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Saturday 14th May 2005 Barclays House Choir Musical Director Chairman Manager web site email

James Grocott Evelyn Wade Adrian Purkiss

http://www.bhchoir.co.uk manager@bhchoir.co.uk

with

The St Peter's Orchestra Leader

Andrew Foot

Featuring

and

David Beeby - Organ Conducted by

James Grocott at

St Peter's Parkstone Rector web site

Music for a Spring Evening

Canon Nigel LLoyd

Vivaldi Gloria

Haydn Nelson Mass

http://www.branksea.demon.co.uk

In association with Barclays Bank Arts Council

with Soloists Christine Page (Soprano) Felicity Goodman (Alto) Gareth Malone (Tenor) James Davis (Bass)


Toni ght ’ sPr ogr amme John Rutter b.1945

The Lord bless you and keep you (Numbers 6:24)

Franz Schubert 1797 - 1828

Ave Maria Arr. G L Martin

Thomas Tallis (1505 - 1585)

If ye love me Edited Peter le Huray

Anton Vivaldi (1678 - 1741)

Gloria

I. Gloria in excelsis Deo II. Et in terra pax III. Laudamus te IV. Gratias agimus tibi V. Propter magnam gloriam VI. Domine Deus VII. Domine Fili unigenite VIII. Domine Deus, Agnus Dei IX. Qui tollis peccata mundi X. Qui sedes ad dexteram Patris XI. Quoniam tu solus Sanctus XII. Cum Sancto Spiritu

Interval Joseph Haydn (1732 - 1809)

Mass in D minor - Missa in angustiis

“Nel sonMass”

I. Kyrie II. Gloria in excelsis Deo III. Qui tollis peccata mundi IV. Quoniam tu solus Sanctus V. Credo VI. Et incarnatus est VII. Et resurrexit VIII. Sanctus IX. Benedictus X. Agnus Dei XI. Dona nobis pacem This concert is given by kind permission of the Rector and churchwardens


Gloria - Antonio Vivaldi (1678 - 1741) Today, Vivaldi is amongst the most popular of all composers, but this has not always been the case. During his lifetime he did indeed enjoy considerable success, though his reputation was much greater in France, Holland and England than it was in his native Italy. He died in Vienna and was bur i edi napauper ’ sgr av e,andhi smusi cbecamenegl ect edf oragr eatmanyy ear s.I twasnotunt i l t heemer genceoft he‘ ear l ymusi c’gr oupsi nt heni net een-sixties that his music once again enjoyed widespread popularity. TheGl or i a,t oget herwi t ht heFourSeasons,i sundoubt edl yVi v al di ’ sbest -known work. He wrote it f ort heOspedal edel l aPi et a,t heVenet i angi r l s’or phanagewher ehet aughtmusi cf r om 1703.The girls were given a thorough training in choral singing, the more gifted ones also being given instrumental tuition and extra voice coaching. According to contemporary reports, the concerts that they gave were of a very high standard, and the entrance fees contributed significantly to the maintenance of the orphanage. The wonderfully sunny nature of the Gloria, with its distinctive melodies and rhythms, is char act er i st i cofal l ofVi v al di ’ smusi c,gi vi ngi tani mmedi at eanduni v er sal appeal John Bawden - Musical Director - Fareham Philharmonic Choir (Used by permission)

