Barclays House Choir Musical Director Chairman Manager web site email
Saturday 10th May 2008 7:30pm
James Grocott Evelyn Wade Adrian Purkiss
http://www.bhchoir.org.uk bhcmanager@bhchoir.org.uk
with
The St Peter's Orchestra Leader Andrew Foot and
David Beeby - Organ Sarah Rickett - Soprano Faye Eldret - Soprano Jonathan Grey - Tenor Conducted by
James Grocott Special Guests
The Bournemouth Youth Handbell Team
Spring Concert Works by Mendelssohn Haydn and Mathias
at
St Peter's Parkstone Rector
Canon Nigel LLoyd
Daffodils at Tyneham Church, Dorset March 3rd 2007. Photo, processing and copyright WAVP 2007.
PROGRAMME Anthem
Let the people praise thee, O God
Mathias
Motet
Hear my Prayer Soprano Sarah Rickett
Mendelssohn
The Bournemouth Youth Handbell Team Mattachins from "Capriol Suite" Rondeau from Abdelazer Danse Macabre Broadway!
Warlock Purcell Saint-Saens arr. Robert Willis arr. D. Wagner
Motet
Insanæ et Vanæ Curæ
Haydn
Recitative and Chorus
And God said / In splendour bright and The heavens are telling f r om “ TheCr eat i on” Soprano Faye Eldret Tenor Jonathan Grey Bass David Gostick
Haydn
Interval Excerpts from
1. 2. 3. 4. 5. 6. 7. 8. 9.
Hymn of Praise (from Symphony Number 2)
Mendelssohn
Sinfonia. Chorus - All men, all things, all that have life and breath Solo and Semi-Chorus - Praise ye the Lord O ye Spirit Recitative and Air - Sing ye Praise Chorus - All ye that cried unto the Lord Duet and Chorus - I waited for the Lord The Sorrows of Death Choral - Let all men praise the Lord Duet - My song shall be always Thy Mercy Chorus - Ye nations, offer to the Lord.
Soloists Sarah Rickett (Soprano), Faye Eldret (Soprano) and Jonathan Grey (Tenor)
Our Guests Soloists Soprano - Sarah Rickett Soprano - Faye Eldret Tenor - Jonathan Grey Bass - David Gostick The Bournemouth Youth Handbell Team Director Cathy Beeby Tania Allen Alex Cox Danielle Davenport Tom Douglas Edward Hardyman Suzanne Kenchington Simon Kenchington Michael Kenchington Claire Nicholas Katy Wallis
The Composers and Music William Mathias (November 1, 1934 - July 29, 1992) William Mathias was born in Whitland, Dyfed in 1934 and died in 1992. He began to compose at an early age, studying first at the University College of Wales, Aberystwyth, taking his BMus with first-class honours, and subsequently on an Open Scholarship in composition at the Royal Academy of Music. He was elected a Fellow of the Royal Academy of Music in 1965, and gained the DMus of the University of Wales in 1966. In 1968 he was awarded the Bax Society Prize under the Harriet Cohen International Music Awards, and in
1981 the John Edwards Memorial Award. From 1970-1988 he was Professor and Head of the Music Department at the University College of North Wales, Bangor. He was known as a conductor and pianist, and gave or directed many premieres of his own works. In 1972 he founded the North Wales Music Festival at St Asaph Cathedral and remained its artistic director until his death.
Let the people praise thee, O God Words adapted from the 1559 Book of Common Prayer (Original spelling retained below)
AN ORDER FOR EVENING PRAIER THROUGHOUT THE YERE. GOD be merciful unto us, and blesse us : and shew us the light of his countenaunce, and bee mercifull unto us. That thy way maie be knowen upon earth: thy savinge healthe amonge all nacions. Let the people praise thee O God : yea, let all the people praise thee. O let the nacions rejoyce and be glad: for thou shalte judge the folke righteouslye, and governe the nacions upon earth. Let the people praise thee, O God: let all the people praise thee. Then shall the earth bringe foorth her increse: and God, even our owne God, shall geve us his blessinge. God shall blesse us : and all the endes of the worlde shall feare him. Glorye be to the father, and to the sonne, and to the holy ghoste. As it was in the beginning, is nowe, and ever shall be, worlde withoute ende. Amen.
