Haydn: The Creation

Goldsmiths Choral Union 90TH ANNIVERSARY SEASON

Haydn: The Creation Tamsin Raitt Soprano Andrew Woodmansey Tenor Jamie W. Hall Baritone Goldsmiths Choral Union Affinity Chamber Orchestra Jack Apperley Conductor

Tuesday 8 November 2022 at 7.30pm Cadogan Hall , 5 Sloane Terrace, SW1X 9DQ Programme £4 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 under the baton of Frederick Haggis and Christopher BARNARD John 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 D’ARCY Worshipful Company of Goldsmiths Robin HAPPÉ

Mike DAY

Robert Marc FRESKO MusicSHAW Director: Jack Apperley Oli SHEFFIELD Accompanist: Stephen JonesHugh MARCHANT Guy VOGEL David WILLINGHAM Please see the Michael WOODS dates.

James PIERCY Clive RICHARDS back cover for Future Concert Brian ROSEN Ian STEPHENSON Charles THOMSON Chris WATTS

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

Haydn: The Creation Tamsin Raitt Soprano Andrew Woodmansey Tenor Jamie W. Hall Baritone Goldsmiths Choral Union Affinity Chamber Orchestra Jack Apperley Conductor Celebrating our 90th anniversary season, Goldsmiths Choral Union introduces our new Music Director, Jack Apperley.

What better way to celebrate new beginnings than by performing Haydn’s The Creation? This glorious masterpiece, a three-part oratorio composed in 1798, depicts and celebrates the creation of the world as related in John Milton’s epic poem Paradise Lost (1667) and the Book of Genesis.

INTERVAL – 25 MINUTES

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Jack Apperley conductor Jack Apperley graduated from the Royal Academy of Music where he obtained a Masters in Choral Conducting. He was awarded a Distinction and received the Sir Thomas Armstrong Choral Leadership Prize.

Prior to this, Jack read Music at the University of Birmingham where he was mentored by Simon Halsey CBE. In 2019 Jack competed in the Jazep Vitols International Choral Conducting Competition and the World Choral Conducting Competition in Hong Kong, reaching the semifinals on both occasions. Jack was awarded Second Prize at the inaugural London International Choral Conducting Competition 2018. Jack is the conductor of University Upper Voices at the University of Birmingham and Music Director of the Imperial College Chamber Choir. He is the Music Director of Concordia Voices and also directs workplace choirs for the Royal College of Physicians, Silicon Valley Bank and the Workplace Choir Company.

Jack is the new Music Director of Goldsmiths Choral Union and is an Assistant Chorus Master of London Symphony Chorus. This role has seen Jack prepare the chorus for performances of Liszt’s Faust Symphony, Bernstein’s Chichester Psalms, Beethoven’s Ninth Symphony and Britten’s Spring Symphony, Mahler’s Eighth Symphony, Orff’s Carmina Burana and Luther Adams’ In the Name of the Earth.

In Spring 2019 Jack conducted the London Symphony Orchestra Community Choir in David Lang’s The Public Domain in the Barbican Centre.

While at the Royal Academy of Music, Jack participated in several masterclasses with ensembles such as the BBC Singers and the Clarion Choir as well as receiving tuition from Paul Brough, Jamie Burton, David Hill, Amy Bebbington and Roland Börger. Jack has also attended several summer schools hosted by Sing for Pleasure and the Yale School of Music where he was tutored by Manvinder Rattan, Sarah Tennant-Flowers and Simon Carrington respectively.

Tamsin Raitt soprano Tamsin started her musical studies at the Royal Conservatoire of Scotland as a junior student where she was supported by the Rachel Barry Bursary awarded for ‘The Most Promising Young Singer’ at the 2012 North East of Scotland Music Festival.

She went on to study at the Royal Academy of Music under the tutelage of Kathleen Livingstone and Iain Ledingham, and received a Bachelor of Music with First Class Honours.

