Saturday 2 July 2016 at 7.30pm

Conductor: Colin Stevens

Chiltern Orchestral SocietyLeader: Janet Hicks

Registered Charity No. 276980

8 Part Magnificat Concierto Folklorico for Piano Duet

and String orchestra. Psalm 86

Five Folk Songs Spanische Liebslieder

Psalm 148

Piano soloists; Anne Applin and Geoffrey Pratley

Sir Charles Villiers Stanford (30September 1852 – 29 March 1924)was born to a well-off and highly

musical family in Dublin. Stanford waseducated at Cambridge Universitybefore studying music in Leipzig andBerlin. He was instrumental in raisingthe status of the Cambridge UniversityMusical Society, attracting internationalstars to perform with it.

While still an undergraduate, Stanford wasappointed organist of Trinity College,Cambridge. In 1882, aged twenty-nine, hewas one of the founding professors of theRoyal College of Music, where he taughtcomposition for the rest of his life. From1887, he was also Professor of Music atCambridge. As a teacher, Stanford wassceptical about modernism, and based hisinstruction chiefly on classical principles asexemplified in the music of Brahms.Among his pupils were rising composerswhose fame went on to surpass his own,such as Gustav Holst and Ralph VaughanWilliams. As a conductor, Stanford heldposts with the Bach Choir and the Leedstriennial music festival.

Stanford composed a substantial numberof concert works, including sevensymphonies, but his best-rememberedpieces are his choral works for churchperformance, chiefly composed in theAnglican tradition. He was a dedicatedcomposer of opera, but none of his nine

completed operas has endured in thegeneral repertory. Some critics regardedStanford, together with Hubert Parry and

Alexander Mackenzie, as responsible for arenaissance in music from the BritishIsles. However, after his conspicuoussuccess as a composer in the last twodecades of the nineteenth century, hismusic was eclipsed in the twentiethcentury by that of Edward Elgar, as well asother former pupils.

At the end of the war Stanford, whose health was in steady decline, was ordered by hisdoctors to spend the nights out of London, especially while German bombing took placein the capital. At the RCM, he had, like many of his colleagues, experienced the traumaof seeing his finest pupils go off to the front. Even his own son, Guy, had joined up in1915 as a 2nd Lieutenant in the 3rd Reserve Battalion of the Devonshire Regiment and

had been posted to the front line during theBattle of the Somme in 1916. Afterdeveloping appendicitis in late July, Guydid not fight again, but many of Stanford’spupils were to be less fortunate, amongthem Bliss (wounded at the Somme),Moeran (severely injured in the head),Gurney (gassed at St Julien nearPasschendaele) and Farrar (killed inSeptember 1918 at the Battle of EpéhyRonssoy). Others of Cambridge memorydied late in the war, including Alan Gray’stwo sons Maurice and Edward who werecommemorated in Stanford’s Piano TrioNo 3, Op 158 (1918). There was also, on 7October 1918, only four weeks beforeArmistice, the unhappy news of the deathof Parry. For years the two men hadenjoyed a close friendship, but in recenttimes their relationship had becomestrained. Early in 1917 a serious riftoccurred which Stanford bitterly regretted.Owing in part to his wife, who played therole of intermediary, the friendship wasrevived but scars remained. As a symbol ofhis affection, Stanford composed his

Magnificat in B flat, Op 164, for doublechorus, which was completed inSeptember 1918. Unfortunately, Parry diedbefore the work was published thefollowing year. As an indication of thecomposer’s regret, the piece bore thefollowing inscription: ‘This work, whichdeath prevented me from giving to CharlesHubert Hastings Parry in life, I dedicate tohis name in grief. C.V.S.’ In accordancewith the a cappella orientation of the work,Stanford adopted traditional elements ofmotet style such as imitation andantiphony: yet, rather than espouse thesixteenth century wholesale, he insteadlooked to the eighteenth century, to theflorid intricacy and counterpoint of Bachwhose motets he knew intimately as theone-time conductor of The Bach Choir.Although it is reminiscent of Bach’seffusive eight-part Singet dem Herrn einneues Lied (which Stanford conductednumerous times), it also parallels Bach’sown Magnificat whose vigorous openingand closing music seems to re-echo in thecorresponding pages of Stanford’s work.

