TWICKENHAMCHORAL SOCIETY

Kingston Parish Church 26 June 2010

POULENC

Stabat Mater

BERLIOZTe Deum

FUTURE CONCERTS

Autumn 2010RACHMANINOV : VespersA concert by candlelightFriday 24 September 9.30pm, St Martin-in-the-Fields, Trafalgar Square

Winter 2010CHARPENTIER : Te DeumHANDEL : Zadok the Priest and Dixit Dominuswith the Brandenburg Baroque SoloistsThe Landmark Festival of Song30 October 7.30pm, Landmark Arts Centre, Teddington

Christmas 2010Christmas Charity ConcertVAUGHAN WILLIAMS : Fantasia on Christmas CarolsFINZI : In Terra PaxDOVE : The Three KingsLAURIDSEN : O Magnum MysteriumCarols for choir and audience18 December 7.30pm, St Mary’s Church, Twickenham

March 2011FAURÉ Requiemwith the Brandenburg Sinfonia26 March 7.30pm, St Martin-in-the-Fields

Spring 2011Sing in Latin, Sing in EnglishWorks by BYRD, WEELKES, GIBBONS, PURCELL and RHEINBERGER9 April 7.30pm, Landmark Arts Centre, TeddingtonThis concert will be taken on tour to Rüdesheim

Summer 2011TCS 90TH BIRTHDAY CELEBRATIONVERDI: Requiemwith the Brandenburg SinfoniaRose Theatre, Kingston upon Thames (to be confirmed)

The use of photographic, video or audiorecording equipment during the performance isnot permitted without the prior approval of theTwickenham Choral Society. However photostaken before or after the performance arewelcome, particularly if emailed afterwards topublicity@twickenhamchoral.org.uk

The cover shows a detail fromThe Descent from the Cross

by Rogier van der Weyden

BERLIOZ : Te DeumPOULENC : Stabat Mater

Sophie Bevan – soprano Adrian Thompson – tenor

Jonathan Beatty – organ

Tiffin Boys Choir, director Simon Toyne

Brandenburg Sinfonia

Conductor – Christopher Herrrick

Hector Berlioz (1809-1869)TE DEUMHector Berlioz is one of the few great French Romantic composers. He was sent to studymedicine in Paris but at 21 gave it up to become a musician. But he was a man born before histime and his music was largely ignored or denigrated during his lifetime. To make ends meet as acomposer he became a prolific writer on music and sharp-tongued music critic for Parisnewspapers.

Berlioz was not too interested in traditional musical form but a foremost advocate of the idea ofprogramme music. His musical style was quirky, even in the age of Romanticism. All of hiscompositions are programmatic, either settings of text or the musical portrayal of a literary ideaas, for example, in his best known work, Symphonie Fantastique. This approach to art was thenatural outcome of his belief in the kinship of music and ideas. For Berlioz, music and literaturewere inextricably connected, both expressions of the human imagination and emotion.

Berlioz was a pioneer of the new art of orchestration. He expanded and liberated the brass,making it the equal of the other orchestral sections. He experimented with new instruments andbegan the use of the Cor Anglais as one of the orchestra’s most expressive solo instruments. Andhe was among the first to divide the strings. His frequent demands for large numbers ofinstruments and voices came from his interest in the mastery of contrast.

Like Poulenc, following youthful devotion, Berlioz turned resolutely against religion, butnevertheless composed religious music, notably the Grande messe des morts of 1838, L’Enfance duChrist of 1854 and Te Deum of 1849. For him, the church was theatre, his imagination fired bygrand liturgy and dramatic architectural design.

The text for the Te Deum - Catholicism’s premiere hymn of thanksgiving – goes back to the earlychurch and was sung at the end of the Matins service, the title taken from the opening Latinwords, translated literally as ‘Thee, O God, we praise’. As he had done in the Requiem, Berliozarbitrarily re-orders the traditional text of the Te Deum in order to increase its dramaticpossibilities; the six choral movements that result from this re-arrangement are described as either‘hymns’ or ‘prayers’, and the climactic Judex crederis contains elements of each. Twoinstrumental pieces of martial character (Prélude and Marche) were composed for the openingbut, as in tonight’s performance, are usually omitted.