Tamsin enjoyed her time at the Academy where she was a chorus member for the Kohn Foundation Bach Cantata Series and the proud receiver of the 2017 Arthur Burcher Memorial Prize for her third year recital. Tamsin sang in the Academy’s chamber choir on their annual tour to Neresheim Abbey in Southern Germany for three years running and was a soloist for their 25th Anniversary concert.

Tamsin performs regularly for oratorio works and was grateful to be supported by the Josephine Baker Trust during her studies.

Upcoming engagements include Mozart’s Requiem, Bach’s and Vivaldi’s Magnificats and Handel’s Messiah.

Tamsin is currently a Fellow of St Martin’s Voices and performs regularly at St Martin-in-the-Fields. Upcoming performances with the Fellowship include a Close Harmony concert and a Christmas Baroque concert.

When not performing, Tamsin runs the CAVATINA Chamber Music Trust and is a House Manager at Wigmore Hall which she enjoys very much.

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Andrew Woodmansey tenor Andrew Woodmansey is a freelance Tenor studying for a Master’s degree under Neil Baker at Trinity Laban, supported by the Elliot Rosenblatt Memorial Scholarship, and the Williams Trust.

Andrew has a particular interest in contemporary opera and concert works, having recently played roles in operas by Mark Springer, Harvey Brough, John Sturt, Louise Kublicki, Michael Gordon, Kieron Smith, Laurence Panter and an adaptation by Peter Wiegold. These included appearances at the Playground Theatre, Wilton‘s Music Hall, The Cockpit Theatre, RADA Studio, and OSO Arts. He has also premiered a number of songs and choral works, and is working on a recital of works by some of London’s composers.

Andrew has also performed widely in the cornerstones of the classical canon. Having played Don Ottavio in Mozart’s Don Giovanni and Tamino in Mozart’s Die Zauberflöte, with Surrey Opera and King’s Opera. Other Canon works include concert solos in Bach’s St John Passion (Evangelist and Arias) Beethoven’s 9th Symphony, Mozart’s Requiem in D minor, Haydn’s The Creation, Handel’s Ode on St Cecilia’s Day, Orff’s Carmina Burana, Stainer’s The Crucifixion, Handel’s Messiah, Finzi’s In Terra Pax, Vaughan Williams Fantasia on Christmas Carols and Haydn’s Nelson Mass. These include performances with Magna Sinfonia, The Brandenburgh Festival Chorus and Orchestra, Feltham Choral Society, Maidstone Singers, Guernsey Choral and Orchestral Society and the Old Royal Naval College Chapel Choir.

Andrew is a sought-after Choral Deputy, regularly deputising in cathedrals, churches and concert choirs across London, Cambridge, Oxford, and various towns and cities in the UK. Andrew was a Choral Scholar at The Old Royal Naval College Chapel under Ralph Allwood and a member of the National Youth Chamber Choir under Ben Parry.

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.

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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.

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Goldsmiths Choral Union 90TH ANNIVERSARY SEASON

Christmas Concert

Friday 16 December 2022 at 7.30pm Holy Trinity Church Sloane Square London SW1X 9BZ 7

THE CREATION

Joseph Haydn 1732-1809

Peace and Refreshment This is one of the most life-affirming pieces ever composed - a wide-eyed wonder at the beauties and variety of creation. Haydn wrote in a letter to a friend, ‘often, when I was struggling with all kinds of obstacles…. a secret voice whispered to me: “There are so few happy and contented people in the world; sorrow and grief follow them everywhere; perhaps your labour will become a source from which the careworn… will for a while derive peace and refreshment.”

The Inspiration Joseph Haydn’s epic Classical masterpiece had its origins in London. Sprung from the confines of the isolated Esterhazy Castle where he was Kapellmeister, he moved into central Vienna in his mid sixties, while remaining financially supported by the new head of the family.

This freedom encouraged him to travel, and it was on concert tours to London in 1791 and 1795 that he attended performances of Handel’s grand scale choral works, Israel in Egypt and The Messiah. Having primarily composed instrumental and orchestral music, these pieces made a huge impact and inspired him to write a great theatrical choral work with a biblical theme for this enthusiastic English oratorio public as well as his Viennese audiences.

