DEO GRATIAS (40th Anniversary programme)

Deo Gratias

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Celebrating 40 years

DEO GRATIAS Thanks Be To God!

Celebrating 40 years of musical excellence with The Lydians conducted by Carl-Anthony Hines directed by Mervyn de Goeas

Queen’s Hall, 12th-15th December 2019

About the theme: The three golden faces Inspired by the three muses, time (past, present, future) and the celebration of a ruby anniversary, these golden faces are meant to be a symbol and a flame. The features change slightly, the past with more European features as a nod to the classical style of music the Lydians began singing. The present’s features change as the music changed to include local elements like steel pan and calypso. The future, anticipated, the 3 faces look forward in celebration of what lies ahead, what’s next and inviting you, the viewer to also keep on looking for what more the Lydians have to offer in the next 40 years!

LYDIANS MISSION STATEMENT

We believe in God. Our belief demands that we live in service of God’s Greater Glory.

We recognise that music is a gift and that the ability to perform it is a grace - this leads us to develop our skills to their fullest and to give to all who wish, our cooperation and support that they may develop their own ability.

We recognise that our improvement as musicians will be achieved only through unrelenting effort, through practice and discipline, through accepting instruction and by our willingness to be patient as we teach and encourage others.

The fruit of our effort we offer only to God to feed His hungry to heal His sick to educate His untaught.

We offer our song as well: to bring solace where there is grief, to mark his presence where there is joy, and to bring His Name to all people.

We set ourselves the goal of excellence; Perfection will not be achieved in our mortal lives but that knowledge does not remit our effort, for we know that if judged worthy, we shall hear the Perfect Harmony, Eternal; as we return to God.

Deo Gratias

Photo credit: Brent Louis

TABLE OF CONTENTS 4 Chairman’s Message

by Professor Sterling Frost

5 General Manager’s Note

by Garnet Allen

17 The Lydians reflect on 40 years of Musical Direction (Joyce Rawlins-Spence, Alma Pierre, Pat Bishop, Lorraine Granderson)

8 About Deo Gratias –

by Janine Charles-Farray Creative Theme The Visitation of the Lydian 18 DEO GRATIAS Programme Musical Muses 22 Musical Lead, Deo Gratias

by Janine Charles-Farray 22 Joining the Ruby Revelry 10 The Lydian Treasury – A – Creative Collaborators, Ruby Repertory Deo Gratias

by Carl-Anthony Hines 24 Musical Collaborators, Deo Gratias

27 Modal Interchange: Steel in New Spaces

by Astra Noel

28 “Friends in high places”

by Barbara Jenkins

33 Notes on 40 years from the Choir: 33 • Lydian Family Ties by

Alicia Fisher, Soprano Section Leader

34 • Words from the Altos

by Christine Chan-A-Shing, Alto Section Leader

35 • The Grit, Glitz, Glamour, and Glory of being a Lydian Man by Atiba

Perouze, Lydian Men Representative

36 Plans, Hopes, Dreams and Wish Lists for Christmas, 2020 and beyond 40 ACKNOWLEDGMENTS

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Celebrating 40 years

of progress and change and it has helped us gain even greater respect for the dedication of iconic musical directors like Ms. Alma Pierre, Ms. Pat Bishop (D.Litt. Hon.) and Ms. Lorraine Granderson.

Chairman’s Message Deo Gratias

As we celebrate the fortieth anniversary of The Lydians, we look back with profound gratitude for the outpouring of support over the years by you, our patrons. You have become part of The Lydian family. I am sure what has drawn your support is the beautiful blending of the voices and the transcendental way that choral paired with orchestral music lifts your spirit and touches your soul.

Named after the ‘Lydian’ musical mode, immortalised in Milton’s, L’Allegro, which brings solace to the melancholy soul, we are proud of our many milestones at home and abroad, including being awarded the Hummingbird Medal-Gold and Music Festival achievements. The Lydians continue the tradition of research, education and classical inspiration that was launched in 1979 by our founder, former Bishop Anstey High School Music Mistress, Ms. Joyce Spence. This year has been one

Always true to our commitment to develop a multifaceted repertoire, with a mission of giving back to the communities in which we have been raised, our selections span the country and the world through the performing arts. Our choir is renowned for experimentation and collaboration with global compositions from the Caribbean, Africa, Latin America, India and Europe; music rooted in our local heritage. It was this spirit of collaboration that led to the launch of The Lydian Steel and accompaniments of Tassa and African drums. We all remember the performances of African-American Opera, Koanga by Frederick Delius (1995) or L’Elisir D’Amore (1996), Turandot (1999), Gluck’s Orpheus and Eurydice (2005) and most recently Hiawatha (2008).

Our Christmas concerts are always about celebrating life and giving thanks. This year’s Christmas celebration will embody the evolution of the work we have undertaken over the years, led by three muses from the past, present and future.

You will enjoy a broad range of music from Baroque to modern selections. This would not be possible without the talent, discipline and dedication of our members, accompanists, composers, arrangers, collaborators, technical, backstage, front of house, choreography, costuming and wardrobe teams, our Musical Lead Carl-Anthony Hinds, the management team and the Board of Directors.

We see music as a gift and our ability to perform it, a grace. So, it is with great pleasure that I wish you all the best for the season and thank you for joining us as we celebrate four decades of dedication, friendship and joy.

Music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything (Plato).

Deo Gratias!

Professor Sterling Frost Chairman

General Manager’s Note

Deo Gratias

‘The Lydians’ has turned forty! A time for celebration! This is the milestone which we as individuals consider to be the grand middle age, in modern terms the ‘sweet spot’ of our lives. It is the expectation that by this anniversary our identity has been set and we have carved a niche for ourselves.

The Lydians, through its rich history, legacy, and an enviable list of achievements and accomplishments, has firmly planted its flag on the musical landscape of the nation and region. As I look toward the future with hope, and admittedly some apprehension, I take time to reflect on the last four decades of the organization of which I am proud to be a member, joining in the choral shout of Deo Gratias!

Garnet Allen (Photo credit Brent Louis)

“Beyond the skies of Yisrael, we wander as ones disowned.

Yet never abandoned by our God, we embrace each other as home.

Until the skies over Yisrael dawn upon our eyes, This star of hope as candle light will shine with-in our lives.

O blessed star of Hanukah, our thankful prayer we raise.

Over the skies of Yisrael, hear now our hymn of praise.”

As I tried to gather what I wanted to share with you in this message (no easy task, I confess), these lyrics

by Robert Espindola from the song “Over the Skies of Yisrael”, (which you will hear from the male ensemble tonight), kept coming to me.

How blessed have we been as an organization? I speak not only of our successes and accomplishments, all of which are worthy of being praised and displayed for the world. But as with any forty-year life journey,

this organization has known struggle, pain and loss. Back in 2011 after the passing of Ms. Bishop, some would have wagered that The Lydians would never have made it to this milestone. Thankfully, they were wrong and we are here in communal fellowship celebrating and giving thanks through the gift of music in this 40th anniversary Christmas Concert.

Yet never abandoned by our God…

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Our Mission Statement begins with the line – “We believe in God”, and it is through this affirmation that all we do as individuals and as part of the collective has meaning. Earlier this year when we were faced with the daunting obstacle of having to leave our “birthplace”, our “cradle”, where The Lydians called home for most of its forty years, I had many a sleepless night, wondering why now? Where will we go? What will happen to us?

However, as one door seemed to close for us, I was amazed, and at times overwhelmed by the groups and organizations that were willing to open their doors to us and provide us lodging to continue our work and preparation for the end of this year. To the Board of the First Church of Christ Scientists and Mr. Chinua Alleyne and the management team of Sound Forge, we owe an immense debt of gratitude.

We are still looking for a permanent rehearsal space, and even as that search continues, doors continue to open for us and we continue to receive offers of help, for which we are truly thankful. The Principal and Board of San Juan North Secondary School, St. Columba Anglican Church we are very grateful for your support and look forward to strengthening our forged relationships in the new year. Ultimately, my desire is that at some point (I hope, not too distant), The Lydians will finally be able to open the door to our own musical home.

We embrace each other as home…

The Lydians have survived and flourished for as long as we have, not only through the strength of our leadership but because of the bonds within our membership, and our commitment to one another and our common purpose of music. We are able to make ‘home’ wherever we go because we have embraced each other, accepting what each individual brings to the collective and appreciating that each contribution counts, no matter how ‘rich’, and helps create our unique ‘fabric’ and texture of the music we make. Where else would you find a choir of this calibre that does not audition? Yet we still attract great talent and for the most part have been successful in retaining them and hopefully giving them the space to grow. For this I think we

must say Thanks be to God! Running a large community group is no small task, and it takes the support of all to keep it going. I say a special prayer of thanks for the Management Team I am blessed to work with, they are all a devoted, passionate and hard-working group of individuals without whom I could not succeed. Support comes from all avenues in our organization (community), I owe a special depth of gratitude to the Section Leads for all they do to ensure that the sections are taken care of, as we progress through our schedules. To Paula and Jean-Paul, no matter what, you are always there willing to assist and provide support whenever I need your unique skills. I am so appreciative of all you do behind the scenes for the organization. There are many more who give without counting the cost and I thank you for it and may you be inspired to always find ways to assist.

Our thankful prayer we raise…

I give thanks for the iconic women - Mrs Joyce Rawlins-Spence, Ms Alma Pierre and Ms Pat Bishop, visionaries whose efforts created and shaped The Lydian brand. This organization has been truly fortunate to have had these women as the musical matriarchs of our first three decades. In that period between 2011 and 2016 (after the passing of Ms B) The Lydians was fortunate to have such persons as Mr Victor Prescod, Maestro Jesus Beltran Acosta Ruiz and numerous other individuals who helped us musically during that transition, I extend sincere gratitude. I give thanks for our fourth Musical Director Ms Lorraine Granderson, for her guidance, musicality and leadership from 2017 till her resignation this year to pursue other personal goals. I give thanks for our current Musical Lead – Mr Carl-Anthony Hines, a young, gifted musician who joined our tenor line in 2014 (from Jamaica) and we have been blessed to have him with us still, accepting the task of leading us and continuing our musical journey as we move into our fortieth year.

I offer thanks for my predecessors – Mr Trevor Carrington, Mr Randall Robinson and Mr Patrick Bertrand, all stout-hearted men whose

Deo Gratias

contributions in no small way also helped shape The Lydians. Supported by Ms Valerie Davidson, and Dr Jennifer Jones-Morales, who functioned in the roles of Treasurer and Secretary respectively for many years and whose efforts and commitment (even to this day) helped ensure that this organization is in existence to share with you this Ruby Anniversary.

Hear now our hymn of praise…

Every organization has persons I refer to as ‘anchors’ and ‘corner stones’, who help keep our organization grounded and moving forward. Lindy-Ann, Myrtle, Joanne, Glenis, Eddie (Dr Cumberbatch), Dirk, David, Rhona, Janine and all the other senior choir members who remain committed to The Lydians after many years of service and continue to show-up and offer themselves in service, I give my thanks, appreciation and gratitude.