Mass in D minor - Missa in angustiis (Nelson Mass) Franz Joseph Haydn (1732-1809) Precisely how the Nelson Mass became so called, when and by whom will probably never be known. What is at least clear is that within a month of the Battle of the Nile (1 August 1798) Haydn had completed a Mass in D Minor, and within months of the Battle of Trafalgar (21 October 1805) that same mass had become known as the Nelson Mass. In early 1798 Napoleon assembled a substantial invasion force and sailed east into the Mediterranean. The news soon reached British naval intelligence. By the time Nelson, in command of the British fleet, located the force off Egypt, Napoleon had captured Malta and most of Egypt, his aim being to press farther east and capture British possessions in India. Nelson, catching the French fleet at anchor in Aboukir Bay, immediately attacked and annihilated it, and his victory, popularly known as the Battle of the Nile, reverberated around Europe and beyond. Nelson returned to Naples and was heralded as the 'saviour of Europe'. Napoleon, now in a desperate situation, eventually cast off his army and, dodging British frigates, returned alone with his staff to France. At this stage, so far as Nelson was concerned, in stepped fate in the form of Lady Hamilton. Sir William and Lady Hamilton were well regarded in Naples; he as 'our man in Naples' and she as a beauty. Nelson fell for her and a ménage a trois was soon established. The Admiralty soon learned of Nelson's behaviour but it was nearly two years before they could order Nelson to return home, and then only after Nelson had so arranged matters to travel overland with the Hamiltons via Austria and Germany. The route included Vienna, and from there Nelson and the Hamiltons visited Prince Esterhazy at Eisenstadt and so met Haydn in 1800. Amongst his other court duties Haydn was required to produce a new mass each year for the nameday of Princess Esterhazy. Two years previously, in the summer of 1798, Haydn had composed a


mass in the key of D minor. He could not have known of the Battle of the Nile until weeks after the mass was finished, so the mass was certainly not written for that Nelson victory. The original manuscript of that mass has neither title nor motto, and bears nothing but the pious formulae 'In nomine Domini' at the start and 'Laus Deo' at the end. However, both the Mass in D Minor (probably) and the Te Deum (certainly) were performed to honour Nelson during his visit, together with a brief cantata, Lines from the Battle of the Nile, which Haydn composed for Lady Hamilton. Nelson and Haydn apparently became friends - some accounts (or perhaps legends) tell that Nelson gave Haydn a gold watch he had won at Aboukir Bay, in return for the pen that was used to compose Lady Hamilton's cantata. It is likely that the name Nelson Mass began being applied to this piece some time after this event, although the name was never used by Haydn himself. Haydn later catalogued this mass as Missa in Angustiis ('mass for times of distress'), a reflection of the uncertain times in which it was written. In another authentic catalogue of Haydn's works of 1805, where it is listed as Number 10 of the masses, this work is not given a special title. It was published by Breitkopf & Härtel in Leipzig in March 1803 as Number 3 of the masses by Haydn, but still without any caption. The first vocal score, made by Novello and published in London in 1824, is also without a special title. Still more confusingly, the score was published in Paris in 1811 entitled L'Imperiale, including the note 'Cette Messe a été composée pour le couronnement de Joseph II'. Joseph II had been crowned Holy Roman Emperor more than thirty years before the mass was written! Haydn's own title for this mass, Missa in Angustiis ('mass for times of distress'), would lead one to expect a dark piece, with an undercurrent of fear. Certainly the opening Kyrie features dark and dramatic fanfares, and belongs to the sound world of Mozart's Requiem, which was written in the same decade. However there are also contemplative and joyful movements and a jubilant finale. Remember that Haydn wrote this mass and others for the name-day of Princess Esterhazy. It would not do to celebrate such an important event with sombre music! This is Haydn's largest mass, and one of his most well-known and beloved choral works. It is also his only minor-key mass, set in D minor at the opening, but leading to a victorious D major finale. The orchestra does not include woodwind, and the use of three trumpets and timpani in the accompaniment creates a military feel (which perhaps contributed to the work's eventual name). The mass is also notable for the 'fireworks' demanded of the soprano soloist, in the tragic, wartorn Kyrie through the D major Gloria and beyond. But while most contemporary mass settings make a clear distinction between arias and choral sections, in the manner of opera, the solos and ensemble passages in the Nelson Mass in the main remain closely integrated with the chorus. The Qui tollis section of the Gloria starts surprisingly in Bb major, where the bass is accompanied by some lovely scoring for the strings and organ. The soprano returns us to D major for Quoniam tu solus sanctus and the section ends with a choral fugue. An extraordinary opening to the Credo has the sopranos and tenors competing in canon with the altos and basses to the sound of fanfaring trumpets. Et incarnatus begins with a gorgeous aria for the soprano soloist, before the emotional centre of the piece is taken up by the chorus who lead to a glorious D major finish once again in Et resurrexit. The Benedictus in Part IV is a world away from the serene, prayerful setting that might be expected. This is typically set as a quiet meditation, but Haydn's setting begins with a stormy orchestral introduction, moves through a series of exchanges between soloists and chorus, and culminates in a strikingly dissonant passage. The G major Agnus Dei provides the chorus a little respite as the soloists take centre stage, before Dona nobis pacem returns triumphantly to D major in a joyous finale. Used by permission of the Aylesbury Choral Society