The Libretto The libretto, inspired by the Book of Genesis, the Psalms and Milton’s Paradise Lost, has produced a richly idyllic set of images but caused much discussion and editing.

Most sources agree that an English text (originally offered to Handel who did not develop the idea) was handed to Haydn by John Peter Salomon, the impresario.

Haydn’s friend and patron, Baron Gottfried van Swieten, translated and adapted the text to produce a German and English libretto for the music, and Haydn finished his composition in a few months conducting it himself with the first performance sung in German in Vienna on 29th April 1798. The performance was rapturously received.

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A bilingual text making publishing history was issued in 1800, and the work was performed all over Europe, where it became Haydn’s most popular work. Tonight we are singing from an edition by Nicholas Temperley who in 1988 produced a scholarly and respectful English libretto altering the worst of the word-order inversions without obliterating its primitive charm.

The Form The Creation is in three parts, the first part describing the first four days making the world out of chaos with heaven and earth, land and sea and plant life. The second part adds the fifth and sixth days creation of animals and man.

The third part is a celebration of the happy pair, Adam and Eve, in Eden with an ending skillfully foreshortened before anything goes wrong.

The pattern of the story is told in triplets - a recitative by archangels Gabriel/Eve (soprano), Uriel (tenor) or Raphael/Adam (bass) followed by an aria and then a climactic chorus.

The Philosophy Haydn had been fascinated on his first visit to London by the forty-foot telescope of William Herschel - the discoverer of Uranus. Four years later, Haydn set the words of Psalm 19 in “The Heavens are telling the glory of God”; the image of the stars and planets joining with the mountains, rivers and seas of the earth in song to the creator.

Haydn’s own catholic faith took the form of belief in a rationally and scientifically ordered universe and its essentially optimistic view of humanity; he put less emphasis on conflict, guilt and retribution, more on cheerfulness and reconciliation. This was not at the time the style of the Catholic church, which was quick to take offence at the work’s non-moralistic tone and banned it from being performed in places of worship.

The Music Hadyn’s ability to conjure picturesque musical descriptions, from the opening representation of chaos with its stark chords and shifting, unsettling harmonies on muted strings portraying formlessness, to the blazing ‘Let there be Light - and there was Light’, makes this music so compelling. In part two in Gabriel’s aria ‘On mighty pens uplifted soars the eagle aloft’’ Haydn’s naturalistic bird and animal imitations are particularly charming, mixing his skill and experience of symphonic style and counterpoint with a freedom and sheer brilliance of effect.

A Viennese journalist, Joseph Richter, wrote that ‘I wouldn’t have believed that mere human lungs and sheep gut and calf’s skin could create such miracles… I never left a theatre more contented, and all night I dreamed of the Creation of the World’.

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Good evening everyone and welcome to this evening’s concert When I was asked what piece I would like to perform in my first concert as Music Director of Goldsmiths Choral Union, I couldn’t think of anything more appropriate than Haydn’s The Creation. It is a piece that captures perfectly the excitement, optimism and unknown possibility that marks the dawn of this new chapter in my professional life and that of the musical life of Goldsmiths Choral Union.

Haydn is typically painted as a happy, cheeky, optimistic character. This is quite probably true, but something that strikes me both through The Creation and his other large choral-orchestral work The Seasons, is his confidence.

When he first came to London in the 1790s he encountered Handel’s English oratorios, including The Messiah and Israel in Egypt, for the first time. Nobody had dared attempt to emulate the work of Handel in this medium.

Haydn was the “composer of the moment” and he saw himself as the heir to Handel, and if anyone was going to write something that could get close to emulating the widely heralded success of The Messiah then it would be him.

He was of course successful. During Haydn’s lifetime the piece was performed over forty times outside Vienna: elsewhere in Austria and Germany, throughout England, and in Switzerland, Italy, Sweden, Spain, Russia and the United States.