Our young soloists continue to give me hope for our future – Kory, Jamel, Fayola, Alliyah, Khadijah, Alicia, Fidel, Tarik, Olusanmi (‘Terry’) , Michela, Renee, Kadesh and the many others who presented work at this year’s Young Artistes’ Workshop and In-House concert, I pray we continue to offer a safe space for you and others to grow.

The Lydian Steel is a key part of who we are as an organization. We are still the only community choir that can boast of a dedicated ensemble of such gifted musicians, and I am thankful that they have remained committed to The Lydian mission, and encouraged that they continue to push themselves.

This 40th anniversary would not be complete without them and I lift them up as they prepare to celebrate their twenty-fifth anniversary (look out for the anniversary concert in 2020!)

The Lydians are always blessed to have with us our collaborators – Adele, Allison, John, James (Jimmy), Gary, Xavier, Anderson, Kwasi, Christopher, Sanjeet and his family, without whom, any Lydian concert feels incomplete. I raise you all up, for being part of the unique texture of the Lydian sound and for remaining committed to carrying on that legacy.

Thanks be to God!

Our family (community) continues to grow. I am heartened to see that we continue to attract new members young and young-at-heart alike. This September we welcomed fifteen new members to our ranks. Their enthusiasm and commitment continue to be the wind to my sails! It is so easy to take for granted what we have, but with each rehearsal and performance, I see among our new members the pure, untainted joy of making music and doing something they love in fellowship. It truly lifts my spirits.

To each member of the Lydians – those who will be experiencing the Queen’s Hall stage for the first time, as well as our seasoned performers, thank you for your support, your energy, commitment and your gift of music. As Lydians we continue to march forward offering our hymn of praise!

This December it is only fitting that we present to you “Deo Gratias!” - Thanks be to God! The theme is relevant to each of us personally as well as to our organization. It also has a much wider reach - we hope it can be your own hymn of praise, for our country and our region. I ask you to look back at the lyrics ofEspindola, see how you can relate it to the various social events and issues that faced us this year. The plight of our Latin American neighbours as they seek sanctuary, the hope that we offered collectively to our brothers and sisters in the Bahamas after the devastation of hurricane Dorian.

The programme we offer tonight not only celebrates our forty-year journey, but also is a way for us as a people to say Deo Gratias! - For family, for life, for love and for hope.

God bless you all. Enjoy the production.

Have a happy and holy Christmas!

Garnet Allen December 2019

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About Deo Gratias – Creative Theme

The Visitation of the Lydian Musical Muses

by Janine Charles-Farray

For most Lydians and patrons acquainted with that golden period of music under the baton of our third musical director Dr. Pat Bishop, the words ‘Deo Gratias’ will be familiar. Ms. Bishop, ‘Aunty Pat’ or ‘Miss B’, as she was more lovingly called by us Lydians, would pen a musical director’s note in the concert programme and most times, sign her name above or beneath these words. In Latin, the words mean, “Thanks Be To God” - an exuberant exclamation of gratitude to the Creator for all life’s blessings, chiefly among these, the birth of Christ in Bethlehem and the gift of music, which heralded his arrival.

It was with my own sense of profound gratitude for the experience of having lived and sung through 22 years of Lydian performances that I started the process of pitching and persuading the Lydian Management team to consider this year’s Christmas concert theme.

Our Lydian mission statement affirms, “we recognise that music is a gift and that the ability to perform it is a grace.” It is for this God-given grace

that we say thanks be to God for 40 years of excellence in music. For it is the music that has kept us together as a community and driven us forward all these years. This Christmas, we also thank God for the musical directors who have shaped and inspired us and for the goodwill, kindness and support of all who have helped us over time.

And what a time it was!

In this year’s Christmas Story, the Lydians will be visited by three Musical Muses, “La Madame”, “La Reine” and “La Belle Nouvelle”, each personifying Lydian music of the past, present and future. The muses will represent a celebration of the musical evolution of the Lydians over time; the songs we have sung, the genres we have mastered, the notes we have played and the concerts we have presented over 40 years.

Deo Gratias

About the muses “Muses” in Greek mythology are known as female demi-goddesses who inspire mankind in the arts - music, dance, choirs, poetry etc.

“LA MADAME”

“LA REINE”

La Madame is the Musical Muse of Lydians Past, a deeply passionate Lady who prefers the Baroque era and who trails the sound of a harpsichord in fugue everywhere she goes. She is the goddess of counterpoint, Gregorian chant and quodlibet. She dwells in the inner chamber of an enormous, ancient pipe organ in a cathedral surrounded by forest, somewhere in the Caribbean. She is said to be the wisest and most assertive of the Musical Muses. She is in everything and everywhere, in every concert - the backbone of the Lydian repertoire and the foundation upon which the Lydian sound is built. She is usually depicted wearing an Opera eye mask and carrying a musical manuscript in her hand.

La Reine is the Musical Muse of Lydians Present, a joyous and jubilant goddess, quick to laughter and even quicker to invention. She appears in a thunderous drumroll of Djembes, Tassa cutters, Iron and Bamboo, washing on to every Caribbean shore from her palace in the depths of the sea. She composes with all the flavours of the world’s indigenous cultures and has a flare for fusion, interweaving everything she touches into the colours of her whirling, madras bele skirt. She is the goddess of rhythm, movement and ‘chantuelle’ and is said to be the most festive and spirited of the three. She never ceases to move, compelled to shake with the pulse of the world around her. She is the flavour, the sweetness in the mix of every Lydian concert, bringing out the uniqueness of our local Lydian soul. She comes to us as a gift in every season, humbling us with her faith in our ability to perform her music in tribute to the Calypsonian, the Pan Player and the Parrandero. She is usually depicted wearing an ornate headdress, holding the edges of a wide, colourful over-skirt and accompanied by a companion, a single drummer who plays for her wherever she goes.

“The Madame”

“The Queen”

“LA BELLE NOUVELLE”

“The Beautiful New” A vibration has been quietly awakening. A distant pianissimo of sound, gentle and unfurling, tenderly nurtured in the depths of the Lydian core. This newest of the Lydian Musical Muses treasures the compositions of the past while inspiring symphonies of the future. She stirs ever so often, emerging in a few moments of beautiful sound and working her way into the Lydian repertoire, sometimes in soft flurries and other times in bold fortissimos.

Her creative and inquisitive presence grows stronger and stronger each time she appears from the pages of her home - a golden musical folder, perched on the gilded edge of a Grand Recital Hall between the earth and sky. La Belle Nouvelle can see all the world from where she sits, her intentions are focused, and her ambitions are great. She is usually depicted holding a gilded flambeau.

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The Lydian Treasury – A Ruby Repertory

Musical Lead, Carl Anthony Hines reviews a 40-Year Legacy of Lydian music and the women who brought it to life.

“…Lap me in soft Lydian airs, Married to immortal verse, Such as the meeting soul may pierce In notes with many a winding bout Of linked sweetness long drawn out, With wanton heed, and giddy cunning, The melting voice through mazes running, Untwisting all the chains that tie The hidden soul of harmony…” from “L’Allegro,” J. Milton,

The Repertoire of the Lydians at its onset, as its origin and even naming attest, were birthed from cultures and times far afield from the shores and climes of the Caribbean, but universally held in high regard as “Classical” canon. I like to imagine, as with The West Indian Cricket Team, we at some point were a standard; a symbol raised in challenge to the notion that we could not be excellent at the works and games considered high art of the “western world.”

That daring that sought and gained self-governance and independence, now channelled into the urge to meet and surpass every marker of refinement, (and laughing riotously as we turned this on its head).

And what of this urge to find ourselves by claiming aspects of what went before and shining a new light on it? Of this audacity, to dare to see ourselves in spaces far flung and times long before us?

When I was given the task of writing on the Lydians music for this Christmas season’s programme, I accepted happily. When this got expanded “Okay Carl, you will speak to the Repertoire over the 40 years” my excitement heightened – then I immediately became terribly anxious. Excited, as I love the way a history of any arts organization reads like the best of conspiracy theories: why do we jump in no linear or seemingly logical way through ages and epochs of times and cultures? How is it that we do these “jaunts and journeys all over the world” in order to contextualise our own time and space?

Already one is about to launch on a story and suite of pieces as would and does fill several books. But then there is the actuality of the thing: How does one seek to summarise four decades of lovingly and passionately prepared, taught, and presented music?

I asked this question of a friend while waiting on class to resume.

“Well, start at the beginning nah” she said, laughing at my expression. We both knew this was not at all so easy. And yet…

Deo Gratias

Founder and Musical Director Joyce Rawlins Spence (dec.) with the Lydians in its first ever appearance at the Trinidad and Tobago Music Festival at Queen’s Hall in 1982.

The Genesis In the beginning there was Spence. Spence saw the musical landscape in need of a new infusion of excellence. Let there be Lydians. This was no simple act of making. Our sound forged and honed in the spirit of competition, the Lydians were wielded in service of the soul of community through public performance. With her initial 20 acolytes, they triumphed at the Music Festival. Epic origin story secured, they proceeded to present music of the Western “classical” tradition, at the highest quality. Not content to simply be excellent, Spence also imbued the group with the sense of drama that it would come to be known when, on the last performance of Bach’s ‘Christmas Oratorio’, five years after its founding she stood, cigarette held aloft as she spoke to the choir and the then (and now) accompanist Lindy – Ann on the steps of the Anglican Cathedral “I believe that’s it.” So was her retirement. And so were we, after some time adrift, ushered into the stewardship of Ms Alma Pierre.

Pierre came with a deep love of music of the choral tradition – and a passion for the music that the region had created. She kept the tradition of performing music of the Baroque, Classical and Romantic extraction alive, while also exploring and presenting things born of Trinidad and Tobago – as well as the wider Caribbean. In our archives are found Trinidadian folk songs as well as Jamaican and Pat Bishop (dec.) at the center and to her right, Lydian Singers Founder Joyce Spence (dec.) backstage Queen’s Hall at the 1987 T&T Music Festival. The first performance of the Lydians under Bishop’s baton.

Barbadian seasonal songs, arrangements written in her hand and no doubt presented to appreciative audiences. Where with Spence the departure was to Bach, Pierre’s parting masterwork (though not as immediate), was a cantata presentation of Samuel Coleridge – Taylor’s ‘Hiawatha’s Wedding Feast’.

If I have done my job well enough, (in that you are still with me) we recap: Lydians, born of musical excellence, presented works spanning J.S. Bach’s Christmas Oratorio to Coleridge – Taylor’s Hiawatha’s Wedding Feast – and now had integrated Caribbean folk music and some calypsos into the repertory.

The stage was set for drama – and what else could it be set for when the next director was nothing short of dynamo?

Spence founded, Pierre contemporised, Pat Bishop came and electrified!

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A List that read like a “who’s who” of composers Again, after some wandering, a new director came, who paid respect to the tradition of presenting works with excellence. The highlight reel of Bishop’s sacred Masterworks reads, honestly, like my bucket-list of works to sing in. Sacred and secular works by Vivaldi, Monteverdi, Bach, Handel, Mozart, Beethoven, Verdi, Poulenc, Faure, Coleridge – Taylor – all holding pace with calypsos by Rudder, Kitchener, Shadow, Sparrow, and the like.

