Parisian Spring

Goldsmiths Choral Union

Parisian Spring Fauré Requiem Boulanger Pie Jesu Duruflé Requiem Goldsmiths Choral Union Affinity Chamber Orchestra at St John’s Smith Square

Friday 22 March 2024 at 7.30pm St John’s Smith Square, SW1P 3HA Programme £5

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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 TENORS BASSES rehearse and perform in central London. Since then, GCUBARNARD has built up an enviable reputation, Christopher John ALLINSON first underBEELS the baton of Frederick Haggis and Christopher Nicholas BUCKLEY later under Brian Wright.

Michael BOWMER Paul CHAMBERS Liam CONNERY

John CUMMING

Francoise DRAPER Damien D’ARCYThe Patrons: Sir Thomas Allen, Neil Jenkins, Robin HAPPÉ Company of Goldsmiths Mike DAY Worshipful Robert SHAW

Marc FRESKO

Oli SHEFFIELD Hugh MARCHANT Music Director: Jack Apperley Guy VOGEL Accompanist: Stephen JonesJames PIERCY David WILLINGHAM

Clive RICHARDS

Michael Brian ROSEN PleaseWOODS see the back cover for future Ian STEPHENSON Goldsmiths Choral Union concert dates.

Charles THOMSON Chris WATTS St John’s Smith Square Charitable Trust Registered Charity No. 1045390 Registered in England. Company No. 3028678

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

Parisian Spring Fauré Requiem Boulanger Pie Jesu Duruflé Requiem Lily Platts Soprano Rosamond Thomas Mezzo-Soprano Alex Bower-Brown Baritone Richard Gowers Organ Jack Apperley Conductor Affinity Chamber Orchestra Goldsmiths Choral Union A fabulously optimistic concert featuring three Parisian composers.

The Fauré and Duruflé Requiem masses are linked by Lili Boulanger’s haunting setting of Pie Jesu. This music can’t fail to raise the spirits as we mark the first day of Spring.

INTERVAL – 20 MINUTES In accordance with the requirements of Westminster City Council persons shall not be permitted to sit or stand in any gangway.

The taking of photographs and use of recording equipment is strictly forbidden without formal consent from St John’s Smith Square.

Smoking is not permitted anywhere in St John’s.

Please ensure that all digital devices are switched off.

Bottled water and drinks purchased in our Footstool Café bar are permitted in the auditorium – please ask at the bar when ordering for a reusable cup.

Booking Helpline: 020 4553 0750 www.sjss.org.uk

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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.

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. Recent performances include Bach’s Magnificat, Alec Roth’s A Time to Dance, John Rutter’s The Sprig of Thyme, Eric Whitacre’s Five Hebrew Love Songs, Haydn’s Te Deum and Mozart’s Mass in C Minor.

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.

Rosamond Thomas mezzo-soprano Rosamond Thomas graduated with Distinction from the Vocal Performance Masters programme 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

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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.

Alex Bower-Brown baritone Alex Bower-Brown is a British baritone, currently studying with a scholarship at the Royal Academy of Music. Alex studies with the professors Glenville Hargreaves and Iain Ledingham. Whilst at the Academy, Alex has been a regular performer in the Royal Academy Bach consort, performing with some of the best conductors of our age including Philippe Herreweghe, John Butt and Jane Glover.

A highlight of the series was singing ‘Pilate’ in a production of Bach’s great work, the St John Passion, conducted by Philippe Herreweghe. He has also performed in the Royal Academy operas production of Massenet’s Cherubin. In 2020 Alex performed the title role in Michael Finnissy’s new opera Mankind in a series of première performances around Norfolk.

Alex has a wealth of experience singing both as a soloist and in choirs.