One of the great interpreters of Haydn, Sir Simon Rattle, has said that The Creation gives the “idea of the journey of a person’s whole life.” Tonight’s concert marks the beginning of my creative journey and partnership with Goldsmith’s Choral Union.

I hope that together we can enjoy many happy and memorable concerts, and that we will become an integral part of the London choral community.

Jack Apperley music director

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The Creation PART ONE 1 - Introduction: The Representation of Chaos

THE FIRST DAY 2 - Recitative and Chorus Raphael In the beginning God created the heaven and the earth; and the earth was without form and void; and darkness was upon the face of the deep.

Chorus And the Spirit of God moved upon the face of the waters; and God said: Let there be Light, and there was Light.

Uriel And God saw the Light, that it was good; and God divided the Light from the darkness.

3 - Aria and Chorus Uriel Now vanish before the holy beams the gloomy dismal shades of dark; the first of days appears.

Disorder yields to order fair the place.

Affrighted fled hell’s spirits, black in throngs; down they sink in the deep of abyss, to endless night.

Chorus Despairing cursing rage attends their rapid fall.

A new created world springs up at God’s command.

THE SECOND DAY 4 - Accompanied Recitative Raphael And God made the firmament, and divided the waters, which were under the firmament, from the waters, which were above the firmament, and it was so.

Outrageous storms now dreadful arise; as chaff by the winds are impelled the clouds.

By heaven’s fire the sky is enflamed and awful roll the thunders on high.

Now from the floods in steams ascend 11

reviving showers of rain, the dreary wasteful hail, the light and flaky snow.

5 - Solo with Chorus Gabriel The marv’lous work beholds amazed the glorious hierarchy of heav’n and to th’ ethereal vaults resound the praise of God, and of the second day.

Chorus And to th’ ethereal vaults resound, etc

THE THIRD DAY 6 - Recitative Raphael And God said: Let the waters under the heaven be gathered together unto one place, and let the dry land appear; and it was so.

And God called the dry land earth, and the gathering of waters called he seas; and God saw that it was good.

7 - Aria Raphael Rolling in foaming billows uplifted roars the boist’rous sea.

Mountains and rocks now emerge Their tops into the clouds ascend.

Through open plains outstretching wide in serpent error rivers flow.

Softly purling glideth on through silent vales the limpid brook 8 - Recitative Gabriel And God said: Let the earth bring forth grass, the herb yielding seed and the fruit tree yielding fruit after his kind, whose seed is in itself upon the earth; and it was so.

9 - Aria Gabriel With verdure clad the fields appear delightful to the ravished sense; by flowers sweet and gay enhanced is the charming sight.

Here vent their fumes the fragrant herbs; here shoots the healing plant.

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By load of fruits th’ expanded boughs are pressed; to shady vaults are bent the tufty groves; the mountain’s brow is crowned with closed wood.

10 - Recitative Uriel And the heavenly host proclaimed the third day, praising God and saying: 11 - Chorus Awake the harp, the lyre awake!

In shout and joy your voices raise!

In triumph sing the mighty Lord!

For he the heavens and earth has clothed in stately dress.

THE THIRD DAY 12 - Recitative Uriel 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.

13 - Accompanied Recitative Uriel In splendour bright is rising now the sun and darts his rays; an am’rous, 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 th’ azure sky innum’rous host of radiant orbs adorns, and the sons of God announced the fourth day in song divine, proclaiming thus his pow’r: 14 - Chorus with Trio Chorus The heavens are telling the glory of God; The firmament displays The wonder of his works.

Gabriel, Uriel and Raphael Today that is coming speaks it the day; The night that is gone, to following night.

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Chorus The heavens are telling the glory of God; The firmament displays The wonder of his works.

Gabriel, Uriel and Raphael In all the land resounds the word, never unperceived, ever understood.

Chorus The heavens are telling, etc

INTERVAL

PART TWO THE FIFTH DAY 15 - Recitative Gabriel And God said: Let the waters bring forth abundantly the moving creature that hath life, and fowl that may fly above the earth in the open firmament of heaven.

