The Creation - Cumbrian Singers 2023 - Issue 193

Registered Charity Number: 1168081

During 2022 Cumbria Rural Choirs, which was originally formed in 1950, was re-launched as ‘Cumbria Singers’. Information about Cumbria Rural Choirs, including a list of the concerts that were performed between 1950 – 2022 can be found at www.cumbria-rural-choirs.org.

Tonight’s concert will be the first to be performed by Cumbria Singers, led by Andrew Padmore who, this year has been our Music Director and Conductor.

Cumbria Singers draws its membership from across Cumbria and beyond. If you would like to sing some of the world’s choral masterpieces, why not join us? All ages and levels of experience are welcome! Further information can be found at www.cumbriasingers.org.uk

FUTURE PLANS

2023-24 Programme: ‘Requiem’ and ‘Cantique de Jean Racine’ by Faure ‘The Music Makers’ by Elgar

Concert : 20th April 2024 in Carlisle Cathedral

Andrew Padmore will be the music director and conductor.

Rehearsals begin on 23rd September.

2024-25: The music director and conductor will be Simon Halsey. Programme to be arranged.

ACKNOWLEDGEMENTS

We would like to thank the Dean and Chapter for allowing us to use Carlisle Cathedral for this concert.

We are also grateful to the following trusts and companies which have generously provided grants and donations:

1059193

Registered Charity Number: 1168081

President

Lady Cressida Inglewood

Vice Presidents

Dr Anna Clark, Nuclear Physicist with the International Atomic Energy Agency

Dr Ian Hare, Musical Director, Keswick Choral Society

Mrs Eileen Dunning OBE

Mark Duthie, Director of Music, Carlisle Cathedral

Rt Rev James Newcombe, Bishop of Carlisle

Dr Andrew Padmore, Choral and Orchestral Conductor

Patrons

Susan Bagot, of Levens Hall

Hal Bagot, of Levens Hall

Melvyn Bragg, author and broadcaster

Mary Cooke, chair Keswick Music Society

Will Todd, composer and musician

Trustees include: Chair: Margaret Riches

Treasurer:

Clive Riches

Secretary:

Ann Bishop

Friends of Cumbria Singers

We would like to thank the Friends of Cumbria Singers for their support.

If you would like to become a Friend of Cumbria Singers please visit

www.cumbriasingers.org.uk.

THE CREATION

It is 225 years to the day since the first private performance of The Creation in Vienna.

When and why did Haydn compose The Creation?

At the 1791 Handel Festival in Westminster Abbey Haydn was deeply impressed by the choruses in The Messiah and Israel in Egypt. An early biographer reported that “Haydn confessed that...he was struck as if he had been put back to the beginning of his studies and had known nothing up to that moment. He meditated on every note and drew from those most learned scores the essence of true musical grandeur”.

While still in London Haydn expressed a desire to compose a work on a similarly exalted biblical theme that would appeal to a broad public. For the time being nothing came of the idea. But just before he left England for the last time, in the summer of 1795, the impresario and violinist Johann Peter Salomon handed him an anonymous English libretto on the subject of The Creation which had allegedly been intended for Handel half a century earlier. Haydn immediately saw the musical potential in The Creation text, the main sources of which were the book of Genesis, Milton’s Paradise Lost and the book of Psalms.

Back in Vienna the composer asked the Imperial Court Librarian, Baron Gottfried van Swieten, for his opinion. Years later Swieten recalled “I recognised at once that so elevated a subject would give Haydn the opportunity...to express the full power of his inexhaustible genius; I therefore encouraged him to take the work in hand”. Swieten made a highly skilled job of translating and adapting the libretto, omitting several passages he deemed unsuited to musical treatment. He then prepared a parallel English version. The libretto was finished some time towards the end of 1796, by which time Haydn had already begun to sketch the visionary Representation of Chaos

Haydn worked on the oratorio for eighteen months. He unstintingly devoted himself to the task and recalled in later years ‘I was never so devout as when I was at work on The Creation; I fell on my knees each day and begged God to give me the strength to finish the work....I spent much time over it because I expected it to last for a long time.’

