MOZART'S REQUIEM Thursday 9 November 2017 7.30pm | Amaryllis Fleming Concert Hall Michael Rosewell conductor Stephen Cleobury conductor* Arina Lazgiian piano Josephine Goddard soprano | Beth Moxon alto Joel Williams tenor | Timothy Edlin bass Ana Teresa de Braga e Alves viola | Marmen Quartet RCM Symphony Orchestra and Chorus Choir of King’s College, Cambridge*
Sir David Willcocks CBE MC FRCM Director of the Royal College of Music (1974–84). Sir David Willcocks was Director of the Royal College of Music from 1974 until 1984 and presided over a golden period in the RCM’s history. Before his arrival at the RCM he was already well known for his association with the Choir of King's College, Cambridge, which he had directed from 1957. As a choral conductor, organist, composer and administrator, he was an enormous musical influence on the RCM and he was also responsible for the Centenary Appeal, which made possible the building of the Britten Theatre. It was a special privilege to be photographed together with him at the President’s Visit in 2005, in the company of the two intervening RCM Directors, Michael Gough Matthews and Dame Janet Ritterman. Sir David is remembered in the RCM community with great affection; his warm yet unassuming manner and his colossal musical achievements remain to this day a true inspiration for us all. Professor Colin Lawson CBE Director of the Royal College of Music
MOZART'S REQUIEM Thursday 9 November 2017, 7.30pm | Amaryllis Fleming Concert Hall In memory of Sir David Willcocks CBE MC FRCM, Director of the Royal College of Music (1974–84). Michael Rosewell conductor Stephen Cleobury conductor* Arina Lazgiian piano Josephine Goddard soprano | Beth Moxon alto Joel Williams tenor | Timothy Edlin bass Ana Teresa de Braga e Alves viola | Marmen Quartet RCM Symphony Orchestra and Chorus | Neil Ferris chorus master Choir of King’s College, Cambridge* Mozart (1756–1791)
Ave verum corpus in D major K 618*
(5’)
Mozart
Requiem K 626 i Introit: Requiem aeternam ii Kyrie iii Sequence: i Dies irae iv Sequence: ii Tuba mirum v Sequence: iii Rex tremendae vi Sequence: iv Recordare vii Sequence: v Confutatis maledictis viii Sequence: vi Lacrimosa ix Offertory: i Domine Jesu Christe x Offertory: ii Hostias xi Offertory: iii Quam olim Abrahae xii Sanctus xiii Benedictus xiv Agnus Dei xv Communion: Lux aeterna xvi Communion: Cum sanctis
(55’)
Howells (1892–1983)
Elegy op 15
(11’)
Saint-Saëns (1835–1921)
Piano Concerto no 2 in G minor op 22 i Andante sostenuto ii Allegro scherzando iii Presto
(23’)
INTERVAL
This performance will be live streamed at www.rcm.ac.uk/live
Mozart Ave verum corpus in D major K 618 The Ave verum corpus is Mozart’s last completed piece of sacred music. The manuscript is dated 17 June 1791 and was presumably first performed on the feast of Corpus Christi in the spa town of Baden, where the composer’s heavily pregnant wife Constanze had gone to take the waters. It is scored for four-part choir with accompanying strings and organ; the instruments double the voices almost throughout and the only dynamic marking is sotto voce at the opening of the work. Such economy of means may have been a concession to the amateur status of the choir in Baden; nevertheless it masks the subtle chromaticism of the work and the churning imitative writing of the closing petition (‘Esto nobis …’). It’s not difficult to see the Ave verum, which coincides with Mozart’s renewed interest in sacred music towards the end of his life, as pointing towards the sublime simplicity of much of the Requiem which was so soon to occupy him. Mozart Requiem K 626 Mozart’s final masterpiece is surrounded by mystery: from its anonymous commission by a ‘Walter Mitty’ type in the habit of passing off the work of others as his own to the unfinished state of the manuscript, half completed at the composer’s death at the age of only 35 on 5 December 1791. Constanze was left with a seven-year-old, a new-born and a heinous financial situation. She needed the Requiem finished in order to collect the remainder of the handsome fee it commanded and eventually handed the fragmentary score to Franz Xaver Süssmayr, a colleague and amanuensis of Mozart’s who had accompanied him to Prague to assist on the coronation production of La clemenza di Tito that summer but who was often the butt of his master’s earthy humour. Süssmayr found himself with a score that was incomplete inasmuch as the last five movements and the concluding section of the Lacrimosa were missing but that was also unorchestrated almost throughout. Fortunately Süssmayr’s handwriting was noticeably similar to Mozart’s; he copied out as much as Mozart had written – another former student had entered an aborted completion directly into the manuscript until his nerve failed him – before orchestrating the Dies irae Sequence and the Offertory, where Mozart had written the four voices and continuo bass. He continued the Lacrimosa, concluding with a grand plagal cadence on the word ‘Amen’, and repeated the music of the Introit and Kyrie to close the work, acting, so he claimed, on Mozart’s instructions. He also composed anew the Sanctus, Benedictus and Agnus Dei. Commentators since the 19th century have found Süssmayr’s technique lacking, unsuitable to be placed in proximity with Mozart’s music. It is true that some of his work is heavy-handed and error-strewn, although he claimed not only that he had worked from Mozart’s sketches but that he had discussed the work and its continuation with the dying composer. The counterblast to those who wish the work stripped of Süssmayr’s incursions – and there is a thriving ‘cottage industry’ in