Dramatic opening chords alternate between orchestra and organ; the organ plays a prominentrole in the piece, not as a member of the orchestra, but rather, as Berlioz told Liszt, in ‘dialogue’

with it. In his celebrated ‘Treatise on Orchestration’ Berlioz says: ‘The organ and the orchestraare both kings; or rather, one is Emperor and the other is Pope’. An appropriate comment sinceBerlioz hoped to premiere the work – which was not a commission – to celebrate the militaryglory of Louis-Napoleon Bonaparte and his ascension to the throne as Emperor Napoleon III in1852. Despite attempts for a first performance, it was not until April 1855 that is was heard aspart of the celebrations to inaugurate a large new West-end organ at the church of SaintEustache; it was a great success.

There are six movements, alternately majestic and gentle; after the grand opening, the chorusenters with an exciting double fugue and includes a children’s chorus (which Berlioz himselflikened to the chorale line in the opening chorus of Bach’s St Matthew Passion). The followingTibi omnes is more meditative, the chorus building to a climax with the words ‘heaven and earthare full of the majesty of thy glory’. The prayer Dignare provides a more subdued movementwith a moderate tempo and dynamics throughout. The lively Christe, rex gloriae borrows brieflyfrom Berlioz’s earlier Resurrexit. The slow prayer Te ergo quaesumus introduces a tenor soloistfor the first time to which the chorus responds.

The concluding Judex crederis is the grandest movement of all and like the first movement, startswith the organ leading to impressive fugal writing for chorus; a feeling of majesty andtriumphant celebration pervades the movement.

Te Deum laudamus: te Dominum confitemur.

Te aeternum Patrem omnis terra veneratur.

Tibi omnes Angeli, tibi Coeli et universaePotestates:

Tibi Cherubim et Seraphim incessabili voceproclamant:

Sanctus: Sanctus: Sanctus Dominus DeusSabaoth.

Pleni sunt coeli et terra majestatis gloriae tuae.Te gloriosus chorus Apostolorum.Te Prophetarum laudabilis numerus.Te Martyrum candidatus laudat exercitus.Te per orbem terrarum sancta confitetur

Ecclesia.Patrem immensae majestatis.Venerandum tuum verum et unicum Filium,Sanctum quoque Paracletum Spiritum.Tu, Christe, tu Rex gloriae.Tu Patris sempiternus es Filius.Tu ad liberandum suscepturus hominemnon horruisti Virginis uterum.Tu devicto mortis aculeo aperuisti

credentibus regna coelorum.Tu ad dexteram Dei sedes, in gloria Patris.

Judex crederis esse venturus.

We praise Thee, O God: we acknowledge Theeto be the Lord.

All the earth doth worship Thee and the Fathereverlasting.

To Thee all Angels, to Thee the heavens and allthe Powers therein.

To Thee the Cherubim and Seraphim cry withunceasing voice:

Holy: Holy: Holy Lord God of Hosts.The heavens and the earth are full of the majesty

of Thy glory.Thee the glorious choir of the Apostles.Thee the admirable company of the Prophets.Thee the white-robed army of Martyrs praise.Thee the Holy Church throughout all the world

doth acknowledge.The Father of infinite Majesty.Thine adorable, true and only Son,Also the Holy Ghost the Paraclete.Thou art the King of Glory, O Christ.Thou art the everlasting Son of the Father.Thou having taken upon Thee to deliver man

didst not abhor the Virgin's womb.Thou having overcome the sting of death didst

open to believers the kingdom of heaven.Thou sittest at the right hand of God in the glory

of the Father.We believe that Thou shalt come to be our

Judge.

Te ergo quaesumus, Domine, famulis tuissubveni, quos pretioso sanguine redemisti.

Aeterna fac cum Sanctis tuis in gloria numerari.

Salvum fac populum tuum Domine,et benedic haereditati tuae.Per singulos dies, benedicamus te.Laudamus Te Domine, et laudamus nomen

tuum in saeculum.Dignare Domine die isto, sine peccato nos

custodire.Miserere nostri Domine, miserere nostri,Fiat super nos misericordia tua Domine,quemadmodum speravimus in te.In te Domine speravi;non confundar in aeternum.Cum sanctis tuis, fac numerari in eterna.

We beseech Thee, therefore, help Thyservants,whom Thou has redeemed with Thyprecious Blood.

Make them to be numbered with Thy Saints inglory everlasting.