The 1798 the Vienna premiere of the work (on 29th April), although open to only a select private audience, created much excitement. The official premiere was performed the following day. Haydn had by this point in his artistic life achieved ‘rock-star’ status in both Austria and England and the streets outside the Schwarzenberg Palace were filled with curious spectators. It took thirty police officers to keep them contained.

Haydn, who conducted both performances, was as overwhelmed as his listeners. His first biographer, Georg Griesinger, reported that the composer “could not describe the feelings with which he was filled when the performance went just the way he wished, and the public listened in total silence. ‘Sometimes my whole body was ice-cold’ Haydn admitted. ‘Sometimes a burning heat overcame me, and more than once I was afraid I would suddenly have a stroke.’”

The Creation became a regular feature of the Viennese musical scene. Within a few years it was being performed not only throughout the German-speaking lands, but also in Britain (the London premiere took place on 28 March 1800) and in France.

The oratorio appealed to musical connoisseurs and amateurs alike. A Viennese journalist, Joseph Richter, wrote “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.” Surely any composer, looking over this “glorious work” would have had to conclude that “it was good”although the famously humble Haydn, who deflected an outburst of applause at an early performance by pointing demurely to the sky, would never have admitted as much.

Replying to a letter expressing admiration for The Creation, Haydn wrote in 1802 ‘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 this 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.”’

Over two centuries later the work remains enormously popular, thanks to its abundance of hummable melodies, pictorial text-setting, and the irrepressible cheer which is so desperately needed to help us through our own careworn times.

How is Haydn’s The Creation structured?

The structure of The Creation has simplicity and strength.

Parts One and Two: The six days of creation are announced in ‘dry’ recitative by one of the three archangels: Raphael (bass), Uriel (tenor) and Gabriel (soprano). After each act of creation the archangels expatiate on its wonders in accompanied recitative and aria; and each day after the first (which ends with the chorus heralding the ‘new created world’) culminates in a jubilant hymn of praise by the heavenly hosts.

The Hedgehog Bookshop

The full libretto is shown on the following pages. The recitatives and arias are printed in italics, the choruses in plain font.

19 Little Dockray, Penrith

01768 863003

Gifts and Children’s books downstairs

Non- children’s books on the rst oor

Open Mon-Sat 9.30am - 5.00pm

Local Independent Bookshop

Part Three: This depicts the first morning in Eden. Adam (bass) and Eve (soprano) praise all creation and their mutual love. It falls into two sections that similarly climax in a triumphant chorus. In the arias and accompanied recitatives Haydn reveals his genius for instrumental tone-painting, using techniques honed in his operas and Italian Oratorio of 1775, Il ritorno di Tobia, but with a new boldness and sophistication, above all in the wonderfully inventive treatment of the wind instruments. The climactic choruses, the epitome of what the 18th century termed ‘the sublime’ in music, deploy Haydn’s ripest symphonic and contrapuntal mastery with a freedom, variety and sheer brilliance of effect that were obviously inspired by Handel.

PART 1

INSTRUMENTAL INTRODUCTION: Representation Of Chaos

RECITATIVE AND CHORUS: In The Beginning

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.

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.

ARIA AND CHORUS: Now Vanish Before The Holy Beams

Uriel: Now vanish before the holy beams the gloomy shades of ancient night. The first of days appears. Now chaos ends, and order fair prevails. Affrighted fly hell’s spirits black in throngs: Down they sink in the deep abyss to endless night.

Despairing, cursing rage attends their rapid fall. A new-created world springs up at God’s command.

RECITATIVE: And God Made The Firmament

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. Now furious storms tempestuous rage, like chaff, by the winds impelled are the clouds, by sudden fire the sky is inflamed, and awful thunders are rolling on high. Now from the floods in steam ascend reviving showers of rain, the dreary wasteful hail, the light and flaky snow.

ARIA AND CHORUS: The Marvellous Work

Gabriel: The marv’llous work behold amaz’d the glorious hierarchy of heaven; and to th’ethereal vaults resound the praise of God, and of the second day.

And to th’ethereal vaults resound the praise of God, and of the second day.

RECITATIVE: And God Said, Let the Waters

Raphael: And God said, Let the waters under the heavens be gathered together to 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.

