david hill dirigentphilip scriven orgel

the bach choir london

d e o o s t e r p o o r t programmadonderdag 5 oktober, 20.15 uur

Programma

S. Rachmaninovi) Come, let us worship

ii) Rejoice, O virginiii) Praise the name of the Lord (Vespers)

H. Howellsi) O Saviour of the World

ii) Requiem (Requiem)

L. AndriessenThema met variaties (orgel solo)

L. AndriessenMagnificat

A. PärtNunc Dimittis

TippettSpirituals from ‘A Child of our Time”

pauze

ParryI was glad

Balfour-GardinerEvening Hymn

HowellsRequiem II (Requiem)

JongenChant de Mai (orgel solo)

Rachmaniovi) Today salvation has come

ii) Thou didst rise from the tombiii) To Thee, the victorious leader

ParryBlest Pair of Sirens

The Bach Choir LondonOver a century of song Founded in 1876, The Bach Choir is recognised as one of the world’s leading choruses, building upon a tradition that combines musical excellence with creativity and innovation. From the first performance in Britain of Bach’s Mass in B minor to the soundtrack for Ridley Scott’s 2012 epic Prometheus, our musical heritage is as rich as it is diverse. Directed by David Hill, one of the country’s most eminent conductors, we regularly perform and record across London and the UK in prestigious venues, from the Royal Albert Hall to Abbey Road Studios.

A unique collective voiceDescribed by the London Evening Standard as ‘probably the finest independent choir in the world’, we value the freedom that our independence brings, allowing us to work with the very best conductors, orchestras, and soloists, and to choose the music we perform. To date we have sung over 200 works in more than 80 venues, and continue to share our work with audiences around the world.A distinctive, challenging repertoireFrom oratorio to film scores and from St Paul’s Cathedral to Sydney Opera House, our repertoire – which covers works from the 16th century to the present day – celebrates the power that music has to connect us, to take us beyond ourselves, and to spark our imagination. Our work has an emotional intensity that only a large choir can evoke and in 2012 we invited a host of younger voices to join us. Our performance of Bob Chilcott’s The Angry Planet at the BBC Proms saw over 250 school children singing as part of our sixth world premiere since 2001.A list of notable names

It is our people who define us. Sir Charles Villiers Stanford, Ralph Vaughan Williams, Sir David Willcocks: these are just a few of the eminent musicians that have played a part in our history and created the musical pedigree that we build upon today. With HRH The Prince of Wales as our Patron, John Rutter as our President, and David Hill as our Musical Director, our performances and recordings go from strength to strength. Our Accompanist/Assistant Conductor is Philip Scriven, who is widely regarded as one of the finest organists of his generation, and highly respected as a conductor.

A choir for the 21st-centuryThe Bach Choir has always been and continues to be characterised by the commitment of its members. With over 220 talented singers coming from all walks of life, an international touring schedule, and an outreach programme that takes our passion for music into inner-city schools, we are an active community performing, recording and sharing music for everyone to enjoy, whatever their age or background.

David HillRenowned for his fine musicianship, David Hill is widely respected as both a choral and an orchestral conductor. He became The Bach Choir’s ninth Musical Director in 1998; he is also Associate Guest Conductor of the Bournemouth Symphony Orchestra, Music Director of Leeds Philharmonic Society and Principal Conductor of Yale Schola Cantorum.Born in Carlisle in 1957, David Hill was made a Fellow of the Royal College of Organists at the age of 17, and won an organ scholarship to St John’s College, Cambridge where he served under the direction of the late Dr George Guest. Since Cambridge, David has held the posts of Sub-Organist at Durham Cathedral, Master of Music at Westminster Cathedral, Master of Music at Winchester Cathedral, Director of Music at St John’s College, Cambridge, and Chief Conductor of the BBC Singers.David is in great demand for choral training workshops worldwide, and his handbook on the subject Giving Voice was published in 1995. He is a choral advisor to music publishers Novello, for whom he has edited a number of publications including the carols anthology Noël!, and he regularly contributes articles to Choir and Organ. As an organist, he has given recitals in most of the major venues in the UK and has toured extensively abroad.