Lord, save Thy people,and bless Thine inheritance.

Day by day we bless Thee.And we praise Thy name forever.

Vouchsafe, O Lord, this day to keep us withoutsin.

Have mercy on us, O Lord: have mercy on us.Let Thy mercy, O Lord, be upon us,

as we have hoped in Thee.O Lord, in Thee have I hoped;let me never be confounded.

Interval during which wine and soft drinks are available

Francis Poulenc (1899-1963)STABAT MATERFrancis Poulenc had a rather improbable rise to musical prominence. With almost no formaltraining in composition, he attracted considerable attention with his surreal novelty pieceRhapsodie negre and the fashionable Mouvements perpetuels in 1918, both bursting witheffortless melody, lyricism and humour.

These rather slender credentials earned him a place in ‘Les Six’, a journalistic creation brieflygrouping six young French composers whose music was influenced by Erik Satie and the absurdistwriter Jean Cocteau. Their aims were to break away from the twin influences of Germanicformality and French impressionism and to employ a direct and simple style in their ownmusic. Of the six, Poulenc was by far the most successful.

Being largely self-taught Poulenc was apt to absorb a wider range of musical sources than thosenormally imposed by strict classical training. Nearly all his work is a deft mixture of styles,suffused with ideas from Gregorian chant to burlesque, and coloured by his own personality: aneasy wit and charm, tinged with melancholy.

Poulenc’s writing is fundamentally tonal: he had no interest in sounding ‘modern’ although hisconcept of key signature was a fluid one. Harmony moves between Stravinskian dissonance andlush, sensuous chord progressions; angular phrases alternate with lyrical melodic writing. Hismusic is spiced with sudden changes in dynamics with much written in short musical phrases,repeated with subtle variation. Poulenc skilfully uses this colourful musical palette to express awide range of emotions which all infuse his Stabat Mater.

Poulenc was for many years the victim of his own charm and his association with theatrical musicearned him the reputation of a less than serious composer. Although he later declared that hewas ‘first and foremost a composer of religious music’, it was not until 1936 that he wrote hisfirst sacred composition – the unusually austere Litanies à la Vierge Noire de Rocamadour. This

was his response to the death of a friend and a reawakening of his Catholic faith which had beendormant since his late teens.

This new profundity led to the composition of a steady stream of sacred choral works forming amajor part of his output including series of motets and the large scale Stabat Mater of 1950 andGloria of 1959 (last performed by TCS in 2005). Stabat Mater employs the same forces as theGloria - chorus, soprano solo and large orchestra - and both enjoyed immediate and sustainedacclaim. Poulenc said of his work in this genre: ‘I think I put the best and the most authentic sideof myself into my choral music…I believe that it is truly in this domain that I have contributedsomething new.’

The thirteenth-century Stabat Mater dolorosatext is a devotional poem about the VirginMary’s grief-stricken vigil at the foot of theCross and part of the liturgy of the RomanCatholic Church. But the extreme solemnitycould not be in greater contrast to theprevailing mood of much of the music whichat times seems completely incongruous. Thework begins sombrely enough with the bassesintoning at the lower reaches of their register(The sorrowful mother stood) but it is by nomeans doom and gloom throughout. ThePassion of Christ provokes not just sorrowfulcontemplation but also explosions of energy,as in the Cujus animam (II) and the Quis esthomo? (V).

‘In Poulenc’, said the critic Claude Rostand,‘there is something of the monk and

something of the street urchin’. The Stabat Mater brilliantly expresses Poulenc’s dual personalitywith its captivating mixture of alternately solemnity and mischievous exuberance while theprevailing mood is one of ‘sensuous and slightly quirky mysticism’. The closing Quando corpus(XII), in which the supplicant prays for his spirit to be received in Paradise, is among the mostbeautiful Poulenc ever wrote although the music is unresolved; perhaps we are implicitly invitedto contemplate the soul’s onward journey.

Programme notes by Adrian Mumford

i Stabat mater dolorosajuxta Crucem lacrimosa,dum pendebat Filius.

ii Cuius animam gementem,contristatam et dolentem,pertransivit gladius.

iii O quam tristis et afflictafuit illa benedictaMater Unigeniti!

iv Quae moerebat et dolebat,Pia Mater cum videbatNati poenas incliti.