ARIA: Rolling in Foaming Billows

Raphael: Rolling in foaming billows, uplifted, roars the boist’rous sea. Mountains and rocks now emerge, their tops among the clouds ascend. Through th’open plains, outstretching wide, in serpent error rivers flow. Softly purling, glides on through silent vales the limpid brook.

RECITATIVE: AND G od Said, Let The Earth

Gabriel: And God said, Let the earth bring forth grass, the herb yielding seed, and the fruittree yielding fruit after his kind, whose seed is in itself, upon the earth: and it was so.

ARIA: With Verdure Clad

Gabriel: With verdure clad the fields appear, delightful to the ravish’d sense; By flowers sweet and gay enhanced is the charming sight. Here fragrant herbs their odours shed; Here shoots the healing plant. With copious fruit the expanded boughs are hung; in leafy arches twine the shady groves; o’er lofty hills majestic forests wave.

RECITATIVE AND CHORUS: And The Heavenly Host

Uriel: And the heavenly host proclaimed the third day, praising God, and saying,

Awake the harp, the lyre awake, and let your joyful song resound. Rejoice in the Lord, the mighty God; for he both heaven and earth hath clothed in stately dress.

RECITATIVE: And God Said, Let There Be Lights

Uriel: And God said, Let there be lights in the firmament of heav’n, 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.

RECITATIVE: In Splendour Bright

Uriel: In splendour bright is rising now the sun, and darts his rays; a joyful happy spouse, a giant proud and glad to run his measur’d course. With softer beams, and milder light, steps on the silver moon through silent night. The space immense of th’azure sky a countless host of radiant orbs adorns. And the sons of God announced the fourth day, in song divine, proclaiming thus his power:

CHORUS AND TRIO : The Heavens Are Telling

The heavens are telling the glory of God, the wonder of his work displays the firmament.

Trio: To day that is coming speaks it the day, the night that is gone to following night.

The heavens are telling the glory of God, the wonder of his work displays the firmament.

Trio: In all the lands resounds the word, never unperceived, ever understood.

The heavens are telling the glory of God, the wonder of his work displays the firmament.

PART 2

RECITATIVE : And God Said, Let The Waters

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 heav’n.

ARIA : On Mighty Pens

Gabriel: On mighty pens uplifted soars the eagle aloft, and cleaves the air, 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 tun’d her soft enchanting lays.

RECITATIVE : And God Created Great Whales/And The Angels

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 every tree; multiply, ye finny tribes, and fill each wat’ry deep; be fruitful, grow, and multiply, and in your God and Lord rejoice.

And the angels struck their immortal harps, and the wonders of the fifth day sung.

TRIO: Most Beautiful Appear

Gabriel: Most beautiful appear, with verdure young adorn’d, the gently sloping hills; their narrow sinuous veins distil, in crystal drops, the fountain fresh and bright.

Uriel: In lofty circles play, and hover in the air, the cheerful host of birds; and as they flying whirl, their glittering plumes are dyed as rainbows by the sun.

Raphael: See flashing through the deep in thronging swarms the fish a thousand ways around. Upheaved from the deep, th’immense Leviathan sports on the foaming wave.

Trio: How many are thy works, O God! Who may their number tell?

TRIO AND CHORUS: The Lord Is Great

The Lord is great, and great his might, his glory lasts for ever and for evermore.

INTERVAL RECITATIVE: And God Said, Let The Earth Bring Forth/Straight Opening

Raphael: And God said, Let the earth bring forth the living creature after his kind, cattle and creeping thing, and beast of the earth, after his kind.

Straight opening her fertile womb, the earth obey’d the word, and teem’d creatures numberless, in perfect forms, and fully grown. Cheerful, roaring, stands the tawny lion. With sudden leap the flexible tiger appears. The nimble stag bears up his branching head. With flying mane, and fiery look, impatient neighs the noble steed. The cattle, in herds, already seek their food on fields and meadows green. And o’er the ground, as plants, are spread the fleecy, meek, and bleating flocks. Unnumber’d as the sands, in swarms arose the hosts of insects. In long dimension creeps, with sinuous trace, the worm.

ARIA: Now Heaven in Fullest Glory

Raphael: Now heav’n in fullest glory shone; earth smil’d in all her rich attire; the room of air with fowl is fill’d; the water swell’d 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 pow’r admire, with heart and voice his goodness praise.

