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JosephHaydnInsanaeetVanaeCurae

FranzSchubertSymphonyNo.8(‘Unfinished’)

Interval

JohannesBrahmsEindeutschesRequiem

Conductor:CathalGarvey

Soprano:MiaHuhta

Baritone:AlexanderRobinBaker

Orchestra:SouthernSinfonia

Rehearsalaccompanist:SteveBowey

Wearegratefultothefollowingorganisationsfortheirsupport:

TheEnglefieldCharitableTrust

Pleasevisitwww.newburychoral.org.uk/ConcertFeedbacktotellusaboutyourexperienceofourperformance.

Tonight'sperformanceofBrahms’EindeutschesRequiemisdedicatedtothememoryofBruceCarolan,aclosefriendofourconductor.

TheProgramme

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JosephHaydn(1732-1809)InsanaeetVanaeCurae

ThissacredmotetstartedlifeaspartofanoratorioinItalianthatJosephHaydnhadbeencommissionedtowritein1775.Theoriginalpiece,whichdidnotincludethischorus,wasperformedataconcertorganisedbyaViennesemusician’sbenevolentsociety,theTonkünstler-Societät,toraisefundstoprovideforthewidowsandorphansofitsmembers.TheoratoriowascalledIlritornodiTobia,andtoldthestoryoftheblindman,Tobit,fromtheBiblicalApocrypha.Thetextemphasisesthevalueofprayer,ofgivingalmsandthesanctityofmarriage,allpossiblereasonswhyHaydnchoseitforthiscommission.

Thischorus,InsanaeetVanaeCurae,wasaddedforaperformancenearlyadecadelater.Subsequently,whenitwasobvioustoHaydnthattheoratoriowasnotgoingtobealastingsuccess,herescuedthischorusandrewroteitinLatin.ItbecameastapleoftheLatinliturgy,andpopularasachoralworkinitsownright.

InsanaeetVanaeCuraeisdividedintotwodistinctsections,witheachsectionbeingrepeated.Thedramaticopeningmovesrelentlesslyforward,railingagainsthumanity’spreoccupationwithearthlyconcerns,athemethatwewillmeetagaininBrahms’Requiem.Agentler,morelyricalsectionreassuresusthatthereishopeaslongasweputourtrustinGod.

Insanaeetvanaecurae

invaduntmentesnostras,

saepefurorereplentcorda,

privataspe.

QuidprodestOmortalis

Foolishandgroundlesscares

assailourminds,

oftenwithmadnesstheyfillourhearts,

whicharebereftofhope.

Whatdoesitprofityou,Omortalman,

ProgrammeNotesbyJaneHawker

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conaripromondanis,

sicoelosnegligas.

Suntfaustatibicuncta,siDeusestprote.

tostriveafterearthlythings,

ifyouneglectthoseofheaven.

AllthingsarefavourabletoyouifGodiswithyou.

FranzSchubert(1797-1828)SymphonyNo.8(‘Unfinished’)

SometimescalledthefirstsymphonyoftheRomanticperiod,thisworkwasfirstperformedin1865,nearlyfortyyearsafterSchubert’sdeath.ItiswritteninthekeyofBminor,whichwasunusualforasymphonyoftheperiod,andconsistsoftwomovements,AllegromoderatoandAndanteconmoto.Schubertbegancomposingitin1822,whenhehadalreadystartedtofeeltheeffectsofthesyphilisthatwouldkillhimsixyearslater.Musicologistshavespeculatedthathishealthmightaccountforitsoveralltoneofdespair,butallagreethatitdidnotdetractfromthequalityofitscomposition.

Thefirstmovementopenswithathemethatisdescribedasdark,ghostlyandevensinister,playedbycellosandbasses.Thisthemegiveswaytoaplaintivewoodwindtuneoveragitatedstrings.ThemoodchangeswiththearrivalofthefamousandconsolingGmajortune,butnotforlong:thesenseofdespairsoonreturnsandisheightenedbySchubert’suseoftrombones,timpaniandfranticbowingbythestrings,beforethecellosandbassesbringthemovementtoaclose.Thesublimeandlyricalsecondmovementisbasedontwomainthemes,oneinEmajor,theotherinCminor.Itischaracterizedbyawindingmelodyfromthewoodwind.Whetheryoufindpeaceandserenityorfurtherdesolationinthismovementisforeachlistenertodecide.