completions claiming to conform better to Mozart’s style – is that Süssmayr was undoubtedly there at the foot of Mozart’s deathbed and would indeed have spent much of his time in the winter of 1791 at the Mozarts’ house, with the aura of the Requiem in the air. Whatever the truth may be (and we will almost certainly never know), the ‘traditional’ version of the Requiem, as completed by Süssmayr early in 1792 and with all its perceived faults, has without doubt the strongest possible claim to authenticity. Howells Elegy op 15 Herbert Howells was connected with the Royal College of Music for much of his life. He studied at the institution from 1912 with Stanford, Parry and Charles Wood, and returned as a member of staff in 1920, remaining for almost half a century. While studying he became friends with his viola-playing fellow student Francis Purcell Warren (nicknamed ‘Bunny’), who was to perish in the Great War. Shortly afterwards, in memory of Purcell Warren, he composed the Elegy. ‘It is not in the least “heroic”,’ he wrote in a note for the work’s first performance at the Royal Albert Hall. ‘It was entirely dominated (in my mind) by the personality of my friend.’ The viola spins its mournful melody to a string-orchestral accompaniment, and in addition a string quartet is usually drawn from the front desks. In exploiting the forces spatially in this manner, as well as in the modal cast of the music, Howells recalls the textures of Vaughan Williams’s Tallis Fantasia, of which he had witnessed the premiere at Gloucester Cathedral in 1910. Saint-Saëns Piano Concerto no 2 in G minor op 22 In many ways, the finest description of Saint-Saëns’s most popular piano concerto was given by the pianist Zygmunt Stojowski (1870–1946), who averred that the work ‘began with Bach and ended with Offenbach’. In that quip he put his finger on the concerto’s progression from its opening austerity and slow tempo, through its central scherzo, to the fiery tarantella with which it closes. Bach is truly the guiding light at the opening, as prelude-like figures intertwine over tolling octave Gs in the left hand; it is worth noting, also, that Saint-Saëns was one of the finest organists of his day and a master of improvisation, hence the clear Bach influence and the ad libitum feel of the concerto’s opening. The main theme of the movement is one rejected from a putative choral work by his pupil Fauré, which Saint-Saëns nevertheless found a potent inspiration. The central movement is of a Nutcracker lightness, its opening timpani tattoo later taken up by the piano, while the finale is a riot of virtuosity. The concerto was premiered with the composer at the keyboard and the great Russian pianist Anton Rubinstein on the podium, so the fearsome piano-writing may simply have been Saint-Saëns showing the Russians that the French were easily up to playing them at their own game! © David Threasher (RCM Doctoral Programme, Year 2) David Threasher is a music journalist, writing for magazines such as Gramophone and The Strad, and for the BBC Proms and performing groups. He is undertaking doctoral work at the RCM on approaches to completions of Mozart’s Requiem.
Ave verum corpus Ave verum corpus, Natum de Maria virgine; Vere passum immolatum In crucis pro homine. Cuius latus perforatum Unda fluxit et sanguine. Esto nobis praegustatum In mortis examine.
Hail, true body, Born of the virgin Mary; Who has truly suffered and was sacrificed on the Cross for man. Whose side was pierced pouring out water and blood. Be a foretaste for us during our ordeal of death.
Requiem K 626 Requiem aeternam 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.
Grant them eternal rest, Lord, and let perpetual light shine upon them. You are praised, God, in Zion and a vow shall be paid to you in Jerusalem. Hear my prayer, to you all flesh shall come. Grant them eternal rest, Lord, and let perpetual light shine upon them.
Kyrie Kyrie eleison. Christe eleison. Kyrie eleison.
Lord, have mercy upon us. Christ, have mercy upon us. Lord, have mercy upon us.
Dies irae Dies irae, dies illa, solvet saeclum in favilla, teste David cum Sibylla. Quantus tremor est futurus, qauando judex est venturus, cuncta stricte discussurus!
Day of wrath, day of anger will consume the world in ashes, as foretold by David and Sibyl. How great will be the terror when the Judge will come to examine all things closely!
Tuba mirum Tuba miurm spargens sonum per sepulcra regionum, coget omnes ante thronum. Mors stupebit et natura, cum resurget creatura, judicanti responsura. Liber scriptus proferetur, in quo totum continetur, unde mundus judecetur. Judex ergo sum sedebit, quidquid latet apparebit; nil inultum remanebit. Quid sum miser tunc dicturus? quem patronum rogaturus, cum vix Justus sit securus?