RECITATIVE: And God Created Man

Uriel: And 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.

ARIA: In Native Worth

Uriel: In native worth and honour clad, with beauty, courage, strength, adorn’d, erect, with front serene, he stands a man, the lord and king of nature all. His 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 form’d, a woman, fair and graceful spouse. Her softly-smiling virgin looks, of flow’ry spring the mirror, bespeak him love, and joy, and bliss.

RECITATIVE: And God Saw Every Thing That He Had Made

Raphael: And God saw everything that he had made, and behold, it was very good. And the heavenly choir, in song divine, thus closed the sixth day:

CHORUS

: Achieved

Is The Glorious Work

Achieved is the glorious work; the Lord beholds it, and is pleas’d. In lofty strains let us rejoice, our song let be the praise of God.

TRIO AND CHORUS: On Thee Each Living Soul Awaits

Gabriel and Uriel: On thee each living soul awaits; from thee, O Lord, all seek their food; thou openest thy hand and fillest all with good.

Raphael: But when thy face, O Lord, is hid, with sudden terror they are struck; thou tak’st their breath away, they vanish into dust.

Trio: Thou sendest forth thy breath again, and life with vigour fresh returns; revived earth unfolds new strength and new delights.

Achieved

CHORUS:

Is The Glorious Work

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. Hallelujah!

INSTRUMENTAL INTRODUCTION: Morning RECITATIVE : In Rosy Mantle Appears

Uriel: In rosy mantle appears, by music sweet awak’d, the morning, young and fair. From heaven’s angelic choir pure harmony descends on ravish’d earth. Behold the blissful pair, where hand in hand they go: their glowing looks express the thanks that swell their grateful hearts. A louder praise of God their lips shall utter soon; then let our voices ring, united with their song.

DUET AND CHORUS : By Thee With Bliss

Adam and Eve: By thee with bliss, O bounteous Lord, both heav’n and earth are stor’d. This world so great, so wonderful, thy mighty hand has fram’d.

For ever blessed be his pow’r, his Name be ever magnified.

Adam: Of stars the fairest, pledge of day, that crown’st the smiling morn; and thou, bright sun, that cheer’st the world, thou eye and soul of all;

Proclaim in your extended course th’almighty pow’r and praise of God.

Eve: And thou that rul’st the silent night and all ye starry hosts, ev’rywhere spread wide his praise in choral songs about.

Adam: Ye mighty elements, by his pow’r your ceaseless changes make; ye dusky mists, and dewy streams, that rise and fall thro’ th’air;

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 to him your balmy scent.

Adam: Ye that on mountains stately tread and ye that lowly creep; ye birds that sing at heaven’s gate, and ye that swim the stream;

Ye creatures all, extol the Lord; Him celebrate, him magnify.

Eve and Adam: Ye valleys, hills, and shady woods, made vocal by our song, from morn till eve you shall repeat our grateful hymns of praise.

Hail! bounteous Lord! Almighty, hail! Thy word call’d forth this wondrous frame, the heav’ns and earth thy power adore; we praise thee now and evermore.

RECITATIVE : Our Duty We Have Now Performed

Adam: Our duty we have now perform’d, in offering up to God our thanks. Now follow me, dear partner of my life, thy guide I’ll be; and every step pours new delights into our breasts, shows wonders everywhere. Then may’st thou feel and know the high degree of bliss the Lord allotted us, and with devoted heart His bounties celebrate. Come, follow me, thy guide I’ll be.

Eve: O thou for whom I am, my help, my shield, my all, thy will is law to me: so God our Lord ordains; and from obedience grows my pride and happiness.

DUET : Graceful Consort

Adam: Graceful consort, at thy side softly fly the golden hours; ev’ry moment brings new rapture, ev’ry care is lulled to rest.

Eve: Spouse adored, at thy side purest joys o’erflow the heart, life and all I have is thine; my reward thy love shall be.