16 - Aria Gabriel On mighty pens uplifted soars the eagle aloft, and cleaves the sky in swiftest flight to the blazing sun.

His welcome bids to morn the merry lark, and cooing calls the tender dove his mate.

From ev’ry bush and grove resound the nightingale’s delightful notes.

No grief affected yet her breast, nor to a mournful tale were tuned her soft, enchanting lays.

17 - Accompanied Recitative Raphael And God created great whales, and every living creature that moveth, and God blessed them, saying: Be fruitful all, and multiply!

Ye winged tribes, be multiplied, and sing on ev’ry tree!

Multiply, ye finny tribes, and fill each wat’ry deep!

Be fruitful, grow and multiply!

And in your God and Lord rejoice!

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18 -Recitative Raphael And the angels struck their immortal harps, and the wonders of the fifth day sang.

19 - Trio and Chorus Gabriel Most beautiful appear, with verdure young adorned, the gently sloping hills.

Their narrow, sinuous veins distil in crystal drops the fountain fresh and bright.

Uriel In lofty circles plays and hovers through the sky the cheerful host of birds.

And in the flying whirl, the glitt’ring plumes are dyed, as rainbows, by the sun.

Raphael See flashing through the wet in thronged swarms the fry on thousand ways around.

Upheaved from the deep, the immense Leviathan sports on the foaming wave.

Gabriel, Uriel and Raphael How many are thy works, O God! Who may their numbers tell?

Who? O God! Who may their numbers tell?

Gabriel, Uriel, Raphael and Chorus The Lord is great, and great his might.

His glory lasts for ever and for evermore.

THE SIXTH DAY 20 - Recitative Raphael And God said: Let the earth bring forth the living creature after his kind; cattle and creeping thing, and beasts of the earth after their kind.

21 - Recitative Raphael Straight opening her fertile womb, the earth obeyed the word, and teemed creatures numberless, 15

in perfect forms and fully grown.

Cheerful roaring stands the tawny lion.

In sudden leaps the flexible tiger appears.

The nimble stag bears up his branching head.

With flying mane and fiery look, impatient neighs the sprightly steed.

The cattle in herds already seeks their food on field and meadows green.

And o’er the ground, as plants, are spread the fleecy, meek and bleating flocks.

Unnumbered as the sands in whirls arise the host of insects.

In long dimensions creeps with sinuous trace the worm.

22 - Aria Raphael Now heav’n in all her glory shines; earth smiles in all her rich attire.

The room of air with fowl is filled; the water swelled by shoals of fish; by heavy beasts the ground is trod.

But all the work was not complete.

There wanted yet that wondrous being that grateful should God’s power admire, with heart and voice his goodness praise.

23 - Recitative Uriel So God created man in his own image.

In the image of God created he him.

Male and female created he them.

He breathed into his nostrils the breath of life, and man became a living soul.

24 - Recitative Uriel In native worth and honour clad, with beauty, courage, strength adorned, to heav’n erect and tall, he stands a man, the Lord and King of nature all.

The large and arched brow sublime of wisdom deep declares the seat, and in his eyes with brightness shines the soul, the breath and image of his God. With fondness leans upon his breast the partner for him formed, a woman fair and graceful spouse.

Her softly smiling virgin looks, of flow’ry spring the mirror, bespeak him love, and joy, and bliss.

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25 - Recitative Raphael And God saw ev’ry thing that he had made; and behold, it was very good; and the heavenly choir in song divine thus closed the sixth day.

26 - Chorus and Trio Chorus Achieved is the glorious work; the Lord beholds it and is pleased.

In lofty strains let us rejoice!

Our song let be the praise of God! 27 - Trio Gabriel and Uriel On thee each living soul awaits; from thee, O Lord, they beg their meat.

Thou openest thy hand, and sated all they are.

Raphael But as to them thy face is hid, with sudden terror they are struck.

Thou tak’st their breath away; they vanish into dust.

Gabriel, Uriel and Raphael Thou lett’st thy breath go forth again, and life with vigour fresh returns.