This reads already like an impressive rap sheet to leave behind, no? this is not nearly the end. Bishop presented the folk of her people, delighting, by all accounts, as much in Parang as in a sublimely delivered Aria of Italian extraction. Christmas time was a highlight for her (and since, the Lydian Christmas is a highlight of the choir’s annual life).

Not content with only European spiritual devotion, Pat sought to present the full-length works the region had to offer as well. We moved from the masses and motets of Europe into the Misas and Masses where the sound, much like the food, has a little more spice. The choir’s extensive repertoire diversified yet further, with works by Argentinian Ramirez; Cuban Vitier; Jamaicans Whylie, Lightbourne and Dexter; Trinbagonian Wooding; Still not content and seeking ever more sounds and styles that present their possibilities in the Caribbean potential, she sought out the Sacred in Africa. Chants and celebratory songs given their due, she mounted the Congolese traditional and Haazen recorded Misa Luba. And still we have not come to that jewel to which I referred. Though the list already shines aplenty so far, we still have not come to one of the chief frontiers Ms B would take the Lydians through. We have now come to the space and place where context is now physical as well as aural theatre – OPERA

Pat Bishop came to ‘serve’…and to ‘slay the game’.

The Time had come to act, dance, and sing in sync…for Your Life.

Randal Robinson, Lydian Baritone and Principal soloist in the role of ‘Koanga’ makes the front page of the Trinidad Guardian July 2nd 1995

Lydians in Drama: Opera On taking the directorship, Bishop, who had previously written and staged her own original operatic work, was now in possession of a vehicle which could handle the robust and sweeping works she grew up loving. She decided it was time that Lydians needed to expand into full length Operatic works. Not content to do highlight choruses in a recital setting, she took the choir through 5 operatically staged works.

Warning: Gushing and contemporary speech ahead .

There have been amateur operatic companies throughout the Caribbean for decades before and during the Lydians’ existence, but rare was it that you would find a dedicated choir taking on the task of mounting a full-length opera – let alone 5 operatic undertakings! Sis was not here to play. The first was Delius’ Koanga.

Deo Gratias

Koanga The story of Koanga centres on the enslaved African Prince Koanga, as he navigates life and love in the American South. To put this opera on as it was, would have been awesome task enough – but no ma’am, sis contextualised elements of Trini culture into the setting. Where else but here, who else but Pat, where else but with the Lydians would you find a Cuatro, shak–shak, guitar and African drums accompanying work songs under brown cotton – made weeping willows?

Of steelpans strumming out the triumphant themes and ringing out the warning discordant sevenths and ninths as Koanga deals with loss, betrayal and death? Where else?

Exactly.

I hope you are wearing several hats and wigs, because one or two just got snatched, and we have more.

L’Elisir D’Amore – The Elixir of Love You ever drink a bottle of sorrel that give you Tiidalevel powers of “wet-man-ity”? No? Pat Bishop and The Lydians again. Setting Donizetti in a Trini village was not too farfetched a premise, but then you mix in the Lydian magic and you’re bound to have something amazing. Adina and Nemorino doing the age old dance of will they won’t they – because when has a stush ‘bess ting’ not been pursued by the lovable village pauper? – things in town get shaken up when army man Sgt. Belcore comes on the scene, wishing to have Adina, while the snake oil salesman (yes, you read right) ‘Dr’ Dulcamara rolls into town with charm and grace, conning and yet aiding the couple we are rooting for to end up together. And we learn the age-old lesson that we should probably not buy drinks from a man with a perm and dressed in a yellow robe.

Glenis Yearwood, Lydian Soprano and Principal soloist in the role of ‘Adina’ from L’Elisir D’Amore (1996)

Edward Cumberbatch, Lydian Tenor in the role of ‘Nemorino’ in the Lydians production of L’Elisir D’Amore (1996)

Turandot A Chinese princess with an impressive collection of heads turns one more – this one she decides to keep attached to its body. With high drama, the Lydians in Collab with ‘Ms. B’ undertook A Puccini Master work in musical line and storytelling. I mean, she could have opted to take this one out of Peking, but to be honest I am glad she didn’t. Can you imagine a red woman after seeing that show calling herself #Turandot seeking her #PrinceCalaf who she will pepper with riddles – while executing any man less than worthy? Yeah, now I want to see it too. Still, the presentation of this one was lush and lovely, with a cast that would give any major opera house a run for its money. What I love about this opera being mounted is that despite the seeming Classical scope – it was written in 1924 and being performed here in 1999…75 years later.

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Orpheus and Eurydice And it is back to Trinidad for this one – Gluck’s Orpheus and Eurydice. This opera was set in the underworld, which was re-imagined as a pan yard.

Orpheus’ Lute was a tenor pan round his neck. Not enough for you? The costuming for the opera was sailor mas, proving that no matter where in the world a Trini wanders, they must come back home for de Carnival!

You just can’t beat the creativity (or wash off the white face paint completely).

Scenes from the Song of Hiawatha You remember me saying “operatically staged works” before, right? Well, I chose that phrase carefully. Scenes from the Song of Hiawatha is technically a collection of three Cantatas – which is a choral work that is intended to be sung without staging. I wish Samuel Coleridge – Taylor were alive for that conversation: Joanne Pyle as Turandot

The Lydian Steel in the foreground with the eagerly awaiting audience in the background for Turandot (1999) at Country Club, Maraval.

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Photo credit Mark Lyndersay

Lydian soloists stand with the Santa Rosa First Peoples at the front of Queen’s Hall for the invocation smoke ceremony before the Opera performance of ‘Hiawatha’ (2018)

Imagined Scene: a bedroom by 6 Alfredo St. Pat: Sammy, we doing your opera this year S C-T: You found my score of ‘Thelma’?

Pat:

No, we doing Hiawatha. All three acts

S C-T: *confused expression*

But those are just cantaPat:

*She stops him short, continuing as if he hadn’t spoken* So, what we going to do is we going to set it in Trini Fancy Indian mas’ and start the show with an invocation from the First Peoples…

SC-T:

*Confused, but following the enigmatic lady’s delivery, he sits down at the edge of the bed. A rum – tinged drink magically appears in his hand. *

The Lydian ‘SSATB’ – Steel I feel I keep using the phrase “Not content to simply” when referring to Pat or the Lydian Matriarchs, but I find nothing else is probably as apt. Bear with me.

Not enough to have expanded the choir’s already staggeringly impressive repertory (and its ranks, because sis did for the choir what Romanticism did

for the orchestra – Larger, stronger and more intense), Ms. Bishop also saw the formation of the Lydian Steel, which was charged with being a voice of accompaniment for a choir that had outstripped in repertory and size, accompaniment on only one or two keyboards – operas, Oratorios and Cantata demand a more fulsome sound – and the choir needed a permanent cadre of instruments the players of which were earnest, willing – and could read music. Previously, we had the Lydian Players, a set of traditional instruments that accompanied the choir, and the time had come not only to integrate the TT born instrument and its colours, but to engage with them as a part of the “vocal fabric” of the group. Eventually, the Steel went on to star up the stage of Music festivals abroad with the sublimely delivered interpretation of Baroque music. Chords of chrome let fly with voices to this day and are typical of a Lydian offering.

A Treasury of Talent Though my focus is on the music, I hasten to point out briefly that such varied and demanding repertory demands, of course, that we seek out voices capable of delivering the excellence we exude and exhibit.

And yet, for at least 30 of our forty years I can confidently say the Lydians have never held an audition. The triweekly pilgrimage of soloists, choristers and players has been a journey to stages and into hearts

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Celebrating 40 years

– unimpeded by the pressure of being asked to demonstrate your worthiness to be here. Being willing is enough. Being present is enough. Leave it to us to find where you fit, and you will be welcome now and always.

Vanguard and Maverick – handing down a legacy “Untwisting all the chains that tie The hidden soul of harmony…

Ms Bishop as observed, in this epistle, was “not content to simply” with a great deal. One more facet of innovation was her presenting contemporary works such as Robert Ray’s Gospel Mass or David Wood’s Rock Nativity, and new exciting ways to stage them (as pieces like Psalm, our show opener will attest). Bishop also championed the unearthing of the talent and work of living Caribbean composers across as many genres as they are willing to put out music, nurturing and diversifying not only the existing canon of choral repertoire, but also apprenticing conductors, inspiring newer generations of musicians.

With her tragic passing, we have, through stalwart Lydians, and a cadre of Friends of The Lydians remained on a mostly even keel, tackling still major works, as well as commissioning and collaborating with composers on contemporary music across all genres from Neo-classical to Modern settings.

We are ever untwisting those chains and freeing the music’s hidden soul.

Where is the Train heading?

For the past little over two years, we had been under the directorship of Ms Lorraine Granderson, who brought with her a focus on the soul of the music, and making it not just a serious exploration, but showing that it can be a fun one. While she has opted to retire – remaining a friend of the Lydians and earnest collaborator and guest conductor when called upon – we have been blessed to continue our

repertoire and outreach expansion. The call for singers, players, music and musicians remains ever open, and we look ever forward.

Still with me? Let’s do a small recap TL: DR: (Too Long-Didn’t Read) 40 years of richly rewarding and artistically engaged music. Spence founded and set the tone. Pierre showed us our own music. Pat expanded repertoire and style, and told Caribbean History from Enslavement, to Emancipation, the Coming of the Indentured from Asia and the Advent of Carnival and local tradition as post – colonial life through the choice and order of her operatic programming (yeah, I don’t know if that is deliberate either but it is amazing to realise). Ms Granderson was determined to make the music fun and light again.

Music is a gift and the ability to perform it, a grace.

VIVAT LYDII!!! – Long Live The Lydians!!!

Bless, Carl Anthony Hines

Band photos of the Lydian Steel before performing at the Miami Baroque Festival

Deo Gratias

The Lydians reflect on 40 years of Musical Direction

Joyce Rawlins-Spence, Alma Pierre, Pat Bishop, Lorraine Granderson

by Janine Charles-Farray

JOYCE RAWLINS-SPENCE

ALMA PIERRE

Mrs. Joyce Rawlins-Spence had a vision of conducting a Soprano, Contralto, Tenor, Bass Choir (SATB) and when she combined her imagination with determination and resourcefulness, her dream became reality in 1979 with the formation of The Lydian Singers.

A common face in the adjudicator’s box at both School and Adult Panorama Competitions, Pierre also excelled as a choral trainer and conductor, serving as musical director of the Lydians Singers for several years. Under Ms. Pierre from 1984 to 1987, the Lydians grew to about forty members.

She took the choir to perform for radio for the first time. Major music was performed by the Lydians at concerts held, which included those at All Saints Church Hall where “Onaway, Awake Beloved” from Scenes from the Song of Hiawatha was one of the solos. Unlike Mrs. Spence, Ms. Pierre chose a varied repertoire which included parang and classics, Negro Spirituals, some of which we still sing today, like “Climb Up Chillun”. Gillian Ballinthulo and subsequently Mr. Edward Henry provided the accompaniment.

Founding Director (1979 to 1982)

She was already famous for her discipline and diligence. She conducted a traditional SATB Choir with five members for each voice. All the ladies, save one, were “Old Girls” (past pupils of Bishop Anstey High School, Port of Spain, or “Old Hilarians”) where Mrs. Spence had spent most, if not all, of her working life as a music teacher. Mrs. Spence was a salient force. She had a passion for excellence. She showed innate creativity to flourish.

