The trumpet shall sound
S a t u rd a y 2 2 n d A p ri l 2 0 11 - 6 pm
B A R B I C A N
-
L O N D O N
Messiah HANDEL 1685 - 1759
ELIZABETH WATTS • CATHERINE WYN-ROGERS MARK LE BROCQ • CHRISTOPHER PURVES
Conductor -
JOSEPH CULLEN
CITY OF LONDON SINFONIA Harpsichord: ALASTAIR ROSS Organ: ROGER SAYER FRIDAY
22
APRIL
2011
6.00 p.m. BARBICAN CENTRE, LONDON
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Barbican Centre, Silk St, London EC2Y 8DS, Administration: 020 7638 4141 Box Office Telephone bookings: 020 7638 8891 (9am - 8pm daily: booking fee) • Please try to restrain coughing until the normal breaks in the performance. • If you have a mobile phone or digital watch, please ensure that it is turned off during the performance. • In accordance with the requirements of the licensing authority, sitting or standing in any gangway is not permitted. • No cameras, tape recorders, other types of recording apparatus, food or drink may be brought into the auditorium. • It is illegal to record any performance unless prior arrangements have been made with the Managing Director and the concert promoter concerned. • Smoking is not permitted anywhere in Barbican premises.
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Founded in 1836, Huddersfield Choral Society has long been a major part of the UK's vibrant musical tradition. Under a succession of distinguished principal conductors and chorus masters it has developed an international reputation as the country's leading choral society. Its special quality is the unique 'Huddersfield Sound' - a thrilling full-bodied and firm blended tone, flexible enough for both the most shattering climaxes and for the softest but tightly focused pianissimos.
The anniversary season will conclude on 18th June 2011 with a performance of Elgar's Dream of Gerontius with the Hallé conducted by Martyn Brabbins. Christine Rice (mezzo), Peter Hoare (tenor) and Christopher Purves (bass) are the soloists in this special concert, taking place on the nearest available date to that of the Society's founding 175 years ago. Tickets are now available from the Kirklees Box Office (01484 223200). A Society with a long and distinguished history, the Choral is also keen to encourage the young singers of the future. This season our Junior Choirs also celebrate the milestone of their 25th anniversary, and an exciting range of concerts and other events have been taking place through the season for our young people. In addition, a series of free workshops offered by the Society in partnership with Kirklees Council and the Mrs Sunderland Music Festival have seen some 1600 children and young people from Kirklees discovering and enjoying singing together. A choral conducting workshop, in conjunction with the Music Department at the University of Huddersfield, saw tonight's conductor Joseph Cullen inspiring six young conductors.
We are delighted to return to the Barbican this evening to perform Handel's Messiah, the work perhaps most closely associated with the Society. A full performance of Messiah has been an annual Christmas event in Huddersfield since 1864 and is still hugely popular, drawing capacity audiences over two evenings. This season's performances were recorded by Signum Classics for a new release - now available - to celebrate our 175th season (SIGCD246) During this special anniversary season the Society has also performed Messiah in The Sage, Gateshead, in only the second sell-out concert for that hall. We joined the Stratford-upon-Avon Choral Society - also celebrating their 175th anniversary during 2011 - in the first choral performance at the newly-refurbished Royal Shakespeare Theatre.
With a history spanning three centuries, the Choral is firmly in the 21st at www.facebook.com/huddersfieldchoral and on twitter (@HuddsChoral). Details of all concerts and other activities can be found at www.huddersfieldchoral.com
The Society promotes its own series of professional subscription concerts in Huddersfield Town Hall, its home since 1881. This season has already seen a critically acclaimed performance of Verdi Requiem with Vasily Petrenko and the Royal Liverpool Philharmonic Orchestra. The Choral gave the UK prémière of Jonathan Harvey's Messages in its final subscription concert of the season in April, as part of a programme also including Stravinsky Symphony of Psalms and Bruckner E minor Mass, with the Orchestra of Opera North conducted by Martyn Brabbins (the Society's Conductor Laureate).
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Photograph taken prior to the performance of Delius’ Mass of Life. Martyn Brabbins, BBC Philharmonic, Janice Watson, Anna Stephany, Roderick Williams and Jeffrey Lloyd-Roberts
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JOSEPH CULLEN Conductor
Benedictine monasteries. Joseph is committed to mentoring young musicians as they emerge onto the professional scene. He has established choral conducting scholarships with both the London Symphony Chorus and the Huddersfield Choral Society and gives masterclasses at the Orkney conductors' course, which is part of the St Magnus Festival, and at the Royal Academy of Music. Joseph Cullen has coached many distinguished singers and gives the next generation a platform with his ensemble, London Chamber Voices. He is also a member of the vocal ensemble, Tenebrae with whom he tours internationally.