David Hill’s broad-ranging discography of over 100 recordings, spanning repertoire from the Renaissance to the present day and including many award-winners, can be found on the Decca/Argo, Hyperion, Naxos and Virgin Classics labels. The third in his English series for Naxos with The Bach Choir and the Bournemouth

Symphony Orchestra – Delius’s A Mass of Life – was widely acclaimed on its release in 2012 and won a coveted Choc de Classica. With The Bach Choir David Hill has contributed to the film sound tracks of Kingdom of Heaven, The Chronicles of Narnia and Robin Hood.David Hill has appeared as guest conductor with many of the leading choirs and orchestras in the UK and abroad, including the Minnesota Orchestra, Netherlands Radio Choir and RIAS Kammerchor, Berlin. His commitment to new music has led to him commissioning works from leading composers including Judith Bingham, Judith Weir, Carl Rütti, Francis Pott, James MacMillan, Philip Moore, Naji Hakim, Philip Wilby and Jonathan Dove.

Programme notes

Sergei Rachmaninov (1873-1943)Vespers: Come, let us worship – mvt 1; Rejoice, O virgin – mvt 6; Praise the name of the Lord – mvt 8Rachmaninov was born on 1 April 1873 on an estate at Oneg in Novgorod, the son of a Captain in the Russian Imperial Guard whose wife was also endowed with worldly substance. The family property had dwindled to a single estate by 1882, his parents separated and young Sergei went with his mother to St Petersburg. His musical talent at the keyboard became apparent from the age of four, aided by his grandfather who had been a pupil of John Field. His progress was such that he graduated to the St Petersburg Conservatory and later to the Moscow Conservatory where he studied with Arensky and Taneief, and frequently visited the home of Tchaikovsky. His early compositions from 1893 until he left for America in 1917 included operas, two symphonies, three piano concertos, many piano pieces and songs, and chorus works which included the Vespers in 1915 in memory of Stepan Smolensky. The work had only a few performances in Moscow before Rachmaninov left Russia and was subsequently performed in New York in 1920 and translated into English by Canon Winfred Douglas with revisions by the composer.The work comprises fifteen parts and forms what is called in Russian the Combined Prayer Service, or All Night Vigil, consisting of the vespers and matins service linked together for the nights of vigil preceding the great holy days. Rachmaninov was motivated by the shocking experience of war to draw on old Russian liturgical material to give

expression to his patriotic feelings and reveals the close relationship between religious feeling, folk music and national identity. The work draws upon ancient texts and liturgical melodies and it is often difficult to hear precisely where traditional melody stops and Rachmaninov’s own begin. The composer makes the most out of the possibilities inherent in the medium of an unaccompanied choir from unison to polyphony; meditative, inward-looking movements alternate with rhythmically energetic movements. The All Night Vigil is now ranked amongst the highest artistic achievements in the realm of Russian church music.

Herbert Howells (1892-1983)Requiem: i) O Saviour of the World; ii) Requiem IHerbert Howells (1892-1983) was associated with The Bach Choir as a Vice-President for many years until his death. The Choir made the first recording of his masterpiece Hymnus Pradisi in 1970, under Sir David Willcocks, and subsequently a second recording in 2007 under David Hill, along with Sir Patrick Spens. The Choir commissioned Stabat Mater in the 1950s which was given its premiere in 1965 and the Choir has recently recorded this, along with Sine Nomine and the orchestral arrangement of the famous Collegium Regale setting of the Te Deum.The story of the writing of the Requiem is a fascinating one, and for many years it had been thought that Howells wrote this exquisite piece as a response to the death of his young son Michael from polio in 1935. He did go on to develop his masterpiece, Hymnus Paradisi from 1936 – 38 basing it on content from the Requiem, but he never put the piece out for publication and it was not until