The Lord bless you and keep you The Lord bless you and keep you. The Lord make his face to shine upon you and be gracious unto you. The Lord lift up the light of his countenance upon you and give you peace.

Ave Maria Ave Maria Gratia plena Dominus tecum Benedicta tu in mulieribus Et Benedictus fructus ventris Jesus Ave Maria Sancta Maria, mater dei Ora pro nobis peccatoribus Nunc et in mortis nostrae Sancta Maria

Hail Mary Full of grace The Lord is with thee Blessed art thou amoung women And blessed is the fruit of thy womb Jesus Hail Mary Holy Mary, Mother of God Pray for us sinners Now and at the hour of our death Holy Maria

If ye love me If ye love me Keep my commandments And I will pray the father

And he shall give you another comforter That he may abide with you for ever E’ e nt hes pi r i toft r ut h

Antonio Vivaldi - Gloria I. Gloria in excelsis Deo (Choir) Gloria in excelsis Deo

I. Gloria in excelsis Deo Glory to God in the highest,

II. Et in terra pax (Choir) Et in terra pax hominibus bonae voluntatis

II. Et in terra pax And on earth peace to men of goodwill.

III. Laudamus te (Soprano & Alto) Laudamus te, Benedicimus te, Adoramus te, Glorificamus te

III. Laudamus te We praise Thee, we bless Thee, we worship Thee, we glorify Thee.

IV. Gratias agimus tibi (Choir) Gratias agimus tibi

IV. Gratias agimus tibi We give thanks to Thee

V. Propter magnam gloriam (Choir) Propter magnam gloriam tuam

V. Propter magnam gloriam For Thy great glory.

VI. Domine Deus (Soprano) Domine Deus, Rex caelestis, Deus pater omnipotens

VI. Domine Deus Lord God, heavenly King, God the Father almighty.

VII. Domine Fili unigenite (Choir) Domine Fili unigenite, Jesu Christe

VII. Domine Fili unigenite O Lord, the only-begotten Son, Jesus Christ.

VIII. Domine Deus, Agnus Dei (Alto & Choir) Domine Deus, Agnus Dei, Filius Patris, Domine Deus, Rex caelestis, Domine Fili unigenite, Miserere nobis. Qui tollis peccata mundi, Agnus Dei, Filius Patris, Miserere nobis.

VIII. Domine Deus, Agnus Dei O Lord God, Lamb of God, Son of the Father, O Lord God, heavenly King, O lord the only-begotten Son, Have mercy upon us. Thou that takest away the sins of the world, Lamb of the God, Son of the Father, have mercy upon us.