Whyisthissymphonyconsideredunfinished?Firstly,thereisafragmentoftwentyorchestratedbarsofaScherzo,indicatingthatitwastofollowtheusualstructureofClassicalsymphonieswithfourmovements;andsecondly,ifitwereacompleteworkitwouldgo

6

againsttraditioninendinginadifferentkeyfromtheonethatitstartsin.Onetheoryisthatthefourthmovementismasqueradingastheentr’actetotheincidentalmusicSchubertwrotefortheplayRosamunde,PrincessofCyprus,bythefemaleGermanplaywrightHelminavonChézy.InaninterviewwithPhilipClarkofTheGuardian,conductorNikolausHarnoncourtresiststhetemptationtotreatthissymphonyasanythingotherthanacompletepiece,arguingthat‘theformisperfect;thereissimplynothingelsetosay’.

JohannesBrahms(1833-1897)EindeutschesRequiem

TheideaforaRequiemoccurredtoBrahmsafterthedeathofhisgreatheroandmentorRobertSchumannin1856.By1861hehadcomposedfourmovements,andthedeathofhismotherin1865gavehimtheimpetustofinishit.Thecompleteworkofsevenmovementsthatwehavetodaywasfirstperformedin1869inLeipzig,butayearbeforethataconcertofsixmovements,excludingnumberfive,thesopranosolo,wasgiveninBremenCathedraltoahugeandrapturousaudience.TheprogrammeincludedmovementsfromBach’sStMatthewPassionandHandel’sMessiah.Thisperformance,conductedbyBrahmshimself,establishedhimasacomposerofinternationalimportance.

Brahmschosethetextsforhislibrettohimself,takingthemnotfromtherecognisedLatinRequiemMassbutfromtheOldandNewTestamentsandtheApocrypha.Thisindicateshisintentiontoappealtoauniversalaudienceratherthantotheliturgyofaparticulardenomination;indeedtherearenoinstancesoftheword‘Christ’,onlyreferencestotheLord(derHerr).Brahmswrotethatheconsideredita‘humanRequiem’,concernedwiththatmostchallengingaspectofthehumancondition,thetransienceoflifeonearth.Ratherthanactingasadirewarningtothosewhohavesinned,Brahms’Requiemisintendedtogivecomforttothosewhomourn,perhapsaccountingforitsuniversalandtimelessappeal.

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I Chorus:Seligsind,diedaLeidtragen

TheRequiemopenswithconsolingwordsforthosewhomourn,takenfromoneoftheBeatitudesfromtheSermonontheMountintheGospelofMatthew,andfromPsalm126.Themoodisrestrained.Theorchestraissilentfortheentranceofthechoir,emphasisingthereverenttone.

II Chorus:DennallesFleisch,esistwieGras

ThesecondmovementhighlightsthecontrastbetweentheimpermanenceofhumanityandtheeternalnatureofGod.UsingversesfromPeter,JamesandIsaiah,itholdsouthopeforthosewhosufferinthislife,thattheywillberewardedfortheirpatiencewitheverlastingjoy.Startingwithawarninggiveninasombremarch,itmovesintoalighter,morecompassionatetonebeforeeruptingintoadeclarationofhopeintheLord,settowhatmustbesomeofBrahms’mostgorgeousmusic.

III Baritoneandchorus:Herr,lehredochmich

ThismovementisasettingoftexttakenfromPsalm39.Thewordsofthebaritonesoloistareechoedbythechorus.WithquietpoignancytheyrecognisethathumanlifeistransientandameretrifletoGod.Thesoloistaskshowheistofindconsolation,andonebyonethesectionsofthechorusaffirmtheirhopeintheLord,finishingthemovementwithajoyfulfugue,claimingthatthesoulsoftherighteousareinGod’shands.

IV Chorus:WielieblichsinddeineWohnungen

BrahmschosewordsfromPsalm84forthisbright,optimisticmovement,oftenperformedasachoralpieceinitsownright.The

8

openingsectionisuncomplicatedandlyrical,alltalkoftransienceanddeathgonefornow,andreplacedbythemetaphoroflivinginGod’shouseashavingfaithinhim.ThisiscontrastedwiththesecondsectioninwhichBrahmsusesthestyleofafuguetoaddweighttothemessageofthetext.