shortly before his death in 1983 that Joan Littlejohn of the RCM put together the manuscripts for publication in 1980. Meanwhile, Hymnus had been premiered at the Gloucester Three Choirs festival in 1950, conducted by the composer, and it was performed in the following two years at the festival as well.Shortly before Christopher Palmer’s biography of Howells was published in 1992, Ursula Howells (daughter), Palmer and I were having lunch at the Three Choirs in Gloucester when we were joined by Diana Oldridge, a very old friend of Howells. She waved a letter dated 1932 in her hands and wondered whether it was of interest. It indicated that not only had Howells written the Requiem three years before Michael’s death, but that he had intended to offer it to Boris Ord at King’s College Cambridge. In fact he did not send it to Ord, and instead put it on one side. Palmer then had to re-write rapidly major sections of the biography to include this new information.It was only after his daughter Ursula suggested after Michael’s death at the age of 9 that he should write ‘something for Michael’ that he brought out the Requiem, from which Hymnus Paradisi emerged. It became almost a legend that Howells wrote the Requiem as a response to his son’s early and untimely death. He never attempted to scotch the rumour, and was always rather vague about the connection between the two pieces, no doubt feeling that the ‘legend’ made for a good story!The Requiem consists of the following six movements:Salvator mundi (in English); Psalm 23; Requiem aeternam (1); Psalm 121; Requiem aeternam (2) and ‘I heard a voice from heaven’, of which we shall hear today the first, third and fifth movements.

The format of the Requiem is based on an earlier Short Requiem in D major by Sir Walford Davies, but Howells’ setting is more harmonically complex, with extensive use of double choir.Andrew Millinger

Hendrik Andriessen (1892-1981)Thema met VariatiesHendrik Andriessen was a Dutch composer, organist and teacher, and member of a very musical family. His father was a prominent organist; his brother was pianist and composer Willem Andriessen (1887-1964), and his sons Jurriaan (1925-1996) and Louis (b 1939) both composers, with his daughter Heleen (1921-2000) following a career as a flautist. His output includes choral works – eight masses and a setting of the Te Deum, works for solo organ, as well as orchestral works, lieder and chamber music. He was an accomplished organist and is best remembered for his skills in improvising at the organ, as well as his music for the Catholic liturgy.The Thema met Variaties is his best known work, and is a set of variations on his own theme. The work was dedicated to the Austrian organist Susi Jeans (1911-1993).Katharine Richman

Hendrik Andriessen (1892-1981)MagnificatWhereas Andriessen composed eight masses, including the Missa in Honorem Sacratissimi Cordis (1919) and the Missa Diatonica (1963), this is his only Magnificat setting, composed in 1936.

Arvo Pärt (b 1935)Nunc DimittisFollowing a period of experimentation with serialism, which he found unfulfilling, the Estonian composer, Arvo Pärt immersed himself in early sacred music – plainsong, Gregorian chant and Renaissance polyphony – as well as exploring religion, becoming a member of the Russian Orthodox Church. Abandoning Shostakovich, Prokofiev and Bartók, the composers who had influenced many of his earlier works, Pärt’s music took a very different turn. ‘I have discovered that it is enough when a single note is beautifully played’ he wrote, describing his new minimalist compositional style which he called tintinnabuli (little bells). His music became typically slow and meditative, characterised by the simultaneous sounding of notes in a single scale and chord.Composed in 2001, 12 years after Pärt had producing a setting of the Magnificat, Nunc Dimittis was commissioned by St Mary’s Episcopal Church in Edinburgh, and was first performed at the Edinburgh Festival in August 2001. The setting is gentle, becoming more intense as it reaches a climax on the words ‘lumen ad revelationem’.Katharine Richman

Michael Tippett (1905-1998)Spirituals from ‘A Child of our Time’1 Steal Away2 Nobody knows the trouble I see3 Go down, Moses4 O! By and by5 Deep RiverCompleted in the early years of World War II and first performed in 1944, Tippett’s oratorio about the inhumanity of man to man represented a 20th-century Passion. As Bach’s Passions were summed up at strategic moments by chorales, so Tippett used these Spirituals to evoke and summarize the response of the audience to what precedes them. In the context of the oratorio, they are simple harmonisations for choir accompanied by the orchestra. In 1958, responding to a request from his publisher, Tippett rearranged the Spirituals for unaccompanied choir, increasing the number of choral parts and redistributing the orchestral material among them but basically aiming for the simplest and most telling effects.Ivor Keys

Interval

Charles Hubert Hastings Parry (1848-1918)I was gladThe orderly pomp and opulent choral sound which Parry achieved in this anthem written for Edward VII’s coronation in 1901 has made it a fixture for all subsequent coronations; but more than that, it is a clear favourite at choral concerts throughout the land, when something affordable but on a grand scale is required. Parry’s setting works equally well with organ or orchestral accompaniment, and the central section with its shouts of

