AUSTRIAN EXUBERANCE by Direct Design

Goldsmiths Choral Union

AUSTRIAN EXUBERANCE Haydn Te Deum in C Dove Figures in the Garden Mozart Sancta Maria Mozart Mass in C Minor Natasha Page Soprano Rosamond Thomas Soprano Sam Harris Tenor Jamie W. Hall Bass Goldsmiths Choral Union Affinity Chamber Orchestra Jack Apperley Conductor

Tuesday 7 November 2023 Cadogan Hall at 7.30pm 5 Sloane Terrace, SW1X 9DQ Programme £5 1

Goldsmiths Choral Union is one of London’s leading choirs, giving quality performances of great choral works in London’s major venues, and rehearsing in central London. Goldsmiths Choral Union has brought the finest classical music to London since 1932. We’re a friendly choir with around 100 members based in South Kensington. We enjoy singing and appreciate the chance to sing in great venues. We work hard to continue to promote concerts in London’s major venues with professional soloists and orchestras. GCU’s performances of works from the traditional choral repertoire, ranging from Handel’s Messiah, Haydn’s The Creation and Bach’s B Minor Mass to Elgar’s The Dream of Gerontius, have been praised for their freshness, clarity and emotional commitment. Equally, GCU has performed less familiar works, such as Franz Liszt’s oratorio Christus and Sir Michael Tippett’s The Mask of Time. British premières given over the years include Stravinsky’s Les Noces and Mahler’s Das Klagende Lied, and the first UK broadcast of Carl Orff’s Carmina Burana. GCU was founded in 1932 in South London by Frederick Haggis at Goldsmiths College, University of London. At the outbreak of World War II the college was evacuated, but while other choirs disbanded, GCU continued to rehearse and perform in central London. Since TENORS BASSES then, GCU has built up an enviable reputation, first underBARNARD the baton of Frederick and Christopher John Haggis ALLINSON later under Brian Wright. Christopher BEELS Nicholas BUCKLEY Michael BOWMER

Paul CHAMBERS

Patrons: Sir Thomas Allen, Neil Jenkins, Liam CONNERY John CUMMINGThe Francoise DRAPER Damien Worshipful Company of Goldsmiths D’ARCY Robin HAPPÉ

Mike DAY

Robert Marc FRESKO MusicSHAW Director: Jack Apperley Oli SHEFFIELD Accompanist: Stephen JonesHugh MARCHANT Guy VOGEL

James PIERCY

David WILLINGHAM Clive RICHARDS Please see the back cover for Future Concert Michael dates.WOODS

Brian ROSEN Ian STEPHENSON Charles THOMSON Chris WATTS

Goldsmiths Choral Union presents a delightful evening of music for choir and orchestra.

AUSTRIAN EXUBERANCE Haydn: Te Deum in C Dove: Figures in the Garden Mozart: Sancta Maria Mozart: Mass in C Minor Natasha Page Soprano Rosamond Thomas Soprano Sam Harris Tenor Jamie W. Hall Bass Goldsmiths Choral Union Affinity Chamber Orchestra Jack Apperley Conductor A gorgeous concert of music from and inspired by classical Austrian composers, starting with Haydn’s Te Deum in C along with Dove’s Figures in the Garden which is based on Mozart’s opera The Marriage of Figaro. Mozart’s disarmingly simple motet Sancta Maria brings the first half to a close. The second half features Mozart’s great Mass in C minor. INTERVAL – 25 MINUTES

Jack Apperley conductor Jack graduated from the Royal Academy of Music where, under the tutelage of Patrick Russill, he obtained a Masters in Choral Conducting. He was awarded a Distinction and received the Sir Thomas Armstrong Choral Leadership Prize. He studied Music at the University of Birmingham where he was mentored by Simon Halsey CBE. Previously Jack was an assistant Chorus Director of the London Symphony Chorus where he helped prepare the chorus for conductors including Sir Simon Rattle, Sir Antonio Pappano and John Adams. Since taking up his position as Music Director of Goldsmiths Choral Union, he has conducted the choir in performances of Haydn’s The Creation, McDowall’s Da Vinci Requiem, Haydn’s Mass in Time of War, Vaughan Williams’s Five Mystical Songs, Faure’s Cantique de Jean Racine, and Gounod’s St. Cecilia Mass. This year performances include Bach’s Magnificat, Alec Roth’s A Time to Dance, John Rutter’s The Sprig of Thyme and Eric Whitacre’s Five Hebrew Love Songs. Currently he is the Music Director and Conductor of the Epsom Chamber Choir and of the chamber choir Concordia Voices. Jack is increasingly in demand as a conductor and chorus master, both in the UK and Europe. He has recently worked with the Hungarian National Choir, the Gothenburg Symphony Orchestra and Chorus and Choeur de Radio France.