V Sopranoandchorus:IhrhabtnunTraurigkeit

Thisisinessenceasopranosolo,withthechoir’srepetitionofherwordsservingtobringouttheiremotionalsignificance.ThetextistakenfromapassageinJohn,inwhichJesustellshisdisciplesthattheywillexperienceaperiodofgriefwhenhehasgone,butthattheirjoywillreturn.Heusestheuniversalimageofamothercomfortingherchildtoreassurethemthattheywillfindsolace.

VI Baritoneandchorus:DennwirhabenhiekeinebleibendeStatt

HereBrahmsinvokestheDayofJudgmentinthetraditionoftheRequiemMass.Asolemnchorusremindsusagainofthefleetingnatureofearthlylife;thebaritonesoloistannouncesthesoundofthelasttrombone(ortrumpet)andthechorustakesupthistheme,tellingoftheLastJudgmentinadramaticandfast-pacedsection.Buteventhisisnotintendedtocreateterror,buttoprovidethecertaintyofhope:thewords‘Death,whereisthysting?’soundpositivelyjoyous.Thefinishingtouchtothismovementisoneofthegrandestfuguesinthepiece,triumphantlypraisingGod.

VII Chorus:SeligsinddieToten

ThisfinalmovementusestextfromRevelationthatisfoundinmoretraditionalRequiemMasses.Themessageisoneofpureconsolation,givenfirstbythesoaringsopranolineandsubsequentlypickedupby

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othervoiceparts.Thisgloriousmusicbuildsandsubsides,makingwayforthethemeofthefirstmovement,sothatwehavecomefullcirclebythetimethisworkquietlydrawstoaconclusion.

I

Seligsind,diedaLeidtragen,

dennsiesollengetröstetwerden.

DiemitTränensäen,

werdenmitFreudenernten.

Siegehenhinundweinen

undtragenedlenSamen,

undkommenmitFreuden

undbringenihreGarben.

II

DennallesFleischesistwieGras

undalleHerrlichkeitdesMenschen

wiedesGrasesBlumen.

DasGrasistverdorret

unddieBlumeabgefallen.

Soseidnungeduldig,liebenBrüder,

bisaufdieZukunftdesHerrn.

Siehe,einAckermannwartet

Blessedaretheythatmourn,

fortheyshallbecomforted.

Theywhosowintears

shallreapinjoy.

Theygoforthandcry,

bearingpreciousseed,

andreturnwithjoy

bearingtheirsheaves.

Forallfleshisasgrass,

andthegloryofman

likeflowers.

Thegrasswithers

andtheflowerfalls.

Thereforebepatient,dearbrothers,

forthecomingoftheLord.

Behold,thehusbandmanwaits

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aufdieköstlicheFruchtderErde

undistgeduldigdarüber,biserempfahe

denMorgenregenundAbendregen.

Soseidgeduldig.

AberdesHerrnWortbleibetinEwigkeit.

DieErlösetendesHerrnwerdenwiederkommen,

undgenZionkommenmitJauchzen;

ewigeFreudewirdüberihremHauptesein;

FreudeundWonnewerdensieergreifen

undSchmerzundSeufzenwirdwegmüssen.

III

Herr,lehredochmich,

daßeinEndemitmirhabenmuß,

undmeinLebeneinZielhat,

undichdavonmuß.

Siehe,meineTagesindeinerHandbreitvordir,

forthedeliciousfruitsoftheearth

andispatientforthem,untilhereceives

themorningrainandeveningrain.

Sobepatient.

ButthewordoftheLordenduresforeternity.

TheredeemedoftheLordwillcomeagain,

andcometoZionwithashout;

eternaljoyshallbeupontheirheads;

theyshalltakejoyandgladness,

andsorrowandsighingmustdepart.

Lord,teachme

thatImusthaveanend,

andmylifehasapurpose,

andImustleaveit.

Behold,mydaysareasahandbreadthbeforeyou,

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undmeinLebenistwienichtsvordir.

Ach,wiegarnichtssindalleMenschen,

diedochsosicherleben.

SiegehendaherwieeinSchemen,

undmachenihnenvielvergeblicheUnruhe;

siesammelnundwissennicht

wereskriegenwird.

NunHerr,wessollichmichtrösten?

Ichhoffeaufdich.

DergerechtenSeelensindinGottesHand

undkeineQualrühretsiean.

IV

WielieblichsinddeineWohnungen,

HerrZebaoth!

MeineSeeleverlangetundsehnetsich

nachdenVorhöfendesHerrn;

andmylifeisasnothingbeforeyou.

Alas,asnothingareallmen,

butsosurearetheliving.

