary Bevan and Messiah solos in Etchingham alongside Emma Kirkby. He has also performed regular Passiontide recitals with Lucy Winkett in St James’ Piccadilly including performances of Pergolesi’s Stabat Mater. He founded and directs this country’s foremost professional all-female choir Aurora Nova, who have led worship at St Paul’s Cathedral for the past 25 years, commissioning new music from many of this country’s leading choral composers.
He has guest conducted the City of London Sinfonia in St Paul’s, The Tallis Scholars at the BBC Proms in the Royal
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Albert Hall, and The Cardinall’s Musick at the Brighton, Aldeburgh and Lichfield Festivals. He also leads workshops for amateur singers across the world and lectures on sacred choral music in its historical and cultural context.
Christopher Willoughby tenor
Christopher Willoughby was born in the UK where he began his musical training as a chorister at Westminster Abbey. He is currently completing his studies at the MDW in Vienna under the tutelage of Florian Boesch and Margit Klaushofer before beginning a new contract in the International Opera Studio at Zürich Opera House for the 2023-24 season. With a passion for both lied and oratorio Christopher has a varied schedule exploring multiple disciplines.
The 2021-22 season saw appearances as Grimoaldo in Handel’s Rodelinda, Osmida in Holzbauer’s Der Tod der Dido in the Schlosstheater, Schönbrunn Palace and First Sailor in Purcell’s Dido and Aeneas in Stift Melk. Oratorio highlights included performances as the Evangelist in Bach’s St John Passion in Bristol and the Brandenburg Festival in London.
Christopher won the Charles Wood Song Competition in Northern Ireland and was a finalist in the Marilyn Horne Song Competition in California. The 2022-23 season will see him performing the title role in Mozart’s Idomeneo at Schlosstheater, Schönbrunn Palace, Tom Rakewell in Stravinsky’s The Rake’s Progress at the Verbier Festival in Switzerland, and oratorio appearances include tenor soloist in Die Schöpfung by Haydn in Vienna, and the Bach St Matthew Passion in the Netherlands.
Alex Bower-Brown baritone
Alex Bower-Brown is a British baritone, currently studying with a scholarship at the Royal Academy of Music. Alex studies with the professors Glenville Hargreaves and Iain Ledingham. Whilst at the Academy, Alex has been a regular performer in the Royal Academy Bach consort, performing with some of the best conductors of our age including Philippe Herreweghe, John Butt and Jane Glover. A highlight of the series was singing ‘Pilate’ in a production of Bach’s great work, the St John Passion, conducted by Philippe Herreweghe. He has also performed in the Royal Academy operas production of Massenet’s Cherubin. In 2020 Alex performed the title role in Michael Finnissy’s new opera Mankind in a series of premiere performances around Norfolk.
Alex has a wealth of experience singing both as a soloist and in choirs. He has performed as a soloist in a wide variety of works including Handel’s Messiah, Bach’s St Matthew Passion, Brahms’ Requiem and Die Sprecher in Mozart’s opera Die Zauberflöte (Cavatina Opera Company). As a member of professional choirs Alex has toured much of the USA and Europe, singing in some of the most illustrious venues in the world including the Royal Albert Hall, the Royal Festival Hall, the Sheldonian Theatre, Concertgebouw in Amsterdam and St Thomas’ 5th Avenue in New York.
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Jack Apperley conductor
Jack graduated from the Royal Academy of Music where, under the tutelage of Patrick Russill, he obtained a Masters in Choral Conducting. He was awarded a Distinction and received the Sir Thomas Armstrong Choral Leadership Prize. He studied Music at the University of Birmingham where he was mentored by Simon Halsey CBE.
Since taking up his position as Music Director of Goldsmiths Choral Union, he has conducted the choir in performances of Haydn’s The Creation, McDowall’s Da Vinci Requiem, Haydn’s Mass in Time of War, Vaughan Williams Five Mystical Songs, Faure’s Cantique de Jean Racine, and Gounod’s St. Cecilia Mass.