Joseph Cullen's choral direction has consistently brought glowing critical acclaim and he has been awarded two Grammys for his work as Director of the London Symphony Chorus on the LSO Live and Chandos labels. He has been Chorus Master of the Huddersfield Choral Society since 1999 and his trilogy of CDs conducting the Society is now complete with the recent issue of The Crucifixion (John Stainer) on the Signum label. He has directed the City of London Sinfonia from the keyboard in a series of concerts featuring Bach Cantatas in the City of London Festival and has made his dÊbut with the Northern Sinfonia as director and soloist. Joseph has worked closely with some of the world’s leading conductors including Sir Simon Rattle, Sir Neville Marriner, Sir Mark Elder, Mariss Jansons, Valery Gergiev, Michael Tilson Thomas, Martyn Brabbins, Gianandrea Noseda, Vasily Petrenko, Yan-Pascal Tortelier, Bernard Haitink, Richard Hickox and, in particular, with Sir Colin Davis. He has appeared as a guest conductor with the BBC Concert Orchestra, Academy of St Martin-in-the-Fields and the Grant Park Festival Orchestra in Chicago. Joseph maintains a national profile as an organist and a continuo player. He has held musical posts in the RC Cathedrals of Glasgow, Leeds and Westminster and has inaugurated the new organs at the Abbeys of Pluscarden and Ryde and acts as vocal consultant to the monastic choirs of several
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Elizabeth Watts Soprano
Catherine Wyn-Rogers Mezzo-soprano
Elizabeth Watts won the Rosenblatt Recital Song Prize at the BBC Cardiff Singer of the World competition in 2007. In the same year she was awarded the Outstanding Young Artist Award at the Cannes MIDEM Classique Awards and the Credit: Marco Borggreve previous year the Kathleen Ferrier Award. She is currently an Artist in Residence at the Southbank Centre, and a former BBC Radio 3 New Generation Artist. Her critically acclaimed début recording of Schubert Lieder for SONY Red Seal will be followed in 2011 by a disc of Bach Cantatas for Harmonia Mundi, with whom she has an exclusive contract.
Catherine Wyn-Rogers was a Foundation Scholar at the Royal College of Music, studying with Meriel St Clair and gaining several prizes including the Dame Clara Butt award. She continued her studies with Ellis Keeler and now works with Diane Forlano.
Credit: Maura McGroarty
Miss Wyn-Rogers appears regularly with the Three Choirs Festival, the Edinburgh Festival, the Aldeburgh Festival, the BBC Proms and at the Wigmore Hall. She has performed with Slatkin, Haitink, Andrew Davis, Colin Davis, Rozhdestvensky, Mackerras, Norrington and Mehta, and her numerous recordings include Samson with Christophers, The Dream of Gerontius with Handley, Mozart's Requiem with Mackerras, Peter Grimes with Colin Davis and Graham Johnson's Complete Schubert Edition.
Current and future plans include Marzelline Fidelio; Susanna Le Nozze di Figaro and Pamina Die Zauberflöte; Alminera Rinaldo; Serpetta in Mozart La Finta Giardiniera; Mahler Symphony No 2; Mozart Requiem and Mozart Exultate Jubilate.
Catherine made her début at the Lyric Opera of Chicago in The Midsummer Marriage. She has also worked with the Scottish Opera, the Welsh National Opera, Opera North, the Semper Oper, Dresden, the Teatro Real Madrid, the Netherlands Opera, the Lyric Opera of Chicago, the Houston Grand Opera and at the Salzburg Festival. She is a regular guest of the English National Opera, the Royal Opera House, Covent Garden and with the Bavarian State Opera. Most recently, she has sung Erda and Waltraute (Goetterdammerung) under Mehta in both Valencia and Florence, and performed in the staged performances of Messiah for ENO and in Die Schweigsame Frau for the Bavarian State Opera.
Recent concerts have included Brahms Requiem; Mahler Symphony No 4; Haydn The Seasons and Richard Strauss Orchestral Lieder, as well as performances with all the BBC Orchestras, The English Concert, City of Birmingham Symphony and Hallé Orchestras. Operatic appearances have included Susanna Le Nozze di Figaro; Purcell King Arthur and Handel's L'Allegro Il Penseroso ed Il Moderato, both with the Mark Morris Dance Group, and Mandane in Thomas Arne's Artaxerxes at the Linbury Studio/Royal Opera House which prompted Richard Morrisson to write in The Times “But the pick of the bunch is Elizabeth Watts, who musters buckets of passion and thrilling coloratura as Xerxes' anguished daughter Mandane”
Future engagements include Das Rheingold in Munich, Eugene Onegin for ENO and Peter Grimes for the Royal Opera and in her début for La Scala, Milan.