The trumpet will send it wondrous sound throughout the graves in every land, and will summon all before the throne. Death and nature will stand amazed when all creation rises again to answer the Judgement. A book will be brought forth in which all will be written, by which the world shall be judged. So when the Judge takes his seat, whatever is hidden will be revealed, nothing will remain unavenged. What shall a wretch like me, say? Who shall plead for me, when scarcely the righteous are safe?
Rex tremendae Rex tremendae majestatis, qui salvandos salvas gratis, salva me, fons pietatis!
King of tremendous majesty, who freely saves those worthy, save me, source of mercy!
Recordare Recordare Jesu pie, quod sum causa tuae viae ne me perdas illa die. Quaerens me sedisti lassus; redemisti crucem passus; tantus labor non sit cassus. Juste judex ultionis, donum fac remissionis ante diem rationis. Ingemisco tamquam reus, cupla rubet vultus meus; supplicant parce, Deus. Qui Mariam absolvisti et latronem exaudisti mihi quoque spem dedisti. Preces meae non sunt dignae; sed tu bonus fac benigne, ne perenni cremer igne. Inter oves locum, praesta et ab haedis me sequestra, statuens in parte dextra.
Remember, merciful Jesus, My salvation caused your suffering; do not forsake me on that day. Faint and weary you have sought me; redeemed me by suffering on the cross; let not such great suffering be in vain. Righteous Judge of vengeance, grant me the gift of redemption before the day of reckoning. I moan as one who is guilty, and my face blushes with guilt. Spare the suppliant before you, Lord. You who absolved Mary, and listened to the thief has given me hope, too. My prayers are unworthy, but you, good Lord, show mercy, and rescue me from eternal fire. Give me a place among the sheep, and separate me from the goats, placing me at your right hand.
Confutatis maledictis Confutatis maledictis Flammis acribus addictis Voca me cum benedictis. Oro supplex et acclinis cor contritum quais cinis, gere curam mei finis.
When the damned are confounded and consigned to keen flames, call me among the blessed. I pray, kneeling in supplication, my heart as contrite as ashes, Help me in my final condition.
Lacrimosa Lacrimosa dies illa, qua resurget ex favilla judicandus homo reus. Huic ergo parce, Deus, pie Jesu Domine: dona eis requiem. Amen
On that day of weeping again from the ashes will arise all humanity to be judged. Spare us by your mercy, Lord; gentle Lord Jesus; grant them rest. Amen
Domine Jesu Christe Domine Jesu Christe, Rex gloriae, libera animas omnium fidelium defunctorum de poenis inferni et de profundo lacu. Libera eas de ore leonis, ne absorbeat eas tartarus, ne cadant in obscurum; Sed signifier sanctus Michael repraesentet eas in lucem sanctam; quam olim Abrahae promisisti, et semini ejus.
Lord, Jesus Christ, King of Glory, deliver the souls of all the faithful departed from the pains of hell and from the deep pit. Deliver them from the lion’s mouth, that hell may not swallow them up, and that they may not fall into darkness. But let Michael the holy standard-bearer bring them into the holy light, which was promised to Abraham and his descendants.
Hostias Hostias et preces tibi, Domine, laudis offerimus. Tu suscipe pro animabus illis, quarum hodie memoriam facimus; face as, Domine, de moret transire ad vitam,
Sacrifices and prayers we offer to you, Lord. Receive them on behalf of those souls we remember this day. Lord, let them pass from death to life,
Quam olim Abrahae Quam olim Abrahae promisisti, et semini ejus.
Which you promised to Abraham and his descendants.
Sanctus Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth! Pleni sunt coeli et terra Gloria tua! Hosanna in excelsis.
Holy, holy, holy Lord God of Sabaoth. Heaven and earth are full of your Glory. Hosanna in the highest.
Benedictus Benedictus, qui venit in nomine Domini. Hosanna in excelsis.
Blessed is he that cometh in the name of the Lord. Hosanna in the highest.
Agnus Dei Agnus Dei, qui tollis peccata mundi, dona eis requiem. Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam.
Lamb of God, who takes away the sins of the world, grant them rest. Lamb of God, who takes away the sins of the world, grant them everlasting rest.
Lux aeterna Lux aeterna, luceat eis, Domine, cum sanctis tuis in aeternam, quia pius es. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.
Let everlasting light shine upon them, Lord, with your saints forever; Because you are merciful. Grant them eternal rest, Lord, and let everlasting light shine upon them.
Cum sanctis Cum sanctis tuis in aeternum, quia pius es.
As your saints forever, Because you are merciful.