Felix Mendelssohn (1809 - 1847) Mendelssohn was born into a wealthy and cultured family. He was a precociously gifted child, so much so that the finest musicians of the day hailed him as a second Mozart. This comparison was by no means without foundation; by the time he had reached his mid-teens Mendelssohn had composed a large number of mature works, including twelve string symphonies and his first symphony for full orchestra, written when he was only fifteen. He was sixteen when he wrote the St r i ngOct et ,andt hewonder f ulov er t ur eAMi ds ummerNi ght ’ sDr eam f ol l owedayearl at er . Moz ar thadpr oduc ednot hi ngr emot el yc ompar abl ebyt hesameage.Mendel s sohn’ s extraordinary gifts were not confined to composition, however. He became a brilliant pianist and organist, a fine string player, an inspirational conductor, a good painter and was widely read.
Yetanot herdi mens i ont oMendel s sohn’ sgl i t t er i ng career was his far-reaching influence as an organiser and administrator. As a result of his tireless efforts with the Leipzig Gewandhaus Orchestra and the Leipzig Conservatory, which he founded in 1843, he raised performance standards to new heights and created many opportunities for contemporary composers and performers. He also made a major contribution to the r evi v alofi nt er es ti nBac h’ smus i c ,whi chatt hatt i mewas virtually unknown to the general public. Mendelssohn was responsible for the first public performance of the St .Mat t hewPas s i ons i nceBach’ sdeat h,anev entwhi c h probably did more than any other to stimulate renewed interest in his music. He visited England many times, where he was received with adulation, feted by the press, and became a great favourite of Queen Victoria and Prince Albert. Al t hought hec hor al movement sofMendel s s ohn’ sHy mnofPr ai sec anbes ungasa separate work, they are actually part of his Symphony No.2. (It was in fact the third symphony he wrote. The Reformation symphony - No.5 - was completed in 1830 and given i t sl at eropusnumberonl yaf t ert hecomposer ’ sdeat h) .Sy mphonyNo. 2waswr i t t enf ort he 1840 Gutenberg Festival in Leipzig - at that time one of the main centres of the publishing trade - t ocel ebr at et he400t hanni ver sar yoft hei nv ent i onofpr i nt i ng.Mendel s s ohn’ s symphony was the final event of this important occasion, bringing the festivities to a suitably imposing conclusion. Mendel s sohndescr i bedt heHymnofPr ai seasa‘ s ymphoni cc ant at a’ ,pos s i bl yt oav oi d compar i sonswi t hBeet hoven’ sni nt hsy mphony ,t hought het wowor k shav el i t t l ei ncommon other than the simple fact that they are both choral symphonies. More probably he used the t er m asanac cur at edes cr i pt i onoft hepi ec e’ sf or m andcont ent .Theopeni ngi ns t r ument al section is in three parts, loosely corresponding to the first three movements of a conventional symphony, though the second and third parts are noticeably shorter and less developed than they would normally be. The choral sections - much the longest part of the whole work - are cl ear l yi nf l uenc edbyBach’ sex ampl ei nt hel ay outofr ec i t at i ves ,ar i asandc hor uses ,t he f ugalwr i t i ngoft heopeni ngandcl osi ngchor us es ,andt heus eoft heLut her anc hor al e‘ Nun Danket ’ ( Nowt hankweal lourGod)i nNo. 6.Thewhol es y mphonyi s ,however ,unmi s t akabl y Mendelssohn.
Hymn of Praise (Mendelssohn) Sinfonia 1.
Chorus - All men, all things, all that have life and breath
All men, all things, all that has life and breath, sing to the Lord. Hallelujah. Praise the Lord with lute and harp, in joyful song extol Him, and let all flesh magnify His might and His glory.