Theyarethereforelikeashadow,

andgoaboutvainlyindisquiet;

theycollectriches,anddonotknow

whowillreceivethem.

Now,Lord,howcanIconsolemyself?

Myhopeisinyou.

TherighteoussoulsareinGod’shand

andnotormentshallstirthem.

Howlovelyareyourdwellingplaces,

OLordofHosts!

Mysoulrequiresandyearnsfor

thecourtsoftheLord;

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meinLeibundSeelefreuensich

indemlebendigenGott.

Wohldenen,dieindeinemHausewohnen,

dielobendichimmerdar.

V

IhrhabtnunTraurigkeit;

aberichwilleuchweidersehen

undeuerHerzsollsichfreuen

undeureFreudesollniemandvoneuchnehmen.

Sehetmichan:

ichhabeeinekleineZeitMüheundArbeitgehabt

undhabegroßenTrostfunden.

Ichwilleuchtrösten,

wieeinenseineMuttertröstet.

VI

DennwirhabenhiekeinebleibendeStatt,

Sonderndiezukünftigesuchenwir.

Siehe,ichsageeucheinGeheimnis:

mybodyandsoulrejoice

inthelivingGod.

Blessedaretheythatdwellinyourhouse;

theypraiseyouforever.

Younowhavesorrow;

butIshallseeyouagain

andyourheartshallrejoice

andnooneshalltakeyourjoyfromyou.

Beholdme:

Ihavehadforashorttimetoilandtorment,

andnowhavefoundgreatconsolation.

Iwillcomfortyou,

asamothercomfortsherchild.

Forwehaveherenopermanentcity,

butweseekthefuture.

Behold,Ishowyouamystery:

13

Wirwerdennichtalleentschlafen,

wirwerdenaberalleverwandeltwerden;

unddasselbigeplötzlich,ineinemAugenblick,

zuderZeitderletztenPosaune.

DenneswirddiePosauneschallen,

unddieTotenwerdenauferstehenunverweslich,

undwirwerdenverwandeltwerden.

Dannwirderfülletwerden

dasWort,dasgeschriebensteht:

DerTodistverschlungenindenSieg.

Tod,woistdeinStachel?

Hölle,woistdeinSieg?

Herr,dubistwürdigzunehmen

PreisundEhreundKraft,

dennduhastalleDingeerschaffen,

unddurchdeinenWillen

weshallnotallsleep,

butweshallallbechanged

andsuddenly,inamoment,

atthesoundofthelasttrombone.

Forthetromboneshallsound,

andthedeadshallberaisedincorruptible,

andweshallbechanged.

Thenshallbefulfilled

thewordthatiswritten:

deathisswallowedupinvictory.

ODeath,whereisthysting?

OHell,whereisthyvictory?

Lord,youareworthytoreceive

allpraise,honourandglory,

foryouhavecreatedallthings,

andthroughyourwill

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habensiedasWesenundsindgeschaffen.

VII

SeligsinddieToten,

dieindemHerrnsterben,

vonnunan.

Ja,derGeistspricht,

daßsieruhenvonihrerArbeit,

dennihreWerkefolgenihnennach.

theyhavebeenandarecreated.

Blessedarethedead

thatdieintheLord

fromhenceforth.

Yea,saiththeSpirit,

theyrestfromtheirlabours,

andtheirworksshallfollowthem.

15

CathalGarveyhailsfromIrelandwherehemadehisnameasachoralandorchestralconductor.

SincemovingtoLondonin2009,hehasconductedSouthernSinfonia,LondonInternationalOrchestra,CoventGardenChamberOrchestra,IMaestri,LondonRepertoireOrchestra,LondonMedicalOrchestra,King'sCollegeLondonSymphonyOrchestraandMorleyCollegeChoir.Hewasalso

ChorusMasterandAssistantConductorfortwoseasonsatGrangeParkOpera.HeiscurrentlyontheconductingstaffoftheRoyalAcademyofMusic.