At the cross her station keeping,stood the mournful Mother weeping,close to Jesus to the last.Through her heart, His sorrow sharing,all His bitter anguish bearing,now at length the sword had pass'd.Oh, how sad and sore distress'dwas that Mother highly blestof the sole-begotten One!Christ above in torment hangs;she beneath beholds the pangsof her dying glorious Son.

v Quis est homo qui non fleret,Matrem Christi si videretin tanto supplicio?Quis non posset contristariChristi Matrem contemplaridolentem cum Filio?Pro peccatis suae gentis,vidit Jesum in tormentiset flagellis subditum.

vi Vidit suum dulcem natummorientem desolatum,dum emisit spiritum.

vii Eja Mater, fons amoris!me sentire vim doloris;fac, ut tecum lugeam.

viii Fac ut ardeat cor meum;in amando Christum Deumut sibi complaceam.

ix Sancta mater, istud agas,crucifixi fige plagascordi meo valide.Tui nati vulnerari,tam dignati pro me pati,poenas mecum divide.Fac me vere tecum flere,crucifixo condolore,donec ego vixero.Juxta crucem tecum stare,Te libenter sociare,in planctu desidero.Virgo virginum praeclara,mihi iam non sis amara,fac me tecum plangere.

x Fac ut portem Christi mortem,passionis fac consortemet plagas recolere.Fac me plagis vulnerari,cruce hac, inebriariOb amorem Filii.

xi Inflammatus et accensusper te, Virgo, sim defensusin die judicii.Christe, cum sit hunc exire,da per matrem me venire,ad palmam victoriae.

xii Quando corpus morietur,fac ut animae doneturParadisi gloria. Amen.

Is there one who would not weep,whelm'd in miseries so deepChrist's dear Mother to behold?Can the human heart refrainfrom partaking in her painin that Mother's pain untold?Bruis'd, derided, curs'd, defil'd,she beheld her tender childall with bloody scourges rent.For the sins of His own nation,saw Him hang in desolation,till His spirit forth He sent.O thou Mother! fount of love!touch my spirit from above;make my heart with thine accord.Make me feel as thou hast felt;make my soul to glow and meltwith the love of Christ our Lord.Holy Mother! pierce me through,in my heart each wound renewof my Saviour crucified.Let me share with thee His pain,who for all my sins was slain,who for me in torments died.Let me mingle tears with thee,mourning Him who mourn'd for me,all the days that I may live.By the cross with thee to stay,there with thee to weep and pray,is all I ask of thee to give.Virgin of all virgins best,listen to my fond request,let me share thy grief divine.Let me, to my latest breath,in my body bear the deathof that dying Son of thine.Wounded with His every wound,steep my soul till it hath swoon'din His very blood away.Be to me, O Virgin, nigh,lest in flames I burn and diein His awful Judgment day.Christ, when Thou shalt call me hence,be Thy Mother my defence,be Thy cross my victory.While my body here decays,may my soul Thy goodness praisesafe in Paradise with Thee. Amen.

ADRIAN THOMPSON trained at theGuildhall School of Music and Drama wherehe is now a professor.

Operatic credits include title role in PeterGrimes, Skuratov From The House of theDead; Monostatos in Die Zauberflöte, Arv inNielson's Maskarade and Valzacchi in DerRosenkavalier (Royal Opera House); Scribein Khovanshchina (WNO), Prologue in TheTurn of the Screw and Michael Jarrell’sGalilée (Grand Théâtre de Genève), AlbertGregor in The Makropoulos Case, Erik in DerFliegende Holländer and Laca in Jenufa(Opera Zuid); the title role of Janacek's TheDiary of One who Disappeared (Aix-en-Provence Festival and in Brussels); Zivny inJanacek's Osud and Midas in Die Liebe DerDanae (Garsington), Mr Upfold in AlbertHerring (Glyndebourne on Tour), MonsieurTriquet in Eugene Onegin (GlyndebourneFestival), Great Convict in From the House ofthe Dead (Teatro Massimo, Palermo), as wellas concert performances as Grigory in BorisGodunov (Brighton Festival).