He is the Music Director and Conductor of the Imperial College Chamber Choir and Concordia Voices. He is also the conductor of University Upper Voices at the University of Birmingham. He is an assistant Chorus Director of the London Symphony Chorus where he has helped prepare the chorus for conductors including Sir Simon Rattle, Sir Antonio Pappano and John Adams.
Affinity 415 Chamber Orchestra
The Affinity Chamber Orchestra is a professional Londonbased 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 415 Chamber Orchestra, Matthew has many years’ experience as a conductor, trumpetplayer 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.
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Hello and welcome to this evening’s concert - two uplifting and inspiring compositions written 300 years apart, both bursting with dancing, energetic rhythms, stimulating texts and vibrant musical images.
This is a programme that I have wanted to perform for a long time. Familiar with Bach, I was introduced to Alec Roth’s music at the Association of British Choral Directors summer convention several years ago. Since then, I have performed and recorded his music with the Imperial College Chamber Choir, and it was this that made me think it was a wonderful opportunity to establish a collaboration between ICCC and GCU.
A Time to Dance was originally commissioned to share a concert with Bach’s Magnificat. Both works use the same orchestral forces and can be performed at either modern pitch A440, or Baroque pitch which is a little lower at A415. We have chosen Baroque pitch which enables the contemporary piece to take on a different sound quality. Roth substitutes the timpanist for an elaborate percussion section that includes a washboard, a desk-bell and a fly swat.
There is a further connection between the two pieces. Bach was a contemporary of Vivaldi’s and often copied down scores of his concertos. The opening chorus of Magnificat with its intricate and rhythmic energy is reminiscent of Vivaldi’s influence. So, too, in Roth’s A Time to Dance, with its whole structure taken from the seasons of the year, there are four occasions when hints of Vivaldi’s Four Seasons have worked their way into the music.
Both works are incredibly rhythmically demanding for the choir. The long baroque runs of semi-quavers in the Bach require great agility from the singers and the persistent syncopations in the Roth need great mental concentration and panache. However, there are also great moments of poise and grandeur in both pieces.
It gives me great pleasure to share the stage with Goldsmiths Choral Union, the Imperial College Chamber Choir, the Affinity Chamber Orchestra and a stellar line-up of soloists to present this glorious programme of Johann Sebastian Bach’s Magnificat and Alec Roth’s A Time to Dance.
Jack Apperley music director
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Bach transformed from
Orphaned at ten, Bach had lived in several German towns earning a living playing the violin and organ. By 1721 he had buried his first wife Marie and several of their seven children, married Anna Magdalena and together they had begun a second family. In 1723 the family moved to Leipzig where Bach took up a position as organist and teacher at St. Thomas’s Church, where he remained for the rest of his life.
His Lutheran faith had a profound effect on his music. He was expected to write sacred music for every Sunday and feast-day of the year. Magnificat in D performed in 1733 was a revision of his earlier work Magnificat in E flat, but transposed downwards to a brighter key better suited to the trumpets with an extra pair of flutes and two oboes d’amore. Vespers was the platform for this jewel amongst Bach’s sacred works.
Bach chose as his text the uplifting Latin verses from the Gospel of Luke, 1:46-56 the hymn of praise that came straight from Mary’s heart, in which she expresses her jubilation in telling her cousin Elizabeth that she is to be the mother of the Son of God.
Magnificat is one of the most thrilling and technically demanding pieces Bach wrote for a chorus. It is very concise; it had to fit into the Vespers service. Each line of text is treated as a complete, self-standing idea. He was a master at repeating a melody with slight variations to invoke a different mood.
The rhythmic energy of the opening chorus is evidence of Vivaldi’s influence and the whole work is full of Bach’s delightful word painting.
The rising notes of the soprano’s Et exultavit depict rejoicing, and the tenor’s violent descending scale of Deposuit (He hath put down the mighty) plunge us into the depths. In the chorus Fecit potentiam, the choral texture fragments at the word dispersit (He hath scattered).