Michael Rosewell Michael Rosewell began his career as a member of the Vienna State Opera music staff. In Vienna he assisted Claudio Abbado and other leading opera conductors and directors, and worked closely with Pavarotti, Domingo, Gruberova, Freni, Carreras, Alfredo Kraus and Cappuccilli amongst others. He went on to take up the position of Senior Staff Conductor at the Nationaltheater Mannheim and conducted extensively throughout Germany. In Britain, he has conducted at the Royal Opera House, Covent Garden, English National Opera, Kent Opera and English Touring Opera, and at the Aldeburgh, Bath, Perth, Buxton, Zagreb and Montepulciano festivals. In the concert hall and recording studio, Michael has conducted, amongst others, the RTÉ National Symphony Orchestra, the Orchestra of Scottish Opera, the Staatsorchester Rheinische Philharmonie, the Nationalorchester Mannheim, the Staatsorchester Wiesbaden, the Stuttgarter Kammerorchester, the London Mozart Players, the BT Scottish Ensemble and the Aurora Orchestra. He has broadcast for Radio France Musique, RTÉ Dublin and Süddeutsche Rundfunk, and recorded for Linn and Decca records. As a pianist, he has toured with the Vienna Philharmonic and as a harpsichordist, performed with such eminent specialist conductors as Niklaus Harnoncourt, Jean-Claude Malgloire and Marcello Panni. Michael is Director of Opera at the Royal College of Music and Music Director of ETO, the UK’s leading, Olivier award-winning opera touring company. Stephen Cleobury Stephen Cleobury has been Organist, Director of Music and a Fellow of King’s College, Cambridge since 1982. He writes: ‘I am delighted to be taking part in this concert which is commemorating Sir David Willcocks. I first met David when I was Organ Scholar at St John’s, Cambridge. In those years he made me most welcome in the organ loft at King’s, and I accompanied the CUMS Chorus under his direction. I moved to London to work at Westminster Abbey and then Westminster Cathedral at about the time that David became Director of the RCM and often took part in College and Bach Choir concerts. I also did some ‘deputy’ work as a teacher at the College, and was later honoured to become a Fellow. David was a constant support to me at King’s, even though I confess to having felt somewhat daunted by his attending my first evensong! What I learned from him was invaluable, and I shall for ever be grateful.’
Arina Lazgiian Russian pianist Arina Lazgiian was born in Krasnoyarsk in 1991. From 2010 to 2015 she studied at the Moscow Conservatory under the renowned pianist Professor Vera Gornostaeva. She is currently studying at the Royal College of Music for a Masters of Performance with Professor Vanessa Latarche. Arina is a Future of Russia Scholar. Since arriving at the RCM, she has won the RCM Concerto Competition 2017, playing Saint-Saëns’ Concerto no 2. Arina also won the Hopkinson Gold Medal for piano this year. Josephine Goddard Josephine studies at the Royal College of Music International Opera School with Dinah Harris. She is an ABRSM scholar having previously been supported by a Douglas and Hilda Simmonds Award, a Help Musicians UK Postgraduate Award, the Vivien and Peter Beckwith Fund and the Josephine Baker Trust. Josephine’s recent successes include winning a Help Musicians UK Licette Award and making her solo debut at the Wigmore Hall. Last season she was an Alvarez Young Artist at Garsington Festival Opera. Recent performances include solos in Elijah for the Leith Hill Music Festival. She has taken part in masterclasses with Sarah Connolly and Felicity Lott. Operatic roles include Adolfo (Faramondo, London Handel Festival), Cretan Woman (Idomeneo, Garsington Opera cover) and Amor (L’incoronazione di Poppea, English Touring Opera cover). Upcoming events include the role of the Forester's Wife and Owl in The Cunning Little Vixen at the RCM. Beth Moxon Beth is studying for an Artist Diploma at the Royal College of Music International Opera School with Dinah Harris. Beth is an H F Music Award Holder supported by an Elsie Gertrude Martin scholarship and is also generously supported by the Vivien and Peter Beckwith Fund, the Josephine Baker Trust and Commander and the late Mrs Vigrass. Beth has taken part in masterclasses with Sir Thomas Allen, Ann Murray and Rogers Vignoles at the RCM and with Brigitte Fassbaender at Wigmore Hall. Operatic roles include Rosimonda (Faramondo, London Handel Festival), Hermia (A Midsummer Night's Dream, Opera in the City), Nancy (Albert Herring, Hampstead Garden Opera), as well as appearing as chorus in the world premiere of Brett Dean's Hamlet, La traviata and La clemenza di Tito (Glyndebourne Festival Opera 2017). Oratorio engagements include Mendelssohn's Elijah and Verdi's Requiem. Upcoming events include the roles of Lapak, Woodpecker and Grasshopper in The Cunning Little Vixen at the RCM.