Adrian has performed with all the majorBritish orchestras and ensembles and hisoverseas engagements have taken him allover the world working with manydistinguished conductors. In thecontemporary field he has performedLutoslawski's Paroles Tisées (LondonSinfonietta/Oliver Knussen), recorded JudithWeir's A Night at the Chinese Opera andgiven many first performances of works byBritish and European composers. Concerthighlights include Janacek's Glagolitic Mass(Hallé Orchestra/Mark Elder), Dream ofGerontius (Czech PhilharmonicOrchestra/Christopher Seaman).

Concert repertoire also includes Beethoven’s9th Symphony, Haydn’s The Seasons, VerdiRequiem, Handel The Messiah and Mahler’sDas Lied von der Erde as well as theEvangelists of Bach's St John and St MatthewPassions.

Engagements in 2009/2010 include Mime inDas Rheingold for Nationale Reisopera,Dream of Gerontius at the Royal FestivalHall and Birmingham Symphony Hall, WarRequiem at the Barbican Centre, Vitek in TheMakropulos Case for Angers/Nantes Operaand 1st Jew in Salome for the Royal OperaHouse, Covent Garden.

Subsequent engagements include Mao inNixon in China in Toronto, Esslinger in DieMeistersinger at Glyndebourne Festival andMime in Siegfried for the NationaleReisopera.

SOPHIE BEVAN recently graduated from theBenjamin Britten International Opera Schoolwhere she studied as a Countess of MunsterTrust award holder, Karaviotis Scholar andMBF award holder with Lillian Watson.During her time there she performed the titlerole in Monteverdi’s L’Incoronazione diPoppea and Susanna in Le Nozze di Figaro.

Born in Somerset in 1983 Sophie became asoloist at the age of 13 singing for variouschoral societies and concerts. At 18, Sophiegained a place at the Royal College of Musicas a Foundation Scholar and during her timethere was awarded an ABRSM scholarshipand won the Junior Kathleen Ferriercompetition, the RCM Concertocompetition, a Miriam Licette award forFrench song and on leaving the RCM wasawarded the Queen Mother Rose BowlAward for excelling in music, which waspresented to her by His Royal Highness ThePrince of Wales.

Sophie sings a wide range of concertrepertoire and she has worked withconductors including Nicholas Cleobury,Howard Arman, Martin André, SimonHalsey, Ed Gardner, Laurence Cummings,Paul McCreesh, Sir Neville Marriner andSir Charles Mackerras.

Sophie also sings regularly at the WigmoreHall with the Classical Opera Company withwhom she is an associate artist.

Already highly accomplished on the operaticstage, her recent engagements include thetitle role in Handel’s Rodelinda, Costanza inRiccardo I for Opera de Baugé in France,Alinda in L’Incoronazione di Dario forGarsington Opera, Barbarina in Le Nozze DiFigaro for WNO, Love in The Coronation ofPoppea for ENO, Xenia in Boris Godunov,Despina in Cosi Fan Tutte and Sopranosoloist in the staged production of Handel'sMessiah, all for ENO.

Her future engagements include Susanna inFigaro for Garsington Opera and Polissena inHandel's Radamisto for ENO this Autumn.

CHRISTOPHER HERRICK has been theConductor of Twickenham Choral Societyfor thirty six years. He began his conductingcareer while an organ scholar at Oxford,directing the Exonian Singers andOrchestra, and subsequently won a BoultScholarship to the Royal College of Music tostudy under Sir Adrian Boult.

During his many years with TCS he has beenambitious for their development, workingwith them to perform a huge range ofrepertoire from Renaissance music to up-to-the-minute commissioned works alongsidetop-class instrumentalists and vocal soloists.

Many of Christopher Herrick’s conductingappearances have been in top Londonvenues such as the Royal Albert Hall(including Verdi’s Requiem with 500 singers),Westminster Abbey (Berlioz’s Te Deum,Bach’s St Matthew Passion, Handel’sMessiah), Westminster Cathedral(Monteverdi’s Vespers), Barbican Hall(Mendelssohn’s Elijah), Wigmore Hall(Handel's Messiah) and Queen Elizabeth Hall(twenty concerts covering the whole gamut

of the choral repertoire). He has directed anumber of concerts in St Martin in the Fields,including the most recent one withTCS, which included the first Londonperformance of Iain Farrington's The BurningHeavens. Also, in Guildford Cathedral, hehas conducted Elgar’s Dream of Gerontius,Britten’s War Requiem, Walton’s Belshazzah’sFeast and Janáček’s Glagolitic Mass.