IX. Qui tollis peccata mundi (Choir) Qui tollis peccata mundi, Suscipe deprecationem nostram

IX. Qui tollis peccata mundi Thou that takest away the sins of the world, Receive our prayer.


X. Qui sedes ad dexteram Patris (Alto) Qui sedes ad dexteram Patris, Miserere nobis

X. Qui sedes ad dexteram Patris Thou that sittest at the right hand of the Father, Have mercy upon us.

XI. Quoniam tu solus Sanctus (Choir) Quoniam tu solus Sanctus, Tu solus Dominus, Tu solus Altissimus, Jesu Christe,

XI. Quoniam tu solus Sanctus For thou only art Holy, Thou only art the lord, Thou only art most High, Jesus Christ.

XII. Cum Sancto Spiritu (Choir) Cum Sancto Spiritu, In gloria Dei Patris, Amen.

XII. Cum Sancto Spiritu With the Holy Ghost, In the glory of God the Father, Amen.

Joseph Haydn - Mass in D Minor - Mi s s ai nangus t i i s“Ne l s onMas s � KYRIE Kyrie eleison. Christe eleison. Kyrie eleison.

KYRIE Lord, have mercy. Christ, have mercy. Lord, have mercy.

GLORIA Gloria in excelsis Deo. Et in terra pax hominibus bonae voluntatis. Laudamus te. Benedicimus te. Adoramus te. Glorificamus te. Gratias agimus tibi propter magnam gloriam tuam. Domine Deus, Rex caelestis, Deus Pater omnipotens. Domine Fili unigenite, Jesu Christe. Domine Deus, Agnus Dei, Filius Patris.

GLORIA Glory to God in the highest. And on earth peace to men of goodwill. We praise Thee. We bless Thee. We adore Thee. We glorify Thee. We give thanks to Thee for Thy great glory. 0 Lord God, heavenly King, God the Father almighty. 0 Lord, the only-begotten Son, Jesus Christ. 0 Lord God, Lamb of God, Son of the Father.

Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dexteram Patris, miserere nobis.

Thou who takest away the sins of the world, have mercy upon us. Thou who takest away the sins of the world, receive our prayer. Thou who sittest at the right hand of the Father, have mercy upon us.

Quoniam tu solus Sanctus. Tu solus Dominus. Tu solus Altissimus, Jesu Christe. Cum Sancto Spiritu in gloria Dei Patris. Amen.

For Thou only art holy. Thou only art the Lord. Thou only, Jesus Christ, art most high. With the Holy Ghost, in the glory of God the Father. Amen.

CREDO Credo in unum Deum. Patrem omnipotentem, factorem coeli et terrae, visibilium omnium et invisibilium omnium!. (*Et credo 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 coelis.

CREDO I believe in one God, the Father almighty, maker of heaven and earth, and of all things visible and all) invisible. (*And I believe in one Lord Jesus Christ, the only-begotten Son of God,) born of the Father before all ages; God of God, light of light, true God of true God; begotten, not made; being of one substance with the Father; by whom all things were made. Who for us men, and for our salvation, came down from heaven.

Et incarnatus est de Spiritu Sancto ex Maria Virgine: Et homo factus est. Crucifixus etiam pro nobis: sub Pontio Pilato passus, et sepultus est.

And was incarnate by the Holy Ghost of the Virgin Mary; and was made man. He was crucified also for us, suffered under Pontius Pilate, and was buried.

Et resurrexit tertia die, secundum Scripturas. Et ascendit in coelum: sedet ad dexteram Patris. Et iterum venturus est cum gloria judicare vivos et

And the third day He rose again according to the Scriptures. And ascended into heaven, He sitteth at the right hand of the Father. And He shall come again with glory to judge both the living and the dead; of

* Text omitted by Haydn


mortuos: cujus regni non erit finis. Et (Credo) in Spiritum Sanctum, Dominum et vivificantem (qui ex Patre Filioque procedit). Qui cum Patre et Filio simul adoratur et conglorificatur: qui locutus est per Prophetas. Et (Credo in) unam sanctam catholicam et apostolicam Ecclesiam. Confiteor unum baptisma in remissionem peccatorum. Et exspecto resurrectionem mortuorum. Et vitam venturi saeculi. Amen.

whose kingdom there shall be no end. And (I believe) in the Holy Ghost, the Lord and giver of life. Who proceedeth from the Father and the Son; who together with the Father and the Son is adored and glorified; who spoke by the Prophets. And in one, holy, catholic and apos-tolic Church. 1 confess one baptism for the remis-sions of sins. And 1 look for the resurrection of the dead. And the life of the world to come. Amen.