He has performed as a soloist in a wide variety of works including Handel’s Messiah, Bach’s St Matthew Passion, Brahms’ Requiem and Die Sprecher in Mozart’s opera Die Zauberflöte (Cavatina Opera Company). As a member of professional choirs Alex has toured much of the USA and Europe, singing in some of the most illustrious venues in the world including the Royal Albert Hall, the Royal Festival Hall, the Sheldonian Theatre, Concertgebouw in Amsterdam and St Thomas’ 5th Avenue in New York.

Lily Platts soprano Lily recently graduated from King’s College London, reading Music, receiving her performance tuition at the Royal Academy of Music under John Lattimore. Since graduating, Lily has begun working with Paul Farrington. She currently sings regularly as a Choral Scholar at St Martin-in-the-Fields. She also enjoys a freelance career as a Soprano soloist. Alongside her work at St Martin’s, Lily regularly sings with other professional ensembles across London.

Prior to university, Lily held a Choral Scholarship at Llandaff Cathedral whilst studying at The Royal Welsh College of Music and Drama Junior Conservatoire. Whilst in Cardiff, Lily enjoyed performing with the BBC National Chorus of Wales for various TV and Radio broadcasts, including multiple BBC Proms. Last year, she was awarded a Conducting Fellowship with the Milton Keynes Chorale and still pursues conducting opportunities.

In recent years, Lily has taken part in various summer courses across Europe with directors including Mark Spyropoulos, Massimo Palombella, David Hill and John Rutter.

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Richard Gowers organ Richard Gowers is an organist, pianist and conductor.

He began his musical training as a chorister at King’s College, Cambridge, returning as organ scholar in 2014. He graduated from Cambridge University with a starred first class degree in Music, and studied Piano Accompaniment at the Royal Academy of Music with Michael Dussek and Joseph Middleton, before taking further study at HMDK Stuttgart with Nathan Laube.

As a concert organist he gives recitals across Europe in France, Iceland, Italy, Germany, Sweden and the UK, and has toured the USA and Australia. He became a prize-winning Fellow of the Royal College of Organists aged 17, and in 2018 released a CD of Messiaen’s La Nativité du Seigneur, which was awarded a Gramophone ‘Editor’s Choice’. In 2024 he gives two debut recitals at the Philharmonie in Berlin, including a collaborative programme with the Brass of the Berlin Philharmonic.

Richard’s work as a collaborative pianist has seen performances at Wigmore Hall, Oxford Lieder and Leeds Lieder Festivals, and partnerships with singers such as Mary Bevan, Ashley Riches, Kieran Carrel and Helen Charlston. He plays regularly for the BBC Singers, and privately for leading conductors such as Sir Simon Rattle, Barbara Hannigan and François-Xavier Roth.

As of 2023 he is the Director of Music at St George’s Hanover Square. He gives his London Handel Festival debut in March 2024, directing Bach’s St John Passion. In October 2023 he directed the Academy of Ancient Music at the Festival of Sacred Music in Monreale, Italy.

As a freelance keyboard player, Richard appears with all the major London orchestras, including regular BBC Proms and European tours with the London Symphony Orchestra and Aurora Orchestra. He teaches Keyboard Skills at the Royal Academy of Music and runs an annual Harmony & Counterpoint preparatory course for Cambridge University.

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 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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Good evening and welcome to Goldsmiths Choral Union’s concert, Parisian Spring We are presenting an all-French programme celebrating three hugely influential composers who at one stage were all contemporaries: Fauré 1845 1924 (1890 Requiem): Boulanger 1893 - 1918 (1918 Pie Jesu): Duruflé 1902 - 1986 (1947 Requiem).

Both Fauré and Duruflé produce requiem settings that are less concerned with the Dies Irae (Day of Wrath) and are more concerned with the uplifting and positive journey of the soul into the safe and comforting embrace of heaven.

This concert features three unique settings of Pie Jesu from the Requiem Mass. Fauré’s and Duruflé’s settings are within the full mass, whereas Lili Boulanger’s stands alone. Fauré writes for a light soprano voice and the music has a purity and profound innocence. Lili Boulanger’s Pie Jesu is other-worldly, mysterious and, frankly, discombobulating. Duruflé’s Pie Jesu is a mournful outcry, intense and very deeply felt.