Joel Williams Joel Williams is training at the Royal College of Music International Opera School with Ben Johnson. He is an H F Music Award Holder supported by the Royal College of Music, and is grateful for the additional support of the Josephine Baker Trust and the Countess of Munster Musical Trust. Joel previously studied History at King's College, Cambridge where he was a Choral Scholar. Joel's recent roles include Oronte (Alcina, Ryedale Festival), Witch (Hänsel und Gretel), Count Belfiore (La finta giardiniera), Mayor (Albert Herring, RCMIOS), Don Ottavio (Don Giovanni, Opera Holland Park) and Le Ruisseau (Les fêtes d’Hebé, Opéra Bastille). Timothy Edlin Timothy Edlin is studying for an Artist Diploma with Russell Smythe at the Royal College of Music International Opera School, having recently graduated with a Master of Music in vocal studies from the same institution. He is generously supported in his studies as a Janet and Michael Levesley Scholar, supported by a Derek Butler Scholarship and the Josephine Baker Trust. Timothy started singing as a chorister at Canterbury Cathedral. Now pursuing a solo career, he has experience in the genres of opera, song and oratorio. Recent engagements have included oratorio and solo works with orchestra by Bach, Beethoven, Fauré, Gounod, Handel, Jenkins, Mozart, Mussorgsky and SaintSaëns, as well as operatic roles from works by Mozart, Handel, Poulenc, Weir and several smaller contemporary opera projects. Ana Teresa de Braga e Alves In 2012, Ana was admitted to the Royal College of Music where she completed a Bachelor of Music degree. Currently she is pursuing a Masters in Performance at the RCM studying with Andriy Viytovych. She is an RCM Scholar supported by the Hilary Fabian Award, the George Thornton Award, a Help Musicians UK Postgraduate Award and the St Marylebone Education Foundation Scholarship. Ana is a founder member of the Arcos Quartet and has been awarded various prizes and residencies both in France and in England. She has taken part in masterclasses and performances with major conductors such Sir Roger Norrington, Bernard Haitink and Vladimir Jurowski. She has also performed with the Orquestra XXI and won prizes in Portuguese national competitions. At the RCM, Ana was selected to take part in the English National Opera and the Royal Philharmonic Orchestra schemes.
Marmen Quartet The Marmen Quartet is the current holder of Music in the Round's 'Bridge' scheme and winner of the Royal Philharmonic Society Albert and Eugenie Frost Prize. The Quartet also feature as a Selected Artist with Making Music for 2017 and is Ensemble in Residence with the Salomon Smith Chamber Music Society. The Quartet was founded at the Royal College of Music in 2013. It consists of musicians Johannes Marmen, Ricky Gore, Bryony Gibson-Cornish and Steffan Morris. The Quartet has enjoyed masterclasses with Shmuel Ashkenazi, Rainer Schmidt, Eberhard Feltz and Johannes Meissl. The Quartet study regularly with Oliver Wille at the Hochschule für Musik, Theater und Medien in Hannover and at Birmingham Conservatoire, where it is Associate Ensemble. This year Simon Rowland-Jones will mentor the group through an Artist Diploma course at the RCM. Recent highlights include collaborations with Ensemble 360 and the Sacconi Quartet, and live appearances on Swedish Radio and the BBC’s In Tune. RCM Symphony Orchestra and Chorus The Royal College of Music Symphony Orchestra plays with conductors and musicians of the highest international stature, and is frequently invited to perform in prestigious venues across London and beyond. The members of the RCM Symphony Orchestra are some of the world’s very best young instrumentalists. They have chosen to study at the RCM because of its unrivalled blend of superlative teaching, extensive performance opportunities, and close connections with the orchestral profession. In addition to the many professors who are active professional instrumentalists, the RCM participates in side-by-side and other experience schemes with, amongst others, the BBC Symphony Orchestra, the London Symphony Orchestra, the Orchestra of English National Opera, the Philharmonia and the Royal Philharmonic Orchestra. This enables students to experience professional conditions and achieve professional standards before they graduate. The RCM’s long tradition of high-quality orchestral training has launched the careers of many distinguished orchestral players over several decades. The RCM Chorus has been a leading ensemble in the College for many years. The ensemble is the largest at the RCM with around 150 musicians performing together. Following preparation with some of the leading choral trainers, the chorus performs with the RCM Symphony Orchestra to sell-out audiences. The size of the ensemble has enabled the choir to undertake a variety of large-scale repertoire with some of the world’s most celebrated conductors. These have included Michael Rosewell for Puccini’s Messa a quattro (Messa di Gloria) in Autumn 2015 and Bernard Haitink for Ravel’s Daphnis et Chloé in Autumn 2016.
Founded in 1882, the RCM moved to its present site on Prince Consort Road in 1894. Illustrious alumni include Benjamin Britten, Ralph Vaughan Williams, Gustav Holst, Dame Joan Sutherland, Sir Thomas Allen, Sir Colin Davis, John Wilson, Alina Ibragimova, Gerald Finley and Dame Sarah Connolly. In addition to its 800 full time students, the College engages dynamically with a wider and more diverse community of children and adults through a dedicated range of creative activities delivered by RCM Sparks’ education and participation projects, RCM Junior Department programme and the Creative Careers Centre. A further development is the growing schedule of live-streamed concerts and masterclasses which can be viewed on www.rcm.ac.uk. Neil Ferris Neil Ferris studied at Royal Holloway, University of London and at the Royal College of Music. He is currently Music Director of Wimbledon Choral Society, Guest Conductor of Manchester Chamber Choir, Principal Guest Conductor of Birmingham Bach Choir and Associate Chorus Director of the London Symphony Chorus. He has prepared choirs for internationally acclaimed conductors including Valery Gergiev, Bernard Haitink and Jac van Steen. Formerly, Neil was Head of Choral Conducting at the Royal Welsh College of Music and Drama. He has led masterclasses for the Association of British Choral Directors and the National Youth Choir of Great Britain. Neil made his Royal Opera House debut with Will Tuckett's ballet The Wind in the Willows. Recordings include the choral music of Jonathan Dove with the Convivium Singers released on the Naxos label. Choir of King’s College, Cambridge King Henry VI founded King’s College and its Choir in 1441. Every Christmas Eve millions worldwide tune into A Festival of Nine Lessons and Carols, broadcast by the BBC since 1928. The Choir’s international fame and reputation, enhanced by an extensive recording catalogue, has led to invitations to perform around the world. In 2015 the Choir performed Fauré’s Requiem at the BBC Proms. The Prom was followed by a tour to the Far East. In 2016–17 the Choir toured North America and appeared in European festivals including Verbier and the Three Choirs. The Choir enjoys collaborating with ensembles which include the Academy of Ancient Music, Britten Sinfonia, Orchestra of the Age of Enlightenment and the Philharmonia. The Director of Music, Stephen Cleobury, is always pleased to hear from potential choristers, choral scholars and organ scholars. Those interested are invited to contact the Choir office (01223 331224/choir@kings.cam.ac.uk).