SANCTUS Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Osanna in excelsis.

SANCTUS Blessed is he that cometh in the name of the Lord. Hosanna in the highest.

BENEDICTUS Benedictus, qui venit in nomine Domine. Osanna in excelsis.

BENEDICTUS Blessed is he that cometh in the name of the Lord. Hosanna in the highest.

AGNUS DEI Agnus Dei, qui tollis peccata mundi: miserere nobis. Agnus Dei, qui tollis peccata mundi: dona nobis pacem.

AGNUS DEI Lamb of God, who takest away the sins of the world, have mercy on us. Lamb of God, who takest away the sins of the world, grant us peace.

Dona nobis pacem.

Grant us peace.

Barclays House Choir Sopranos Christabel Beattie Eveymartine Brogan Julie Cake Deborah Cooke Juliet Dodarell Thelma Doody Margaret Dore Altos Pat Baker Pauline Bickerton Isabel Broom Pam Brown Peter Cadogan Maureen Clark Molly Edwards Tenors Tony Benson Dave Cooke Basses Roy Birch Martin Broad Tony Gatward Ted Greenway

Sylvia Elkins Anne Hitchcoe Jo Hollis Jo Jackson Trish Jubb Jenny Loftus

Mary Norrish Maureen Oakes Ruth Paramour Marian Pearce Noreen Price Brenda Schofield

Kay Smith Marian Starkey Sally Stedman Joanna Welsh Joan Willis Jenny Wright

Sally Elliot Marion Fuge Jan Gibson Jill Goreham Gemma Hortop

Yo Lane Beryl Lenham Liz Martin Isabel McConville Nita Parke Hazel Potter

Julie Prentice Michelle Smyth Mary Standley Vickie Thomas Evelyn Wade Hilary Warner

Keith Hollis John Kightley

Eric Lenham Adrian Purkiss

Paul Thomas

Tony Hartle Dick Keslake Michael Lofthouse

John Milligan Robert Scammell Rayner Skeet

Noel Skerman David Spracklen Mike Walton


Barclays House Choir 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 75 members drawn from many occupations, the membership now being open to all. Under the musical direction of James Grocott, who has led the choir for the last 27 years, the gr ouphasper f or medmanyoft hemaj orchor al wor k si nc l udi ngMozar t ’ sRequi em,Hay dn' s Cr eat i on,Mendel s sohn’ sEl i j ahandBr ahms ' sGer manRequi em,aswel l asmor emoder n compositions such as John Rutter's Magnificat and Requiem. Most of the choir's concerts also involve the 38 strong St Peter's Orchestra, whose support is always very much appreciated. The choirs regular accompanist is Christine Taylor. The choir receives the financial support of the Barclays Bank Arts Council, and all concerts are given with their support. The choir has also supported local charities such as the Lewis Manni ngHospi c eandt hePool eMayor ’ sAnnualChar i t yAppeal . If you wish to discuss any aspect relating to the choir please speak to James Grocott (Musical Director), Adrian Purkiss (Manager) or Evelyn Wade (Chairman).

Enj oy edt oni ght ’ sconcer t ? Then why not join us for our

Annual Christmas Concert In this Church Sunday 11th December 2005 commencing at 6:30pm

Profile for Adrian Purkiss

2005 BHC Spring Concert Programme  

Barclays House Choir - Poole (UK) - 2005 Spring Concert Programme (Copyright BHC 2009)

2005 BHC Spring Concert Programme  

Barclays House Choir - Poole (UK) - 2005 Spring Concert Programme (Copyright BHC 2009)

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