Revived earth unfolds new force and new delights.

28 - Chorus Chorus Achieved is the glorious work, Our song let be the praise of God! Glory to his name for ever; he sole on high exalted reigns, Alleluia.

PART THREE: ADAM AND EVE IN EDEN 29 - Accompanied Recitative Uriel In rosy mantle appears, by tunes sweet awaked, the morning young and fair.

From the celestial vaults pure harmony descends on ravished earth.

Behold the blissful pair, where hand in hand they go!

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Their flaming looks express what feels the grateful heart.

A louder praise of God their lips shall utter soon.

Then let our voices ring, united with their song!

30 - Duet with Chorus (Hymn) Adam and Eve By thee with bliss, O bounteous Lord, the heav’n and earth are stored.

This world, so great, so wonderful, thy mighty hand has framed.

Chorus For ever blessed be his pow’r!

His name be ever magnified!

Adam Of stars the fairest, O how sweet thy smile at dawning morn!

How bright’nest thou, O sun, the day, thou eye and soul of all!

Chorus Proclaim in your extended course the glorious pow’r and might of God! Eve And thou that rul’st the silent night, and all ye starry host, spread wide and ev’ry where his praise in choral songs about!

Adam Ye strong and cumbrous elements, who ceaseless changes make, ye dusky mists and dewy steams, who rise and fall through the air: Adam, Eve and Chorus Resound the praise of God our Lord!

Great his name, and great his might.

Eve Ye purling fountains tune his praise, and wave your tops ye pines!

Ye plants exhale, ye flowers breathe at him your balmy scent!

Adam Ye that on mountains stately tread, and ye, that lowly creep, ye birds that sing at heaven’s gate, Ye that through waters glide,

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Adam, Eve and Chorus Ye living souls extol the Lord!

Him celebrate, him magnify!

Adam and Eve Ye valleys, hills, and shady woods, our raptured notes ye heard; from morn to ev’n you shall repeat our grateful hymns of praise.

Adam, Eve and Chorus Hail, bounteous Lord! Almighty, hail!

Thy word called forth this wondrous frame.

Thy pow’r adore the heav’n and earth: we praise thee now and evermore.

31 - Recitative Uriel O happy pair, and ever happy still, Unless, by false conceit misled, ye strive at more than granted is, and more would know than know ye should!

32 - Chorus Sing the Lord, ye voices all!

Utter thanks, ye all his works!

Celebrate his pow’r and glory!

Let his name resound on high!

The Lord is great; his praise shall never end.

Amen.

Anonymous English text compiled from Biblical sources and from Paradise Lost by John Milton (1608–74)

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Affinity Chamber Orchestra Strings Leader Alexandra Caldon 2 Esther King Smith 3 Tim Warburton 4 Emma Blanco 5 Rob Simmons 6 Anna Giddey Second Leader Liz Partridge 2 Ted Barry 3 Rosie Tompsett 4 Paul Barrett Viola Leader Dan Manente 2 Fiona Thompson 3 Michael Bennet Cello Leader Joe Giddey 2 Amy Goodwin 3 Celine Barry Bass Leader Dave Brown 2 Alice Kent Flutes 1 Jane Smith 2 Janna Huneke 3 Rachael Down Oboes 1 Helen Barker 2 Jennie Lee Keetley Clarinets 1 Shaun Thompson 2 Nicky Baigent Basson 1 Alex Thorneloe 2 Alex Davidson

TENORS

BASSES

Contra bassoon Christopher BEELS Francesca Carpos Michael BOWMER

John ALLINSON Simon BRANDES

Mike COWLEY Horns 1Francoise RichardDRAPER Ashton 2 Kevin Elliot Robert SHAW

Nicholas BUCKLEY

Guy VOGEL Trumpets David WILLINGHAM 1 Alex Caldon Michael WOODS 2 Matthew Down

Damien D’ARCY

Trombones 1 Steve Turton 2 Matt Eckland 3 Chris Gill

Peter COLEMAN John CUMMING Mike DAY Marc FRESKO Hugh MARCHANT John MARTIN James PIERCY Clive RICHARDS Ian STEPHENSON