RCM Symphony Orchestra Violin I Charlotte Saluste-Bridoux Eleonora Consta Yoon So Cho Claire Edwards Anna Lee Christopher Quaid Bethan Allmand Daniel Jung Patrizia Lichtscheidl Charlotte Schnurr Laura Capano Mun Jeong Kim Anna Ziman Arda Karakaya Violin II Ugo Clement Kanon Miyashita Maren Bosma Quyang Chen Liam Keneally Winnie Law Xingchen Guo Ezgi Sarikcioglu Leonardo Ranucci Samuel Hau Flora Fontanelli Yingxuan Li Viola Ana Dunne Sequi Morven Graham Geeta Nazareth Tiffany Cheng Duncan Commin Katherine Raven Tuoyu Li Tom Broadbent Rebecca Breen
Cello Yaroslava Trofymchuk Wallis Power Anna Litvinenko Florian Belbeoch Robert Stanley-Smith Lucy Gijsbers Zsuzanna Meszaros Cristina Cooper Puebla Bass Thea Butterworth Sam Beck-Johnson Owen Nicolaou John DeMartino Philip Nelson Jon Mendiguchia Flute Sarah Parkes Bowen Marco Leung Oboe David Hasler Rich Lines-Davies Clarinet Jorge Ripoll Ivorra Lauren Brown Requiem: Lauren Brown (basset) Jorge Ripoll Ivorra (basset) Bassoon James Fisher Ashby Mayes Horn Jack Pilcher May Kristina Yumerska
Trumpet Paul Mitchell Shannon Gateley Trombone Nicolas Kent (alto) Ross Johnson James Maund Timpani Jess Wood Percussion Sam Howes Organ Katy Silverman Personnel correct at the time of going to print. Italics denote section principals. The RCM would like to thank the following orchestral coaches: Gabrielle Lester (violin) Robert Turner (viola) Amanda Truelove (cello) Tony Hougham (double bass) Michael Rosewell & Gabrielle Lester (tutti strings) Janet Hilton & Michael Harris (woodwind & brass)
RCM Chorus Soprano Hilary Aeschliman Shannon Asplen Isabelle Atkinson Louisa Baker Zoe Barnett Elise Berthelon Issy Bridgeman Hope Cramsie Jess Edom Nataly Ganina Samantha Gaspe Holly Graham Jessica Graves Jane Hammond Yuki Hammyo Susannah Hardwick Maria Hegele Jenny Lee Morgane Matteuzzi Beatriz Miranda Kayleigh Neff Grace O'Malley Esther Park Adriana Ribeiro Daria Rybak Emily Scott Peiyao Shan Natasha Strange Rebeca Strong Garcia Peiyao Su Yiyi Su Olivia Turner LiFei Weng Betty Wu
Alto Haley Arana Isabelle Ashton Leilani Barratt Alice Bell Amy Birse Sarah Chan YuHsuan Chen Jessie Chua Man Chung Hannah Cohen Megan Cushman Madeleine Dawson Brigette De Poi Sophia Elger Wendy Forbes Hannah Gillingham Heledd Gwynant Rachele Howes Marianne Huang Yueyin Sue Jee Annabel Kennedy Sadie Kerslake Rachel Leigh Niki Moosavi Anna Munoz Zabrina Ng Sofia Pecina Medina Emma Pelkiewicz Mariela Plachkova Mia Plummer Veronika Reeves Gemma Riley Emma Roberts Amy Ronson Emily Sierra Amy Thompson Calvin Vanzytveld Poppy Webb-Taylor Kinga ZofiaWojdalska Karrie Yip Ming Zeng Shuyi Zhang
Tenor Artemis Armakolas Diogo Bandola Daniel Bell Sacha Bertrand Ricardo Brown-Roger Damir Durmanovic Dan Floyd Will Glenn Dafydd Jones Erik Kallo Laurence Kilsby Edu Lahham Tsz Lok Leung John Li Yiming Li Christopher Moretti Zac Neal Samuel Ng Toshanbor Nongbet Tommy Tai Chavarria Vicente Adam West Xue Xie Yinzhi Yuan
Bass Dafydd Allen Ivo Almond Pablo Barrios Andrei Caval Aidan Chan Robbie Cheung Danny Cleave Victor Dai Joe Dawson Avishka Edirisinghe Jo Edwards Hugo Eedle Marcus Elliott Gaved Patryk Frac Ben Gautier Jack Gionis George Harliono-Evans Parvis Hejazi Nico Giorgos Ioannou Dillon Jeffares Nils Jones Edward Jowle Silvestrs Kalnins Michael Kang Thomas Kelly Yu-Chieh Lin Connor Lyster Joe Mackley Ludovico Maletti Max Mitchell Danny Murphy Joe Parks Antoine Pichon Pichon Aaron Pryce-Lewis Will Roberts Robert Schina Andrew Sherwin Simo Sisevic Daniel Stocker Kishan Thakrar Thomas Williams Kirill Zheleznov Andrew Zhou
Deputy Chorus Master Joanna Tomlinson
Choir of King’s College, Cambridge
Rehearsal Pianists Stephanie Shucksmith Hamish Brown