Natasha Page soprano With a voice described as ‘lustrous’ (operatoday.com), ‘sunny’ (Bournemouth Echo) and ‘with a glorious rich tone, soaring high notes and engaging manner’ (lightmusicsociety.com), British light-lyric soprano Natasha Page is a graduate of the Royal College of Music International Opera Studio, where she studied with Rosa Mannion. She is a Samling Artist, an Oxford Lieder Emerging Artist, a Making Music Philip and Dorothy Green Young Artist and a Leeds Lieder Young Artist. She was awarded First Place at the Maureen Lehane Vocal Awards 2023. Natasha’s operatic roles include the title role in Rita and Bianca/Gabriella La Rondine (IfOpera), Fiordiligi Cosi fan Tutte (Celebrate Voice Festival), covering Ismene Mitridate, Despina Cosi fan Tutte and Adele Le Comte Ory (Garsington Opera), covering Semele Semele (Opera de Lille), Semele Semele (Garsington Opera Create), Belinda Dido & Aeneas (Hurn Court Opera), Pamina Die Zauberflöte (RCMIOS), Soprano Les Illuminations (RCMIOS), Clarice Il Mondo della Luna (RCMIOS), Cleopatra Julius Caesar (Kings Opera) and cover Soprano Medusa (Royal Ballet/Royal Opera House). Natasha has also worked with English National Opera. Natasha’s concert work includes Handel’s Messiah (Chichester Cathedral, Southwell Cathedral), Mozart’s Requiem (Cadogan Hall, St John’s Smith Square), Mozart’s Mass in C Minor (Harrow School, Cadogan Hall), Bach’s Magnificat (Guildford Cathedral), Brahms’ Requiem (Chichester Cathedral, St Martin-in-the-Fields), Mendelssohn’s Elijah (Christchurch Priory), Bach’s Coffee Cantata (Amersham Festival of Music) and Bach’s Jauchzet Gott in Allen Landen (Hertfordshire Festival of Music). She has performed as a soloist with the Hertford Symphony Orchestra, the Marlborough Concert Orchestra, the Hillingdon Philharmonic Orchestra, the de Havilland Philharmonic and the Morecambe Promenade Orchestra.

As well as an Artistic Diploma in Opera from the Royal College of Music, Natasha holds an MA (Distinction) and a DipRAM for Outstanding Final Recital from the Royal Academy of Music, as well as a BMus (Hons) from the Royal Welsh College of Music and Drama.

Rosamond Thomas soprano Rosamond Thomas graduated with Distinction from the Vocal Performance Masters program at the Universität für Musik und darstellende Kunst, Wien, where she studied under the tutelage of Regine Köbler, Christoph Meier and Florian Boesch. She has a First Class Honours BMus from the Royal Academy of Music, where she studied with a scholarship under the tutelage of Mary Nelson and Matthew Fletcher. Rosamond is an experienced song recitalist, recently performing recitals in the Bösendorfer Salon and Gesellschaft für Musiktheater in Vienna, and in London singing programmes of songs by Roxanna Panufnik (Ryedale Festival), Ravel’s Trois chansons de Stéphane Mallarmé, contemporary songs written by RAM composers, and Rachmaninov songs in the Rachmaninov Festival at Pushkin House. She has sung in masterclasses with Helmut Deutsch (2020), Christoph Pregardien (2019, London Song Festival) and Justus Zeyen (2019). As a concert singer, Rosamond has further enjoyed recent concert performances including Handel’s Messiah, selected oratorio arias and ensembles in Theater Schönbrunn with Erwin Ortner, Copland’s In the beginning (Mousai Singers), Bach’s Christmas Oratorio (Blackheath Centre for Singing), Duruflé’s Requiem (Concordia), Dvorak’s Stabat Mater (Fulham Camerata) and Mozart’s Mass in C Minor (Harrow School). Rosamond recently sang the roles of Asteria in Glück’s La Corona for Teatro Barocco and Dido in Purcell’s Dido and Aeneas at the University. She covered the role of Komponist in Strauss’ Ariadne auf Naxos and performed the role of L’Enfant in Ravel’s L’Enfant et les sortilèges, both in Schlosstheater Schönbrunn (2020/21) and sang Sorceress in Purcell’s Dido and Aeneas in the Ryedale Festival 2019. Previous stage work includes the role of Giulio Cesare in Handel’s Giulio Cesare for King’s College Opera in 2017, and scenes from Cimarosa’s Il matrimonio segretto (Elisetta, RAM 2019), Tchaikovsky’s Eugene Onegin (Olga), and Mozart’s Magic Flute (Third Lady). Successes at the Academy included achieving the Arthur Burcher Memorial Prize twice, and the Andrew S Sykes Award. She represented the Academy at the Kathleen Ferrier Bursary Awards 2016, and was Highly Commended in the National Mozart Competition 2018.