Magnificat anima mea DominumEt exultavit spiritus meus. In Deo salutarimeo. Quia respexit humilitatem ancillaesuae, ecce enim ex hoc beatam me dicentomnes generationes. Quia fecit mihimagna qui potens est, et sanctum nomenejus. Et misericordia ejus a progenie inprogenies timentibus eum. Fecit potentiamin brachio suo,Dispersit superbos mente cordis sui.Deposuit potentes de sede, et exaltavithumiles. Esurientes implevit bonis, etdivites dismisit inanes. Suscepit Israelpuerum suum, recordatus misericordiasuae sicut locutus est ad patres nostros,Abraham et semini ejus in secula.Gloria patri et spiriti sancto secut erat inprincipio et erit in saecula saeculorum.Amen

(My soul doth magnify the Lord And myspirit hath rejoiced in God my Saviour.For He hath regarded the low estate of Hishandmaiden, for behold, from henceforthall generations shall call me blessedFor He that is mighty hath done to me greatthings, and Holy is his name. And Hismercy is on them that fear Him fromgeneration to generation. He has shewnstrength in his arm. He has scattered theproud in the imagination of their heart.He hath put down the mighty from theirseats and exalted them of low degree.He hath holpen His servant Israel, inremembrance of His mercy.As He spake to our fathers, to Abraham,and to His seed for ever. Glory to theFather the Son and the Holy Ghost, as itwas in the beginning, is now and ever shallbe. Amen.

A distinguished duo partnershipsince 1990, Anne and Geoffreybring to the art form a wealth of

experience in accompanying, chamberensembles and teaching as well asbroadcasting and publishing books oftheir arrangements for piano duet.Through recitals, masterclasses,courses and duet-day workshops theyexplore the treasure chest of music forfour hands on one piano, bringing afresh interpretation to favourite pieces,less familiar works and items in lightermood.

As well as original duets, composers’ ownarrangements for four hands of theircompositions is a particular interest.Researching and discovering new, andalso long-forgotten, repertoire is animportant part of their programming forconcerts, which bring the excitement anddelights of four hands on one piano.

In 2002 they met the Australian composerJohn Carmichael and have since given theUK première of most of his works for pianoduet, including the world première of hisConcierto Folklorico for piano duet andstring orchestra in November 2011. In2005 they made their début cruise, givinga series of recitals on board the QE2 duringher round-the-world cruise, and since thenhave featured as the Classical Musicianson many other cruise ships. They arefounders/tutors of the Piano Duet and TwoPiano course at Benslow Music Trust inHitchin (2016 is its twentieth consecutive

year) and at various other venues nation-wide. Together they give recitals and tutorduet days which can be individualised tosuit requirements. Their books of pianoduet arrangements have been publishedby Kevin Mayhew and they have recordedseveral CDs

John Carmichael was born inMelbourne in 1930. He studiedpiano with Margaret Schofield and

in 1947 won a scholarship to theMelbourne Conservatorium, where histeacher was Raymond Lambert. He alsostudied composition with Dorian LeGallienne. Moving to Europe, he studiedat the Paris Conservatoire with MarcelCiampi and, in London, with ArthurBenjamin and Anthony Milner, a pupil ofMátyás Seiber.

He wrote the music for Britain's Festival ofWomen during this period. He also wrotereviews and critiques for music magazines.He was a pioneer in the field of musictherapy; he also developed music teachingand music appreciation projects at StokeMandeville Hospital and Netherden MentalHospital in Surrey, and worked for theCouncil for Music Therapy in London.

Between 1958 and 1963, he was MusicDirector of the Spanish dance company

Eduardo Y Navarra, during which time hebecame fascinated by Spanish folk idiom.He toured internationally with the group,including an Australian visit. From thiscame the Concierto Folklorico for pianoand string orchestra. John Carmichael hastwice recorded this work with himself assoloist, both times with the West AustralianSymphony Orchestra (1970, conducted byTibor Paul; 1984, conducted by DavidMeasham).