Both: The dew-dropping morn, O how she quickens all! The coolness of ev’n, O how she all restores! How grateful is of fruits the savour sweet! How pleasing is of fragrant bloom the smell! But, without thee, what is to me the morning dew, the breath of ev’n, the sav’ry fruit, the fragrant bloom? With thee is ev’ry joy enhanced, with thee delight is ever new, with thee is life incessant bliss, thine, thine it all shall be.

RECITATIVE : O Happy Pair

Uriel: O happy pair! and happy still might be if not misled by false conceit. Ye strive at more than granted is; and more desire to know, than know ye should.

CHORUS : Sing The Lord, Ye Voices All

Sing the Lord, ye voices all, magnify his Name thro’ all creation, celebrate his pow’r and glory, let his Name resound on high. Jehovah’s praise for ever shall endure. Amen. Praise the Lord. Utter thanks. Jehovah’s praise for ever shall endure. Amen.

Fellside Carpets and Flooring

Their knowledgeable staff offer exceptional customer service and good honest advice.

. Browse an extensive range of quality Carpets, Vinyls and Rugs, plus Roll stock and Remnants

.

With flooring to suit all styles and budgets, you’ll know you can buy with confidence.

.

Also with their own dedicated professional fitting team, its no wonder Fellside Carpets and Flooring are passionate about what they do!

Sandgate House (opposite the bus station) Penrith

Cumbria CA11 7TJ - Telephone 01768 868674

Number 20

Devonshire Arcade

Devonshire Street

Penrith

Tele 01768 864110

Lemontreepenrith@gmail.com

Superb soups..

Homemade scones and cakes, some are gluten free too.

Brilliant British breakfasts, veggie ones also. Delicious deli-plates.

Imaginative sandwiches for the wonderful people of Penrith

Lighter lunches & heart y specials

Carnivores welcome Child and dog friendly- within reason!!

Open from Monday to Saturday from 8.30am also available for private hire

BIOGRAPHIES

FRANZ JOSEPH HAYDN (1732-1809)

Recognised in his lifetime as a composer of genius, Haydn, throughout his long musical career, was a central figure in the growth and development of the mature Classical style. Born in 1752 he was the son of Mathias and Anna Maria Haydn. Neither of his parents had any musical training but his father loved folk songs and played the harp ‘without knowing a note of music’. Joseph joined in the family’s musical evenings and by the time he was five could sing many of this father’s favourite songs with him, to the delight of friends and family who were aware of his growing musical talent.

After a difficult and challenging childhood with different tutors and in various schools, Haydn gradually earned a living playing, composing and teaching. Through the contacts that he made through his pupils he gained social access to the nobility, the only people in the 18th century able to advance his career.

The year 1766 was a turning point in Haydn’s musical development when he was appointed as ‘Kapellmeister’ to the court of the Esterhazys. Prince Nikolaus, an extremely cultured man, continued to expand and modernise the Esterhazy musical repertoire. Haydn remained in his service until Nikolaus died in 1790. During this time Haydn wrote in every musical genre, both vocal and instrumental and gained a reputation that made him one of the most famous composers in Europe.

ANDREW PADMORE – CONDUCTOR

www.drapadmore.co.uk

Andrew Padmore is a popular conductor with choirs and orchestras internationally and a leading figure in the choral world. He has a breadth of experience leading both small chamber choirs at the BBC to large symphony orchestras and choirs such as the well known Huddersfield Choral Society.

Currently Andrew is the resident conductor and artistic director of the Yorkshire Philharmonic Choir and Yorkshire Chamber Choir. In his time with this choir it has more than trebled in size and is described by the critics as “a leading musical force in Yorkshire”.

Andrew’s work is highly acclaimed by the critics for the dynamism of his approach and for both the flair and sensitivity displayed in his performances. This wealth of musical experience together with his academic achievements has provided a secure background for directing other musicians. His outgoing personality and sense of humour, together with his musical knowledge, makes him a liked and respected conductor.

As Vice President of Cumbria Rural Choirs, Andrew was involved with the strategic review which took place during the pandemic, when it was decided to re-launch the choir as Cumbria Singers with a different approach to its rehearsal programme and choral leadership.

Andrew has been the first of the choir’s conductors to also fulfil the role of Music Director. He has led all the rehearsals and also provided online vocal and choral lines for singers to access in their own time.