Christopher has successfully combined hiswork as a conductor with his life as a busyinternational concert organist. This aspect ofhis career was fully launched during his tenyears as an organist at Westminster Abbey,when he gave over one hundred solo recitalsin the Abbey itself and played for countlessimportant occasions, including the funeralservices of Herbert Howells and WilliamWalton. He also played at Walton's 80thbirthday concert in Westminster Abbey whenhis complete church music repertoire wasperformed with Simon Preston conductingthe Abbey Choir in the composer’s presence.

Since 1984, to complement his solo organconcerts and concertos worldwide, he hasrecorded over forty CDs for HyperionRecords, including Bach's complete organworks recorded over a ten-year period onMetzler organs in Switzerland, fourteenOrgan Fireworks and four Organ Dreamsdiscs, as well as recordings on periodinstruments of the works of Daquin,Sweelinck and Buxtehude.

In 2010 Hyperion will issue the secondBuxtehude CD recorded on a beautifullyrestored eighteenth century German organ inTrondheim Cathedral, Norway, and thefourteenth Organ Fireworks CD recorded ona great Anglo-American monster inMelbourne Town Hall, Australia. Herecorded his third Buxtehude disc in St Louisen l'Ile, Paris after Easter, and plans to recordthe fourth disc at Trinity College, Cambridgenext January.

JONATHAN BEATTY is the Assistant Conductor ofTwickenham Choral Society and we are all immenselygrateful for his artistry and support week by week as arehearsal pianist and for the way he so brilliantly takesover direction of the choir when Christopher is away.

Jonathan is increasingly in demand as an accompanistand vocal coach. He studied with Graham Johnson andEugene Asti at the Guildhall School, and havingcompleted his Masters, was one of the youngestcoaches to be appointed to the staff there. He has beena prizewinner at the Kathleen Ferrier and EnglishSingers' and Speakers' Competitions, and was awarded aMBF Special Award and Megan Foster Prize at theMaggie Teyte Competition. He has twice participated inthe Young Songmakers' masterclasses and concert, andthe Britten Pears programmme in Snape.

Recent performances include two Wigmore Hall recitals with Anna Stephany and KatrinaBroderick, the Maggie Teyte Prizewinners' Recital in the Royal Opera House, regular broadcastson the In Tune programme on BBC Radio 3, and a concert for the International KodalySymposium.

Jonathan is a member of Kokoro, the contemporary wing of the Bournemouth SymphonyOrchestra and works regularly with the BBC Singers, Monteverdi Choir and PhilharmoniaChorus. He also recently qualified as an examiner for ABRSM.

The BRANDENBURG SINFONIA is one of the mostdynamically versatile musical organisations in the country.It is renowned for its special quality of sound and poisedvivacity in performance.

The Orchestra performs regularly in the majority of themajor venues across the country and in London at the

Barbican Halls, Royal Albert Hall, Queen Elizabeth Hall, Fairfield Hall and St John's Smith Square.

One major event in the year is the Spring Choral Festival at St Martin-in-the-Fields when theBRANDENBURG SINFONIA, along with its sister orchestra the BRANDENBURG BAROQUESOLOISTS, is able to invite a large number of partner choirs to join in a celebration of all themajor choral repertoire – all of course in the magnificent setting and acoustic of St Martin-in-the-Fields.

A large number of artists of international standing have worked with the orchestra includingRichard Bonynge, James Bowman, Sir James Galway, Lesley Garrett, John Georgiadis, GordonHunt, Emma Johnson, Emma Kirkby, Yvonne Kenny and John Wallace.

Its repertoire ranges from Bach to Lloyd Webber and its members give over one hundredperformances of orchestral, chamber choral and operatic music during the year.

The orchestras for a number of touring companies are formed from members of theBRANDENBURG SINFONIA including Central Festival Opera, First Act Opera and London CityOpera.