Although the choir’s complement of members had doubled, Mrs. Spence still had to hear the voice before one could join. After the Christmas concert in 1982, Mrs. Spence indicated that she would no longer be able to continue directing the choir.

Although it’s a well-kept secret, the Lydians were defunct for two years. Ms. Denise Stephenson was instrumental in rejuvenating the choir and in late 1984 she approached Miss Alma Pierre, who was described as a “brilliant composer” to lead the choir.

2nd Musical Director (1984 to 1986)

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Celebrating 40 years

DEO GRATIAS Programme First Half

National Anthem of the Republic of Trinidad and Tobago

Arr. E. Cumberbatch

Psalm

J. Martin

Soloists: Michela Peters, Tarik Whiskey/ Khadija Moses, Jamel Williams

Sancta Maria (Intermezzo from Cavalleria Rusticana)

Mascagni, Arr. S. Mercurio

Soloist: Joanne Pyle

Silent Night

Gruber, Arr. J. Rouse

O Holy Night

Adam, Arr. W. Gilchrist

Soloists: Joanne Pyle, Alliyah Boland

Nowhere to Lay His Head

J. Hairston

Soloist: Kory Mendez

Beside thy Cradle Bed (Ich Steh an Deiner)

J.S. Bach

O Thou That Tellest Good Tidings to Zion

G.F. Handel

Soloist: Joseph Knights

Over the Skies of Yisrael

R. Seeley

Lydian Men

Dance of the Furies (from Orpheus and Eurydice)

C.W. Gluck

Lydian Steel

Opening Chorale, Act 2 Koanga

F. Delius

On Away, Awake Beloved! (from Hiawatha’s Wedding Feast)

S. Coleridge Taylor

Soloists: Edward Cumberbatch, Jamel Williams

Signore, Ascolta! (from Turandot)

G. Puccini

Soloist: Fayola King – Lawrence

Barcarolle “La Nina Gondoliera” (from L’Elisir D’Amore)

G. Donizetti

Soloists: Joanne Pyle/ Glenis Yearwood, Dirk Govia

Ring the Bells!

K. Shaw

Hurry Shepherds, Run

D.E. Wagner

Red and Green Christmas

N. Cattouse

Soloist: Janine Charles – Farray

Joy to The World

Handel/Watts Arr. F. Kuykendall

Deo Gratias

INTERMISSION

Get your Opera Anniversary basket and 40th Anniversary commemorative t-shirt in the lobby!

Second Half Theme from “Mi Hija, Querida

C. Hines

Guitar Soloist: Andrew Samlal

Rio Manzanares

Trad. Arr, J. Jacob

El Pajarito

Trad. Arr, J. Jacob

Anda Parranderos

Trad. Arr, J. Jacob

Soloists: Janine Charles – Farray, Dirk Govia, Claire Williams

Merry Christmas

E. Ayoung, Arr. J. Jacob

Soloist: Jamel Williams

Soca Parang Medley

V.A. Arr. K. Moore

Lydian Steel

Kaiso Carol (Daybreak)

Trad. Arr, M. Hudlin

Lydian Ladies and Lydian Steel

All I want for Christmas is a Pan Man

A. Noel

Soloist: Janine Charles-Farray

I Believe

E. Levisalles

Soloists: Joanne Pyle, Edward Cumberbatch

A Cradle in Bethlehem

Bryan/Stock, Arr. J. Jacob

Soloist: Edward Cumberbatch

I Know I’ve Been Changed

Trad. D. Dandridge

Soloist: David Williams

Ave Maria Por Cuba

J. Vitier

Soloist: Fayola King – Lawrence

Plegaria A la Virgen del Cobre (from Misa Cubana)

J. Vitier

Soloist: Dirk Govia

Gloria (from Missa Salsera)

Fr. A. Rosado

Soloist: David Williams Feat. Chantal Esdelle, Natasha Joseph

But Thanks Be to God (From Messiah)

G.F. Handel

Hallelujah (from Messiah)

G.F. Handel

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Celebrating 40 years

repertoire which included parang and classics, Negro Spirituals, some of which we still sing today, like “Climb Up Chillun”. Gillian Ballinthulo and subsequently Mr. Edward Henry provided the accompaniment.

- musicologist, teacher, vocal coach, conductor of choirs, steelbands and orchestras, artist, accompanist and more, we Lydians are deeply grateful and blessed to have called her our Musical Director for twenty-four out of thirty-eight years of musical excellence.

PAT BISHOP

3rd Musical Director (1987 to 2011)

Pat Bishop was one of the most versatile of Caribbean women - a true cultural icon. Following in the footsteps of such stalwart, musical pioneers as Mrs. Joyce Rawlins-Spence and Miss Alma Pierre seemed like a tall order, but as the third musical director of The Lydians expected to continue her predecessors’ legacies, Pat Bishop did more than hold her own.

From 1987 to 2011, Pat Bishop was instrumental in establishing The Lydians as one of the Caribbean’s premier choirs. Her fervid passion to let the ethereal medium of music soothe, comfort and uplift led the choir once more to victory in 1987 at the Trinidad and Tobago Music Festival, where they were awarded the most outstanding choir and performer of the festival. Her expert training and guidance precipitated numerous triumphs for Lydian soloists and this musical legacy has been maintained over the years with the Lydians having won over thirty (30) championship trophies at the festival.

It is as the Musical Director of ‘The Lydians’ that Ms. Bishop was able to bring to audiences in Trinidad and abroad her talent as a musician, producing first-class performances of the great classics by Verdi, Rossini, Dvorak, Brahms and Beethoven.

She has also presented the operatic works L’Elisir D’Amore by Donizetti and Turandot by Puccini to Trinidad audiences. The choir’s number soared to over one hundred members and the Lydian Steel was founded in 1995 with their historical debut as the first ever steel orchestra to accompany a fulllength opera - ‘Koanga’ by Delius.

Not only were there the steelband and African drums, but the rhythm of the Tassa drums had also been incorporated to refine what is today known as “the Lydian sound’. Among her many pursuits

LORRAINE GRANDERSON

4th Musical Director (July 2017 to July 2019)

In July of 2017, Lorraine Granderson graciously accepted the responsibility of musical direction of The Lydians. During her tenure, which ended in July 2019, she led the choir through several stellar performances and carried forward a continued commitment to the choir’s mission of community service through the God-given gift of music, to the people of Trinidad and Tobago and the world. No stranger to The Lydians, Ms. Granderson has many years’ experience with the choir, having been invited to guest conduct the choir on several occasions.

She also has over 30 years’ experience conducting, teaching and working with choirs, steelbands and in independent musical productions in Trinidad and Tobago.

Ms. Granderson has been involved with Music from Infant School through Primary to Bishop Anstey High School where she sang with Lydian founder, Ms. Rawlins-Spence as Music Mistress. Wherever she taught, after Teachers’ Training College, she started a choir and then added a steelband, leading them successfully to music festivals. Eventually, she joined the staff of her alma mater, BAHS, as the Teacher responsible for Music. During her tenure, she led the choir and the steelband to several successful Music Festivals, and international Music Festivals. Many of the BAHS steelband players, music literate as they are, have formed the basis of the Lydian Steel with whom she has travelled with Pat to the Baroque Festival at Coral Gables in Florida

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Carl Anthony Hines (Photo credit Brent Louis)

Joining the Ruby Revelry

Musical Lead, Deo Gratias Carl-Anthony Hines

Born and raised in Jamaica, Carl-Anthony Hines is a young composer, music tutor, tenor vocalist and music student currently pursuing a Bachelor of Arts degree in Music at the University of the West Indies (UWI) St. Augustine Campus. Over the past ten years, Hines has composed over thirteen original commissioned pieces of music along with several scored arrangements. He has pursued several musical endeavours including being the Vice President of the University Chorale of the UWI, Mona Jamaica, a Composer in Residence at the Jamaica Youth Chorale and a founder and conductor of the Diocesan Festival Choir, ‘Vocez’ Vocal Chamber Ensemble, The University Singers, the Brandenburg Singers, The Jamaica National Festival Choir and The UWI Arts Chorale. Hines has been an active member of the Lydians from 2014 and in 2016 took charge of the choir as Guest Conductor and Rehearsal Master on a full-time, volunteer basis. He was then appointed as Assistant Musical Director from July 2017 to July 2019. Since then he has been appointed as Musical Lead of the Lydians. In 2016 he started the Young Artistes’ Workshop and In-House concert series, now in its fourth year, it has grown each year, and continues to be safe and encouraging platform for budding performers within the organization.

Creative Collaborators, Deo Gratias Stage Director, Mervyn de Goeas

Joining the Lydians for the first time is Director, Producer, Writer, Artist Mervyn de Goeas. Mervyn de Goeas has worked in theatre, film and television for over thirty–five years as a critically-acclaimed and award-winning Director, Writer, Performer and Producer. Among his numerous stage credits, he lists several award-winning productions, including: - William M. Hoffman’s “As Is” (1987), David Henry Hwang’s “M.Butterfly” (1989), Athol Fugard’s “MASTER HAROLD...and the boys” (1995), Earl Warner’s “MANtalk” (2004), John Patrick Shanley’s “Doubt” (2005), Derek Walcott’s “Beef, No Chicken” (2006), and “3 Women” by Eunice Alleyne, Belinda Barnes and Anne Louise Tam (2008).

On television he was Head Writer of the TV series “Westwood Park”. He returned to television as a writer for “The Reef” and is currently working with Danielle Dieffenthaller on the upcoming “Plain Sight”.

Stage Manager, Leslie-Ann Lavine Familiar with the stage both in and out of the spotlight is first-time Lydians concert stage manager, Leslie-Ann Lavine. After working ‘behind the scenes’ as a Stage Hand/Assistant Stage Manager/Stage Manager for nine years with various theatre companies, Leslie-Ann was offered her first breakout role in the mega hit comedy, “Men Are Dogs”, which rewarded her with first ever acting award, the Most Outstanding Supporting Actress, at the 2010 Cacique Awards. She has gone on to perform in over 17 other productions on stage and in film, and currently holds the position of Stage Technician at the Lord Kitchener (Aldwyn Roberts)

Deo Gratias

Auditorium at the National Academy for the Performing Arts.

Introducing Christopher Littrean Christopher Littrean is a Designer, Painter, Carver and, along with his team, will make a grand debut with the Lydians for set design and construction this year. No stranger to the Lydians, Christopher recalls fondly his time painting and working on the 2008 Lydians production of ‘Scenes from the Song of Hiawatha’ and is thrilled to be leading the design of the 40th anniversary production, ‘Deo Gratias.’

Celia Wells returns Queen’s Hall lighting co-ordinator Celia Wells is intimately acquainted with excellence in lighting design for choirs. Wells has worked with many performing groups including Queen’s Hall and other venues but has appreciated the Lydians experience which allows for a full and thorough freedom to express her artistic ideas. Highly acclaimed and always in demand, she brings a tremendous amount of knowledge, skill and experience in keeping the Lydians looking good.