‘Vivat!’ (originally assigned to the Queen’s Scholars of Westminster School) is normally omitted in concert performances. The words are from Psalm 122. Particularly noteworthy is the beautiful tune in the episode for the semi-chorus: ‘O pray for the peace of Jerusalem’.Ivor Keys

Henry Balfour Gardiner (1877-1950)Evening HymnHenry Balfour Gardiner was an English musician, composer and teacher, great-uncle of the conductor Sir John Eliot Gardiner. A particularly self-critical composer, it is thought that he destroyed many of his own compositions, as very little of his music survives today. Evening Hymn, composed in 1908, is a setting of the Compline hymn, Te lucis ante terminum, for choir and organ, and is the work for which Balfour Gardiner is best remembered.Katharine Richman

Herbert Howells (1892-1983)Requiem: Requiem II

Joseph Jongen (1873-1953)Chant de MaiJoseph Jongen, born in 1873 in Belgium, was a prolific composer, but it is his organ works that are now most well-known and frequently performed. His talent was recognised at an early age and he enrolled at the Liége Conservatoire aged just seven, winning many prizes for composition and performances at the piano and organ.Chant de Mai was composed in 1917 and is a quiet and reflective piece, which is likely to have been inspired by the poem Lied de Mai by Henry Glaze de Bury, which was itself modelled on a Goethe’s Mai Lied.Katharine Richman

Sergei RachmaninovVespers: Today salvation has come (mvt 13); Thou didst rise from the tomb (mvt 14); To Thee, the victorious leader (mvt 15)

Charles Hubert Hastings Parry (1848-1918)Blest Pair of SirensSir Hubert Parry was a pioneer of the great renaissance of British music which began during the last decades of the 19th century. In addition to being an important composer, he was one of the leading educationalists and historians of his day and was influential in raising the social status of the professional musician.At the age of 27 Parry joined the basses of the newly-established Bach Choir and he retained close links with the Choir for the rest of his life. In 1887 The Bach Choir, under its then Musical Director, Sir Charles Stanford, had planned to perform Parry’s The glories of our blood and state, but the Choir’s committee decided on reflection that it would be quite inappropriate to sing the text ‘Sceptre and crown must tumble down’ at a concert during Queen Victoria’s Jubilee year! Accordingly Parry was invited to write another work and it was Sir George Grove who suggested the text of Milton’s poem, At a solemn music.Despite heavy commitments as Director of the Royal College of Music, Parry made rapid progress with the completion of the score, and the first performance by The Bach Choir on 17 May 1887, according to Parry’s diary, ‘went pretty well’ and the work was ‘uproariously received, especially by the Choir ... It is delightful to please one’s friends’.Sir David Willcocks

Programme notes for the Rachmaninov Vespers, Tippett Spirituals and Parry I was glad were sourced from the Programme Note Bank of Making Music, of which The Bach Choir is a member.

Rachmaninov Come, let us worship – mvt 1; Rejoice, O virgin – mvt 6; Praise the name of the Lord – mvt 8

Amin.Priiditye, poklonimsya Tsaryevi nashemu Bogu.Priiditye, poklonimsya i pripadyem Khristu Tsaryevi nashemu Bogu.Priiditye, poklonimsya i pripadyem samomu Khristu Tsaryevi i Bogu nashemu.Priiditye, poklonimsya i pripadyem Yemu.

Amen.Come, let us worship God, our King.Come, let us worship and fall down before Christ, our King and our God.Come, let us worship and fall down before the very Christ, our King and our God.Come, let us worship and fall down before Him.

Bogoroditse Dyevo, raduisya, Blagodatnaya Mariye, Gospod s Toboyu.Blagoslovyenna Ty v zhenakh, i blagoslovyen Plod tchryeva Tvoyego, yako Spasa rodila yesi dush nashih.

Rejoice, O Virgin Theotokos, Mary full of grace, the Lord is with Thee.Blessed art Thou among women, and blessed is the Fruit of Thy womb, for Thou hast borne the Saviour of our souls.Khvalitye imiya Gospodnye. Alliluiya.Khvalitye, rabi Gospoda. Alliluiya.Blagoslovyen Gospod ot Siona, zhiviy vo Iyerusalimye. Alliluiya.