Fauré’s Requiem particularly has a cemented place in the hearts of many choirs across the world. It is accessible, with many enjoyable melodies, and the happiest of all ‘happy endings’ where the soul finds peace and rest.

Lili Boulanger was a prolific composer during her short life. Her setting of the Pie Jesu uses sparse orchestration and experimental harmony, even by early 20th century French standards, to create a haunting piece that doesn’t allow the listener to relax. Duruflé later played the organ every year for the memorial service organised by her sister Nadia.

Duruflé was heavily influenced with the freeflowing rhythms of plainchant; he does not attempt to straitjacket it into strict and consistent timesignatures. Duruflé’s obsession with plainchant is not too dissimilar to what Cecil Sharp and Ralph Vaughan Williams were trying to achieve with the use of “folk song.”

Duruflé published his Requiem in three versions: for organ alone; for full orchestra; and for organ and strings with harp, trumpets and timpani. This last is the version we are presenting this evening.

Jack Apperley music director 7

Gabriel Fauré 1845 - 1924 Requiem - op.48 (1888) Born in Pamiers in the south of France, the youngest of six children, he remembers “the harmonium in that little chapel. Every time I could get away I ran there … I played atrociously … but I do remember that I was happy and if that is what it means to have a vocation, then it is a very pleasant thing.” Fauré attended the École Niedermeyer de Paris from the age of nine, his fees paid by his local Bishop. The school was strict but the tuition was excellent and after Niedermeyer’s death his teacher Camille SaintSaëns broadened his experience with works by Wagner, Schumann and Liszt. Fauré studied piano, organ and harmony, winning the premier prix for composition and graduating in 1865.

Isabella Stewart Gardner Museum, Boston

JOHN SINGER SARGENT - GABRIEL FAURÉ, about 1898

Fauré’s friendship with Saint-Saëns was very important throughout his life. Together with others, they formed the Société Nationale de Musique where many of Fauré’s works were first presented at the Society’s concerts. In 1874 Fauré joined Saint-Saëns at the Madeleine church as his deputy organist and choirmaster.

With a mane of thick hair, a magnificent moustache and a dreamy expression, Fauré was most attractive to women.

He had many love affairs, before and during his marriage to the long-suffering Marie Fremiet, with whom he had two sons.

It was always difficult earning enough money to support himself, his family and, for the last twenty-five years of his life, his mistress Marguerite Aselmence, thirtyone years his junior, whom he installed in an elegant apartment in Paris. As well as his job playing the organ at the Madeleine church, he travelled by train all over Paris giving piano and harmony lessons. He was a charming and sociable man and was introduced into Paris Salon society to meet generous aristocratic patrons of the arts.

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His songs became popular and he had some commissioned work writing music for stage plays and poems among lots of abandoned projects.

He retreated to the countryside in the summers to compose. A hundred and twenty-one works, so many with beautiful melodies passionate and dreamy, like Cantique de Jean Racine, Élégie and Pavane. Unfortunately, his publishers paid him poorly for his compositions.

Begun in 1887 (although he continued to revise it until 1901) his Requiem was first performed at the Madeleine church with just five of the seven movements (the Offertorium and Libera Me being added later), the Dies Irae being omitted, and the In Paradisum being borrowed from the burial service. The Priest questioned him afterwards about the mass that he had just conducted.

Fauré admitted it was his own composition, to which the riposte came “Monsieur Fauré, we don’t need all these novelties. The Madeleine’s repertoire is rich enough. Just content yourself with that!”

Fauré was considered an outsider at the influential Paris Conservatoire as he had never studied there. Eventually in 1896 when he was fifty, with Saint-Saëns’ influence, he was appointed Professor of Composition, and ten years later became the Director. He made many changes to the appointment of staff and radically changed the curriculum – broadening the range of music taught.