A Magician with Materials Ronald Guy James A close friend of the Lydians for many years and family member to one of our treasured choristers, Ronald Guy James can be considered one of the foremost Costume, Fashion and Mas designers in Trinidad and Tobago today. Under his company, Bisi Couture in St. James, he comes highly decorated and endorsed by some of the best in the business and is a long-standing artistic collaborator of Peter Minshall and his Callaloo Company. Be sure to get an up-close look at our musical muses for Deo Gratias as he had applied his unique versatility and originality to the creation of their beautiful gowns.

A Lydian paying it forward Kino Alvarez, Sound Design Many Lydians have memories of Kino Alvarez the first time he walked into a rehearsal at Bishop Anstey High School with a group of restless young men who became affectionately known as “The Lydians Wild

Boys.” Embraced by the choir and by Pat Bishop, he settled into a love of the performing arts and sang, danced, played steelpan and performed for some of the most prestigious audiences. The choir’s frequent trips to Queen’s Hall eventually awakened another avenue for creative expression in him - a love of sound design and sound engineering. Today he is a Sound Designer/Audio Engineer, operates his own Sound Design company and works with the Lydians all-year round.

Thank you, Allison & Adele!

Thanks Be To God for Allison and Adele, the ladies in charge of movement and dance! The Lydians owe a debt of gratitude to them both for their tireless service to the group over the years, for their infinite patience, professionalism and flexibility in assisting a choir in moving together. Allison Guerra-Seepaul is a Teacher, Choreographer and Dancer who has worked with the Lydians for many years as a featured dancer as well as choreographer for the choir. She has been the Team Leader of the Astor Johnson Repertory Dance Theatre from 1980 to date and has also worked in the field of education for over 30 years. She currently serves as a lecturer at the University of the West Indies. Adele Bynoe is best known for being versatile. She is a dancer, choreographer, textile artist, painter, singer and an educator. She studied art in Canada and at the University of the West Indies. The late Dr. Pat Bishop was her mentor and friend whom she credits, along with her parents, for encouraging her to pursue her artistic career. Dr. Bishop also encouraged Adele to join the Lydians, and she did, becoming a member of the Alto section. This year, along with fellow choreographer Mrs. Allison Seepaul, dance with come alive on stage in conjunction with music in celebration of the Lydians’ 40-year milestone.

Thank you, Allison and Adele, for your hard work!

Kirk Langton Kirk Langton is an Event Planner, Project Manager and Industrial Designer known for his work as a Masman Extraordinaire and Materials Specialist, and as the creator of the ground-breaking concepts behind Tan Tan & Saga Boy. Administratively he

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Celebrating 40 years

has diverse experiences from Marketing Manager of Excellent Group of Companies to Operations Managing the Brian Lara Promenade. Kirk’s company Team Orange Limited has been awarded many prestigious events and Kirk also worked as the Event Planner at the Trinidad & Tobago Chamber of Industry and Commerce where he co-created the Business Hall of Fame in 2005 and has coordinated many Heads of State visits. He joins the Lydians to conceptualize and construct our lobby arrangement and featured art piece entitled, ‘A Caribbean Christmas Tree’.

Ayrïd Chandler Since graduating in 2012 with a B.F.A. from Savannah College of Art and Design (SCAD), Atlanta, Ayrïd has become a highly creative and skilled graphic designer and she is fast becoming one of the go-to talents for brand re-imaging and design in the local Arts community. She is also fondly considered a ‘Lydian by association’ since she’s been attending concerts annually from a young age with her mother. Apart from running her business, Ayrïd by Design, she recently had her theatrical debut in the 2019 production of Derek Walcott’s Ti-Jean and His Brothers where she played the role of “Mother”. This is Ayrïd’s third year working with the Lydians and helping visiualise the show’s theme.

Musical Collaborators, Deo Gratias John Jacob Jacob is a long-standing musical collaborator with the Lydians, having worked with the choir on folk and calypso arrangements for many years. He has taken the Lydians to many a championship trophy in the Folk and Calypso Chorale categories of the Trinidad and Tobago Music Festival. At Christmas of 2000, he premiered a suite of original songs for the Lydians Gold Concert performed at the Woodbrook Youth Facility themed after the biblical creation of the world, from which the anthem ‘God Is Great and Good’ remains a signature performance piece in The Lydians repertoire. For Deo Gratias Jacob will present musical arrangements for three signature parang arrangements and the humorous “Merry Christmas” originally sung by ‘Crazy’ (Edwin Ayoung).

Astra Noel Astra Noel will be celebrating her 20th anniversary as a member of Lydians, having spent most of it as a member of the Lydian Steel. In 2016, she was appointed as Co-Captain of the Steel along with Tonya Perouze and has been a core member of the Steel throughout the years playing the double second and guitar pans. Her main instrument, however, is the piano along with the organ, though her talents go beyond into music composition and more recently, singing. She is a Pianist, Composer and Teacher with a BA in Musical Arts (Hons) from the Faculty of humanities and Education at the University of the West Indies, St. Augustine, and recently, she completed her Artist Diploma in Music Performance from the University of Trinidad and Tobago. In 2013, she debuted as a composer with

Deo Gratias

the Lydians through the performance of ‘Await that Star’ and ‘All I want for Christmas is a Panman’.

‘Panman’ will return for Deo Gratias this Christmas.

Since 2016, she has premiered Ave Maria (O Mary), Sanctus and Til’ All have crossed, three movements from her original work composed for the Lydians and entitled, ‘Missa Lydia’.

Chantal Esdelle Composer, Pianist, Singer Chantal Esdelle is known in the Jazz Community of Trinidad and Tobago and the Caribbean She has won several awards for music at national Music Festivals in piano, steelpan and voice. Chantal’s tutor in piano and pan is Louise McIntosh, the founder of the Pan Piper School of Music. In singing, Chantal is the protégé of early Lydian member Joslynne Sealey. Chantal is a familiar face at the annual National Panorama competition having performed in the bands Birdsong, Tropical Angel Harps, Pandemonium, Exodus and Desperadoes Steel Orchestra. She was awarded a musical scholarship from Berkley College, USA, where she majored in arranging; with her instruments being piano, keyboard and pan and graduated with a masters in Ethnomusicology at York University in 2010. In 1998 she founded the band Chantal Esdelle and Moyenne performing Caribbean, Latin Jazz and World Music and records under the independent company and label, “The Ethnic Jazz Club.”

Natasha Joseph Arranger, composer, producer, teacher Natasha Joseph has been an ambassador for the steel­ pan, representing T&T in many countries and performing with many local and international jazz artistes including Moyenne alongside Chantal Esdelle. A self-taught musician, she has been the steel­pan facilitator for the First Citizens steel­pan and jazz work­shops in Trinidad, and also teaches music theory, improvisation, steel­pan rudiments and guitar privately at several primary schools across the country. In June 2012 she received her diploma in Recording Engineering and Production from The Audio Institute of America. A well-known drillmaster, Joseph has helped to bring Phase II

Pan Groove to victory in 2013 and 2014, and second place in 2015 in the National Steel­band Panorama.

She has been working with their arranger Len “Boogsie” Sharpe for the past seven years and is also the arranger for the Starlift Junior Steel Orchestra, and arranges for Platinum Steel Orchestra, an allfemale single pan band which made history at the 2016 National Panorama, a first in the competition’s 53-year existence.

Three generations of Soogrim-Ram In 1990, Dr. Pat Bishop, then leader of the Lydian Singers, invited the Malick Tassa Drummers through Mr. Krishna Soogrim-Ram to perform with the Lydians Singers during their rendition of the Hallelujah Chorus. From that time to today, this group has performed with the Lydians. Currently, the third generation of the Soogrim-Ram family is sharing the stage with the Lydians.

In the beginning, those performing were Krishna (Deceased) on the cutter, Sanjeet, his son on the jhanj and cymbals, Ranjeet, his eldest son on the fuller and Vijay Rambair his nephew on the bass drum. Over the years, Krishna’s grandsons have joined the group and today Sanjeet has assumed the leadership role on the cutter, Ranjeet plays the bass drum, Avinash Seeram, their cousin and Krishna’s nephew plays the fuller and Krishna’s three grandchildren - Prakash Soogrim-Ram (17 years old), Mitra Soogrim-Ram (16 years old) and Shivan Buchoon (10 years old), alternate on the fuller and jhanj.

The legacy of the African drum continues.

In 1988, Dr. Pat Bishop needed African drummers to accompany the Lydian Singers for the Missa Luba performance. She asked Orlando McIntosh (Deceased) who was a member of the Lydian Singers and the Mawasi Experience led by Mr. Peter Telfer, to source some drummers. Orlando approached Mr. Wayne Guerra who led the Culture Shop Drummers and whose nephew was Mr. Xavier Phillip, also a member of the group, to assist.

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Celebrating 40 years

From that time on, the Culture Shop Drummers who were also affiliated with the Malick Folk Performers became part of the Lydian family. In the beginning, the group comprised Xavier Phillip, leader, playing the lead djembe, Orlando playing the ‘talking drum’ - a hand-held instrument, Denzil, playing the ‘shekere’ and Christopher, playing the bass drum.

Today, the group comprises Xavier Phillip, Christopher Clifford and Anderson Dyer who play bass drums/rhythm drums, and Kwasi Hinds who plays the rhythm drum. Two ladies, Carla Sayers and Jamila have been members and have played with them over the past years.

They have participated in all the Masses that the Lydians have performed over the years including the Missa Criola and the Missa Cubana. They have played in every Lydians Christmas concert.

They recall that Ms. Bishop took them with her everywhere the choir performed - from the Prime Minister’s residence to Tamarind Square. They remember when the rhythm of the drums was

added to the performance of the National Anthem at the inauguration of then Anglican Bishop Rawle Douglin.

Although Xavier has been a member of the Trinidad and Tobago Regiment Army Drum Corps since 1994 and holds the rank of Sergeant, which has added to his time commitments and responsibilities, and he also heads the West African Dancers Company (WASAFOLI), he will be leading his drummers in this year’s Christmas concert as usual. The Lydians await the next generation of African drummers as Xavier’s two sons, Savion (15 years old) and Xavier Jnr. (10 years old) are accomplished drummers following in their father’s footsteps and hopefully in the Lydian tradition.

The legacy of the drum continues with the Lydians.

Deo Gratias

Modal Interchange: Steel In New Spaces

mo.dal in.ter.change (noun) 1. The practice of temporarily borrowing chords from a parallel tonality while maintaining the same key. Used to enhance the harmonic colour.

2. The experience of practising in borrowed space while never forgetting our origins. Used to test our commitment and explore new possibilities.

“Allyuh, we finally have air condition!”

That was pretty much the exclamation from each Lydian Steel member upon arrival into our first new temporary home for 2019. This July/August vacation, after years of attending rehearsals in the room under the stage at our spiritual and historical home of Bishop Anstey High School, we finally packed up our instruments and accoutrements; our cases, boxes, bags, grips and hundreds of copies of sheet music--a whole musical trousseau as it were--and ventured forth to court another willing location. This would turn out to be a cozy, brightly lit meeting room on the grounds of the First Church of Christ Scientist on Richmond St., POS. Of course, not just the Steel moved base, but the choir as well said farewell to the BAHS Hall and would find themselves accommodated in the main church building.