What made it actually rather enjoyable was the playing of the chamber orchestra which wasconsistently well shaded and nuanced – THE TELEGRAPH

Some of the most stylish Mozart playing for some time – THE TIMES

Violin 1 Flute TrumpetMihkel Kerem Celia Chambers Chris Deacon

Rhys Watkins Nili Newman Heidi Bennett

Sarah Wolstenholme

Deborah White Piccolo CornetMiriam Teppich Anna Wolstenholme Chris Evans

Alex Afia Jo Harris

Ciaran McCabe OboeIwona Muazynska Emily Pailthorpe Trombone

Rachel Broadbent Emma Juliette Boyd

Violin 2 Richard Watkin

Charlotte Scott Cor Anglais Dougall Prophet

Julian Saxl Alison Teale

Rachel Rowntree TubaSamantha Wickramsinghe Clarinet Graham Thomas

Oriana Kriszen Andrew Webster

Tina Jacobs-Lim Charlotte Self Timpani

Tristan Fry

Viola Bass ClarinetJames Sleigh Tom Lessels PercussionSarah Chapman Gillian McDonagh

Richard Cookson Bassoon Tim Evans

Mariam Ruetschi Sarah Burnett

Elizabeth Trigg HarpCello Tom Hardy Sally Pryce

Stephen Orton Rosie Cow

Lucy Wilding

Joy Hawley HornLydia Shelley Nick Wolmark

Susie Koczur

Bass Neil Mitchell

Anthony Williams Jason Koczur

Jan Zahourek

TIFFIN BOYS' CHOIR: Simon Toyne, directorSince its foundation in 1957, the Tiffin Boys’ Choir has been one of the few state school choirs tohave been continually at the forefront of the choral music scene in Britain. It has given thepremiere performances of works by, among others, John Gardner, Christopher Brown, ElizabethPoston and Antony Pitts, recorded widely for the major recording companies, and undertakenfrequent concerts and tours in England and abroad. The choir has worked with all the Londonorchestras and performs regularly with the Royal Opera. Recent engagements have includedcritically acclaimed performances of Carmen (Antonio Pappano) and A Midsummer Night'sDream (Richard Hickox), Boris Godunov with the Bolshoi Opera, Hänsel und Gretel (Sir ColinDavis), also broadcast on BBC2 TV, performances of Britten's War Requiem with AntonioPappano, a series of a capella concerts at the Spoleto Festival and throughout Romania, andMahler’s Third Symphony with the LSO under Gergiev and the LPO under Rozhdestvensky. Thechoir enjoys a good relationship with the London Mozart Players, performing most recentlyHaydn’s Creation and the Fauré Requiem. Future engagements include Hänsel und Gretel at theRoyal Opera House with Sir Charles Mackerras and Mahler’s Eighth Symphony at the RoyalAlbert Hall.

The choir has made recordings of most of the orchestral repertoire that includes boys’ choir.Notable releases have included Mahler’s Eighth Symphony with Klaus Tennstedt, which wasnominated for a Grammy Award, Il Trittico (Puccini), Werther (Massenet) and Tosca (Puccini) forEMI and Antonio Pappano, Billy Budd (Britten) with the LSO and Richard Hickox, Mahler's ThirdSymphony with the Philharmonia and Benjamin Zander, and Britten's War Requiem with the LPOand Kurt Masur. Recent releases include Mahler 3 (LSO/Gergiev), Carmina Burana (LSO/Hickox)and Owen Wingrave (CLS/Hickox).

Tiffin School is a state grammar school and specialist Performing Arts College in Kingston-upon-Thames, described by OFSTED as “exceptional”. Almost all the 1200 boys in the school play amusical instrument, and over 100 boys study Music at GCSE and A Level. The school has beenclosely connected with the formation and development of the National Youth Music Theatre.Several members of the choir have gained choral scholarships to Oxford and Cambridge, singingin the choirs of King's College, St John's College and New College.

In Summer 2008, the choir undertook a concert tour of Germany, including performing to anaudience of 1300 in the Thomaskirche, Leipzig, and in February 2009 toured New Zealand tocritical acclaim. Following a Gala Concert in Southwark Cathedral on Thursday 8th July, the choirwill tour Estonia, Latvia and Lithuania this summer.