Elizabeth was a chorister at Norwich Cathedral and studied archaeology at Sheffield University before studying singing at the Royal College of Music in London. From 2005-2007 she was a member of English National Opera's Young Singers Programme, where she appeared as Papagena Die Zauberflöte, Barbarina Figaro, Music and Hope in Monteverdi L'Orfeo and in Purcell King Arthur. 175th
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Christopher Purves Baritone
Mark Le Brocq Tenor
Christopher Purves studied at Kings College Cambridge before performing and recording with the rock & roll group Harvey and the Wallbangers.
Mark Le Brocq studied at Cambridge, The Royal Academy of Music and the National Opera Studio. Concert engagements include La Resurrezione, Saul, Solomon and The Fairy Queen (Gabrieli Consort), Mozart Requiem (BBC Proms), Verdi Requiem (Barbican), Beethoven Mass in C and Choral Fantasia (Queen Elizabeth Hall), Schubert Mass in E Flat (BBC Symphony Orchestra), Strauss The Donkey's Shadow (UK première - Covent Garden Festival), Oebalus Apollo et Hyancinthus (Opera Theatre Company), Agenore Il Re Pastore (Classical Opera Company), Goldschmidt Mediterranean Songs (BBC Symphony Orchestra), Handel Dixit Dominus (BBC Proms), B Minor Mass (Israel Camerata), The Dream of Gerontius (Dunblane Cathedral), Berlioz Grande Messe de Morts (St Paul's Cathedral), St Matthew Passion (English Chamber Orchestra), Mozart C Minor Mass (Scottish Chamber Orchestra), Carmina Burana (RLPO) and Messiah (Collegium Instrumentale Brugense).
In concert Christopher has Credit: Clive Barda recently appeared with Le Concert d'Astrée in a European tour of Handel's Messiah, with the OAE in Beethoven Symphony 9 and in Aci, Galatea et Polifemo and Acis & Galatea with the Gabrieli Ensemble at the Wigmore Hall. On the recital platform he has performed Schubert's Schwanengesang in Leeds and Cambridge. This season he sings Das Klagende Lied with the London Philharmonic Orchestra, Mahler 8 at the Casa da Musica in Porto and performances of Britten's Rape of Lucretia at Aldeburgh and in Amsterdam and Luxembourg. Operatic appearances include the title role in Wozzeck and Beckmesser Die Meistersinger for Welsh National Opera, Al gran sole carico d'amore for the Salzburg Festival and the title role in Falstaff at the Glyndebourne Festival. Engagements in 2010/2011 include his début with Houston Opera as Balstrode in Peter Grimes a role he will also sing at La Scala, Mr Redburn Billy Budd at De Nederlandse Opera and Méphistophélès Damnation of Faust for English National Opera. Featuring among his subsequent engagements are Nick Shadow The Rake's Progress for Opéra de Lille and Balstrode Peter Grimes at La Scala.
He has recorded Ruiz Il Trovatore, Pang Turandot and Remendado Carmen (Chandos), Samson, Saul and Judas Maccabäus (Maulbronn Festival live recordings), Purcell Hail Bright Cecilia (Gabrieli Consort/DG) and Handel Utrecht Te Deum and Boyce I Was Glad (Choir of St Paul's Cathedral/Hyperion). He appears in the videos of Ariodante and The Fairy Queen for RM Arts. Engagements in 2010/2011 include Gamekeeper/Huntsman Rusalka, Weinberg's The Portrait and Shapkin House of the Dead for Opera North, Messiah in Maulbronn and at the Barbican Centre and Carmina Burana at the Royal Albert Hall.
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Composer Notes HANDEL, GEORGE FRIDERIC, (b Halle, 23 Feb 1685; d London, 14 April 1759. English composer of German birth). He was born Georg Frederich Handel, son of a barber-surgeon who intended him for the law. At first he practised music clandestinely, but his father was encouraged to allow him to study and he became a pupil of Zachow, the principal organist in Halle. When he was 17 he was appointed organist of the Calvinist Cathedral, but a year later he left for Hamburg. There he played the violin and harpsichord in the opera house, where his Almira was given at the beginning of 1705, soon followed by his Nero. The next year he accepted an invitation to Italy, where he spent more than three years, in Florence, Rome, Naples and Venice. He had operas or other dramatic works given in all these cities and, writing many Italian cantatas, perfected his technique in setting Italian words for the human voice. In Rome he also composed some Latin church music.