Sam Harris tenor Sam Harris is a British tenor currently studying at the Royal College of Music with Ben Johnson. In 2023 he was a finalist in the Kathleen Ferrier awards, and a Verbier Festival young artist. He was born in Edinburgh and began his musical career as a boy chorister at Winchester Cathedral. He was subsequently a choral scholar at New College, Oxford, before commencing his vocal training. Sam’s most recent operatic engagements have included Ferrando (Così fan Tutte) for Opera in Oborn, and Sellem (The Rake’s Progress) as part of the Verbier Festival Atelier Lyrique. Other roles include Fenton (Sir John in Love) and Don Eusebio (L’Occasione fa

il Ladro) for British Youth Opera, and Cecco in Fool Moon (Il Mondo Della Luna) with Bampton Classical Opera. At the RCM, he has sung numerous leading roles, including Ottavio in Don Giovanni, Il Principe in Respighi’s La Bella Dormenta nel Bosco, Pluto in Offenbach’s Orpheus in the Underworld, and premièring Henry in The Three Penelopes. He has also performed scenes from L’Elisir d’Amore, Falstaff, Die Lustigen Weiber von Windsor, The Turn of the Screw, and Dardanus. Sam also maintains a busy concert schedule, regularly performing in the oratorio repertoire with choirs and orchestras across the UK, including the LSO, Hanover Band, and King’s College London. He is particularly in demand as an Evangelist in Bach’s Passions; other frequent appearances include in Britten’s Saint Nicolas and Rossini’s Petit Messe Solennelle. Sam is also a prolific vocal arranger and producer. His work in this capacity has been featured on major label pop releases, primetime television, and national ad campaigns (M&S, Krispy Kreme, Cazoo and Yopa being among his credits). Sam’s arrangements are performed by ensembles worldwide and regularly feature in published compilations. Sam is grateful to be supported in his studies by the Nancy Wolfers scholarship, the Countess of Munster Musical Trust, and the Josephine Baker Trust.

Jamie W. Hall baritone Jamie W. Hall is a performer who has built up an exciting and varied career in music, from concert soloist and recitalist to skilled ensemble singer, conductor and even composer with a number of published works to his name. In recent years however, Jamie’s focus has been on singing, continuing to perform online to a growing audience during the COVID crisis - a move commended by the RPS in 2020. Whilst he continues to feed his passion for choral music as a full-time member of the BBC Singers, Jamie is fast gaining recognition as a versatile and engaging performer of Art Song, and his performances, both live and recorded, have been enjoyed across the world. Growing up in a Yorkshire mining village in the 1980s, Jamie’s route into classical music was somewhat unconventional. With only a few piano lessons and an adolescence spent busking show tunes behind him, he nevertheless followed his heart and found himself studying music at university where he discovered both his voice and a love of classical music. Jamie’s debut recording - of Franz Schubert’s Die Schöne Müllerin - was released in February 2022.

Affinity Chamber Orchestra The Affinity Chamber Orchestra is a professional London-based orchestra working in partnership with choirs, composers and event organisers. Founded in early 2022 by its current musical director, Matthew Down, it performed its successful debut concert with the choir of Goldsmiths Choral Union at Cadogan Hall, the programme consisting of Cecilia McDowall’s Da Vinci Requiem (2019), Joseph Haydn’s Mass in Time of War and Peter Warlock’s Capriol Suite. The orchestra’s players are highly skilled musicians, many of whom are respected teachers of their instruments, who perform with leading London and international orchestras, seasoned chamber groups and as soloists. The orchestra aims to showcase its musicians, bringing life to creative ideas and projects in all styles of music.

Matthew Down musical director In addition to being the founder and musical director of the Affinity Chamber Orchestra, Matthew has many years’ experience as a conductor, trumpet-player and teacher. He has a broad range of musical tastes, ranging from baroque to pop, performing music with great musicians and friends being at the heart of his musical life.

CHRISTMAS MUSIC CONCERT Modern and traditional Christmas music for choir and audience Friday 15 December 7.30 pm at Holy Trinity Sloane Square goldsmithschoralunion.org 7