CathalbeganhiscareerasanOperaChorusMasterworkingformostofIreland’smajoroperacompaniesincludingOperaIreland,OperaTheatreCompany,AnnaLiviaOperaFestival,OperaSouthandLyricOpera.Forthesecompanieshehasworkedonoverfiftyproductions,includingLaBohème,Iltrovatore,BorisGodunov,Aïda,LadyMacbethofMtsensk,Hérodiade,Larondine,MadamaButterfly,TheFlyingDutchman,TheSilverTassie,Cavalleriarusticana,Tosca,DonCarlo,Latraviata,Carmen,Macbeth,Faust,Martha,TheQueenofSpades,AndreaChénier,Jenůfa,Rigoletto,OrfeoedEuridice,LaCenerentola,Fidelio,DonPasquale,ThePearlFishersandLuciadiLammermoor.HeactedasAssistantConductorformanyoftheseproductionsandhasalsoconductedseveralmusicalsinCorkandDublin.

DuringhistenyearsinDublin,CathalconductedtheNationalSymphonyOrchestraofIreland,theRTÉConcertOrchestra,theOrchestraofStCecilia,theUlyssesOrchestra,theIrishSinfonia,theDublinBaroquePlayers,theRoyalIrishAcademyofMusicWindEnsemble,DublinConcertBand,theRTÉPhilharmonicChoir,BrayChoralSocietyandfrom2001to2006wasPrincipalConductoroftheDublinOrchestralPlayers.

CathalGarvey—MusicalDirector

16

From2004to2009hewasMusicalDirectoroftheDunLaoghaireChoralSocietywithwhomhehadahighlysuccessfultenure,coveringawiderangeofsacredmusicandoratorios.DuringthistimehebecameanotedchampionofBritishmusic,conductingmanyworksbyElgar,Delius,Britten,Tippett,Stanford(Irish!)and,inparticular,VaughanWilliamswithwhosemusichehasaspecialaffinity.Athis2005debutconcertwithDunLaoghaireChoralSociety,theIrishTimeswrote:

"CathalGarveyisayoungconductorknockingatthedoor.HismostprominentachievementtodatehasbeenhistransformingimpactatOperaIreland….Garveynotonlyhasgoodmusicalinstinctsbutalsothetechnicalproficiencytocommunicatethemtohischoirandplayers."

CathalbeganviolinandpianostudiesinhisnativeCorkatanearlyage,continuingattheCorkSchoolofMusicandlaterreadingmusicatUniversityCollegeCork.AftercompletinghisMastersDegreeinConductinghestudiedfortwoyearsattheprestigiousCollegeofMoscowConservatory.

Asaviolinist,CathalwasamemberoftheNationalYouthOrchestraofIrelandandhasplayedprofessionallywithnumerousorchestrasincludingtheNationalSymphonyOrchestraofIrelandandtheGerman-basedPhilharmoniaoftheNations.HecurrentlyworksasafreelanceplayerinLondon.

Asachorister,Cathalhassungandtouredwithmanylargechoirsandchamberchoirs,amongthemtheIrishYouthChoir,UniversityCollegeCorkChoir,Madrigal'75andtheCollegeofMoscowConservatoryChoir.

NewburyChoralSocietywasdelightedtoappointhimasitsMusicalDirectorin2009.

17

MiaHuhtaisarenownedsoloistwithmanyorchestrasinFinland.ShehasworkedwithsuchconductorsasJukka-PekkaSaraste,SusannaMälkki,MikkoFranck,JohnStorårdsandGrantLlewellynonprojectsrangingfrom

Haydn'sCreationtoBerg'sWozzeck.

MiaHuhtahasperformedintheworldpremierofMatthewWhittall’sDulcissima,clara,sonansassoloistwiththeHelsinkiPhilharmonicOrchestraconductedbyHannuLintu.RecentperformancesincludetheScandinavianpremiereofKaijaSaariaho’sMiragewiththeTurkuPhilharmonicOrchestra,andSibelius’LuonnotarwiththeKymiSinfoniettaandTallinnChamberOrchestra.

Inrecentyears,MrsHuhtahashadremarkablesolosinAulisSallinen’sworkDiesIrae,inSallinen’sseventiethanniversaryconcertwiththeFinnishRadioSymphonyOrchestraconductedbyJohnStorgårds;Beethoven’sNinthSymphonywiththeHelsinkiPhilharmonicOrchestraconductedbyHannuLintu;theFinnishpremiereofSirWilliamWalton’sseriesASongfortheLordMayor’sTablewithGrantLlewellyn;Schönberg’smonologueoperaErwartungwiththePoriSymphonicOrchestraandKaijaSaariaho’sQuatreInstantsconductedbyJurjenHempel.