In 1980, his Phoenix Flute Concerto waspremiered at the Sydney Opera House withJames Galway as soloist and the SydneySymphony Orchestra under LouisFrémaux. Galway also played in the USpremiere the same year, at the HollywoodBowl by the Los Angeles Philharmonicunder Michael Tilson Thomas.

In 1984, he appeared as soloist in aperformance of his piano concerto on the"Last Night of the Proms" during the 10thPerth International Arts Festival.

John Carmichael was for some yearsMusical Director of a Spanish dancecompany. This experience gave him thedesire to capture in the form of a pianoconcerto the colour, excitement andglamour of Spanish folk music rangingfrom regional dances to flamenco.

The calm mood of the Siesta is interruptedby the lively rhythms of the Bulerias, aflamenco dance alternating 3/4 and 6/8time while La Noche uses as its principaltheme a cante hondo melody - La

Petenera. This haunting song tells of afaithless woman who, in betraying herlover, met her own death. The finalmovement, Fiestas, begins in a mood offestive excitement: the piano emerges witha quiet melody suggestive of the regionalmusic of Spain. The Jota Arogonesaappears as a counterpoint and this growsin momentum until the flamenco elementsreturn in fiery rhythmic fashion. A cadenzafor the piano is followed by a final burst ofthe fiesta.(Composer’s note).

I. La Siesta Interrumpida II. La Noche III. Fiestas

Gustav Holst is recognized todayas the composer of The Planets,which remains wildly popular,

but for little else except perhaps his StPaul Suite. However, Holst was thecreator of operas, chamber, vocal, andorchestral music of many differentstyles, based on subjects as varied asfolk songs, Tudor music, Sanskritliterature, astrology, and contemporarypoetry. His great interest in Easternmysticism can be heard in his settingsof Choral Hymns from the Rig Veda andhis short opera Savitri.

Gustavus Theodore von Holst (he droppedthe "von" in 1918) was born in Cheltenham,England, in 1874. His grandfather,Gustavus von Holst of Riga, Latvia, acomposer of elegant music for the harp,moved to England and became a

fashionable harp teacher. Holst's fatherAdolph, a pianist, organist andchoirmaster, taught piano lessons andgave recitals; his mother, who died whenGustav was only eight, was a singer.

A frail child whose first recollections weremusical, Holst was taught to play the pianoand violin, and began to compose when hewas about twelve.

Holst met Ralph Vaughan Williams in 1895while they were students at the RoyalCollege of Music, and the two remainedlifelong friends, depending on one anotherfor support and assistance although thereis little similarity in their music.

The two young men and their fellowstudents carried on long discussions ofself-criticism, philosophy, and, wroteVaughan Williams, "every subject underthe sun from the lowest note of the doublebassoon to ... Thomas Hardy's Jude theObscure."

In those days of no royalties or performingfees, Holst found it impossible to earn aliving as a composer, so he took a post asa singing teacher.

Around 1904, he was appointed MusicalDirector at St. Paul's Girls' School,Hammersmith, his biggest teaching postand one which he kept until his death. Holstvisited the United States twice, once tolecture at the University of Michigan, andagain for a six-month period as a lecturerat Harvard.

He died in 1934, four months short of hissixtieth birthday, after a lifetime of poorhealth exacerbated by a concussionsuffered in a backward fall from theconductor's podium, from which he neverfully recovered.

PSALM 86Soloists; Cliff Brown (tenor) and KatieHughes (soprano)To my humble supplication, Lord, give earand acceptation.Save Thy servant, that hath none help norhope but Thee alone.Send, O send relieving gladness to mysoul opprest with sadness,which, from clog of earth set free, wingedwith zeal,flies up to Thee.

Bow down Thine ear, O Lord, hear me, forI am poor and needy.To my humble supplication, Lord, give earand acceptation.Preserve my soul for I am holy, O Thou,my God, save Thy servant that trusteth inThee.