at a London musical society by friends of Handel’s, then by a rival group in public; Handel prepared to put it on at the King’s Theatre, but the Bishop of London banned a stage version of a biblical work. He then put on Acis, also in response to a rival venture. The next summer he was invited to Oxford and wrote an oratorio, Athalia, for performance at the Sheldonian Theatre. Meanwhile, a second opera company (‘Opera of the Nobility’, including Senesino) had been set up in competition with Handel’s and the two competed for audience over the next four seasons before both failed. This period drew from Handel, however, such operas as Orlando and two with ballet, Ariodante and Alcina, among his finest scores. During the rest of the 1730s Handel moved between Italian opera and the English forms, oratorio, ode and the like, unsure of his future commercially and artistically. After a journey to Dublin in 1741-2, where Messiah had its première (in aid of charities), he put opera behind him and for most of the remainder of his life gave oratorio performances, mostly at the new Covent Garden theatre, usually at or close to the Lent season. The Old Testament provided the basis for most of them (Samson, Belshazzar, Joseph, Joshua, Solomon, for example), but he sometimes experimented, turning to classical mythology (Semele, Hercules) or Christian history (Theodora), with little public success. All these works, along with such earlier ones as Acis and his two Cecilian odes (to Dryden words) were performed in concert form in English. At these performances he usually played in the interval a concerto on the organ (a newly invented musical genre) or directed a concerto grosso.
He left Italy early in 1710 and went to Hanover, where he was appointed Kapellmeister to the Elector, but he at once took leave to take up an invitation to London, where his opera Rinaldo was produced early in 1711. Back in Hanover, he applied for a second leave and returned to London in autumn 1712. Four more operas followed in 1712-15, with mixed success; he also wrote music for the church and for court and was awarded a royal pension. In 1716 he may have visited Germany; it was probably the next year that he wrote the Water Music to serenade George I at a river-party on the Thames. In 1717 he entered the service of the Earl of Carnarvon (soon to be Duke of Chandos) at Edgware, near London, where he wrote 11 anthems and two dramatic works, the evergreen Acis and Galatea and Esther, for the modest band of singers and players retained there.
During his last decade he gave regular performances of Messiah, usually with about 16 singers and an orchestra of about 40, in aid of the Foundling Hospital. In 1749 he wrote a suite for wind instruments (with optional strings) for performance in Green Park to accompany the Royal Fireworks celebrating the Peace of Aix-la-Chapelle. His last oratorio, composed as he grew blind, was Jephtha (1752); The Triumph of Time and Truth (1757) is largely composed of earlier material. Handel was very economical in the reuse of his ideas; at many times in his life he also drew heavily on the music of others (though generally avoiding detection) - such ‘borrowings’ may be of anything from a brief motif to entire movements, sometimes as they stood but more often accommodated to his own style.
In 1718-19 a group of noblemen tried to put Italian opera in London on a firmer footing, and launched a company with royal patronage, the Royal Academy of Music; Handel, appointed musical director, went to Germany, visiting Dresden and poaching several singers for the Academy, which opened in April 1720. Handel’s Radamisto was the second opera and it inaugurated a noble series over the ensuing years including Ottone, Giulio Cesare, Rodelinda, Tamerlane and Admeto. Works by Bononcini (seen by some as a rival to Handel) and others were given too, with success at least equal to Handel’s, by a company with some of the finest singers in Europe, notably the castrato Senesino and the soprano Cuzzoni. But public support was variable and the financial basis insecure and in 1728 the venture collapsed. The previous year Handel, who had been appointed a composer to the Chapel Royal in 1723, had composed four anthems for the coronation of George II and had taken British naturalisation.
Handel died in 1759 and he was buried in Westminster Abbey, recognised in England and by many in Germany as the greatest composer of his day. The wide range of expression at his command is shown not only in the operas, with their rich and varied arias, but also in the form he created, the English oratorio, where it is applied to the fates of nations as well as individuals. He had a vivid sense of drama, but above all had a resource and originality of invention, to be seen in the extraordinary variety of music in the op.6 concertos, for example, in which melodic beauty, boldness and humour all play a part, that place him and J.S. Bach as the supreme masters of the Baroque era in music.
Opera remained his central interest, and with the Academy impresario, Heidegger, he hired the King’s Theatre and (after a journey to Italy and Germany to engage fresh singers) embarked on a five-year series of seasons starting in late 1729. Success was mixed. In 1732 Esther was given 175th
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City of London Sinfonia standing residencies in High Wycombe and Chatham, as well as being a regular guest at major UK festivals. The Orchestra also performs inventive Crash, Bang, Wallop family concerts at Cadogan Hall with a strong emphasis on audience engagement and participation in core musical pieces.