The choir have found him inspirational. After a rehearsal one member wrote:

‘I enjoyed all the singing, taking extra delight in Andrew’s expertise, his vigour, eye contact, perfectionism and ability to make us improve, not by criticism but by humour... he thus imparts confidence and enthusiasm, helping us to sing not just correctly, but beautifully too.”

SARAH POWER – SOPRANO

www.sarahpower.com

Dublin-born soprano Sarah Power studied at the Royal Northern College of Music in Manchester and the Guildhall and National Opera Studio in London before moving to Glasgow to work for Scottish Opera as an Emerging Artist. She has been awarded many prizes, including the Royal Dublin Society Bursary, the London Bach Singers Prize and second prize in the prestigious Kathleen Ferrier Competition at the Wigmore Hall.

Sarah is delighted to be performing with Cumbria Singers again, having last sung with them in 2017 in their performance of Rossini’s Stabat Mater. Recent engagements include Pop-Up Opera performances of The Barber of Seville and The Marriage of Figaro with Scottish Opera, Haydn’s Creation with the Yorkshire Philharmonic Choir and Mozart’s Requiem with The Really Big Chorus in Trieste, Italy.

Sarah has appeared in productions for Welsh National Opera, Buxton Opera Festival, Wexford Festival Opera and Irish National Opera and made her debut for Scottish Opera in the title role of Handel’s Rodelinda. She has been involved in the premiere of many works, including Hazel: Made in Belfast at the Carnegie Hall, New York, Mary Gordon with the RTÉ National Symphony Orchestra at the National Concert Hall Dublin and Janice Kerbel’s Turner Prize-nominated work DOUG at the Tramway in Glasgow.

AUSTIN GUNN - TENOR

One of the UK’s leading tenors, Austin has worked extensively with English National Opera, Scottish Opera, Longborough Festival Opera, Berwick Festival Opera, Edinburgh International Festival, and many other companies. He made his Portuguese debut in 2017 in the Musica Na Fabrica Festival in Lisbon directed by Max Hoehn and his Swiss debut in 2018 as the Spectre in Dvorak’s The Spectre’s Bride in Zürich.

He is an extremely busy concert performer and has appeared in concert in France, Switzerland, Italy, Sweden, and throughout the UK and in recitals for the World Harmony Orchestra, the William Shield Festival and at universities and recital halls as well as recently contributing to online performances, masterclasses and podcasts for Rocket Opera, Music Works, Polyphony Arts, the National Student Opera Society, Leeds Youth Opera.

Austin is on the professorial staff at Trinity Laban Conservatoire of Music & Dance as well as being a visiting lecturer in singing at Leeds, Hull and Durham universities and has given masterclasses for the National Student Opera Society, Leeds Youth Opera, OperaLab Brussels, Hull University, York University, St John’s College, Durham University and at the Cite des arts internationale in Paris as well as being the judge for the International School Musician of the Year award 2020.

JAMIE HALL - BASS

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.

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.

EDWARD TAYLOR - ORGANIST

Edward is assistant organist and director of the Consort at Carlisle Cathedral. He holds a Bachelor of Music degree from the University of Leeds and is an Associate of the Royal College of Organists. Prior to taking up his position at Carlisle he held organ scholarships at Portsmouth, Wakefield and Ely Cathedrals and Leeds Minster. Edward is in high demand as a concert organist, accompanist and chamber musician. He continues to perform in different venues throughout the UK and Europe, including Westminster Abbey.

BRITISH SINFONIETTA

The British Sinfonietta is one of the UK’s leading independent professional orchestras involved in a variety of engagements including classical concerts, choral concerts, televised events, studio recording sessions and film screenings with live soundtracks.