Timpani Rob Farrer

Charles THOMSON

Continuo - Piano forte Stephen Jones directdesign.co.uk 20

Goldsmiths Choral Union SOPRANOS Christina ARBENZ Fiorella BADIN Margaret BARRETT Sue BATES Margaret BEELS Susan BELL Emma BRYAN Neve BURTON Ruby CHENEY Catherine COOKE Jane CORKILL Katherine DALEY Elizabeth EDWARDS Adrienne FRESKO Jenny GARRETT Honor GAY Olivia GRANT Kia KIELTY Brenda LARGE Jenny LEACH Jessie LENTON Hilary LINES Frosso MILTIADOU Margaret MOORES Vivien MORGAN Rachel NCHOLSON Susie PETRI Anne RANDALL Jennifer RUHLE Celia SIMPSON Emily STUART Ching Han WU

Betty NEWBURY Dinah NICHOLS Sharon PIERSON Rebecca RAWLINGS Silvia RESEGHETTI Natalia SACO Anna SILVER Judith SIMPSON Arabella STUART Deb TANNER Sonya TAYLOR Margaret THOMAS Arisa TURNER Anna WALTON Victoria WARE Polly WATTS Janet WILLIAMS Jenny YOUNG

TENORS Michael BOWMER Sebastian CLIFFORD-VARNEY Francoise DRAPER Robin HAPPE Chris HOUGH Robert SHAW Brigid SIMMONS Guy VOGEL David WILLINGHAM Michael WOODS

BASSES ALTOS Lindsey ALLEN-MERSH Anna BROWN Rosemary BURKE Jayne CALVERT Anne COURTNEY Hazel ELLIS Mariana FARAH Gloria GEE Nicky HAYES Jane HOULDSWORTH Sherry HUTCHINSON Irene ILIAS Elin JONES Sheila LABATT Alison LEGGATT Caroline MACREADY Rebekah MASON Sue MILLAR Selina MILLS

John ALLINSON David BALICA Geoffrey BARNES Simon BRANDES John CUMMING Damien D’ARCY Mike DAY Marc FRESKO Nigel GRIEVE Richard GRIMSEY Oscar HEALY Stephen LAI Hugh MARCHANT James PIERCY Clive RICHARDS Ian STEPHENSON Charles THOMSON Chris WATTS Benedict WILLIAMS

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Goldsmiths Choral Union

Bach: Magnificat Roth: A Time to Dance Goldsmiths Choral Union Imperial College Chamber Choir Affinity Chamber Orchestra, featuring period instruments Jack Apperley Conductor Georgie Malcolm Soprano Patrick Craig Alto Chris Willoughby Tenor Alex Bower-Brown Baritone Tuesday 28 March 2023 at 7.30pm Cadogan Hall , 5 Sloane Terrace, SW1X 9DQ Tickets: £35, £28, £20 Tickets available from choir members or www.cadoganhall.com/whats-on 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 William Gould David Hayes Denzil Jarvis Mike Lock Jan Lowy Sue Peacock FRIENDS Anonymous Andrew Calvert John Dempster Hamish Donaldson Caroline Green Elizabeth Grimsey Joanna Kenny Barbara Janes Carole Lewis Godfrey Rock Jane Sawyer Mrs Marylin Smith Duncan Stuart Clive Tucker David Willingham 23

Goldsmiths Choral Union 90TH ANNIVERSARY SEASON

CHRISTMAS CONCERTS Sunday 4 December 2022 Royal Festival Hall at 7.30pm Handel Messiah (Raymond Gubbay Ltd promotion) Friday 16 December 2022 Holy Trinity, Sloane Square at 7.30pm for Christmas Music Wednesday 28 December 2022 Barbican Hall at 7.30pm Beethoven Symphony No.9 (‘Choral’) (Raymond Gubbay Ltd promotion)

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

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