Treble Thomas Alban Aiken Anderson Jack Bowley Samuel Cates Philip Curtis Lev Godar Joseph Hall Elliot Hasler George Hill Alfred Hopkins Leo McNiff Charlie Nicholson Joshua O’Neill George Sheldon Julius Sirringhaus Samuel Trueman Alto George Gibbon Daniel Henderson Salim Jaffar Jacob Partington Joseph Zubier Tenor Jack Goulder Julius Haswell Protik Moulik Christopher Nehaul Henry Websdale Bass Charlie Baigent Will Crane Donal McCann Zac Moxon Trojan Nakade Stephen Whitford Barney Wolstenholme
THANK YOU Music has the power to transform lives. Thanks to the generosity of our supporters, generations of gifted students from around the world have been nurtured and trained at the RCM. Thank you to all those who have made donations of £5,000 or more between October 2016 and October 2017. MORE MUSIC FOUNDING PATRONS ABRSM The Estate of George Frederick Burgan The Estate of Basil Coleman Heritage Lottery Fund The Estate of Christopher Hogwood CBE HonDMus Kingdom Music Education Group Rena & Sandro Lavery The Estate of Neville Wathen LEADERSHIP SUPPORTERS The Derek Butler Trust Philip Carne MBE HonRCM & Christine Carne The Estate of John & Marjorie Coultate The Estate of Jocelyn Cruft The Estate of Margaret Dewey The Foyle Foundation The Future of Russia Foundation The Garfield Weston Foundation The Harry and Gylla Godwin Charitable Trust Linda Hill HonRCM & Dr Tony Hill The Leverhulme Trust The Mirfield Trust The Polonsky Foundation The Estate of Michael Rimmer Victoria, Lady Robey OBE The Estate of Emma Rose Soirée d’Or Scholarships Dr Michael & Ruth West HonRCM MAJOR SUPPORTERS Jane Barker CBE Laurie Barry In memory of Lady Chelmsford Meredith & Denis Coleman The Estate of Heather Curry Peter & Annette Dart The Fishmongers’ Company Hamish & Sophie Forsyth Gisela Gledhill The Harbour Foundation The Hargreaves and Ball Charitable Trust The Headley Trust HEFCE Help Musicians UK Kirby Laing Foundation John Lewis Partnership Philip Loubser Foundation The Estate of William Mealings Rosemary Millar HonRCM & Richard Millar The Estate of Billy Newman
John Nickson & Simon Rew P F Charitable Trust The Pure Land Foundation The Julia & Hans Rausing Trust The Reed Foundation & The Big Give Christmas Challenge The Estate of Olive Gwendoline Rees Geoffrey Richards HonRCM & Valerie Richards Sir Simon & Lady Robertson Dasha Shenkman OBE HonRCM Peter & Dimity Spiller H R Taylor Trust Bob & Sarah Wigley The Wolfson Foundation The Henry Wood Accommodation Trust SUPPORTERS Dr Kamal Ahuja & Anna Gustafson ArtPoint Foundation The Estate of Gillian Ashby BAE The Biddy Baxter & John Hosier Trust Dr Linda Beeley Lord Black & Mark Bolland The Boltini Trust Anne Bradley Sir Roger & Lady Carr HonRCM The Thomas Sivewright Catto Charitable Settlement The Cayzer Trust Company Limited Dhairya & Karina Choudhrie The Estate of Roselyn Ann Clifton Parker Karen Cook Lord Davies of Abersoch CBE The Drapers’ Company The Gilbert & Eileen Edgar Foundation Sir Vernon Ellis FRCM & Lady Ellis Lesley Ferguson Fiona & Douglas Flint Finsbury Dr Chris Gibson-Smith The Hon. Mrs Gilmour In memory of Alvin Gold Elaine Greenberg & Linda Perez Andrew Haigh Helen Chung-Halpern & Abel Halpern The Estate of Barbara Margaret Holt Sir George Iacobescu CBE & Lady Iacobescu Independent Opera at Sadler’s Wells JMC Ruth Keattch The Estate of Michael Kennedy CBE The Kiri Te Kanawa Foundation UK
The Honourable Society of the Knights of the Round Table Professor Colin Lawson CBE FRCM Lee Abbey London Carol & Geoff Lindey Natalie Livingstone Lord and Lady Lurgan Trust The Hon Richard Lyttelton & Romilly Lyttelton The Mercers’ Company The Howard & Abby Milstein Foundation Pro Musica Ltd Midori Nishiura HonRCM Humphrey Norrington OBE FRCM & Frances Norrington Opperby Stokowski Collection Trust The Charles Peel Charitable Trust Michael Perry The Stanley Picker Charitable Trust Rev Lyndon van de Pump FRCM & Edward Brooks FRCM Andrew Ratcliffe The Estate of Charles Stewart Richardson Christopher Saul Professor Luigi & Elisabetta de Simone Niquesa Alethea Siow & Jeremy Furniss Kathleen Beryl Sleigh