Practising in this new room was a real exercise in geometry and space management. We exercised our prioritising skills as we came to such scientific conclusions as, “Nahhhh man, I doh really need to take out that extra pan. I will just play “A” the octave higher”. There was definitely an extra layer of frustration if a member didn’t attend after we set up their pans--messing with the maths! Further, as the room was still in use by the church, we had to pack away everything in the corner, piled up like wares (the good china, mind) after almost every rehearsal.

We definitely got our exercise in.

In November, as Christmas preparations got more intense, we packed up again and headed for a more spacious spot. The owners of SoundForge, a slight trek off of Mucurapo Rd have been gracious enough to let us set up in their space even in the midst of their hectic event schedule. Steel was lucky to get a permanent set-up in a under-used room--bigger this time, no packing up and...TWO AIR-CONDITIONS! Okay, so, the muddy reverb when we all play at full volume might be an issue--to be honest, it has made us “buss” practising Dance of the Furies a few times well--but it also made us remember our lessons from Pat about “playing with feathers”.

The theme of this year’s Ruby Anniversary Christmas concert is “Deo Gratias” or “Thanks Be to God”.

We in the Steel certainly have a lot for which we can show our gratitude. For two wonderful spaces where we can rehearse comfortably, keep the pans set up and be almost soundproof? Deo Gratias. For a return to older challenging repertoire that reignites the adrenaline and passion for music? Deo Gratias.

For keeping the band going despite increasingly hectic schedules (Panorama in November...sigh) and family commitments? Deo Gratias.

On behalf of all the Lydian Steel: Tonya, Joseph, Kamaria, Akil, Tommy, Kwesi, Dennis and myself, thank you for the support shown throughout these 40 brilliant years of making music by grace. Merry Christmas!

Astra Noel Co-captain, Lydian Steel

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Celebrating 40 years

Friends in High Places

by Barbara Jenkins

Edward Cumberbatch (photo credit Brent Louis) Barbara Jenkins far right with Marlene Davis (left) and Bertille Allahar (center) The original “Scribes”.

I was back home for Christmas towards the end of the last millennium and looking forward to an uncommitted time to grieve alone. My friend, Pat Ruddell, then Vice-Principal of Bishop Anstey High School, had other plans and called me to say that she had been gifted two tickets by The Lydians to their Christmas concert at the Central Bank Auditorium, and would I like to accompany her. I said thanks but no thanks. I had left England and family to come back home and wallow in my own pit of desolation and I did not welcome the suggestion of seasonal frivolity. But she would have none of it and I relented.

I don’t recall the theme or title. To be truthful, I remember little of it.

But somewhere, towards the end of the show, Edward Cumberbatch came forward, mounted a little raised platform, inclined his chin just that little bit, tilted his head just that mite, looked up, opened his mouth, and in his sweet affirming tenor sang to my soul, I’ve got hope, when things look bad… And the dam that was holding back my rage and impotence and grief broke. I cried and cried and cried then as I’m doing now with that memory and all that came after that night.

The following January I didn’t go back to England. I went instead to Bishop’s Hall at seven one Monday evening. I was early. There were few people about. A woman, seated near the door, said to me, Are you a new member? I don’t remember what I expected, but it wasn’t that. It couldn’t have been that easy assumption, that invitation, that acceptance rolled into such a simple question. Yes, I answered. Rita

Deo Gratias

“

That first evening I expected somebody, some authority to question me, to ask me to sing by myself to show I was worthy, someone to ask about my background in music, in choral singing, but no one did...

”

Lorraine Rostant applying make up to Barbara Jenkins, Donna Bertrand also doing make up.

Turandot (1999)

Pierre, for it was she, said, go to that man and give him your name. Selwyn Wiltshire, poet and recorder of Lydian members’ attendance, entered my name in his ruled, hardcover, bound, folio register under the soprano section.

That first evening I expected somebody, some authority to question me, to ask me to sing by myself to show I was worthy, someone to ask about my background in music, in choral singing, but no one did, not Agnes, not Myrtle, not the other choristers, and not even Pat herself. She came in, saw me there, nodded in my direction, sat down, asked someone, perhaps Randal, to hand out some music and proceeded to teach us something. After choir practice I went up to Myrtle whom I knew from our Fatima days on staff together and asked her whether I should be in the soprano or the alto section as I’d been an alto in my school choir some forty years before. She said, you were in soprano tonight? Stay there. It’s easier. You have the melody. I left BAHS Hall that night, a fully committed Lydian.

Inevitably, the story of my relationship with the Lydians is the story of my relationship with Pat

Bishop. Pat and I were born in the same year, she in May and I in December. We were in the same class in Tranquillity Girls’ Intermediate School and after we’d both won exhibitions, she went off to Bishop’s and I to SJC, POS, never the twain to cross paths for many years. She went to university in England, I to Wales round about the same time.

We came back home, she doing her various things, I my one thing. I’d see her conducting Desperadoes at Pan is Beautiful, hear her voice on radio, catch a glimpse on TV, see her large and in charge at Lydians concerts over the years. And then, without any preamble, here I was, a Lydian, and Pat became my mentor.

Soon after I joined, the choir presented the Verdi Requiem and The Seven Last Words of Christ.

How well I remember the thrill and the sense of personal pride I felt to be among real singers at the top of their game when we went on stage before an expectant audience. To be there among Glenis, Joanne, Randal, Eddie, Andre, Celestine, Miriam, Germaine, Langford, Jenny, Noel, Orlando, Dirk.

I was big, so much bigger than just me, lifted to a higher plane of existence just by association. These were not professional singers who dropped in for a couple rehearsals before a show. These were Lydians who on arriving to a practice went to the back of the hall, picked up a chair placed it where there was space, sat down, followed the music, were drilled note by note, sang the same lines over and over, listened to the notices, said the closing prayer, just like everyone else, then picked their chairs, stacked them with everybody else’s and went home.

Every Monday, Wednesday and Friday evening from seven until.

I was an active member of The Lydians for many decades. I saw young choristers come in with their parents, grow up and become parents themselves, go away and come back or not, older ones and some not so old, leave us forever. But we were a family who loved and supported one another in good times and in other times. We would join hands and pray for members and their families, and we would applaud success. Once a Lydian, always a Lydian and I meet fellow Lydians who still count me among

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themselves even though I’m rarely there these days.

And it is the singing, the mutual dependence and interdependence of a choir, this abandonment of everything else once you’re there in common purpose, this fellowship and mutual caring that kept me up through so many hard times. I can’t sing, but leaning on Pat Whittle and Utilda Knights, I could make as if, and derive as much joy and sense of accomplishment as anyone else with the gift of a voice.

Pat used to say, this is not a democracy. She meant of course to affirm, mainly to herself I think, that she’s in charge, but I don’t think I’ve ever belonged to any group so lacking in a visible hierarchy. There was Myrtle, Lindy Ann, John, Agnes, Randal, Patrick, Valerie and Jennifer, all of whom had specific roles, but somehow they neither claimed nor were extended any differentiation of status within the choir. Nobody pulled rank.

“

I think now that every one of us, no matter how important we might be in the world outside, no matter how musically gifted or accomplished, knew that Pat was way, way, way above us and we were there to learn, aware that we could never catch up, but perhaps, if we paid close attention, we could learn something, and so narrow the gap, if only a little.

”

Pretty soon after came the twentieth anniversary of the choir. The Lydians were staging Turandot. Pat decided, in spite of her frequently expressed disdain for such things, to form a committee to handle publicity. Lorraine Rostant, an alto, and Dennis Mc Comie, a tenor, seemed to know what that meant.

Pat told Bertille, Marlene and me that we were to do the writing and then left the committee to its own

devices. At the time I didn’t have a computer and I remember writing everything in longhand and giving it to a friend who had one to type it up for me and how helpless I felt when she decided to edit the text, putting in her own choice of words, phrasing, and even inserting and deleting to suit herself. That propelled Marlene and me into buying our own desktops and learning how to use them. But our role didn’t end there.

I remember going down Charlotte Street to beg for little gifts for patrons and amassing hundreds of those tiny blue and white sauce bowls with the translucent rice grain pattern and thousands of chopsticks which we wrapped in pairs in brown paper and tied with red raffia. We spent long nights in Chaguaramas at the Callaloo Company with Kathryn Chan decorating with paint the choristers costumes. The production was a brilliant success, running for over a dozen performances to full audiences at The Trinidad Country Club. Every aspect garnered highest praise. I should remember which Caciques Turandot won, I don’t, but I do remember that the Carlisle Chang and Gillian Bishop designed costumes copped the Cacique award for Costuming and Pat Bishop the Cacique for Musical Direction.

Thereafter Pat referred to the three writers as The Scribes and she would call us to meet with her when choir rehearsal was well advanced for whatever we were doing next. We met at Alfredo Street, most often at her bedside, where she would share with us her stream of consciousness about the production.

Deo Gratias

She’d be holding her yellow legal pad and sketching the set, a costume, a programme flow while talking and we’d be scribbling trying hard to keep abreast.

I felt privileged to be present when Pat was on fire with a new production. She never did only one thing.

When we had a big production, it was as if her fire would consume her if she didn’t feed it more fuel than the Lydians alone could provide. Invariably it would be a series of paintings, often on a theme related to the musical production. So, you’d be talking with her about the Lydians production and she’d be showing you a painting she was working on at the same time.

For the Lydians, Pat was the source of everything.

From the choosing of the music through the drilling, the orchestra training, the costuming, the set, the sound, the publicity design, the choreography, to how our faces looked on stage, Pat was the one with the vision, the skill, to make it happen. And the venues she took the choir to. Pat was convinced that you should meet people where they are, not where you wanted them to be. We Lydians took our productions to every church hall, school hall, every open air space, every concert hall and panyard we were asked to perform in, up and down the length and breadth of the country, not just shows, but funerals, weddings, national events, command performances for visiting Heads of State.

Once she’d invested a responsibility in someone, she left that person to carry it out without interference. She didn’t micromanage. I’d say she

didn’t even manage. She’d choose her people, place her trust and confidence in them, and she’d let go and move on. This had the effect of making such a trustee enormously responsible, learning quickly how to do what was needed beyond your early competency. And she’d say, when you handed her what you’d done, anything better than this is wrong.

The only area of activity she wasn’t interested in was the finances. That she left completely in the hands of others. Go and ask ‘Miss Moneybags’, she’d say, referring to Valerie our treasurer, if you said you needed money for something you were put to do. And, when it became a thing, she derided computers, ‘wickedpedia’ and social media.

You got the feeling that nothing was ever fixed permanently, everything was fluid even during an actual performance. You had to look at her, really fix your eyes on her all the time for anything could change from the last time you did it, depending on so many factors, the world, our own country, the audience, the accompaniment, the soloists, and not least Pat herself, for she was attuned to every nuance of atmosphere and mood around her. It was like every nerve every fibre of hers was atingle, like the invisible filaments of a jellyfish, ready to respond to the slightest stimulus in the environment, changes in salinity, density, light, movement, chemical composition and particulates. You’d have dancers – Caribbean School of Dance, Metamorphosis, Malik Folk, Shiv Shakti, Sat and Mondira, flitting cross the stage; there’d be Tassa drummers, African drummers, brass and her own Lydian Steel. She’d

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“

be adding layers, textures, sensations up to the last minute. During rehearsal, anybody could walk in and the choir would be told, say goodnight to David, Peter, Boogsie; stand up and sing something for my school friend Helen visiting from the States, for His Lordship, the Bishop, for our boy Barry, back home on holiday. And who knows what those in-rehearsal conversations stimulated that would later feed into the production.