2. Solo and Semi-Chorus - Praise ye the Lord O ye Spirit Praise thou the Lord, O my spirit, and my inmost soul praise His great loving-kindness. Praise thou the Lord, O my spirit, and forget thou not all His benefits. 3. Recitative and Air (Tenor) - Sing ye Praise Sing ye praise, all ye redeemed of the Lord, redeemed from the hand of the foe, from your distresses, from deep affliction; who sat in the shadow of death and darkness. All ye that cry in trouble unto the Lord, sing ye praise! give ye thanks, proclaim aloud His goodness. He counteth all your sorrows in the time of need. He comforts all the bereaved with His regard. Sing ye praise, give ye thanks, proclaim aloud His goodness. 4. Chorus - All ye that cried unto the Lord All ye that cried unto the Lord in distress and deep affliction. He counteth all your sorrows in time of need. 5. Duet (Soprani) and Chorus - I waited for the Lord I waited for the Lord, He inclined unto me, He heard my complaint; O blessed are they that hope and trust in the Lord. 6. Air - The sorrows of death Thesor r owsofdeat hhadcl os edal lar oundme,andhel l ’ sdar kt er r or shadgotuponme,wi t h t r oubl eanddeepheav i nes s;butsai dt heLor d,“ Come,ar i sef r om t hedead,andawak et hou t hats l eepes t ,Ibr i ngt heesal vat i on. ” 7.(8*). Choral - Let all men praise the Lord Let all men praise the Lord, In worship lowly bending; On his most holy word, Redeem'd from woe, depending. He gracious is and just, From childhood us doth lead; On him we place our trust And hope, in time of need. Glory and praise to God, The Father, Son, be given, And to the Holy Ghost, On high enthron'd in Heaven. Praise to the Three-One God; With pow'rful arm and strong, He changeth night to day; Praise him with grateful song.
8.(9*). Duet (Soprano and Tenor) - My song shall be always Thy mercy My song shall alway be Thy mercy, singing Thy praise, Thou only God, my tongue ever speaks the goodness Thou has done unto me. I wander in the night and foulest darkness, and mine enemies stand threatening around; yet called I upon the Name of the Lord, and He redeemed me with watchful goodness. 9.(10*). Chorus - Ye nations, offer to the Lord. Ye nations, offer to the Lord glory and might. Ye monarchs, offer to the Lord glory and might. Thou heaven, offer to the Lord glory and might. The whole earth, offer to the Lord glory and might. O give thanks to the Lord, praise Him, all ye people, and ever praise His Holy Name. Sing ye the Lord, and ever praise His Holy Name. All that has life and breath, sing to the Lord.
*Chorus originally numbered 7 is omitted from this performance
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Hear my Prayer (Mendelssohn / words W Bartholomew) Hear my prayer, O God, incline Thine ear! Thyself from my petition do not hide! Take heed to me! Hear how in prayer I mourn to Thee! Without Thee all is dark, I have no guide. The enemy shouteth, The godless come fast! Iniquity, hatred upon me they cast! The wicked oppress me, Ah, where shall I fly? Perplexed and bewildered, O God, hear my cry! My heart is sorely pained within my breast, My soul with deathly terror is oppressed, Trembling and fearfulness upon me fall, With horror overhelmed, Lord, hear me call! O for the wings of a dove! Far away would I rove! In the wilderness build me a nest, And remain there for ever at rest.
Joseph Haydn (1732 - 1809) Franz Joseph Haydn (March 31, 1732 –May 31, 1809) was one of the most prominent composers of the classical period, and is called by some the "Father of the Symphony" and "Father of the String Quartet". A life-long resident of Austria, Haydn spent most of his career as a court musician for the wealthy Hungarian Esterházy family on their remote estate. Isolated from other composers and trends in music until the later part of his long life, he was, as he put it, "forced to become original". Joseph Haydn was the brother of Michael Haydn, himself a highly regarded composer, and Johann Evangelist Haydn, a tenor.
Insanæ et Vanæ Curæ - Haydn Although written sometime between 1805 and his death, the origin of Haydn's motet Insanæ et Vanæ Curæ lies many years earlier. In 1774-5, Haydn wrote his first oratorio, Il Ritorno di Tobia, in order to raise money for poor musicians and their families. Unfortunately, Haydn was in breach of the terms of his contract with Prince Esterhazy, his patron, which forbade the performance of any work outside of the palace. The work was diplomatically shelved, but would not have survived intact anyway because it was too long and lacked a sense of direction. In 1795, The Tonkünstler Societät of Vienna wanted to revive the work, presumably with the Prince's blessing. For the occasion, Haydn cut several arias and added two new choruses. In spite of this, the work seemed to show its age and was soon forgotten. Not by the composer, however. The 'storm' chorus which he had added for the revival seemed just 'too good to waste', and it was this which became the short motet we are performing this evening. Surprisingly, Insanæ did not immediately become an 'old favourite', as it is today. Its strengths were, however, recognised by other composers. Mozart, for instance drew heavily on this and Haydn's Non Nobis Domine for his own Requiem, and Pizzaro's aria in Beethoven's Fidelio, also in D minor, is clearly stimulated by the work.