All of his life Fauré suffered from bouts of depression – ‘spleen’ he called it – smoked heavily and during the last twenty years of his life became increasingly deaf, with sounds becoming violently distorted. “I have been knocked side-ways by this disease. The very part of me that I needed to keep intact. I have never heard a single note of Penelope other than in my head.”

Towards the end of his life he was awarded the Legion of Honour in recognition of his contribution to French music and, when he died aged 79, he was given a State funeral.

Lili Boulanger 1893 - 1918 Pie Jesu (1918) Lili grew up in a famously musical family amongst neighbours who were also musicians in the arty 9th arondissement in Paris. Gounod and Fauré were family friends, especially Fauré, who spotted she had perfect pitch as a very young child and brought round his songs to the regular musical gatherings on Wednesday evenings.

Lili played the piano, organ, violin, cello and harp.

Lili followed the family’s tradition to enter the prestigious Prix de Rome for composition, which she won in 1913 - the first woman to do so. Her older sister Nadia had come second in 1908 and their Father had won in 1835.

Winning was a turning point for the young composer who travelled to the Villa de Medici in Rome to continue her 9

musical development. However, she had to return home to Paris several times to rest from the Crohn’s disease she had suffered from since early childhood.

As Paris was being bombed by the Germans, too weak to rise from her sick bed, she dictated the Pie Jesu note by note to her sister Nadia who wrote it out for her. This mystical and exotic song of longing and peace was her last work. She died soon thereafter, aged twenty-four.

Maurice Duruflé 1902 - 1986 Requiem - op. 9 (1947) Duruflé was a brilliant French organist and teacher at the Paris Conservatoire. His published compositions, spaced throughout his long life, only number thirteen; the result of a modest disposition and self-critical nature and the habit of repeatedly re-writing his compositions, he had to tear his music out of himself bit by bit. “I work slowly, and I throw a lot away,“ he noted. And sometimes in his scores, he wrote, “Not to be published.” His beautiful and serene Requiem is his most famous piece.

At the age of ten, Duruflé left his home in Louviers to join the choir school at the great Gothic cathedral in Rouen.

He was there living an orderly and monotonous life for six years, immersed in the tradition of Gregorian chant.

In 1918 the Spanish flu spread across Europe. The boys had their hair shaved as a pre-emptive measure, but an unsterile implement is alleged to have caused the patchy baldness for which he wore a toupée for the rest of his life.

After the First World War, Duruflé moved to Paris to study with two famous organists, Tournemire and then Vierne, preparing for his entrance to the Paris Conservatoire.

Duruflé was associated, one way or another, for fifty years with the Paris Conservatoire. He entered in 1920 as a student and won premiers prix in organ, harmony, fugue, accompaniment and composition. Joining the faculty in 1943 he was also the house organist for the orchestra of the Paris Conservatoire. Duruflé in 1930 was appointed organist at St. Étienne-du-Mont where he remained for the rest of his life. He had long associations with the many famous orchestras of Paris and played countless organ recitals across France.

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Despite his growing fame, he remained very much the humble parish musician and respected professor at the Paris Conservatoire, riding his bicycle to lessons in his hat, trouser ends neatly tucked with bicycle clips, clutching his black leather briefcase. He would greet his students with a powerful handshake and then sit promptly at the piano. Former students recount that he never looked at his watch while teaching, often finishing more than an hour late.

His fifteen-year marriage to Lucette Bousquet was not a happy one, even though he composed some of his greatest works, including the Requiem, during this period.

(1932 married - 1947 divorced).

The Requiem was composed over six years, with a similar choice of text Fauré used for his Requiem. Completed in 1947, it was dedicated to the memory of his father. He composed sections of the Requiem during the day on the Elke upright piano at his mother’s home in Louviers, and in the evening, would refine his work on the organ in the church.