Asidefromhersolowork,sheisdeeplyinterestedinchamberworksforthesopranovoice.Inthecomingsummerseasonsheislookingforwardtoperformingatavarietyoffestivals,suchasKemiönsaariFestival,togetherwithrenownedpianistBengtForsberg.MiawillalsobejoiningtheLimogesOperaOrchestraforaperformanceofSaariaho'sQuatreInstantswithconductorIzquierdoGomez.

MiaHuhta–Soprano

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WinnerofSecondPrizeatthe2008KathleenFerrierMemorialCompetition,AlexanderRobinBakergraduatedfromtheGuildhallSchoolofMusicandDrama,beforeattendingthePostGraduateVocalStudiesCourseandtheNationalOperaStudio.OperaticengagementshaveincludedperformanceswithEnglishNationalOpera,GlyndebourneFestivalOpera,GlyndebourneOnTour,IfordArts,NevillHolt

OperaandtheNederlandseReisopera.

ConcerthighlightshaveincludedperformanceswiththeCityofBirminghamSymphonyOrchestra,theLondonPhilharmonicOrchestra,theLondonSinfonietta,thePhilharmonia,theRoyalChoralSocietyandtheScottishChamberOrchestra.ForRambertDanceCompany,hewasbaritonesoloistinEternalLight:ARequiem.

HemadehisdebutwithEnglishNationalOperaasFiorelloTheBarberofSevilleandhasreturnedasGizmoTheWayBackHome,YamadoriMadamButterfly,HappyTheGirloftheGoldenWestandSamuelThePiratesofPenzance.HehasalsosungAnfinomoTheReturnofUlyssesforIfordArtsandPapagenoTheMagicFluteandSchaunardLabohèmeforNevillHoltOpera.

CurrentengagementsincludeStarvelingAMidsummerNight’sDreamandLorenzoICapuletieiMontecchiforBergenNationalOpera,StarvelingattheHyogoPerformingCenter,Japan,theBMinorMasswiththeRoyalNorthernSinfonia,ChichibioTheGooseofCairowiththeLondonMozartPlayers,VaughanWilliamsFantasiaonChristmasCarolswiththeTenTorsOrchestraandthepremièreofKernalYusuf’sCainwiththeBournemouthSymphonyOrchestraattheNorfolk&NorwichFestival.

AlexanderRobinBaker–Baritone

19

Stevestudiedorganandpianofromanearlyage,playingtheorganregularlyatStFrancisandStAndrewschurchesinCoulsdon.

AfterstudyingEngineeringatSalfordUniversityhemovedtoNewburytoworkforVodafone.In1991StevewasappointedasaccompanistoftheCromwellSingersandbecametheirmusicaldirectorin1993.From1992,hewasDirectorof

MusicatStMary'sChurch,Shaw-cum-Donnington,andregularlyaccompaniesforlocalchoirs,includingtheDouaiChoralSociety,theDownlandChorale,theRSCMSouthernCathedralSingers,BerkshireMaestrosyouthchoirs,WorcesterCollegeOxfordandNewburyChoralsociety.

InJune1995anopportunityatworktookStevetoliveinHolland.OnreturningtoNewburyin1997hereturnedtoStMary'sShaw-cum-Donningtonasorganist.HeisaregularperformerintheNewburyandDistrictOrganists'AssociationlunchtimerecitalseriesandhasalsogivenrecitalsinThaxted,CaterhamandManchesterandFarnham.In2001hewasappointedMusicalDirectoroftheSandhamSingers.

In2006StevejoinedtheRoyalCollegeofOrganists,andinJulythefollowingyeartooktheexaminationforAssociate(ARCO)inwhichhewasawardedtheLimpusprizeforperformance,aswellastheSowerbuttsandSamuelBakerprizes.Afterfurtherstudy,hewasawardedtheFellowshipdiploma(FRCO)inJanuary2011.

SteveBowey-Accompanist

20

SouthernSinfonia’sreputationcontinuestogrowastheleadingprofessionalChamberOrchestraintheSouthofEngland.WithSirRogerNorringtonasitsPatronandDavidHill

asitsMusicDirector,theorchestrawasestablishedin1990andisbasedinNewbury,Berkshire.

ItsuniqueabilitytoplaymodernandBaroqueinstruments,andthereforemusicfromthe1600stothepresentday,atthecorrectpitchandwithinformedplayingstyle,putsitinhugedemand,asdoesitscommitmenttocontemporaryandnewmusic.TheorchestraisOrchestrainResidenceattheCornExchangeandtheUniversityofWinchester,hasanassociationwithReadingUniversity,andperformsinvenuesthroughoutEngland,includingLondon,Wells,Exeter,Canterbury,Cambridge,NottinghamandRomsey.