Bach highlights his supreme mastery of composition by reintroducing the music of the work’s opening bars at the end Sicut erat in principio (Thus it was in the beginning) where he brings back the music from the beginning of the work with a wonderfully symmetric sense of balance.
Of his twenty children, he had buried ten. Struggling with failing eyesight but continuing to compose for his last ten years, in 1750 he had surgery, but the operation left him completely blind and later that year he died of a stroke.
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Johann Sebastian Bach 1685-1750
‘a twenty-yearold teacher, with a reputation for drinking, intolerance and fighting, to becoming a genius of the Baroque and the greatest composer the world has yet seen.’
Horatio Clare
A time to dance
PROCESSIONAL: Times and Seasons choir
To every thing there is a season, and a time to every purpose under the heaven:
A time to be born, and a time to die; a time to plant, and a time to pluck up that which is planted;
A time to kill, and a time to heal; a time to break down, and a time to build up;
A time to cast away stones, and a time to gather stones together; a time to embrace, and a time to refrain from embracing;
A time to get, and a time to lose; a time to keep, and a time to cast away;
A time to rend, and a time to sew; a time to keep silence, and a time to speak;
A time to love, and a time to hate; a time of war, and a time of peace;
A time to weep, and a time to laugh; a time to mourn and a time to dance.
ECCLESIASTES 3: 1-3, 5-8, 4 (King James Version, 1611)
PROLOGUE: Sunrise
1 — Out of the wood solo bass
Out of the wood of thoughts that grows by night
To be cut down by the sharp axe of light, — Out of the night, two cocks together crow, Cleaving the darkness with a silver blow: And bright before my eyes twin trumpeters stand, Heralds of splendour, one at either hand….
EDWARD THOMAS (1878-1919), from Cock-crow
2 — Rise up solo bass, choir
Rise up, rise up, And, as the trumpet blowing Chases the dreams of men, As the dawn glowing The stars that left unlit The land and water, Rise up and scatter The dew that covers The print of last night’s lovers –Scatter it, scatter it!
While you are listening
To the clear horn, Forget, men, everything On this earth newborn, Except that it is lovelier Than any mysteries.
Open your eyes to the air That has washed the eyes of the starts Through all the dewy night: Up with the light, To the old wars; Arise, arise!
EDWARD THOMAS (1878-1919), from The Trumpet
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PART I: SPRING MORNING
3 — Awake choir
Awake, my heart, to be loved, awake, awake! The darkness silvers away, the morn doth break, It leaps in the sky: unrisen lustres slake
The o’ertaken moon. Awake, O heart, awake!
Awake, the land is scattered with light, and see, Uncanopied sleep is flying from field and tree: And blossoming boughs of April in laughter shake; Awake, O heart, to be loved, awake, awake!
ROBERT BRIDGES (1844-1930) from Awake my heart
4 — Infant Joy solo soprano & choir
‘I have no name: I am but two days old.’
What shall I call thee?
‘I happy am, Joy is my name.’
Sweet joy befall thee!
Pretty Joy!
Sweet Joy, but two days old. Sweet Joy I call thee: Thou dost smile, I sing the while, Sweet joy befall thee!
WILLIAM BLAKE (1757-1827), Infant Joy
5 — Dancing on the hill-tops solo soprano
Dancing on the hill-tops, Singing in the valleys, Laughing with the echoes, Merry little Alice
If her father’s cottage Turned into a palace, And he owned the hill-tops And the flowering valleys, She’d be none the happier, Happy little Alice.
CHRISTINA ROSSETTI (1830-94), from Dancing on the hill-tops
6 — Dance there choir
Dance there upon the shore: What need have you to care For wind or water’s roar? And tumble out your hair
That the salt drops have wet; Being young you have not known The fool’s triumph, nor yet Love lost as soon as won.
O you will take whatever’s offered And dream that all the world’s a friend, Suffer as your mother suffered, Be as broken in the end. But I am old and you are young, And I speak a barbarous tongue.