Good evening and welcome to Goldsmith Choral Union’s concert, Austrian Exuberance. The first half of tonight’s concert opens with the rousing Te Deum by Haydn. The work is written in C major and was composed around the same time as The Creation in the latter period of his life. There are numerous parallels with the sibling work; there are three parts to each piece, the playful discourse between the orchestra and chorus are evident in both works, and there is an unbridled optimism shining throughout. Jonathan Dove’s wind serenade, Figures in the Garden, has a Mozart connection. It was commissioned by Glyndebourne for the Mozart bicentenary celebrations in 1991 to be played in the garden before performances of The Marriage of Figaro. This is a beautiful serenade with imaginative contrasts, masterfully highlighting each wind instrument for which it was written, and gently hinting at musical ideas in the opera. Mozart’s Sancta Maria has a special personal significance for me. When I was a chorister at my local parish church, St Mary’s Oldswinford in Stourbridge, this was the piece we regularly sang at the Patronal festival. It has a ‘sparky’ character, cheeky at times, but overwhelmingly happy, and I used to love singing it. In the second half we present Mozart’s C Minor Mass. This and his Requiem are possibly the most instantly recognisable pieces that he ever wrote, not bad considering that they were both unfinished works. We know that the Kyrie and Gloria are the only movements which are complete. What we have of the Credo we know to be of Mozart’s hand, though half of the text is not set. The original music of the Sanctus exists only in a ‘shortscore’ form, ie what Mozart could have played from the piano. There is no indication of his desired orchestration, though we know that he intended to set it for double choir. The Benedictus also exists in this format, but more like sketches rather than a notable complete document. The state of Mozart’s original material leaves a lot of scope for editors to reconstruct the latter movements. This is why there are so many editions of this work that vary widely. Some editions complete the setting of the Credo and even add in an extra movement. Mozart didn’t write an Agnus Dei for this setting of the Mass, as far as we are aware, but he navigated this by ‘filling out’ performances with extracts from his Mass in C Major, otherwise knows as the Coronation Mass. We are singing tonight from the score edited by H. C. Robbins Landon.

Jack Apperley music director

Joseph Haydn 1732 - 1809 Te Deum - for the Empress Marie Therese Hob.XXIIIc:2 Haydn was born in Rohran, a little village in the Hungarian part of the Austrian Empire. His Father was a wheelwright and Mayor of the village and his Mother a cook. At home his parents were always singing and his Father played the harp. Haydn had a beautiful singing voice, and at the age of six, he was sent to live with a relative to train as a musician, singing and learning the violin and harpsichord. Two years later he was recruited as a chorister in St. Stephen’s, Vienna, where he remained until his voice broke at sixteen. Haydn struggled to earn his living, teaching, playing in various orchestras and expanding his musical knowledge and skills practising CPE Bach’s sonatas on the clavichord. Aristocratic patronage was crucial for a steady existence, and Haydn eventually secured a position as Kapellmeister in the court of Count Morzin in 1760. This enabled Haydn to marry Maria Anna Theresia Keller, having first fallen in love with her sister. The marriage was not happy and the couple had no children. Although not a handsome man, Haydn was never without a mistress. He came to the attention of the wealthy Esterhazy family, who remained his employers for 30 years. He spent nearly all his time in the isolated Esterhazy Castle outside Vienna. The regularity of Haydn’s life, though probably not unknown to the reader, deserves to be recalled in this place. He rose at six o’clock, dressed himself with scrupulous neatness, and then sat down at a little table near his piano, to write till noon, which was his dinner time. At two o’clock daily he attended the concert of his prince, which lasted for an hour and a half; and twice a week directed an opera, which took place in the evening. When there was no opera he superintended the rehearsal of some new piece or other, supped at seven o’clock, and then passed the rest of the evening with his friends, or in the society of Mademoiselle Boselli. Such was Haydn’s existence at Esterhazy, or Eisenstadt. Edward Holmes - The Life of Mozart In about 1781 through his brother Michael, Haydn met Mozart and, despite the difference in their ages, the two men formed a great friendship – Mozart submitting to Haydn many of his compositions before publication, dedicating his six string quartets to Haydn in 1783, and Haydn enjoying the musical parties in Vienna which Mozart gave from time to time. The two composers played together in impromptu quartets, with Haydn on violin and Mozart playing viola. They were admitted to the same masonic lodge. On the death of Nicholas Esterhazy in 1790, his son Anton, in an attempt to redress the family finances, disbanded the musicians, and released Haydn from his main duties as Kapellmeister, retaining his services on a reduced stipend. Haydn, having felt stifled in his post for some 9

time, gratefully moved into central Vienna, and then enjoyed several extended visits to London. In his sixties, Haydn returned to Vienna from London in 1795. His reputation was as a celebrated composer of instrumental music, but now he added several fine vocal works. Among his most dedicated admirers during this period was the Empress Marie Therese the last ruler of the Habsburg dominions. Musically talented, she was particularly fond of singing, and Haydn was a frequent visitor at the Hofburg, the imperial palace in Vienna. Their friendship led her to ask him repeatedly for some specially composed church music but Haydn’s patron, Prince Esterhazy, was very reluctant to allow his now famous Kapellmeister to write for anyone other than himself. Eventually he delivered the Te Deum sometime in 1799 The first authenticated performance was that directed by Haydn himself at Eisenstadt on 8th September 1800.