Insanæ et Vanæ Curæ invadunt mentes nostras, saepe furore replent corda, privata spe, Quid prodest O mortalis conari pro mundanis, si coelos negligas, Sunt fausta tibi cuncta, si Deus est pro te. Vain and raging cares invade our minds, Madness often fills the heart, robbed of hope, O mortal man, what does it profit to endeavour at worldly things, if you should neglect the heavens? If God is for you, all things are favorable for you.
Fr om “TheCr eat i on�- Haydn And God said: Let there be lights in the firmament Recitative - Tenor
And God said: Let there be lights in the firmament of heaven, to divide the day from the night, and to give light upon the earth; and let them be for signs and for seasons, and for days, and for years. He made the stars also.
In Splendour Bright Recitative - Tenor
In splendour bright is rising now the sun And darts his rays; an amorous, joyful, happy spouse, A giant proud and glad to run his measured course. With softer beams and milder light Steps on the silver moon through silent night. The space immense of the azure sky Innumerous hosts of radiant orbs adorns. And the sons of God announced the fourth day, In chorus divine, proclaiming thus his power:
Chorus - The heavens are telling The heavens are telling the glory of God, The wonder of his work displays the firmament. The day that is coming speaks it the day, The night that is gone to following night. The heavens are telling the glory of God, The wonder of his work displays the firmament. In all the lands resounds the word, Never unperceived, ever understood. The heavens are telling the glory of God, The wonder of his work displays the firmament.
Barclays House Choir Sopranos Jill Bickley Deborah Cooke Thelma Doody Sylvia Elkins Faye Eldret Margaret Dreosti Ann Hitchcoe Jo Hollis Jo Hooper Mary Norrish Altos Pat Baker Pauline Bickerton Isabel Broom Pam Brown Joy Chiari Maureen Clark Wendy Dimmick Molly Edwards Sally Elliot Marian Fuge Jill Goreham Helen Hall Joan Hawkins Beryl Lenham Tenors Tony Benson Dave Cooke Jonathan Grey Keith Hollis Eric Lenham Chris Mahon Roger Owen Adrian Purkiss
Marian Pearce Sarah Rickett Brenda Schofield Hilary Spillard Marian Starkey Sally Stedman Bridget Whitehead Joan Willis Brenda Woodham Jenny Wright Isabel McConville Nita Parke Hazel Potter Michelle Smyth Vickie Thomas Evelyn Wade Hilary Warner Pat Williams Margot Wilson Basses Roy Birch Mark Burstow Geoff Dale Tony Gatward David Gostick Ted Greenway Tony Hartle Graham Hawkins Dick Keslake John Milligan Noel Skerman David Spracklen
Barclays House Choir, originally named Barclays House Sports and Social Club Musical Society, was founded following the completion of the new Head Office of Barclays International in Poole, Dorset. The first rehearsal was held on 5 October 1976, when ten singers met to rehearse for a planned Christmas Concert. Numbers grew and 21 finally took part in the concert held in Barclays House. Since that time membership has widened and now consists of about 70 members drawn from many occupations. Under the musical direction of James Grocott, who has led the choir for the last 29 years, the group has performed many of the major choral works including Handel's Messiah, Haydn's Creation, Vivaldi's Gloria and Brahms's Requiem, as well as more modern compositions such as Rutter's Magnificat. Most of the choir's concerts also involve the 38 strong St Peter's Orchestra, whose support is always very much appreciated. The choir receives the financial support of the Barclays Bank Arts Council, and all concerts are given with their support. Thechoi rsungi nSout hwar kCat hedr alatt heBank’ sCar olSer v i cei n 2006 to a capacity congregation. If you wish to discuss any aspect relating to the choir, please speak to James Grocott (Musical Director) or Evelyn Wade (Chairman). If you have enjoyed tonight concert then please make a date in your diary. Sunday 14th December 2008 in this Church commencing at 6: 30pm “ AnEveni ngofChr i st masMusi cwi t hCar ol sf orAl l ”gi venbyt he Bar cl ay sHouseChoi randStPet er ’ sOr chest r a.Funnyhat sopt i onal !