They say there’s no such thing as coincidence, no such thing as accident. I do try not to go into what ifs, to think about paths not chosen, to lay too much at the door of serendipity. But I count as one of my great pieces of good fortune the night I went to that Christmas concert and heard Eddie sing ‘I’ve Got Friends in High Places’ and the decades that followed with Patricia Alison Bishop and The Lydians.

I loved how she’d take an opera and make it into something uniquely our own.

I’ve got hope when things look bad And I can smile when I should be sad I’ve got friends who lift me up when I’m feeling low And they watch over me, wherever I may go I’ve got friends in high places

”

In Pat Bishop’s head and hands, The Song of Hiawatha was a First People’s story, complete with woven palms, smoke ceremony and all; Orpheus and Eurydice became a love story set in a panyard at Carnival, performers in sailor mas costumes, imps, blue devils, dragon, burroquite, tout baghi, and we performed in panyards among the racks.

Pat often spoke of communing deeply with longdead composers, so we’d hear, for Winterreise, her final work with Eddie and Lindy Ann, Allison, Pat Roe and Mondira, we’d hear Pat Bishop say in all seriousness, “I spoke with Schubert and he’s completely in agreement with the introduction of dramatic elements into the production. He said he would do it that way too if he was here now.” For the Misa Cubana Pat’s last major work with the whole choir, we had the gift of the wonderful presence of José María Vitier, the composer himself, and his family. Pat’s exhibition that year, featuring La Virgen de la Caridad del Cobre, the patron saint of Cuba, was called ‘Rehearsal’. None of us could foresee that it was a rehearsal for her leaving us. She did one more series of paintings, ‘She Sells Sea Shells by the Seashore’ and one more work, ‘Winterreise’, neither of which she lived to see exhibited and staged.

Barbara Jenkins November 2019

Deo Gratias

Notes on 40 years from the Choir Lydian Family Ties

by Alicia Fisher, Soprano Section Leader

I joined The Lydian Singers in January 2010 after many years of saying “I must be a part of that group”.

I distinctly remember attending their offering of Handel’s Messiah the previous Christmas season which left such an indelible impression on me; it was what I needed to make that first step. It has been a very interesting ride. I’ve learned so much and grown as a singer. There are so many aspects to choir life with the Lydians, not least of which is how often we rehearse. Three [3] nights a week is a lot to ask of anyone and at the time my daughter Analeze was just 13 years old. She would often accompany me on some of the long nights of practice and Dr. Pat Bishop use to say to her “young lady, this is not a concert, anyone that comes to this space has to sing”. She used to decline shyly and often found refuge in the car for the rest of the evening.

Somehow in January 2016, at one of her visits to choir practice, Carl-Anthony Hines was able to convince her to stop spectating and join the Sopranos. I was quite surprised since she had never before indicated any interest in choral singing.

Nonetheless, I was very pleased to have her share in my passion in a tangible way.

I often go into mom-mode with her but overall, I consider singing alongside my daughter as a gift.

She would sometimes complain that as section leader, I push her harder than anyone else in the group. This may be a bit true, but I know she is talented, and I wish her to develop and show the world her true self. To know that something that I have always loved was passed on to her, to have her embrace the experience and love it as much as I do is its own reward. It feels very special to be able to do something we both love together.

At the Lydians, no experience is necessary to join.

I have had the privilege of singing in many choirs before, but this is where I have the most fun. Choirs that freely accept singers – or rather persons who love to sing – help to break down barriers and instead build bonds with new persons in a common space.

I call choir time my stress reliever. This journey is made even better by sharing it with my heartbeat

-Ana. Deo Gratias!

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Words from the Altos

compiled by Christine Chan-A-Shing, Alto Section Leader

The Lydians 40 years a choir: The perspective of the Lydian Altos Rehearsal has ended for the evening and after a brief respite I collect my things to head out. One of our deeply appreciated, new members motions that he would need a lift home. Where we practice now is nice, but a bit off route, we continue to be each other’s keepers and carpooling is the order of the day. On the way he asks, “Miss how long have you been in the choir”? I answered “I joined the Lydians in 1987” he gasped, I thought as I added it up, that is probably longer than his lifetime currently. I said “humm could be before you were born” he laughed and agreed. As I continue to muse over this it occurred to me that the Altos are probably among the longest standing members of The Lydians. We have seen many members come to The Lydians as children and young people over the past 40 years and our music ministry, as we call it, has shaped lives, given hope and built characters that will be an asset to any organization or community. To do what we do and survive against tremendous odds require dedication, patience, understanding, compassion, loyalty humility, discernment and determination.

Most of all the way we do what we do places God at the centre of our Ministry, in the words of our Mission Statement “music is a gift and the ability to perform it is grace” no performance starts without a prayer of acknowledgement that we are but “his instruments of praise”. Every practice ends with a prayer of gratitude, an acknowledgement that we are indeed richly blessed. As we stand on the threshold of change in our organization, the Altos share the views of the Lydian family that it is an appropriate time to shout ‘Thanks be to God’ our challenges we see as avenues for greater growth.

We look forward to our next milestone with the

hope that we will overcome the limitations imposed by lack of continuous sponsorship and a home for the choir.

Here are some views of the Altos to the question

“The Lydians 40 Years a Choir, what’s on your Mind”?

“The Lydians is my place of refuge after more than 20 years this is my home”.

“I have always enjoyed singing with the Lydians”.

“After 40 years we have no place of abode, after 40 years the Israelites got to the Promised Land.

Where is ours”?

“I hope it lasts forever”.

“I never regretted singing with the Lydians”.

“I am a new member I hope to be a part of the Choir for a long time”.

“I have been a Lydian for many many years (20) and it is still my first choice”.

“Will continue to be a blast”.

“Together for 40years we the Lydians have defied the odds and I feel privileged to be a member of the choir as we celebrate our ‘ruby anniversary”.

“I am a beginner with a passion for the Lydians”.

The Grit, Glitz, Glamour, and Glory of being a Lydian Man.

By Atiba Perouze

The Glory of being a Lydian Man comes from being a member of a Family of performers who – against all odds – come together and give their best, regardless of their individual personal struggles, to support each other and the choir as a whole. The Glory of being a Lydian Man comes from knowing that you are loved and supported as part of a team. The Glory of being a Lydian Man comes from the knowledge that WE did this TOGETHER for the success of EACH OTHER. I would not give it up for anything in the worldA sentiment shared by all. Our stories may start differently but, in the end, we are moulded into what you see before you, PROUD Lydian men.

“I came to the Lydians wanting to be a part of something. I was going through a period of depression and someone heard me singing and asked me to join. I am into metal music and while the choir does not do metal I developed an interest in EVERYTHING. There are very different age groups. There is a great sense of welcoming, even teenagers, and a great sense of loss when a member passes on. It is definitely a family. We have FUN. We have been called the ‘stush’ choir...HA! I do not sound depressed, do I?” – Fidel, Bass

Deo Gratias

“The details of my first day joining are a bit of a blur, but I do remember the feeling of anxiety...after all this was *THE LYDIANS!!!*, I was placed with the 2nd tenors between Jed Charles and Simon Wiltshire, given a copy of what was being taught, and that was it... from that first evening, the comradery that existed among the men impressed me, and I soon felt at home. That feeling hasn’t changed 20 years later, and even though some faces are gone, and new ones take their place, there is nothing better than singing with my Lydian brothers and family. Proud to be part of this legacy and celebrate our 40th.” - Garnet, Tenor “The exposure to the many talented and gifted beings that I experienced during my 20+ years in this choir has been extremely life altering, spirit uplifting and emotionally transforming to me. Mind you, those people are not supernatural or even demigods because they had their flaws too, but when the common goal of creating music arose, all differences disappeared...the sun touched the horizon!

There are many, many, many interesting and unique characters that comprise this choir.

But my favourite are the Lydian men: past and present, alive or deceased, active or on sabbatical. No words can describe the bonds, the humour, the dedication...the Eddie!

Like any family, you have fallouts, but you always remain with love, respect and camaraderie. The best time however is when we create magic and touch that one person in the audience and let them experience the power of music. That’s who we are.” - Dirk, Baritone

The men will continue to support and uphold the mission of the Lydians, ensuring that we deliver the quality sound that Trinidad and Tobago has grown to love, while we grow in music and in love for forty more years to come!

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Plans, Hopes, Dreams and Wish Lists for Christmas, 2020 and beyond

“One might ask how an artistic group in Trinidad and Tobago maintains itself given that there are no foundations, government agencies or special funds for the establishment or furtherance of such groups. More specifically, how do the Lydians, a group existing for the last 15 years manage to continue? The possible sources of funding are: self - in which the group’s activities generate sufficient income to meet its needs; donations from the public; various solicitations; fundraising events and corporate sponsorship. members of the Lydians are asked to contribute ten dollars a month towards the running of the group. If this is multiplied annually by an average of one hundred persons, the amount of twelve thousand dollars is obtained.

Imagine purchasing music, acquiring and maintaining instruments and paying transport costs with this princely sum!”

- From the programme note, “Funding of the Lydian Singers” written by Valerie Davidson, Treasurer of the Lydians, (1997)

While the Lydians are excited to initiate the start of its 40th anniversary celebrations, looming at the back of every mind is the current challenge before us. In our 40th year, we find ourselves in the circumstance of both having recently lost a long-standing sponsor in 2014, along with the recent loss of our rehearsal space that has housed the group for the last 40 years. We are nevertheless eternally grateful for the performances we have been fortunate to do, the booking fees of which have kept our mission of music alive, along with the venue hosts who have come to our aid to provide us with rehearsal spaces when we have been in need.

We continue to work assiduously on casting a wide net for support of our mission and despite these challenges, we look to the year ahead for which we have several plans, hopes, dreams and wishlists.

WHAT YOU CAN DO TO HELP US 1. Ask us about our Partnership Prospectus The Lydians official Partnership Prospectus is available with several attractive categories of financial sponsorship for consideration. You can support and partner with us by choosing one of the sponsorship options available. We are prepared to discuss terms in finding a solution that is mutually beneficial to you, to The Lydians, to our mission and our communities. To ask us about our Prospectus, please contact the Lydian Singers Board at thelydiansingerstnt@gmail.com.

2. Make a recommendation for individual donations Some of our needs can be supported by individual donation of any of the following items: • New Keyboards - for the continuation of our musical accompaniment • A Public Address Sound System - to facilitate the ease of Lydians community performances outside of the traditional concert hall • Steel Pan donations - to facilitate the expansion of the Lydian Steel • Choral Risers - to facilitate the ease of Lydians community performances outside of the traditional concert hall • Set Design Costs - Every Lydian-produced concert is a fundraising venture and off-setting

Deo Gratias

•

•

•

•

•

costs relieves a great load from our concert production budgets Uniform Costs - Outfitting over 120 members of the Lydians can be daunting; donations in the area are always welcome Storage Costs - 40 years of musical excellence creates 40 years of tangible excellence on our iconic set pieces, costumes and music from past Operas and major concerts Transportation Costs - the Lydians is a performing choir and we are often in high demand for fundraisings and outreach performances nation-wide, which require our instruments to come along with us Chairs - With the absence of a permanent rehearsal space, this has become an unforeseen expense for the choir. To perform at our best, the minimum comfort for members is needed.