W B YEATES (1865-1939), from To a child dancing in the wind
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7 — Nothing is so beautiful soprano solo
Nothing is so beautiful as Spring. What is all this juice and all this joy?
A strain of the earth’s sweet being in the beginning In Eden garden. Have, get, before it cloy!
GERARD MANLEY HOPKINS (1844-89) from Spring
8 — Let them love choir
Let them love now – those who have never loved; And those who have loved – let them love again!
Spring is young, spring is melodious, now is the world re-born. Love is truly harmonious; now all the birds sing a marriage song; and the trees let down their tresses after the rain’s wedding-night caresses.
Love now binds all together, down in the shady woodland grove. Love entwines, weaving together her green myrtle boughs; and now the lovely Dione from on high lays down the law: Let them love now – those who have never loved; And those who have loved – let them love again!
ANON (2nd/3rd century), from Perviligium Veneris (lines 1-6)
Translated from Latin by ALEC ROTH
PART II: SUMMER NOON
9 — In summer’s heat solo tenor
In summer’s heat and mid-time of the day To rest my limbs upon a bed I lay, One window shut, the other open stood, Which gave such light as twinkles in a wood. Then came Corinna in a long loose gown, Her white neck hid with tresses hanging down: Resembling fair Semiramis going to bed Or Laïs of a thousand wooers sped.
Stark naked as she stood before mine eye, Not one wen in her body could I spy. What arms and shoulders did I touch and see, How apt her breasts were to be pressed by me? How smooth a belly under her waist saw I? How large a leg, and what a lusty thigh?
Judge you the rest: being tired she bade me kiss, Jove send me more such afternoons as this.
OVID (43BC-AD17), from The Fifth Elegy
Translated from Latin by CHRISTOPHER MARLOWE (1564-93)
10 — A something choir
A something in a summer’s Day As slow her flambeaux burn away Which solemnizes me.
A something in a summer’s noon –A depth – an Azure – a perfume –Transcending ecstasy.
EMILY DICKINSON (1831-84), from A something
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11 — Thirsty fly solo tenor
Busy, curious, thirsty fly! Drink with me and drink as I: Freely welcome to my cup, Couldst thou sip and sip it up: Make the most of life you may, Life is short and wears away. Both alike are mine and thine Hastening quick to their decline: Thine’s a summer, mine’s no more, Though repeated to threescore. Threescore summers, when they’re gone, Will appear as short as one!
WILLIAM OLDYS (1696-1761), On a fly drinking out of his cup
12 — Little fly choir
Little fly, Thy summer’s play My thoughtless hand Has brush’d away.
Am not I A fly like thee? Or art not thou A man like me?
For I dance, And drink, and sing, Till some blind hand Shall brush my wing.
If thought is live And strength and breath, And the want Of thought is death; Then am I A happy fly, If I live Or if I die.
WILLIAM BLAKE (1757-1827), The Fly
13 — Come, let us go solo tenor
Come, let us go, while we are in our prime, And take the harmless folly of the time! We shall grow old apace, and die Before we know our liberty. Our life is short, and our days run As fast away as does the sun.
ROBERT HERRICK (1591-1674), from Corinna’s going a-Maying
14 — Give all to love choir
Give all to love; Obey thy heart.
‘Tis a brave master; Let it have scope: Follow it utterly, Hope beyond hope: High and more high It dives into noon.
RALPH WALDO EMERSON (1803-82), from Give all to love
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PART III: AUTUMN EVENING
15 — O Autumn solo alto
O Autumn, laden with fruit, and stained With the blood of the grape, pass not, but sit Beneath my shady roof; there thou may’s rest, And tune thy jolly voice to my fresh pipe, And all the daughters of the year shall dance!