Duruflé writes: “This Requiem is not an ethereal work which sings of detachment from worldly anxiety. It reflects, in the unchangeable form of the Christian prayer, the anguish of man facing his last ending. It is often dramatic, or filled with resignation, or hope or terror, like the same words of the scripture used in the liturgy. It tries to translate human feelings before their terrifying inexplicable or consoling destiny.”

His genius was to combine Gregorian plainchants from the Mass of the Dead with modern harmony. Duruflé was asked what were the other influences of the harmonic language in his compositions - he replied “above all Ravel, and Debussy, naturally. Less Fauré. I like Fauré, less than I like Ravel or Debussy”. The first performance was broadcast over French radio on 2nd November 1947 on All Souls Day. After the Vatican had granted an annulment, he married Marie-Madeleine Chevalier, one of his organ students, twenty-two years his junior. They toured together, until in 1975 they were critically injured in a serious car accident, undergoing numerous surgeries. Maurice, for the last ten years of his life, never worked again, and became bed-ridden, nursed by his wife who herself never fully recovered her health.

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Requiem Mass Fauré & Duruflé There are small differences in the text between the two composers INTROIT: Requiem aeternam dona eis, Domine.

Et lux perpetua luceat eis.

Te decet hymnus, Deus, in Sion, Et tibi reddetur votum in Jerusalem Exaudi orationem meam Ad te omnis caro veniet.

KYRIE: Kyrie, eleison!

Christe, eleison!

Kyrie, eleison!

OFFERTORIUM: (Fauré version) O Domine, Jesu Christe, Rex Gloriae Libera animas defunctorum De poenis inferni et de profundo lacu O Domine, Jesu Christe, Rex Gloriae, Libera animas defunctorum de ore leonis Ne absorbeat eus Tartarus Ne cadant in obscurum.

O Domine, Jesu Christe, Rex Gloriae Ne cadant in obscurum.

Hostias et preces tibi Domine, laudis offerimus Tu suscipe pro animabus illis Quarum hodie memoriam facimus fac eas, Domine, de morte transire ad vitam Quam olim Abrahae promisisti, Et semini eus.

Amen.

OFFERTORIUM: (Duruflé version) Domine Jesu Christe, Rex gloriae, Libera animas omnium fidelium Defunctorum de poenis inferni, Et de profundo lacu.

Libera eas de ore leonis, Ne absorbeat eas Tartarus, Ne cadant in obscurum.

Sed signifer sanctus Michael Repraesentet eas in lucem sanctam Quam olim Abrahae promisisti, Et semini eus.

Hostias et preces tibi, Domine, laudis offerimus, Tu susicipe pro animabus ilis, Quarum hodie memoriam facimus.

Amen.

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Translation Fauré & Duruflé There are small differences in the translation between the two composers INTROIT: Rest eternal grant them, Lord, And may light perpetual shine on them, A hymn becomes you, God, in Zion, And to you may be paid a vow in Jerusalem.

Hear my prayer To you all flesh shall come.

KYRIE: Lord, have mercy!

Christ, have mercy!

Lord, have mercy!

OFFERTORIUM: (Fauré version) O Lord Jesus Christ, King of glory, Deliver the souls of the departed From the punishment of hell And from the bottomless pit, From the mouth of the Lion, Nor may they be absorbed by hell, Nor may they fall into darkness.

As once you promised to Abraham and his seed.

Lord, in praise we offer these sacrifice and prayers.

Accept them on behalf of those whom we remember this day.

Allow them, Lord, to pass from death to life, As once you promised to Abraham and his seed.

Amen.

OFFERTORIUM: (Duruflé version) O Lord Jesus Christ, King of glory, Deliver the souls of the departed From the punishment of hell And from the bottomless pit, From the mouth of the Lion, Nor may they be absorbed by hell, Nor may they fall into darkness.

Let the standard-bearer Michael Lead them into the holy light, As once you promised to Abraham and his seed.