Entering its 40th year, City of London Sinfonia (CLS) is beginning a new era with recently appointed artistic leaders, Stephen Layton (Artistic Director & Principal Conductor) and Michael Collins (Principal Conductor) on board. CLS is one of the UK's most established and well-regarded chamber orchestras having earned a reputation for consistently high quality performances and recordings, often with a particular focus on music featuring the human voice. The Orchestra performs throughout the UK, with regular London appearances at Cadogan Hall, St Paul's Cathedral and other City of London churches and venues. It has been resident orchestra at the capital's popular festival Opera Holland Park since 2004 and holds long-
CLS's musicians work creatively in schools and community projects through the acclaimed Meet the Music programme, with a particular focus on the field of health and wellbeing, including a long standing residency at Great Ormond Street Hospital for Sick Children. They also work with corporate businesses through the Development through Music scheme offering creative approaches to professional skills training through the medium of music.
Credit: Benjamin Harte
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Messiah - Handel
PART ONE
RECIT. (Bass)
For behold, darkness shall cover the earth, and gross darkness the people; but the Lord shall arise upon thee, and His glory shall be seen upon thee, and the Gentiles shall come to thy light, and kings to the brightness of thy rising.
The prophecy and realisation of God’s plan to redeem mankind by the Coming of the Messiah. SINFONY RECIT. (Tenor)
Comfort ye, my people, saith your God; speak ye comfortably to Jerusalem; and cry unto her, that her warfare is accomplished, that her iniquity is pardon’d. The voice of him that crieth in the wilderness, prepare ye the way of the Lord; make straight in the desert a highway for our God.
AIR (Bass)
The people that walked in darkness have seen a great light; and they that dwell in the land of the shadow of death, upon them hath the light shined.
CHORUS
For unto us a child is born, unto us a son is given, and the government shall be upon His shoulder; and His name shall be called Wonderful, Counsellor, the Mighty God, the Everlasting Father, the Prince of Peace.
AIR (Tenor)
Every valley shall be exalted, and every mountain and hill made low, the crooked straight and the rough places plain.
CHORUS
PIFA (PASTORAL SYMPHONY)
And the glory of the Lord shall be revealed, and all flesh shall see it together; for the mouth of the Lord hath spoken it.
RECIT. (Soprano)
There were shepherds abiding in the field, keeping watch over their flock by night.
RECIT. (Bass)
Thus saith the Lord of Hosts; Yet once a little while and I will shake the heavens and the earth, the sea and the dry land, and I will shake all nations; and the desire of all nations shall come. The Lord, whom ye seek, shall suddenly come to his temple, even the messenger of the covenant, whom ye delight in: Behold He shall come, saith the Lord of Hosts.
RECIT. (Soprano)
And lo! the angel of the Lord came upon them, and the glory of the Lord shone round about them, and they were sore afraid.
RECIT. (Soprano)
And the angel said unto them, Fear not; for behold I bring you good tidings of great joy, which shall be to all people; for unto you is born this day in the city of David, a Saviour, which is Christ the Lord.
AIR (Alto)
But who may abide the day of His coming? and who shall stand when he appeareth? For He is like a refiner’s fire.
CHORUS
RECIT. (Soprano)
RECIT. (Alto)
CHORUS
AIR (Alto) and CHORUS
AIR (Soprano)
And He shall purify the sons of Levi, that they may offer unto the Lord an offering in righteousness.
And suddenly there was with the angel a multitude of the heavenly host, praising God, and saying:
Behold! a Virgin shall conceive and bear a Son, and shall call His name Emmanuel, ‘God with us.’
Glory to God in the highest, and peace on earth, goodwill towards men.
O thou that tellest good tidings to Zion, get thee up into the high mountain; O thou that tellest good tidings to Jerusalem, lift up thy voice with strength; lift it up, be not afraid, say unto the cities of Judah, Behold your God. Arise, shine, for thy light is come, and the glory of the Lord is risen upon thee. 175th
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Rejoice, greatly, O daughter of Zion; Shout, O daughter of Jerusalem! behold thy king cometh unto thee! He is the righteous Saviour, and He shall speak peace unto the heathen. Continued on page 11 10
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RECIT. (Alto)
Messiah - Handel
RECIT. (Tenor)
All they that see Him laugh Him to scorn; they shoot out their lips, and shake their heads, saying:
Then shall the eyes of the blind be open’d and the ears of the deaf unstopped; then shall the lame man leap as a hart, and the tongue of the dumb shall sing.
CHORUS
AIR (Alto)
He trusted in God that He would deliver Him; let Him deliver Him, if He delight in Him.