Jonathan Dove 1959 - present Dove’s parents were both architects and he grew up in Blackheath, London. He played the piano, organ and viola and from an early age, composing music on the piano and taking a great interest in making model theatres. He went to Cambridge University and studied composition under Robin Holloway. Dove is a contemporary composer, working closely with singers and actors, and is regularly commissioned by Glyndebourne, LSO, BBC Symphony Orchestra, City of Birmingham Symphony Orchestra, and the Philharmonia Orchestra. He has written more than thirty operas, including Flight, Tobias and the Angel, The Adventures of Pinocchio, When She Died, Monster in the Maze and recently Itch. Winner of many awards, Dove was the Artistic Director of the Spitalfields Festival 2001 - 2006, and Festival Director of the Salisbury Festival in 2019, and was awarded a CBE in 2019.

Wolfgang Amadeus Mozart 1756 - 1791 Sancta Maria K273 and Mass in C Minor (Great Mass) K472 As a child prodigy, ‘Little Wolfgang’ from the age of five was proficient on the clavier, organ and violin and already composing music. When he was seven, together with his older sister Nannerl, also a gifted pianist, the family began some years of travel to showcase the young talents in the courts and concert halls of Europe. Mozart composed his first symphony, motets and a set of sonatas in London at this time. The Sancta Maria was written in 1777 when Mozart was twenty-one, a “disarmingly simple offertory motet”. He was about to leave home in Salzburg and seek employment, with his mother as companion and chaperone. This motet was written before they left, perhaps to implore the Virgin for safe travel. They visited Munich, Augsberg, Manheim and Vienna, ending up in Paris with Mozart teaching and composing. Tragedy struck when his Mother became ill and died and Mozart returned to Salzburg.

Frustrated in Salzburg working as court organist for the irascible Prince Archbishop, he longed to work in Vienna where there was an opera house and many orchestras and where he could play the piano, teach and compose. No other composer had risked becoming freelance with no regular income, but in 1781 he resigned and left his Father Leopold and dear sister Nannerl in Salzburg, and went to lodge with the Weber sisters and their Mother in Vienna. He later found rooms nearby, this is an excerpt from a letter to his Father: “Let me tell you how my days are spent. My hairdresser arrives at six each morning and by seven I am fully dressed and then I can compose until ten when I go to my pupils’ houses and give lessons, one hour for each 11

pupil every day until one o’clock. Then I lunch. I return to work until about five or six unless there’s a concert, and compose until nine. I then go out and see my beloved Constanze (Weber) and I’m home by half-past ten or eleven, and I might compose until one and go to bed”. Mozart was working on several symphonies, concertos, chamber music and operas. Another letter to his Father reads: “I am up to my eyes in work. I work at night and as fast as I can. The new symphony still isn’t finished I’m afraid. I will not scribble up inferior stuff.” As he grew older, Mozart was known for his quick temper and sometimes erratic behaviour – his genius entwined with his emotional intensity. Constanze had to leave the family home and live with friends due to an ongoing dispute with her Mother who was concerned about her daughter’s increasingly close Mozart relationship with Mozart. Permission from Leopold for them to marry had been frequently sought, but consent not given, and finally the young couple married on 4th August 1782. A letter of consent arrived a few days later. There was much obfuscation over the timing of the inevitable visit to meet the family back in Salzburg. Mozart wrote that he couldn’t get away due to royal visitors in Vienna, then the poor weather, then Constanze had a headache…. his pupils needed him….a baby was due…he had arranged to give a piano concert… Mozart promised his Father that he had been writing a Mass, not a commissioned piece and would soon come and visit. Constanze encouraged him to write a fugue for the first time, inspired by those of Handel and Bach. She scolded him for having neglected the most beautiful and scientific part of music. By the time they eventually arrived in Salzburg, the mass was not finished (lacking the Agnus Dei and movements of the Creed, and some orchestration for the Credo and Sanctus) but what we know as Mass in C Minor, Great Mass, was given its first performance in 1783. The manuscript has the inscription ‘Per la mia cara Costanza’ with the operatic soprano solo line sung by Constanze herself in the church of St. Peter’s Abbey, Salzburg. The missing sections might have been omitted, spoken or sung to different music. The choice of key – C Minor – gives music full of longing, sadness, softness, solemnity and passionate intensity. “The C Minor Mass combines exuberant stylistic discovery and giddy reaches of expressive power with a certain lurching uncertainty in ways that amount to a portrait in motion of the composer’s mind early in his marriage”. Patrick Mackie

T he Lily Foundation

The Lily Foundation was founded in 2007 by Liz Curtis in memory of her daughter Lily, who died from mitochondrial disease at 8 months old. Finding little in the way of specialist knowledge or support available to help her through her ordeal, Liz set out to provide answers for herself and others in her situation. The Lily Foundation has grown to be the largest charitable funder of mito research in Europe. Mitochondrial disease, or mito, is an incurable genetic disorder that affects people in very different ways. It often affects babies and young children, and the long-term prognosis for sufferers is poor. There is currently no cure. Our mission is to improve the lives of people affected by mito, while working towards a future where it can be effectively treated or cured. We work to raise public awareness about the disease, fund ongoing research into finding treatments and a cure, and offer support to affected patients, families and carers. Join us at: Holy Trinity Church, Sloane Square on Friday 15th December at 7.30pm.