Lord, in praise we offer these sacrifice and prayers.

Accept them on behalf of those whom we remember this day.

Allow them, Lord, to pass from death to life, As once you promised to Abraham and his seed.

Amen.

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SANCTUS: (Fauré version) Sanctus, sanctus, sanctus Dominus Deus Sabaoth!

Pleni sunt coeli et terra gloria tua, Hosanna in excelsis!

SANCTUS: (Duruflé version) Sanctus, sanctus, sanctus Dominus Deus Sabaoth!

Pleni sunt coeli et terra gloria tua, Hosanna in excelsis!

Benedictus qui venit in nomine Domine.

Hosanna in excelsis!

PIE JESU: Pie Jesu, Domine, dona eis requiem, Pie Jesu, Domine, dona eis requiem, sempiternam.

AGNES DEI: Agnes Dei, qui tollis peccata mundi Dona eis requiem.

Agnus Dei, qui tollis peccata mundi, Dona eis requiem sempiternam requiem.

Lux aeterna luceat eis luceat eis, Domine Cum sanctis tuis in aeternam quia pius es.

Requiem aeternam dona eis Domine.

LIBERA ME: Libera me, Domine, de morte aeterna In die illa tremenda Quando coeli movendi sunt et terra Dum veneris judicare saeculum per ignem.

Tremens factus sum ego et timeo, Dum discussio venerit atque ventura ira: Dies illa, dies irae, calamitatis, et miseriae, Dies illa, dies magna et amara valde.

Requiem aeternam, dona eis domine Et lux perpetua, luceat eis.

Quando coeli movendi sunt et terra.

IN PARADISUM: In Paradisum de ducant angeli; In tuo adventu suscipiant te martyrus Et perducant te in civitatem sanctam Jerusalem.

Chorus angelorum te suscipiat Et cum Lazaro, quondam paupere, Aeternam habeas requiem.

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SANCTUS: (Fauré version): Holy, holy, holy Lord, God of Hosts.

Heaven and earth are full of your glory.

Hosanna in the highest!

Blessed is he who comes in the name of the Lord.

Hosanna in the highest!

SANCTUS: (Duruflé version) Holy, holy, holy Lord, God of Hosts.

Heaven and earth are full of your glory.

Hosanna in the highest!

Blessed is he who comes in the name of the Lord.

Hosanna in the highest!

Blessed is he who comes in the name of the Lord, Hosanna in the highest!

PIE JESU: Merciful Lord Jesus, grant them rest, Grant them eternal rest.

AGNUS DEI: O Lamb of God, who takes away the sins of the world, Grant them rest.

O Lamb of God, who takes away the sins of the world, Grant them rest.

O Lamb of God, who takes away the sins of the world, Grant them eternal rest.

Let light eternal shine on them, O Lord, With your saints forever, for you art merciful.

Rest eternal grant them, O Lord, And let perpetual light shine on them.

LIBERA ME: Deliver me, O Lord, from everlasting death, On that terrible day When the heavens and the earth shall quake, When you shall come to judge the world by fire.

I am seized with trembling, and I am afraid, Until the day of reckoning shall arrive And the wrath to come.

That day, a day of wrath, calamity, and misery, The great day and most bitter, When you shall come to judge the world by fire.

Rest eternal grant them, O Lord, And let light perpetual shine upon them.

IN PARADISUM: To paradise may the angels lead you at your coming May the martyrs receive you And bring you to the holy city, Jerusalem.

May the angel chorus receive you And with Lazarus, once poor, May you have eternal rest.