THE CHOIR

Soprano

Sally Ashman

Alison Blair

Becky Borgogno

Jo Cooper

Jacqui Duncan

Jennifer Edgar

Jan Evans

Alex Farrell

Lesley Frazer

Susan Fullelove

Maureen Hobson

Ruth Houston

Rosie Illingworth

Mary Ingham

Linda Johnson

Sally Kuzbyt

Yvonne Lake

Wendy Langfield

Ruth Little

Viv Murray

Christine Neall

Helen Peters

Catherine Pattinson

Sam Poward

Jennie Rankin

Margaret Riches

Nina Scott

Sandra Shaw

Rosamund Shirreff

Karen Smith

Daphne Snelson

Jean Stafford

Jill Stewart

Jackie Wright

Elaine Wrigley

Alto

Sarah Albion

Anne Asquith

Helen Ball

Ann Bishop

Gesa Blackmore

Anne Davies

Clare Dowling

Eileen Dunning

Jane Dutton

Margaret Ferriby

Janet Hall

Maureen Hardy

Gislint Harvey

Sara Horn

Margaret Lowes

Kathryn Macfarlane

Rosemary McGuinness

Gemma Mitchell

Judith Nicol

Janet Parker

Felicity Payne

Katharine Pinfold

Yvonne Povey

Ellen Renner

Ros Sanders

Sally Sapsford

Catherine Servante

Alison Smith

Sheila Stalker

Sheila Stuart

Jean Swinburne

Barbara Vaughan

Sally Vaux

Hilary Wilson

Viv West

Ann Woods

Tenor

Paul Bishop

Gabriel Blaimires

Geoff Bowles

Chris Lawes

Geoff Renyard

Charles Ritchie

David Wanless

Bass

Geoff Anderson

William Angell

John Doidge-Harrison

Norman Hamilton

Pam Hamilton

Richard Hartzig

Tim Hirst

Ted Holt

Gerard Kelly

Tony Reeves

William Richardson

Clive Riches

Carl Thomson

Stewart Wagstaff

Victor Watson

David Wheeler

Outstanding hospitality and opulent interiors combine to make this one of Cumbria’s favourite venues. Bookings can be taken directly or online, for all of our elegant dining area. With 49 luxurious bedrooms and private dining facilities, we specialise in hosting celebrations and events for up to 60.

CHOIRS ACROSS CUMBRIA

Abbey Singers

Contact: Gerard Kelly

E: gkelly8774@gmail.com

Rehearsals: St. James Church, St. James Rd, Carlisle

Tuesdays 7.30.pm

Brampton Chamber Choir

Contact: Barbara Gibson

E: secretarybcc1543@gmail.com

www.bramptonchamberchoir.co.uk

Rehearsals: Brampton Methodist Church Hall (access behind the church). Sun 7.30.pm during term time.

Dalston Male Voice Choir

Contact: Mr.J.Whittaker

E: jwhitty0511@gmail.com

www. dalstonmvc.org.uk

Rehearsals: Dalston Methodist Church. Sun 7.15.pm

East of Eden Community Choir

Contact: Ruth Houston

E: ruthmarkuk@gmail.com

www.eastofedenmc.org.uk

Rehearsals: Lazonby Church. Thursdays 7.15.pm

Eden Wild Goose Community Choir

Contact: Graeme Skinner

E: graemevicarofeden@gmail.com

www.edenchurches.co.uk

Rehearsals: Wetheral Parish Church. Thurs7.30.-9pm

Eden Singers

Contact: John Helyer

E: j.helyer@btinternet.com

www.edensingers.org

Rehearsals: Penrith Methodist Church. Tues 7.15-9.00pm

Fellside Singers.

Contact: Richard McGregor.

E: richardmcgregor@me.com

Rehearsals: The Sands Methodist Church, Appleby.

Tuesdays 7.30 - 9pm.

Furness Music Centre Community Choir

Contact: Liz Wiejak

E: choir@furnessmusiccentre.com

www.furnessmusiccentre.com

Rehearsals:Muse building at Dowdales School, Dalton in Furness. Sats term times 12.45.-2.30.pm

Kay Shoes Male Voice Choir

Contact: Norman French

E: normanfrench47@hotmail.co.uk

www.kshoesmvc.org

Rehearsals : Town Hall, Kendal.