Te Deum in C Te Deum laudamus: te Dominum confitemur. Te aeternum Patrem, omnis terra veneratur. Tibi omnes Angeli, tibi Caeli et universae Potestates: Tibi Cherubim et Seraphim, incessabili voce proclamant: Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth. Pleni sunt caeli et terra majestatis gloriae tuae. Te gloriosus Apostolorum chorus, 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 rex gloriae, Christe. Tu Patris sempiternus es Filius. Tu ad liberandum suscepturus hominem, non horruisti Virginis uterum. Tu devicto mortis aculeo, aperuisti credentibus regna caelorum. Tu ad dexteram Dei sedes, in gloria Patris. Judex crederis esse venturus. Te ergo quaesumus, famulis tuis subveni: quos pretioso sanguine redemisti. Aeterna fac cum sanctis tuis in gloria numerari. Salvum fac populum tuum, Domine, et benedic haereditati tuae. Et rege eos, et extolle illos usque in aeternum. Per singulos dies benedicimus te: et laudamus nomen tuum in saeculum, et in saeculum saeculi. Dignare, Domine, die isto sine peccato nos custodire. Miserere nostri, Domine, miserere nostri. Fiat misericordia tua, Domine, super nos: quemadmodum speravimus in te. In te, Domine, speravi: non confundar in aeternum.

Joseph Haydn We praise thee, O God: we acknowledge thee to be the Lord. All the earth doth worship thee, the Father everlasting. To thee all Angels cry aloud, the Heavens, and all the Powers therein. To thee Cherubim and Seraphim continually do cry: Holy, Holy, Holy, Lord God of Sabaoth; Heaven and earth are full of the Majesty of thy glory. The glorious company of the Apostles praise thee. The goodly fellowship of the Prophets praise thee. The noble army of Martyrs praise thee. The holy Church throughout all the world doth acknowledge thee; The Father, of an infinite Majesty; Thine honourable, true and only Son; Also the Holy Ghost the Comforter. Thou art the King of Glory, O Christ. Thou art the everlasting Son of the Father. When thou tookest upon thee to deliver man: thou didst not abhor the Virgin’s womb. When thou hadst overcome the sharpness of death, thou didst open the Kingdom of Heaven to all believers. Thou sittest at the right hand of God, in the glory of the Father. We believe that thou shalt come to be our Judge. We therefore pray thee, help thy servants, whom thou hast redeemed with thy precious blood. Make them to be numbered with thy Saints in glory everlasting. O Lord, save thy people: and bless thine heritage. Govern them: and lift them up for ever. Day by day: we magnify thee; And we worship thy Name: ever world without end. Vouchsafe, O Lord: to keep us this day without sin. O Lord, have mercy upon us: have mercy upon us. O Lord, let thy mercy lighten upon us: as our trust is in thee. O Lord, in thee have I trusted: let me never be confounded.

Figures in a Garden 1. Dancing in the dark 2. Susanna in the rain 3. A conversation 4. Barbarina alone

Sancta Maria Sancta Maria, mater Dei, ego omnia tibi debeo, sed ab hac hora singulariter me tuis servitiis devoveo. Te patronam, te sospitatricem eligo. Tuus honor et cultus aeternum mihi cordi fuerit, quem ego nunquam deseram neque ab aliis mihi subditis verbo factoque violari patiar. Sancta Maria, tu pia me pedibus tuis advolutum recipe, in vita protege, in mortis discrimine defende. Amen.

INTERVAL

Mass in C minor KYRIE (Chorus and Soprano) Kyrie eleison. Christe eleison. Kyrie eleison.

GLORIA Gloria in excelsis Deo (Chorus) Gloria in excelsis Deo. Et in terra pax hominibus bonae voluntatis.

Laudamus te (Soprano) Laudamus te Benedicimus te. Adoramus te. Gloriﬁcamus te.

Gratias agimus tibi (Chorus) Gratias agimus tibi propter magnam gloriam tuam. 16

Jonathan Dove 5. The countess interrupts a quarrel 6. Voices in the garden 7. Nocturne: Figaro and Susanna

Mozart Holy Mary, Mother of God, I owe all to you, And from this hour I devote myself only to your service. You as a protector, you as a preserver I choose. Your worship and honour will be eternally in my heart, which I shall never desert nor submit, from others liable to me, to it being violated by deed and by word. Holy Mary, pious, receive me, begging at your feet, in life protect me, defend me from the risk of death. Amen.

INTERVAL

Mozart KYRIE (Chorus and Soprano) Lord, have mercy upon us. Christ, have mercy upon us. Lord, have mercy upon us.

GLORIA Gloria in excelsis Deo (Chorus) Glory to God in the highest. and on earth peace to all those of good will.