Ispovyedaytyesiya Gospodyevi, yako blag. Alliluiya.Yako v vyek milost Yego. Alliluiya.Ispovyedaityesiya Bogu nyebyesnomu. Alliluiya.Yako v vyek milost Yego. Alliluiya.

Praise the name of the Lord. Alleluia.Praise the Lord, O you His servants. Alleluia.Blessed be the Lord from Zion, He who dwells in Jerusalem. Alleluia.O give thanks unto the Lord, for He is good. Alleluia.For his mercy endures forever. Alleluia.O give thanks unto the God of Heaven. Alleluia.For His mercy endures forever. Alleluia.

Howells i) O Saviour of the World; ii) Requiem IO Saviour of the world, who by thy Cross and thy precious Blood hast redeemed us, save us and help us, we humbly beseech thee, O Lord.(Antiphon for matins on the feast of the Exultation of the Cross)Requiem aeternam dona eis,Et lux perpetua luceat eis.Requiem aeternam dona eis, Domine.Rest eternal grant them.And let light perpetual shine on them.Rest eternal grant them, Lord.Words from the introit for the Mass for the Deadfrom the Roman MissalAndriessen MagnificatMagnificat anima mea Dominum,Et exultavit spiritus meus in Deo salvatore meo,Quia respexit humilitatem ancillae suae ecce enim ex hoc beatam me dicent omnes generationes,

Quia fecit mihi magna, qui potens est: et sanctum nomen eius,Et misericordia eius in progenies et progenies timentibus eum.Fecit potentiam in brachio suo: dispersit superbos mente cordis sui;Deposuit potentes de sede et exaltavit humilesEsurientes implevit bonis: et divites dimisit inanes.Suscepit Israel puerum suum: recordatus misericordiae suae,Sicut locutus est ad patres nostros: Abraham et semini eius in saeculaGloria Patri, et Filio, et Spiritui Sancto,: sicut erat in principio,Et nunc, et semper: et in Saecula saeculorum. AmenMy soul doth magnify the Lord.And my spirit hath rejoiced in God my Saviour.For he hath regarded the lowliness of his handmaiden: For behold, from henceforth all generations shall call me blessed.For he that is mighty hath magnified me: and holy is his Name.And his mercy is on them that fear him: throughout all generations.He hath shewed strength with his arm: he hath scattered the proud in the imagination of their hearts.He hath put down the mighty from their seat: and hath exalted the humble and meek.He hath filled the hungry with good things: and the rich he hath sent empty away.He remembering his mercy hath holpen his servant Israel.As he promised to our forefathers, Abraham and his seed for ever.Glory be to the Father, and to the Son: and to the Holy Ghost;

As it was in the beginning, is now, and ever shall be: world without end. Amen.Luke 1, 46-55

Pärt Nunc DimittisNunc dimittis servum tuum, Domine, secundum verbum tuum in pace,Quia viderunt oculi mei salutare tuum,Quod parasti ante faciem omnium populorum,Lumen ad revelationem gentium et gloriam plebis tuae Israel.Lord, now lettest thou thy servant depart in peace, according to thy word:For mine eyes have seen thy salvation,Which thou hast prepared before the face of all people;A light to lighten the Gentiles, and the glory of thy people Israel.Luke 2, 29-32

Tippett Spirituals from ‘A Child of our Time’Steal away, steal away, steal away to Jesus,Steal away, steal away home;I han’t got long to stay here.My Lord, he calls me, he calls me by the thunder,The trumpet sounds within-a my soul;I han’t got long to stay here.Green trees a-bending, poor sinner stands a-trembling,The trumpet sounds within-a my soul;I han’t got long to stay here.

Nobody knows the trouble I see, Lord,Nobody knows like JesusO brothers, pray for me, and help me to drive old Satan away.O mothers, pray for me, and help me to drive old Satan away.

Go down, Moses, way down in Egypt land,

Tell old Pharaoh to let my people go.When Israel was in Egypt land,Oppressed so hard they could not stand,“Thus spake the Lord” bold Moses said“If not, I’ll smite your first born dead”.