Charitable Trust South Square Trust St Paul’s, Knightsbridge Steinway & Sons Ian Stoutzker CBE FRCM Robert & Betty Sutherland Tait Memorial Trust Ian & Meriel Tegner Edmund Truell & Cédriane de Boucaud Universal Music Group The Wall Trust Sir Peter & Lady Walters Josef Weinberger Ltd Anthony Weldon FRCM & Jane Weldon The Mills Williams Foundation Jane Wilson Professor Lord Winston & Lady Winston WPP The Worshipful Company of Musicians The Wyseliot Charitable Trust And those who wish to remain anonymous CIRCLES FOR EXCELLENCE MEMBERS Chairman’s Circle Brian & Janice Capstick Philip Carne MBE HonRCM & Christine Carne Helen Chung-Halpern & Abel Halpern Guy Dawson & Samantha Horscroft Gisela Gledhill Linda Hill HonRCM & Dr Tony Hill Terry Hitchcock
TSH Prince Donatus & Princess Heidi Von Hohenzollern David James Clare & James Kirkman James & Margaret Lancaster Lark Insurance Dr Mark Levesley & Christina Hoseason Victoria, Lady Robey OBE Roland Saam Dasha Shenkman OBE HonRCM Alethea Siow & Jeremy Furniss Dr Michael & Ruth West HonRCM Quentin & Sarah Williams Director’s Circle Sir Peter & Lady Middleton FRCM John Nickson & Simon Rew Richard Price FRCM & Sue Price Russell Race Peter & Dimity Spiller Robert & Betty Sutherland Brian & Anne Wadsworth OBE Patrons’ Circle Isla Baring OAM Jane Barker CBE John & Halina Bennett Lady Bergman Lorraine Buckland Tania Chislett Sir Anthony Cleaver FRCM & Lady Cleaver Elisabeth de Kergorlay Dr Ian & Janet Edmondson Professor Alice Gast Lily & Julian Harriss Greta Hemus John & Susan Heywood David & Sue Lewis Charles & Dominique Lubar David Mildon Ellen Moloney Judy & Terence Mowschenson Jennifer Neelands Susan Pudifoot-Stephens Kara Radcliffe Kerry & Dimity Rubie Sir Richard & Lady Sykes Louisa Treger Rhoddy Voremberg John Ward Jane Wilson Sir Robert & Lady Wilson Dr Yvonne Winkler For more information about supporting the RCM, visit www.rcm.ac.uk/supportus
MORE MUSIC INVESTING IN THE FUTURE OF MUSIC Our More Music development is a once-in-a-generation opportunity to transform our campus. New state-of-the-art facilities at the heart of our building will complement our existing spaces and heritage. Our plans include:
two new performance spaces additional practice rooms for students a new Royal College of Music Museum a new café/restaurant and courtyard area with improved access a new organ
Over the next few months, some boxes and equipment may be visible on the Amaryllis Fleming Concert Hall stage while a new organ is assembled and voiced by Flentrop Orgelbouw. Our new organ will provide a wonderful new facility for music at the RCM, and its inaugural concert will take place on 25 February next year. Access routes around the College may vary throughout the project and wayfaring signage will be regularly updated to reflect changes. We ask for your patience and understanding as we transform our campus. The video playing in the Inner Hall and BaRCM visualises the ways in which the development will enhance our campus facilities and you can find more information on the More Music Campaign at www.rcm.ac.uk/moremusic If you have any questions please contact moremusic@rcm.ac.uk
Welcome to the Royal College of Music. For the benefit of musicians and audience members, please turn off your mobile phone. Photographs may only be taken during applause following a performance and filming, recording and commercial photography is not permitted without prior written permission. The RCM films many events and by attending you consent to any photography or recording. See www.rcm.ac.uk for our Public Recording Policy. To ensure that other audience members are not disturbed, latecomers' admission cannot be guaranteed; although it is offered whenever possible, this service may not be available. In the interests of safety, sitting or standing on the steps or floors is strictly prohibited. Thank you for your co-operation.