Laudamus te (Soprano) We praise You, We bless You, We adore You, We glorify You.

Gratias agimus tibi (Chorus) We give thanks to You, according to Your great glory. 17

Quoniam tu solus (Sopranos and Tenor) Quoniam tu solus Sanctus. Tu solus Dominus. Tu solus Altissimus ...

Jesu Christe (Chorus) ... Jesu Christe. Cum sancto Spiritu in gloria Dei Patris, Amen.

CREDO Credo in unum Deum (Chorus) Credo in unum Deum Patrem omnipotentem, factorem caeli et terrae, visibilium omnium, et invisibilium. Et in unum Dominum Jesum Christum, Filium Dei unigenitum, et ex Patre natum ante omnia saecula. Deum de Deo, lumen de lumine, Deum verum de Deo vero. Genitum, non factum, consubstantialem Patri: per quem omnia facta sunt. Qui propter nos homines, et propter nostram salutem descendit de caelis.

Et incarnatus est (Soprano) Et incarnatus est de Spiritu Sancto ex Maria Virgine. Et homo factus est.

SANCTUS (Chorus) Sanctus, Sanctus, Sanctus, Domine Deus Sabaoth, pleni sunt caeli et terra gloria tua. Osanna in excelsis!

BENEDICTUS (Sopranos, Tenor, Bass-Baritone, and Chorus) Benedictus qui venit in nomine Domini. Osanna in excelsis!

SINGING TO THE END Jenny Garrett 21.01.1938 - 08.08.2023 Remembering our musical friend Jenny Garrett who joined GCU on 18 April 1967 and sang with the choir until just a few weeks before her death. Her incredible contribution to GCU, under all three of our conductors, was recognised at our 90th anniversary celebrations earlier this year. 18

Quoniam tu solus (Sopranos and Tenor) Because You alone are holy. You alone are the Lord. You alone are the highest ...

Jesu Christe (Chorus) ... Jesus Christ. With the Holy Ghost in the glory of God the Father, Amen.

CREDO Credo in unum Deum (Chorus) I believe in one God, the Almighty Father, maker of heaven and earth, and all things visible and invisible. And I believe in one Lord Jesus Christ, the only begotton Son of God, and born of the Father before all ages. God from God, light from light true God from true God. Begotten, not made, of one substance with the Father: by whom all things were made. Who, for us and for our salvation, descended from the heavens.

Et incarnatus est (Soprano) And was made ﬂesh by the Holy Ghost from the Virgin Mary, and was made human.

SANCTUS (Chorus) Holy, Holy, Holy, Lord God of hosts, the heavens and earth are ﬁlled with Your glory. Hosanna in the highest

BENEDICTUS (Sopranos, Tenor, Bass-Baritone, and Chorus) Blessed is he who comes in the name of the Lord. Hosanna in the highest!

Affinity Chamber Orchestra Strings Leader Alexandra Caldon 2 Esther King Smith 3 Tim Warburton 4 Emma Blanco 5 Hazel Ross 6 Rosie Tompsett Second Leader Liz Partridge 2 Sam Kennedy 3 Darius Thompson 4 Hazel Correa Viola Leader Dan Manente 2 Fiona Thompson 3 Michael Bennet Cello Leader Joe Giddey 2 Amy Goodwin 3 Jess Garner Bass Leader Rosie Moon 2 Kate Brooke Flutes 1 Jane Smith Oboes 1 Helen Barker 2 Geoff Coats Clarinets 1 Shaun Thompson 2 Nicky Baigent Basson 1 Alex Thorneloe 2 Alex Davidson Horns TENORS 1 Richard Ashton 2 Kevin Elliot Christopher BEELS

BASSES

Michael BOWMER Trumpets COWLEY 1Mike Alex Cromwell Francoise 2 MatthewDRAPER Down Robert SHAW Trombones Guy VOGEL 1 Steve Turton David WILLINGHAM 2 Matt Eckland Michael WOODS 3 Paul Lambert

Simon BRANDES

Timpani Jonny Raper Continuo - Organ Stephen Jones

John ALLINSON Nicholas BUCKLEY Peter COLEMAN John CUMMING Damien D’ARCY Mike DAY Marc FRESKO Hugh MARCHANT John MARTIN James PIERCY Clive RICHARDS Ian STEPHENSON Charles THOMSON

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Goldsmiths Choral Union SOPRANOS Christina ARBENZ Susan BATES Margaret BEELS Albina BELABIOD Mary BOSWORTH-SMITH Alison BUCKLEY Irene CLUGSTON Catherine COOKE Jane CORKILL Katherine DALEY Elizabeth EDWARDS Adrienne FRESKO Inez GALLAGHER Olivia GRANT Tanya HUEHNS Paula JONES Brenda LARGE Jenny LEACH Hilary LINES Frosso MILTIADOU Margaret MOORES Anne RANDALL Jennifer RUHLE Sarah SAYSELL Celia SIMPSON Ruth STEPHENS Emily STUART Silvia RESEGHETTI Jill TYLER Barbara WRIGHT Jenny WU