WILLIAM BLAKE (1757-1827), from To Autumn
16 — Humdrum choir (ladies)
When maidens are young, and in their spring, Of pleasure, of pleasure, let ‘em take their full swing. Full swing, full swing, And love, and dance, and play, and sing. For Silvia, believe it, when youth is done, There’s nought but hum-drum, hum-drum, hum-drum. There’s nought but hum-drum, hum drum, hum-drum. Then Silvia be wise, be wise, be wise, The painting and dressing for a while are supplies, And may surprise –But when the fire’s going out in your eyes, It twinkles, it twinkles, it twinkles, and dies, And then to hear love, to hear love from you, I’d as lief hear an owl cry, Wit to woo! Wit to woo! Wit to woo!
APHRA BEHN (1640-89), from The Emperor of the Moon (Act II Scene 5)
17 — Autumn choir (gentlemen)
No spring nor summer beauty hath such grace As I have seen in one autumnal face.
Were her first years the golden age? That’s true, But now she’s gold oft tried and ever new. That was her torrid and inflaming time, This is her tolerable tropic clime.
Here where still evening is, not noon nor night, Where no voluptuousness, yet all delight. In all her words, unto all hearers fit, You may at revels, you at council, sit.
If we love things long sought, age is a thing Which we are fifty years in compassing; If transitory things, which soon decay, Age must be loveliest at the latest day.
JOHN DONNE (1572-1631), from The Autumnal
18 — Fall, leaves, fall choir
Fall, leaves, fall; die, flowers, away; Lengthen night and shorten day; Every leaf speaks bliss to me
Fluttering from the autumn tree.
EMILY BRONTÉ (1818-48), from Fall, leaves, fall
19 — The Evening Star solo alto & choir
Thou fair-haired angel of the evening, Now, while the sun rests on the mountains, light Thy bright torch of love; thy radiant crown Put on, and smile upon our evening bed!
Smile on our loves; and, while thou drawest the Blue curtains of the sky, scatter thy silver dew
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On every flower that shuts its sweet eyes In timely sleep. Speak silence with thy glimmering eyes, and wash the dusk with silver.
WILLIAM BLAKE (1757-1827), from To the Evening Star
PART IV: WINTER NIGHT
20 — Deep Midnight solo bass
The sun is spent, and now his flasks Send forth light squibs, no constant rays; The world’s whole sap is sunk; The general balm, the hydroptic earth hath drunk, Whither, as to the bed’s-feet, life is shrunk… since this Both the year’s and the day’s deep midnight is.
JOHN DONNE (1572-1631) from A Nocturnal upon St Lucy’s Day, being the shortest day
21 — Snowflakes choir
Out of the bosom of the Air, Out of the cloud-folds of her garments shaken, Over the woodlands brown and bare, Over the harvest-fields forsaken, Silent, and soft, and slow Descends the snow.
Even as our cloudy fancies take Suddenly shape in some divine expression, Even as the troubled heart doth make In the white countenance confession, The troubled sky reveals The grief it feels
This is the poem of the air, Slowly in silent syllables recorded; This is the secret of despair, Long in its cloudy bosom hoarded, Now whispered and revealed To wood and field.
HENRY WADSWORTH LONGFELLOW (1807-82) from Snow-Flakes
22 — Dregs solo bass
The fire is out, and spent the warmth thereof, (This is the end of every song man sings!) The golden wine is drunk, the dregs remain, Bitter as wormwood and as salt as pain; And health and hope have gone the way of love Into the drear oblivion of lost things. With pale, indifferent eyes, we sit and wait For the dropt curtain and the closing gate: This is the end of all the songs man sings.
ERNEST DOWSON (1867-1900), from Dregs
23 — A glee for winter choir
Hence, rude Winter! crabbed old fellow, Never merry, never mellow! Well-a-day! in rain and snow What will keep one’s heart aglow? Groups of kinsmen, old and young. Oldest they old friends among;
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Groups of friends, so old and true That they seem our kinsmen too; These all merry all together
Charm away chill winter weather.
What will kill this dull old fellow?
Ale that’s bright, and wine that’s mellow! Dear old songs for ever new; Pleasant wit, and harmless fun, And a dance when day is done. Music, friends so true and tried, Whispered love by warm fireside, Mirth at all times all together, Make sweet May of winter weather.