AswellasregularorchestralconcertsandperformanceswiththeSouthofEngland’smostestablishedchamberchoirsandchoralsocieties,theorganisationrunsbiennialYoungandOlderMusicianoftheYearcompetitions,providesaperformanceplatformfortheHampshireSingingCompetitionwinnerandrunsregularandextensiveeducationalprogrammes,aswellasapopularlunchtimeseriesofCaféConcerts.SouthernSinfonia’smostrecentreleasesincludetheMonteverdiVespers,ontheSignumlabel,theworldpremiereofCarlRütti’sRequiem(Naxos),andtheBachBMinorMass,withRalphAllwoodandtheRodolfusChoir(Signum).

Forfurtherinformationabouttheorchestra,sponsorshipopportunitiesortobecomeaFriendoftheorchestrapleaseemailinfo@southernsinfonia.co.uk

SouthernSinfonia

21

NewburyChoralSocietyisanon-auditionedchoirwithahistoryofover130yearsofbringingahighstandardofmusictothearea.Theestablishmentofapermanentgroupofsingersmusthavemetanurgentneedinthe

townastheSocietyattractedmorethanonehundredmembersforthefirstconcertin1885.ConductedbythechoirmasterandorganistofNewbury'sStNicolasChurch,JohnShepherdLiddle,thechoirmadeagoodimpressionontheNewburyWeeklyNewscriticwhowrotethat'theexecutionofthechorusesreflectedgreatcredituponthemembersoftheSocietyandtheirconductor'.

Sincethatfirstconcertwehavecontinuedtoperformawideandvariedrepertoire,fromthegreatchoralworksofBach,HandelandVaughanWilliamstopiecesbymorerecentcomposersTavener,BrittenandKarlJenkins.Initssecondcenturythechoir’sconductorshaveincludedJonathanFinney,RobertBarsby,LeoHussainanditsfirstfemaleMusicalDirectorJanetLincé.CathalGarveyhasheldthepositionsinceDecember2009.

YoucanfindoutmoreaboutNewburyChoralSociety,itshistoryandforthcomingevents,atwww.newburychoral.org.uk.

NewburyChoralSociety

22

HonoraryLifePatron:LadyKnillChairperson:LizWallace Secretary:NatSmithTreasurer:TracySmith ConcertManager:MikeBarthorpeRehearsalaccompanist:SteveBowey

SOPRANOS ALTOS

RachelAtkinsonLornaBarnettHelenBomgardnerRachelBoweyTeresaBrownChristineCastleMarionCroxfordAnnDoyleLucyFittSarahFoleyGillHitchcockMonicaHuddieMurrieJacksonLauraineLeighBeverleyLewisPennyLovelockLynneMooreDebbieMurphy

MargaretOwenPaulinePhillipsKathrynPollardLauraRushtonTaylorMonicaRutfeckaSueSimTamsinSlatterBrigittaSmallSarahSouthPatriciaStewartJudithStockFenisiaStopherVeronicaTurnerJulievanHarperenCarolineWhitingHeatherYule

GayleAshbyMargaretBakerHilaryBanksDeniseBarthorpeJacquieBaskerAngelaBatesJaneBurgessHelenCookLeonieCookeJacquieCooperLizCoughlanAlisonDewarHelenDouglassKayDouglassNicolaFosterElizabethHanningLynetteHarperJaneHawkerJennyHaywardMavisHughesdonGwendaHutchinson

KikiKettunenCeinwenLallyMaryLawlerEmmaLeaderVivMassonClareOwenSusannePadelBridgetPurrBarbaraRiggsGeorginaSeamanAnnShepherdSallySinclairNatSmithTracySmithAnnTurnerVickyVaughanAnnVoddenLizWallacePennyWebbMargaretYates

TENORS BASSES

PeterAngwinMikeBarthorpeTomBrownMatthewEvansDerekHarwood

NicLampkinRichardPapworthAndrewSalisburyJeremyWrightNickYates

GeraldAtkinsonJohnAveryRobinBaskerPeterBellDavidBomgardnerMichaelBraideGregChoules

DavidCraigPaulHighRichardMooreBrendanMurphyAndrewParkerGrahamSalterBarrieSeaman

NewburyChoralSocietyMembers

23