He shall feed His flock like a shepherd; and He shall gather the lambs with His arm, and carry them in His bosom, and gently lead those that are with young.
RECIT. (Tenor)
Thy rebuke hath broken His heart; He is full of heaviness. He looked for some to have pity on Him, but there was no man, neither found He any to comfort Him.
AIR (Soprano)
Come unto Him, all ye that labour, and are heavy laden, and He will give you rest and take His yoke upon you, and learn of Him, for He is meek and lowly of heart, and ye shall find rest unto your souls.
AIR (Tenor)
Behold, and see if there be any sorrow like unto His sorrow.
CHORUS
His yoke is easy and His burthen is light.
RECIT. (Tenor)
INTERVAL TWENTY MINUTES
He was cut off out of the land of the living; for the transgressions of Thy people was He stricken.
AIR (Tenor)
PART TWO
But Thou didst not leave His soul in hell; nor didst Thou suffer Thy Holy One to see corruption.
The accomplishment of redemption by the sacrifice of Jesus, mankind’s rejection of the offer, and mankind’s utter defeat.
CHORUS
Lift up your heads, O ye gates, and be ye lift up, ye everlasting doors, and the King of Glory shall come in. Who is this King of Glory? The Lord strong and mighty, strong and mighty in battle. Lift up your heads, O ye gates, and be ye lift up ye everlasting doors, and the King of Glory shall come in. Who is this King of Glory? The Lord of Hosts, He is the King of Glory.
CHORUS
Behold the Lamb of God that taketh away the sin of the world.
AIR (Alto)
He was despised and rejected of men; a man of sorrows and acquainted with grief. He gave His back to the smiters and His cheeks to them that plucked off the hair; He hid not His face from shame and spitting.
RECIT. (Alto)
Thou art gone up on high, thou hast led captivity captive, and received gifts for men; Yea, even for thine enemies, that the Lord God might dwell among them.
CHORUS
Surely He hath borne our griefs, and carried our sorrows! He was wounded for our transgressions; He was bruised for our iniquities; the chastisement of our peace was upon Him.
CHORUS
The Lord gave the word, great was the company of the preachers.
CHORUS
And with His stripes we are healed.
AIR (Soprano)
How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings of good things.
CHORUS
All we like sheep have gone astray; we have turned every one to his own way. And the Lord hath laid on him the iniquity of us all. 175th
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continued
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Messiah - Handel CHORUS
RECIT. (Bass)
Their sound is gone out into all lands, and their words unto the ends of the world.
Behold! I tell you a mystery: we shall not all sleep; but we shall all be changed, in a moment, in the twinkling of an eye, at the last trumpet.
AIR (Bass)
Why do the nations so furiously rage together, and why do the people imagine a vain thing? The kings of the earth rise up, and the rulers take counsels together against the Lord, and His Anointed.
AIR (Bass)
CHORUS
AIR (Soprano)
The trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed.
If God be for us, who can be against us? Who shall lay anything to the charge of God’s elect? It is God that justifieth, Who is he that condemneth? It is Christ that died, Yea, rather, that is risen again, Who is at the right hand of God, Who makes intercession for us.
Let us break their bonds asunder, and cast away their yokes from us.
RECIT. (Tenor)
He that dwelleth in heaven shall laugh them to scorn; the Lord shall have them in derision.
AIR (Tenor)
CHORUS
Thou shalt break them with a rod of iron; Thou shalt dash them in pieces like a potter’s vessel.
Worthy is the Lamb that was slain, and hath redeemed us to God by His blood, to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing. Blessing and honour, glory and power be unto Him that sitteth upon the throne, and unto the Lamb, for ever and ever.
CHORUS
Hallelujah! for the Lord God Omnipotent reigneth. The kingdom of this world is become the kingdom of our Lord, and of His Christ; and He shall reign for ever and ever. King of Kings, and Lord of Lords. Hallelujah!
CHORUS Amen.
PART THREE
A hymn of thanksgiving for the final overthrow of death. AIR (Soprano)
I know that my Redeemer liveth, and that He shall stand at the latter day upon the earth; and though worms destroy this body, yet in my flesh shall I see God. For now is Christ risen from the dead, the first-fruits of them that sleep.
CHORUS
Since by man came death. By man came also the resurrection of the dead. For as in Adam all die. Even so in Christ shall all be made alive.