ALFRED DOMETT (1811-87), A Glee for Winter
24 — Lights out choir
I have come to the borders of sleep, The unfathomable deep Forest where all must lose Their way, however straight, Or winding, soon or late; They cannot choose.
Many a road and track
That, since the dawn’s first crack, Up to the forest brink, Deceived the travellers, Suddenly now blurs, And in they sink.
Here love ends, Despair, ambition ends; All pleasure and all trouble, Although most sweet or bitter, Here ends in sleep that is sweeter Than tasks most noble.
There is not any book Or face of dearest look That I would not turn from now To go into the unknown I must enter, and leave, alone, I know not how.
The tall forest towers; Its cloudy foliage lowers Ahead, shelf above shelf; Its silence I hear and obey That I may lose my way And myself.
EDWARD THOMAS (1878-1917), Lights Out
EPILOGUE: Sunrise
25 — Elder by a year solo bass
All kings, and all their favourites, All glory of honours, beauties, wits, The sun itself, which makes times, as they pass, Is elder by a year now than it was When thou and I first one another saw: All other things to their destruction draw, Only our love hath no decay; This no tomorrow hath, nor yesterday, Running it never runs from us away.
JOHN DONNE (1572-1631), from The Anniversary
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26 — The secret of the sun soloists & choir
Love, from whom the world begun, Hath the secret of the sun. Love can tell, and love alone, Whence the million stars were strewn, Why each atom knows its own, How in spite of woe and death, Gay is life, and sweet is breath: This he taught us, this we know…
ROBERT BRIDGES (1844-1930), from My delight and thy delight
27 — Love, all alike choir & soloists
Love, all alike, no season knows, nor clime, Nor hours, days, months, which are the rags of time.
JOHN DONNE (1572-1631), from The Sun Rising
AFTERDANCE: Proper Exercise soloists & choir
Dancing, bright lady, then began to be, When the first seeds whereof the world did spring, The fire, air, earth and water, did agree By Love’s persuasion, nature’s mighty king, To leave their discorded combating, And in a dance such measure to observe, As all the world their motion should preserve.
This wonderous miracle did Love devise, For dancing is love’s proper exercise.
For that brave sun, the father of the day, Doth love this earth, the mother of the night; And, like a reveller in rich array, Doth dance his galliard in his leman’s sight, Both back and forth and sideways passing light. His gallant grace doth so the gods amaze, That all stang still and at his beauty gaze.
This wonderful miracle … etc
And thou, sweet music, dancing’s only life, The ear’s sole happiness, the air’s best speech, Lodestone of fellowship, charming rod of strife, The soft mind’s paradise, the sick mind’s leech, With thine own tongue thou trees and stones canst teach, That when the air doth dance her finest measure, Then art thou born, the gods’ and men’s sweet pleasure.
This wondrous miracle … etc
Only the earth doth stand forever still: Her rocks remove not, nor her mountains meet, Although some wits enriched with learning’s skill Say heaven stands firm and that the earth doth fleet, And swiftly turneth underneath their feet; Yet, though the earth is ever steadfast seen, On her broad breast hath dancing ever been.
This wondrous miracle … etc
JOHN DAVIES (1569-1626), from Orchestra, or a Poem of Dancing
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Affinity 415 Chamber Orchestra
Strings
Leader Sarah Moffat
2 Kirra Thomas
3 Anna Curzon
4 Liz Partridge
Second Leader Sophie Simpson
2 Sam Kennedy
3 Guy Button
4 Charlotte Fairbairn
Viola Leader John Rogers
2 Michael Bennett
3 Dan Manante
Cello Leader Samuel Ng
2 Alex Rolton
Bass Leader Rosie Moon
2 Kate Brooke
Flutes
1 Beth Stone
2 Neil McLaren
Oboe/oboe d’amore
1 Geoff Coates
2 Oonagh Lee
Basson
1 Chris Rawley
Trumpets
1 Simon Munday
2 Katie Hodges
TENORS
3 Mat Down
Christopher BEELS
Timpani Steve Burke
Michael BOWMER
Imperial College Chamber Choir SOPRANOS
Janice CHAK
Daria DITRI
Carolina ESCALER
Urbi MODHURA
Ella PARSONS
Alexandra PAVIC
Olivia PRIESTLAND
Priyasha SEN
Emma WALMSLEY
Natalie WU
CONTRALTOS
Clarisse BONACINA
Amy COLLIS
Peter COSTELLO
Alys DALY
Aditi MEHENDALE
Maria PORTELA
TENORS
Pallav BAGCHI
Alex CHRISTOPHERSON
Jack FINNIS
Robin FLOWER
Felix GIDEONSE
Arun RAMANATHAN
Harry TOMLINS
BASSES
BASSES
Owen BROOK
John ALLINSON
Pablo EGERIQUE G.C.