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Affinity Chamber Orchestra Strings Leader Alexandra Caldon 2 Esther King Smith 3 Tim Warburton 4 Emma Blanco 5 John Dickinson Second Leader Hazel Ross 2 Ted Barry 3 Ed McCullagh 4 Libby Croad 5 Anna Giddey

Trumpets 1 Alex Cromwell 2 Matthew Down 3 Tim Hayward Horns 1 Richard Ashton 2 Kevin Elliot Harp Cecilia De Maria Timpani Bobby Ball

Viola Leader Louise Parker 2 Hannah Horton 3 Fiona Thompson 4 Michael Bennet Cello Leader Joe Giddey 2 Amy Goodwin 3 Jess Garner 4 Ariane Zandi Bass Leader Rosie Moon 2 Max Salisbury

SUMMER SINGS 2024 Come and sing with us.

All are welcome!

TENORS

Christopher BEELS

Two enjoyable evenings conducted by Michael BOWMER our Music Director, Jack Apperley at Mike COWLEY Queen’s Francoise DRAPERGate House in London.

Robert SHAW

Wednesday 26 JUNE Mendelssohn: Elijah Michael WOODS Guy VOGEL

David WILLINGHAM

Wednesday 3 JULY Vaughan Williams: Sea Symphony Please book online at goldsmithschoralunion.org directdesign.co.uk 16

Goldsmiths Choral Union SOPRANOS Susan BATES Margaret BEELS Alison BUCKLEY Irene CLUGSTON Catherine COOKE Jane CORKILL Katherine DALEY Elizabeth EDWARDS Adrienne FRESKO Inez GALLAGHER Grace GOODHART Tanya HUEHNS Paula JONES Brenda LARGE Jenny LEACH Hilary LINES Sarah MARZE Frosso MILTIADOU Margaret MOORES Rachel NICHOLSON Anne RANDALL Jennifer RUHLE Sarah SAYSELL Vix SHERLIKER Celia SIMPSON Ruth STEPHENS Emily STUART Charlotte WILLIAMS Nancy WOOD Barbara WRIGHT Jenny WU

CONTRALTOS Lindsay ALLEN-MERSH Mary BOSWORTH-SMITH Anna BROWN Rosemary BURKE Jayne CALVERT Anne COURTNEY Liz ELLAWAY Hazel ELLIS Mariana FARAH Gloria GEE Sherry HUTCHINSON Irene ILIAS Elin JONES Lauren KAVANAGH Sue LUSH Sue MILLAR Betty NEWBURY Sharon PIERSON Heather RAYNER Mary Pat ROBERTSON Silvia RESEGHETTI Natalia SACO

Judith SIMPSON Arabella STUART Sonya TAYLOR Margaret THOMAS Arisa TURNER Anna WALTON Victoria WARE Polly WATTS Janet WILLIAMS Jenny YOUNG

TENORS Michael COWLEY Felix GIDEONSE Robin HAPPE John LARNER Sean McGETTIGAN Jonathan STARTUP David WILLINGHAM Michael WOODS

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

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Goldsmiths Choral Union Summer Concert

Gift of Life Bernstein Chichester Psalms Holst Hymns from the Rig Veda Rutter The Gift of Life Quartel This Endris Night Friday 21 June 2024 at 7.30pm Holy Trinity Church, Sloane Square SW1X 9BZ Tickets: £25 (including a glass of wine) Tickets available from choir members and Eventbrite online

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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 19

Goldsmiths Choral Union FUTURE CONCERTS GIFT OF LIFE Friday 21 June 2024 Holy Trinity, Sloane Square at 7.30pm Bernstein Chichester Psalms Holst Hymns from the Rig Veda Rutter The Gift of Life Quartel This Endris Night Tickets available from Choir members, on the door or via Eventbrite (booking fees apply)

BAROQUE INSPIRATIONS Thursday 7 November 2024

Cadogan Hall, SW1X 9DQ at 7.30pm featuring Handel Coronation Anthems and Vivaldi Gloria Tickets available from Choir members, on the door or via Eventbrite (booking fees apply)

A CHRISTMAS CONCERT Friday 15 December 2024 Holy Trinity, Sloane Square at 7.30pm Tickets available from Choir members, on the door or via Eventbrite (booking fees apply)

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

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