… the outstanding Tiffin Boys’ Choir – THE TIMES, JANUARY 2008

… the magnificent Tiffin Boys’ Choir – THE INDEPENDENT ON SUNDAY, FEBRUARY 2008

Eamon BroderickEuan CarterJosh CobbJamie CrooksKit DaveyJakob De Menezes WoodLouis FreemanJack HawkinsDaniel HendersonDominic Howard-WilliamsTom Hunter

Dominic JonesSenthooran KathiravelupillaiHugo KhanAlexander KirkupDavid KolaJoe MillsAdam MirskyTom NewsomeEdward OfferLloyd PerryPiranavan Ravivarman

Tom RushtonThomas SalehRobert SingletonAkilesh SreecumarLouis SutcliffeLucas TischlerEdan UmrigarDaniel VorleyTom WaltersHenry Willis

TWICKENHAM CHORAL SOCIETY

President: Tristan FryHon. Treasurer: Jo Underdown

Chairman: Adrian MumfordHon. Secretary: Sarah Taylor

Twickenham Choral Society draws its membership from a wide area of west London. The Choir,founded in 1922, has a proud tradition of performing a broad and enterprising repertoire fromevery age - Monteverdi, through Bach, Mozart, Brahms and Verdi to more modern composerssuch as Janáček, Britten, Schoenberg and Tippett.

The choir always works with excellent professional soloists and orchestras, aiming to produce thehighest quality performances. Concerts are staged three times a year in local venues and over thepast few years we have also been invited to perform with the Brandenburg Sinfonia atSt Martin’s in the Fields. Since 2000 the choir has performed in Prague, Budapest, Barcelona,Istria and Mallorca. The concert programme is planned on a two year cycle. Full details can befound on our web-site www.twickenhamchoral.org.uk.

The members of Twickenham Choral Society are:

Sopranos: Catherine Black, Liz Butler, Carol Caporn, Sarah Cheshire, Julia Coomes,Kathryn Doley, Annette Duffy, Catherine Gash, Sally Goodman, Jane Hansell,Sarah Herrick, Catherine Hogan, Elizabeth Honer, Jessica Horscroft, Wendy Johnson,Christabel King, Marjory King, Nancy Lee, Katrina Lidbetter, Margaret Lord,Pam McWilliam, Lesley Mildon, Sarah Mulkerins, Ruth Parker, Julia Primarolo,Fiona Rowett, Oda Rudiger, Mary Somerville, Adrienne Tallents, Sarah Taylor,Bronwen Thompson, Becky Thurtell, Margaret Valentine, Nancy Vickers,Sylvia Walker, Nicola Whiteside, Candy Williamson, Joanna Woodward, Gill Zettle

Altos: Carol Almand, Gillian Beauchamp, Eileen Cairns, Lisa Colclough, Barbara Cook,Anna Cunnyngham, Monica Darnbrough, Fiona de Quidt, Mary Egan,Rosemary Fulljames, Margaret Garnham, Esther Goecke, Jan Gow, Libby Grace,Ann Gray, Julie Hall, Margaret Hamilton, Margaret Harvey, Eve Houseman,Susan Jacobs, Clare Jeffery, Rosemary Jeffery, Catherine Jones-Healey, Kate Larcombe,Sarah Martin, Christine Mason, Susan McCarty, Catherine McManus, Jessica Michell,Jane Newman, Alicia Ooi, Barbara Orr, Jocelyn Peach, Rachel Pickering,Anne Rowett, Bess Ryder, Sue Sabourin, Penelope Skinner, Anne Stephens,Anne Sutton, Elaine Thawley, Jo Underdown, Lindsey Waine, Felicity Williams

Tenors: Tony Alderton, David Amos, Hadley Baldock, Chris Britton, John Dewhurst,Colin Flood, Michael Gilbert, Andy Godfrey, Clive Hall, Chris Hardy, Bill Hartree,Simon Lambourn, Duncan Lawson, John Mullinar, Felix Newton, John Orr, Kit Peck,David Underdown

Basses: Chris Bennett, Alan Brookes, Tony Caporn, Tim Lidbetter, Keith Long,Richard Metcalfe, Peter Midgley, Adrian Mumford, Philipp Niklowitz, Pip Rowett,John Saunders, John Tatam, Michael Turner, Bob Vickers, David Wallis,Richard Welton, Ian Williamson, Philip Wright

Visit www.twickenhamchoral.org.uk for more information about TCS and future plans.Christopher Herrick’s web-site is at www.christopherherrick.org

To receive advance notice of Twickenham Choral concerts, and to have the opportunityof booking tickets early, visit the Future Concerts page of our website

and click on Join Mailing List

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TCS is affiliated to Making Music, which represents and supportsamateur performing and promoting societies throughout the UK

Twickenham Choral Society is a registered charity, number 284847