CONTRALTOS Lindsay ALLEN-MERSH Anna BROWN Rosemary BURKE Jayne CALVERT Anne COURTNEY Liz ELLAWAY Hazel ELLIS Mariana FARAH Gloria GEE Jane HOULDSWORTH Sherry HUTCHINSON Irene ILIAS Elin JONES Lauren KAVANAGH Alison LEGGATT Sue LUSH Caroline MACREADY Sue MILLAR Betty NEWBURY Dinah NICHOLS Jane PATTON Sharon PIERSON

Rebecca RAWLINGS Heather RAYNER Mary Pat ROBERTSON Natalia SACO Anna SILVER Judith SIMPSON Laura SMITH Arabella STUART Sonya TAYLOR Margaret THOMAS Arisa TURNER Anna WALTON Victoria WARE Polly WATTS Janet WILLIAMS Lotie WORSLEY Jenny YOUNG

TENORS Felix GIDEONSE Robin HAPPÉ Christopher HOUGH John LARNER Sean McGETTIGAN Jonathan STARTUP Ray WHITFIELD Richard WHITFIELD Owain WILKINS David WILLINGHAM Michael WOODS

BASSES John ALLINSON David BALICA Geoffrey BARNES Simon BRANDES Nicholas BUCKLEY Charlie CARTER John CUMMING Damien D’ARCY Lewis DAVIES Michael DAY Gabriel DIAZ-EMPARANZA Marc FRESKO Oscar HEALY Stephen LAI Hugh MARCHANT Stefano NAPPO Mark PAKIANATHAN James PIERCY Clive RICHARDS Ian STEPHENSON Robert TORFASON Chris WATTS Jesmer WONG 21

Goldsmiths Choral Union

Parisian Spring Fauré Requiem Boulanger Pie Jesu Duruflé Requiem Rosamond Thomas Soprano Alex Bower-Brown Baritone Lily Platts Soprano Richard Gowers Organ Goldsmiths Choral Union Affinity Chamber Orchestra Jack Apperley Conductor Friday 22 March 2024, 7.30pm St John’s Smith Square London SW1P 3HA Tickets: £36, £28, £20 Tickets available from choir members or online at www.sjss.org.uk (booking fees apply) 22

JOIN US Goldsmiths Choral Union is a high-quality choir that is still small enough to feel welcoming and inclusive. We’re looking for singers with good voices and reasonable sight reading, who would relish the opportunity to perform wonderful music with top orchestras in fantastic venues. We’re welcoming new singers (all parts) or those who just want to give us a try and see if we might be the choir for you. Being part of Goldsmiths is a great way to continue your passion for music after you leave college or university, and an opportunity to meet like-minded people from across London and the South-east. www.goldsmithschoralunion.org/join-us

FRIENDS OF GCU Enjoying this concert? Why not become a Friend of GCU? GCU promotes and funds its own highly varied and adventurous concert programmes. Friends of GCU support the choir by making an annual donation, currently a minimum of £90. In recognition of their generosity and their valuable support, GCU offers Friends a complimentary ticket for each concert promoted by the choir. For more information please contact: Friends Membership Secretary Email: gcufriends@btopenworld.com We thank the following for their continuing support: HONORARY LIFE FRIENDS Sarah Dorin William Gould David Hayes Denzil Jarvis Mike Lock Jan Lowy Sue Peacock FRIENDS Anonymous Anonymous Andrew Calvert John Dempster Hamish Donaldson Caroline Green Elizabeth Grimsey Joanna Kenny Carole Lewis Jane Sawyer Mrs Marylin Smith Duncan Stuart Tony Stuart Clive Tucker Charles Thomson David Willingham 23

Goldsmiths Choral Union FUTURE CONCERTS Friday 15 December 2023 Holy Trinity, Sloane Square at 7.30pm A CHRISTMAS CONCERT Tickets available from Choir members, on the door or via Eventbrite (booking fees apply)

Thursday 28 December 2023 Barbican Hall at 7.30pm Raymond Gubbay Presents BEETHOVEN’S 9th Book online at www.barbican.org.uk

Friday 22 March 2024 St John’s Smith Square at 7.30pm PARISIAN SPRING featuring Fauré Requiem, Boulanger Pie Jesu and Duruflé Requiem Tickets available from Choir members or online via www.sjss.org.uk (booking fees apply)

Friday 21 June 2024 Holy Trinity, Sloane Square at 7.30pm Quartel This Endris Night Holst Hymns from the Rig Veda Bernstein Chichester Psalms Rutter The Gift of Life

For more information about Goldsmiths Choral Union please visit goldsmithschoralunion.org

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Tickets available from Choir members, on the door or via Eventbrite (booking fees apply)