Location space for practice [choir or steel] - This is perhaps our greatest challenge and we are open to all recommendations for a permanent rehearsal space for the year 2020 and beyond.

3. Support our plans for the 40th Anniversary The Lydians from the last quarter of 2019 will begin what we hope to be a full twelve months of musical and non-musical events that will adequately highlight and celebrate this ruby anniversary of the organization. Some of the proposed upcoming musical events are: • February – March 2020 - Biennial Trinidad and Tobago National Music Festival • April 2020 – Lydians on the Mount Easter Concert (Sacred works by Lydian/ contemporary Caribbean composers) • June - July 2020 – Lydian Mid-year concert series: • Puccini’s Messa di Gloria • SATB recital concert featuring Janine Charles-Farray (Alto), Germaine Wilson (Soprano), David Williams (Tenor), Dirk Govia (Bass) • Seasons of Steel - Lydian Steel in concert.

• To Be A Lydian - Feature-length documentary film about the Lydians

BENEFITS TO YOU Support music excellence.

You will be supporting top-class music which has been rehearsed and performed to demanding standards, from a reputable group with a positive community-based brand.

Share your story to new stakeholders…

Tell a new and varied audience about how much your company or organization values and cares about music, the arts, and culture with free publicity and an advertising presence on our social media platforms and concert brochures, booklets and promotions.

…and connect with friends As a sponsor, you could potentially hold your own pre-concert reception for your organization or beneficiary charity.

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DEO GRATIAS CAST & CREW LYDIAN SINGERS *Section Leads Sopranos BAILEY, Erica BAKSH, Sherry-Ann BOLAND, Alliyah COKER, Camille COOPER-LEACH, Marielle DAVIDSON, Valerie De FREITAS, Nicole FISHER, Alicia* FISHER, Analeze HARPER, Wilza HILAIRE, Jade HODGE-CHRISTIAN, Lyris HAMLET, Alison KING, Sharon KING-LAWRENCE, Fayola, KNIGHTS, Utilda* LEON, Simone MATTHEWS, Kiara MARCANO, Josanne MOSES, Khadija PETERS, Cheryl PETERS, Michela PIERRE, Phaedra POTTS, Glenis PYLE, Joanne QUINTAL, Jeanine VIALVA, Samantha WHITTLE, Patricia YEARWOOD, Glenis Altos ALKINS, Patricia ALLEYNE, Francine BYNOE, Adele CHAN-A-SHING, Christine* CHARLES-FARRAY, Janine CHEVROTIERE, Gillian DANIEL-LINTON, Paula DAVID-LEWIS, Christine DRAKES, Marilyn GAYLE, Nadine GEORGE, Jacqueline GILBERT, Marlene GLASGOW, Donna GREGORY, Sandra HARRINGTON, Janice

HENRY, Nisha HODGE, Selma LUCAS-MITCHELL, Renée Mc CLEAN-PARRIS, Nickisha Mc CONNEY, Elsa Mc FEE, Simone MOHON, Rhona NEAVES, Annette NEAVES, Lendl PIANGO, Teodolina PHILLIPS-CHANCE, Judy-May RAMCHAN, Mary RENAUD, Diane RICHARDS, Marrissa SEALEY, Jacqueline TARDIEU, Judy* TRIM, George-Ann THOMAS, Avion WILLIAMS, Claire Tenors ALLEN, Garnet BEARD, Alexander J. BETHELMY, Jean-Paul CAMPBELL, Alvin CUMBERBATCH, Edward Mc LEAN, Marvin Sheldon MENDEZ, Kory MENDOZA, Charles, ‘Berlin’ WILLIAMS, David* WILLIAMS, Jamel* Basses CLOUDEN, Kadesh Jonathan COLLYMORE-JONES, Bruce GIBBS, Matthew GOVIA, Dirk GUERRA, Fidel* REID, Olusanmi ‘Terry’ SHEPPARD, Kerry WHISKEY, Tarik WHITEHALL, Anthony WILLIAMS, Anton*

MUSICIANS

LYDIAN STEEL BROWN, Kareem Tenor/Double Tenor CHARLES, Kamaria Double Seconds JACKSON, Ben Conductor KNIGHTS, Joseph Tenor/Double Tenor LOOBY, Akil Tenor Bass MOORE, Kwesi Six Bass NOEL, Astra* Double Guitar PEROUZE, Tonya* Tenor/Double Seconds REDHEAD, Marlon Tenor Bass ROBERTS, Dennis Percussion & Drum Kit Accompanists BODDEN-RITCH, Lindy-Ann CUMBERBATCH, Myrtle ESDELLE, Chantal JACOB, John NOEL, Astra SAMLAL, Andrew Other Musicians BELL, James Guitar BERTRAND, Patrick Box Bass CLARK, Gary Cuatro & Mandolin JOSEPH, Natasha Double Seconds SAMLAL, Andrew Guitar TOUSSAINT, Gabrielle Reita Percussion Electric Bass McGREGOR, Sekou

Clarinet BRATHWAITE, Shurvone Violin WEBBER, David Flute MOORE, Kwesi Saxophone HENRY, Michelle Percussion CLARKE, Louise African Drums CLIFFORD, Christopher DYER, Anderson HINDS, Kwasi PHILLIPS, Xavier Tassa Drums BUCHOON, Shivan SEERAM, Jeewan SOOGRIM-RAM, Mitra SOOGRIM-RAM, Prakash SOOGRIM-RAM, Ranjeet SOOGRIM-RAM, Sanjeet

DANCERS DEFOUR, Safiya MOLLINEAU, Kristen SEPAUL, Anya WOODING, Sidelle LYDIAN MUSICAL MUSES ALEXANDER, Delores LAWRENCE, Afesha LAWRENCE, Akida

Deo Gratias

PRODUCTION CREDITS Musical Lead HINES, Carl Anthony Stage Director De GOEAS, Mervyn Creative Concept & Production Manager CHARLES-FARRAY, Janine Production Team ALLEN, Garnet BEARD, Alexander J. CHARLES-FARRAY, Janine DAVID-LEWIS, Christine EDWARDS, Claudette WILLIAMS, David HINES, Carl-Anthony ROBERTS, Dennis WILLIAMS, Anton Set Design and Construction JEFFERS, Claude LITTREAN, Christopher RAMSAROOP, Julia ROBINSON, Mwenda Costume Design GUY JAMES, Ronald Costume & Wardrobe CAMPBELL, Jorge COLLENS, Glenda EDWARDS, Claudette WILLIAMS, David Make up Design (MUSICAL MUSES) PADMORE, Adafih Carl’s Suit ECLIFF ELIE Audio Engineers ALVAREZ, Kino CHANGOOR, Alan HARRY, Alroy Lighting Design WELLS, Celia

Choreography & Movement BYNOE, Adele SEEPAUL, Allison Stage Management Team LAVINE, Leslie-Ann RAYSIDE, Dean ROSTANT, Alyssa Communications & Publicity CHARLES-FARRAY, Janine DANIEL-LINTON, Paula DAVID-LEWIS, Christine GIBBS, Matthew LUCAS-MITCHELL, Renée MENDEZ, Kory Mc CLEAN-PARRIS, Nickisha Artwork & Graphic Design CHANDLER, Ayrïd Editorial Team CHARLES-FARRAY, Janine DAVIS, Marlene GIBBS, Matthew Special Guest Management ALLEN, Garnet MENDEZ, Kory ROACH, Carla WILLIAMS, H. Anton Front of House ANTOINE, Catherine ALLSOP, Malik BREWSTER, Alison CUMBERBATCH, Elysia CUMBERBATCH, Richelle CUMBERBATCH, Rhonda de FREITAS CHARLES, Marva DORSET, Lenore, S. FISHER, Allyson KAREEM, Patrice KHAN, Farah JONES-MORALES Jennifer JOSEPH, Helena LEWIS, Alix NIMBLETT, Lynn ROACH, Carla WHITTLE, Titian-Rose

Tickets & Box Office ALLEN, Garnet BOLAND, Alliyah FISHER, Alicia HODGE, Selma MOSES, Khadija ROBERTS, Dennis WILLIAMS, David HOME LAND FURNISHINGS LA TROPICALE FLOWER SHOP QUEEN’S HALL Executive Management Team ALLEN, Garnet BEARD, Alexander J. CHAN A SHING, Christine CHARLES-FARRAY, Janine DAVID-LEWIS, Christine EDWARDS, Claudette HINES, Carl-Anthony KNIGHTS, Joseph PEROUZE, Tonya NOEL, Astra ROBERTS, Dennis Board of Directors CALLENDER, Dawn CHEVROTIER, Gillian DE FREITAS, Nicole FISHER, Alicia FROST, Sterling JAMES, Elson JONES-MORALES, Jennifer ROACH, Carla WHITEMAN, Leslie-Ann Supernumerary Directors COOPER-LEACH, Marielle POTTS, Glenis Secretary MENDEZ, Kory Assistant Secretary WILLIAMS, H. Anton

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ACKNOWLEDGEMENTS A Special 40th Anniversary Thank You!

The Lydians remain deeply grateful to the wide array of dedicated persons who have generously contributed over the years to production design and management, stage management and direction, set design, props and set construction, sound and lighting design, wardrobe, make up, choreography, ushering, dance, printing, photograph, percussion and brass, sponsorship, rehearsal and performance venues, advertising and media coverage.

For Deo Gratias in particular, we thank…

A.S. Bryden & Sons Limited Alison Hamlet-Jones Andes Industries Andy Neil Angostura Limited Anjanie Lochan Anthony Pierre B.C. Catering Limited Bernard Beckles Black Collar Creative Ltd. Blue Waters Products Limited Brent Carter Cindy-Ann Gatt CL Communications Limited Colfire Daily News Limited Dominic Hadeed Fat Boy Venture Limited First Citizens FLOW Trinidad Limited Gary Camejo Gillian Paul Gregory Aboud Guardian Media Limited – The Big Board Company

Home Land Furnishings/ Fabric Land Stores Nationwide Hott 93 Jacinta Pinard-Thompson Jimmy Aboud Kavita Maharaj Keron Yan Kiran Maharaj La Tropicale Flower Shop Lisa Burkett Mark Gomes Marlon Danglade National Gas Company of Trinidad & Tobago Nyasha Lucas Orange Tech Limited Pat Hernandez Paula Daniel-Linton Peter Mansoor Power 102.1FM Pradeep Subrian Prestige Holdings Limited Queen’s Hall Racquel Afong-Joseph

Rasillo Studios Republic Bank Limited Samantha Rochard Save The Date Screen Stars Limited Script-J Sean Ayoung Sherry-Ann Baksh The Board and Staff of the First Church of Christ Scientists The Management and Staff of COSTAATT The Management and Staff of SoundForge The Management MHTL Starlift Steel Orchestra Trinidad and Tobago Television Trinidad Express Newspapers

Deo Gratias

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Celebrating 40 years