Simon BRANDES
Robert FIELD
Mike COWLEY
Continuo - organ
Nicholas BUCKLEY
Kit GORDON-BROWN
Francoise DRAPER
Stephen Jones
Robert SHAW
Chamber Organ hire
Guy VOGEL
Peter Twitchin
David WILLINGHAM
Michael WOODS
Peter COLEMAN
Martin HAAMER
John CUMMING
Gilbert JACKSON
Damien D’ARCY
Tom RICHARDSON
Muye XIAO
Mike DAY
Marc FRESKO
Hugh MARCHANT
John MARTIN
James PIERCY
Clive RICHARDS
Ian STEPHENSON
Charles THOMSON directdesign.co.uk
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Goldsmiths Choral Union
SOPRANOS
Christina ARBENZ
Margaret BARRETT
Sue BATES
Margaret BEELS
Susan BELL
Alison BUCKLEY
Irene CLUGSTON
Catherine COOKE
Jane CORKILL
Katherine DALEY
Elizabeth EDWARDS
Adrienne FRESKO
Jenny GARRETT
Honor GAY
Olivia GRANT
Tanya HUEHNS
Paula JONES
Kia KIELTY
Brenda LARGE
Jenny LEACH
Jessie LENTON
Hilary LINES
Frosso MILTIADOU
Margaret MOORES
Susie PETRI
Silvia RESEGHETTI
Jennifer RUHLE
Sarah SAYSELL
Celia SIMPSON
Emily STUART
Jill TYLER
Nancy WOOD
Jenny WU
CONTRALTOS
Lindsey ALLEN-MERSH
Anna BROWN
Rosemary BURKE
Jayne CALVERT
Alison CAMPBELL
Anne COURTNEY
Liz ELLAWAY
Hazel ELLIS
Mariana FARAH
Mona FRANKBERG
Gloria GEE
Lauren HOLMAN
Jane HOULDSWORTH
Sherry HUTCHINSON
Irene ILIAS
Elin JONES
Sheila LABATT
Alison LEGGATT
Sue LUSH
Caroline MACREADY
Rebekah MASON
Sue MILLAR
Betty NEWBURY
Dinah NICHOLS
Jane PATTON
Sharon PIERSON
Heather RAYNER
Judith SIMPSON
Arabella STUART
Sonya TAYLOR
Margaret THOMAS
Anna WALTON
Victoria WARE
Polly WATTS
Janet WILLIAMS
Lotie WORSLEY
Jenny YOUNG TENORS
Michael BOWMER
Francisco DIEGO
Françoise DRAPER
Robin HAPPÉ
John LARNER
Robert SHAW
Guy VOGEL
Philip WALLER
David WILLINGHAM
Michael WOODS
BASSES
John ALLINSON
David BALICA
Geoffrey BARNES
Simon BRANDES
Nicholas BUCKLEY
Charlie CARTER
Damien D’ARCY
Mike DAY
Quincy DILLARD
Marc FRESKO
Oscar HEALY
Stephen LAI
Hugh MARCHANT
John MARTIN
James PIERCY
Clive RICHARDS
Ian STEPHENSON
Charles THOMSON
Chris WATTS
Benedict WILLI
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