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Recordings
NEW RELEASE - MESSIAH: £15.00
AND THE GLORY
A History in Commemoration of the 175th anniversary of Huddersfield Choral Society The book can be obtained from: David Lockwood Telephone 01484 666827 E-mail: David.lockwood@huddersfieldchoral.com or via the web site at www.huddersfieldchoral.com
THE CRUCIFIXION: £12.00 Recordings can be obtained from:
David Lockwood (Telephone 01484 666827) E-mail: David.lockwood@huddersfieldchoral.com or via the web site at www.huddersfieldchoral.com 175th
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£15 plus £3.50 p&p 13
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Future Concerts Saturday 18 June 2011
175th Anniversary Celebration Concert Huddersfield Town Hall
THE DREAM OF GERONTIUS - Elgar Conductor Martyn Brabbins
Tickets now available via Kirklees Box Office Tel:01484 223200 Saturday 1 October 2011 Liverpool Anglican Cathedral Mahler - SYMPHONY No 8 Conductor Vasily Petrenko
Friday 9 December 2011 Huddersfield Town Hall CHRISTMAS CONCERT Tuesday 20 December 2011 Huddersfield Town Hall Handel - MESSIAH Northern Sinfonia Grant Llewellyn
Friday 4 November 2011 - Subscribers' Concert Huddersfield Town Hall Beethoven - MISSA SOLEMNIS Royal Liverpool Philharmonic Orchestra Vasily Petrenko - conductor
Wednesday 21 December 2011 - Subscribers' Concert Huddersfield Town Hall Handel - MESSIAH Northern Sinfonia Grant Llewellyn
Saturday 5 November 2011 Philharmonic Hall Liverpool Beethoven - MISSA SOLEMNIS Royal Liverpool Philharmonic Orchestra Vasily Petrenko - conductor
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175th
Anniversary Season
Choir Members SOPRANO: Louise Alp Margaret Atkinson** Susan Baines Sheila Baker** Jill Bamford Esme Barber Lydia Bayliss Ruth Beattie Charmaine Beaumont** Jill Benn Patricia Berry* Janet Booth Elly Bosworth Elizabeth Boyle Dorothy Bradbury Christine Broadbent Louise Brown Sarah Brown Colleen Brown Derrianne Byrne Mary Cadwaladr Barbara Carroll Joanna Cole Gwyneth Cooper Rosemary Cooper Eleanor Davies Jenny Ellis Sue Ellis Trish Ellis Lindsey Fawcett Linda Fellows Sheila Garside* Katherine Hall Julia Harvey* Margaret Henry** Hilary Hibbin Kate Hyland-Collier Caroline Jones Georgia Katsiroumpa Helen Kettlewell Emma Kilroy Yuki Kondo Fiona Law Elaine Lee* Anne Lockwood
175th
Liz Marshall Helen Martin Pamela Masih Anjuli Mehta Wendy Moores Cath Murgatroyd Megan Nelson Jean Parker* Carol Randerson* Christine Roberts Katrina Robinson-Brown Jane Sargent* Hannah Saxon Sue Shepherd Thelma Simpson Debbie Skipper Susan Smith Doreen Smurthwaite Nan Steinitz* Catherine Stephenson Ruth Stones* Marilyn Sutcliffe Sarah Wickham Denise Wilkes Ann Wilkes Glynis Wilkinson Susan Wilkinson* Mary Wilson ALTO: Ruth Aldred Helen Ashley-Taylor Anna Bailey Thelma Bateman Ruth Bostock Ann Boswell Barbara Brook* Ken Brown Rowena Burton Sandy Cole** Margaret Collison Jean Collison* Cynthia Daniel** Janet Dransfield* Christine Durham** Winifred Ellis*
Janet Gabanski Julie Hale Gaynor Haliday Richard Hallas Andrea Hindson Pam Hird** Jane Hobson* Sue Hornby Susan Kirby Hilary Laurie Sylvia McGee** Hilary McLean Elizabeth Mortimer Kath Northern* Marjorie Norton* Audrey O'Hara Alison Owen - Morley Jayne Preston** Frances Priestnall Caroline Robinson Jennifer Sanderson Susan Sandford Katie Saunders Vicki Scurrah Eileen Sheller Suzanne Smelt Alexandra Soden Marjorie Swift** Pam Sykes Vera Thompson Anna Thompson Lettice Thomson* Susan Turnbull Sandra Twitchett Alex Vickers Michelle Walker Jean Walters* Rebekah Wheeler Sue Wilman** Jenni Wohlman Glenda Wray TENOR: Michael Benn* Jonathan Brigg Stephen Brook*
Anniversary Season
15