O by and by I’m going to lay down my heavy load.I know my robe’s going to fit me well:I’ve tried it on at the gates of hell.Hell is deep and a dark despair:O stop, poor sinner, and don’t go there.

Deep river, my home is over Jordan,Deep river, Lord, I want to cross over into camp-ground.Oh chillun! O don’t you want to go to that gospel feast,That promised land, that land where all is peace.Walk into heaven, and take my seat,And cast my crown at Jesus’ feet.

Interval

Parry – I was gladI was glad when they said unto me,We will go into the house of the Lord.Our feet shall stand in thy gates, O Jerusalem.Jerusalem is builded as a city that is at unity in itself.O pray for the peace of Jerusalem: they shall prosper that love thee.Peace be within thy walls and plenteousness within thy palaces.Psalm 122: 1-3, 6, 7

Balfour Gardiner – Evening HymnTe lucis ante terminumRerum Creator poscimusUt pro tua clementiaSis praesul et custodia.

Procul recedant somniaEt noctium phantasmataHostemque nostrum comprimeNe polluantur corpora.Praesta, Pater piissimePatrique compar uniceCum spiritu ParaclitoRegnans per omne saeculum. AmenHymn from the office of ComplineThee, Lord, before the close of day,Maker of all things, Thee we prayFor Thy dear loving kindness’ sakeTo guard and guide us in Thy way.Banish the dreams that terrify,And night’s fantastic company:Keep us from Satan’s tyranny:Defend us from unchastity.Protect us, Father, God ador’d,Thou too, co-equal Son and Lord,Thou, Holy Ghost, our Advocate,Whose reign can know nor bound nor date. Amen

Howells Requiem IIRequiem aeternam dona eis, Domine,Et lux perpetua luceat eis.Requiem aeternam dona eis, Domine.Rest eternal grant them.And let light perpetual shine on them.Rest eternal grant them, Lord.

Rachmaninov Today salvation has come (mvt 13); Thou didst rise from the tomb (mvt 14); To Thee, the victorious leader (mvt 15)

Today salvation has come tothe world; let us sing to Himwho rose from the dead,the Author of our life.Having destroyed death by death,He has given us the victoryand great mercy.

Thou didst rise from the tombThou didst destroy the condemnationof death, O Lord, releasing all mankindfrom the snares of the enemy,Thou didst show Thyself to Thineapostles, and didst send them forth toproclaim Thee, and through them Thouhast granted Thy peace to the world,O Thou who art plenteous in mercy!

Vzbrannoi voyevodye pobyedityelnaya,yako izbavlshesya ot zlykh,blagodarstvyennaya vospisuyemTi rabi Tvoi, Bogoroditse:no yako imushchaya dyerzhavunyepobyedimuyu,ot fsyakukh nas byed svobodi,da zovyem Ti: raduisya,Nyevyesto Nyenyevyestnaya.To Thee, the victorious leader oftriumphant hosts, we Thy servants,delivered from evil, offer hymnsof thanksgiving, O Theotokos!Since Thou dost possessinvincible might,set us free from all calamities,so that we may cry to Thee: “Rejoice,O unwedded Bride!”

Parry – Blest Pair of SirensBlest pair of Sirens, pledges of Heav’n’s joy,Sphere-born harmonious sisters, Voice and Verse,Wed your divine sounds, and mixed pow’r employ,Dead things with inbreathed sense able to pierce;And to our high-raised phantasy presentThat undisturbed song of pure concent,Aye sung before the sapphire-coloured throneTo Him that sits thereon,

With saintly shout, and solemn jubilee,Where the bright Seraphim in burning rowTheir loud uplifted angel-trumpets blow,And the Cherubic host in thousand quiresTouch their immortal harps of golden wires,With those just Spirits that wear victorious palms,Hymns devout and holy psalmsSinging everlastingly:That we on earth with undiscording voiceMay rightly answer that melodious noise;As once we did, till disproportioned sinJarred against nature’s chime, and with harsh dinBroke the fair music that all creatures madeTo their great Lord, whose love their motion swayedIn perfect diapason, whilst they stoodIn first obedience, and their state of good.O may we soon again renew that song,And keep in tune with Heav’n, till God ere longTo His celestial concert us unite,To live with Him, and sing in endless morn of light.John Milton – Ode ‘At a Solemn Musick’