Wednesdays 7.30.pm

Kendal South Choir

Contact: Jean Robinson

E: jeanrobinson1946@gmail.com

www.www.kendalsouthchoir.org.uk

Rehearsals:Stricklandgate Methodist Church

Tuesdays 7.30.pm

Keswick Choral Society

Contact: Mike Roulson

E: info@keswickchoralsociety.org.uk

www.keswickchoralsociety.org.uk

Rehearsals:Crossthwaite Parish Room, 121 Main Street, Keswick, CA12 SNN. Tues 7.pm-9.pm

Kirkby Lonsdale Singers

Contact: Lynne Rowling

www.kirkbylonsdalesingers.co.uk/home

Rehearsals:

Middle Eden Singers

Contact: Alex Jakob Whitworth

E: alex@charcoalhorse.co.uk

Rehearsals: Long Marton on Wednesdays

Penrith Singers

Contact:

E: thepenrithsingers.co.uk

www.penrithsingers.co.uk

Rehearsals:St. Andrews Church, Penrith

Wednesdays 7.30.-9.30. pm

ProNobis Singers

Contact: Clive Walkley

E: walkley903@btinternet.com

www.pronnobis-singers.com

Rehearsals:St. Mark’s Church, Natland. Thursday evenings. 7.30.-9.30.pm

Sing Joyfully Vocal Ensemble

Contact: Anastasia Micklethwaite

E: Anastasia@anastasiamicklethwaite.com

Rehearsals: St. Mary’s Parish Church, Kirkby Lonsdale

Wednesdays ,term time: 7.00.pm

Sing Space West Cumbria

Contact: Keri Farish

E: musicaltheatrechoir@outlook.com

www.singspacechoir.com

Rehearsals: Cockermouth School

Tuesdays: 7.15- 8.45.pm

Solway Singers

Contact: Janet Madden

www.solwaysingers.org

Rehearsals:St. John’s Church Hall, Houghton

Tuesdays: 7-9pm

Wigton Choral Society

Contact: admin@wigtonchoral.org.uk

www.wigtonchoral.org.uk

Rehearsals:Wigton Methodist Church

Thursdays in term time 7.30.-9.30.pm

FOUNTAIN GALLERY

THE 10 - 12 High Street, Wigton

FG sewing

Clothing Alterations

ORIGINAL ART AND CRAFTBY LOCAL CUMBRIAN ARTISTS

Unit 7, Devonshire Arcade

Painting; Pottery; Jewellery; Sculpture Woodcrafts; Photography; Artist’s Prints & Cards

Devonshire Street

DO COME AND BROWSE!

Penrith CA11 7SX 07926 816995

Open Tuesday, ursday, Friday 10am-4pm Saturday 10am -1pm (Closed Mon, Wed & Sun)

High Street Wigton

MUSIC SOCIETIES

CARLISLE MUSIC SOCIETY

Classical Concerts take place September – March on the third Thursday of the month at 7.30.p.m. in the Fratry, Carlisle Cathedral. The first concert in the 23-24 Season is on 21st September. Tickets are available in advance or at the door. Membership subscription entitles you to buy half price tickets for Penrith Music Club and Cockermouth Music Society concerts as well as providing other benefits.

https://carlislemusicsociety.weebly.com

COCKERMOUTH MUSIC SOCIETY

Classical Concerts take place September – March monthly on the second Tuesday in each month, in the United Reformed Church Main Street, Cockermouth commencing at 7.30.p.m. Tickets are available in advance at Bowmans Music Shop or at the door. Membership subscription entitles you to buy half price tickets for Carlisle Music Society concerts.

www.cockermouth-music-society.org.uk

KESWICK MUSIC SOCIETY

Keswick Music Society promotes up to 8 chamber music concerts, in a season from September to April, at Theatre by the Lake and at St. John’s Church Keswick. Tickets for all individual concerts are available from Theatre by the Lake Box Office or their website.

See www.keswick-music-society.org.uk for more information about the Society and Concerts, or for membership information contact Membership Secretary Elaine Moor (01900 85967 or keswick_music_ society@hotmail.co.uk).

PENRITH MUSIC CLUB

Penrith Music Club’s seven concerts take place in Penrith Methodist Church on Monday evenings from September until April. Our first concert is on September 18th, when the guest artists will be the Roscoe Piano Trio. Full concert information can be obtained on our website www.penrithmusicclub.com.

Tickets can be pre-booked on 01768 853518 or are available at the door. Membership Subscription entitles you to buy half price tickets for Carlisle Music Society concerts.

of Spring in The Lakes Symphony

Daffodil 925 Sterling Silver & 9ct Yellow Gold ring from £235