Tom Chilton David Croft** Malcolm Fairless* Chris Fawcett Graham Fearnley* Jeremy Garside Ronald Gee David Gee Malcolm Hinchliffe Roy Hirst Norman Hirst Martin Jenkins Martin Kettlewell Gregory Knaggs Chris Knight Alex Kyle Timothy Lewis** David Lunn Richard Myhill Arthur Quarmby* Philip Ratcliffe Stuart Rudd Gerald Savage* Philip Shergold Ian Smith Alan Stephens Charles R. Sykes David Vickers Harvey Walsh David Ward Michael Widdall Tim Wilkes BASS: Richard Ainley Christopher Arnold** David Atkinson James Beattie Gareth Beaumont** John Brown* David Burgess Peter Chase Mike Corney Jim Cowell Martyn Crossley* James Curran**
175th
Ian Daniel* Peter Dawson P.J. Dodd Granville Dransfield* Raymond Ellis Daniel Fields John Harman David Hartley*** David Hoddle Dennis Holmes Keith Horner William Kirby Martin Luke Kenton Mann Andrew Marsland John McGahey Barrie Mortimer Robin Owen - Morley Angus Pogson** Geoffrey Priestley David Robinson Howard Sandford John Sandland* Graham Smelt Terry Smurthwaite Paul Spencer Jim Stafford* Alan Stirk Neil Stones Mark Taylor Richard Thompson Lyndon Wilkinson** Barrie Williams Conrad Winterburn**
* Holder of 25 year badge ** Holder of 40 year badge *** Holder of 50 year badge
Anniversary Season
Huddersfield Choral Society Conductor Laureate . . . . . . . . . . . . . . . . . . . . MARTYN BRABBINS
F R I E N D S
Chorus Master . . . . . . . . . . . . . . . . . . . . . . . . . . JOSEPH CULLEN Deputy Chorus Master . . . . . . . . . . . . . . . . . DARIUS BATTIWALLA
‘The Friends of the Huddersfield Choral Society’ was established in 1995 and provides a link with The Society, support of The Society’s activities and benefits for its members.
Accompanist . . . . . . . . . . . . . . . . . . . . . . . . . . . .DANIEL GORDON Deputy Accompanist . . . . . . . . . . . . . . . . . .MALCOLM HINCHLIFFE Agent . . . . . . . . . . . . . . . . PATRICK GARVEY (Tel 01904 621222)
OFFICIALS AND COMMITTEE
BENEFITS INCLUDE:
President . . . . . . . . . . . . . . . . .CONRAD WINTERBURN
• Priority booking for Public Concerts at the Town Hall (limited in the case of Public Messiah tickets).
Vice President . . . . . . . . . . . . . . . .JENNY LOCKWOOD General Secretary . . . . . . . . . . . . . . . . . JIM COWELL Treasurer . . . . . . . . . . . . . . . . . . . . . . . . ADRIAN LEE Choir Secretary . . . . . . . . . . . . . . . . DAVID BURGESS Subscribers’ Secretary . . . . . . . . . . . . . . JULIE HALE Sponsorship Secretary . . . . . . . . . . . . .TONY BOOTH Programme Officer . . . . . . . . . . . . DAVID LOCKWOOD Recruitment Officer . . . . . . . . . . . . GAYNOR HALIDAY Publicity Officer . . . . . . . . . . . . . . . . SARAH WICKHAM Joint Librarian . . . . . . . . . . . . . . HOWARD SANDFORD Joint Librarian . . . . . . . . . . . . . . . . SUSAN SANDFORD Associate Members’ Secretary . . . . . . JEAN PARKER Archivist . . . . . . . . . . . . . . . . . . MALCOLM HINCHLIFFE Chairman 175 Committee . . . . . . . JENNY LOCKWOOD
• Subscriber Friends who are unable to attend the ballot given priority in the subsequent allocation of tickets. • Priority on returned tickets for subscription concerts. • Regular Newsletters covering the life of The Society. • Prize Draws. • Discounted recordings of the Huddersfield Choral Society.
Members’ Representatives Janet Booth David Croft Hilary McLean Barrie Mortimer Jane Sargent Vicki Scurrah Mark A Taylor Sue Turnbull
The cost of membership of The Friends is £18 joint membership, £12 single membership. Further details and an application form can be obtained from:
Subscribers’ Representatives Helen Marshall Cynthia Pratt
Cynthia Pratt Chapel House, Slant Gate, Highburton, Huddersfield HD8 0QN Telephone: 01484 600352
Honorary Life Members Mr. R. Barraclough DL Mr. H. Clough Mr. D. Hartley Mr. J. D. Haywood DL Mr. K. Rothery Mr. G. Slater
Email: cynthiaprattis@hotmail.com
HUDDERSFIELD CHORAL SOCIETY PO Box B30, 35 Westgate, Huddersfield HD1 1PA Telephone: 01484 536968 www.huddersfieldchoral.com 175th
Anniversary Season
16
175th
Anniversary Season
2010 - 2011 Season
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