Be merciful unto me, O Lord, for I cry untoThee daily. Rejoice the soul of Thyservant, for unto Thee, O Lord, do I lift upmy soul. Send, O send relieving gladnessto my soul opprest with sadness. Thou,Lord, art good and ready to forgive, andplenteous mercy unto them that call uponThee. Give ear to the voice of mysupplication.

I will praise Thee O Lord, my God with allmy heart and I will glorify Thy name forevermore.To Thee, rich in mercies’treasure, and in goodness withoutmeasure, never failing help to those whoon Thy sure help repose. Heavenly tutor ofThy kindness, teach my dullness, guide myblindness, that my steps Thy paths maytread, which to endless bliss do lead.

Ralph Vaughan Williams isarguably the greatest composerBritain has seen since the days

of Henry Purcell. In a long and extensivecareer, he composed music notable forits power, nobility and expressiveness,representing, perhaps, the essence of'Englishness'.

He was born in 1872 in the Cotswoldvillage of Down Ampney. He was educatedat Charterhouse School, then TrinityCollege, Cambridge. Later, he was a pupilof Stanford and Parry at the Royal Collegeof Music after which he studied with MaxBruch in Berlin and Maurice Ravel in Paris.

At the turn of the century he was amongthe very first to travel into the countrysideto collect folk-songs and carols fromsingers, notating them for futuregenerations to enjoy. As musical editor ofThe English Hymnal he composed severalhymns that are now world-wide favourites(For all the Saints, Come down O loveDivine). Later he also helped to edit TheOxford Book of Carols, with similarsuccess.

Vaughan Williams volunteered to serve inthe Field Ambulance Service in Flandersfor the 1914–1918 war, during which hewas deeply affected by the carnage andthe loss of close friends such as thecomposer George Butterworth.

Before the war he had met and thensustained a long and deep friendship withthe composer Gustav Holst. For manyyears Vaughan Williams conducted andled the Leith Hill Music Festival, conductingBach’s St Matthew Passion on a regularbasis. He also became professor of

composition at the Royal College of Musicin London.

In his lifetime, Vaughan Williamseschewed all honours with the exception ofthe Order of Merit which was conferredupon him in 1938. He died in August 1958,his ashes are interred in WestminsterAbbey, near Purcell.

In a long and productive life, music flowedfrom his creative pen in profusion. Hardly amusical genre was untouched or failed tobe enriched by his work, which includednine symphonies, five operas, film music,ballet and stage music, several songcycles, church music and works for chorusand orchestra.

A statue of Vaughan Williams inDorking, Surrey, where he lived from

1929 to 1953.

1. The Dark Eyed SailorIt was a comely young lady fair, waswalking out for to take the air;She met a sailor on her way, so I paidattention to what they did say.Said William, “Lady why walk alone? Thenight is coming and the day near gone”She said, while tears from her eyes did fall,“It’s a dark eyed sailor that’s proving mydownfall. It’s two long years since he leftthe land. He took a gold ring off my hand.We broke the token, here’s part with me,and the other lies rolling at the bottom ofthe sea” Then half the ring did youngWilliam show, she was distracted midst joyand woe. “O welcome, William I’ve landsand gold for my dark eyed sailor”.Then in a village by the sea, they joined inwedlock and well agree.So maids be true while your love’s away,for a cloudy morning brings forth a shiningday.

2. The Spring Time Of The YearAs I walked out one morning in the springtime of the year, I overheard a sailor boy,likewise a lady fair. They sang a songtogether, made the valleys for to ring, whilethe birds on spray and the meadows gayproclaimed the lovely spring.

3. Just As The Tide Was FlowingOne morning in the month of May, down bysome rolling river, a jolly sailor, I did stray,when I beheld my lover, she carelesslyalong did stray, a-picking of the daises gay.And sweetly sang her round –de- lay justas the tide was flowing.O! Her dress it was so white as milk, hershoes were made of the crimson silk.Her cheeks were red, her eyes brown, herhair in ringlets hanging down.She’d a lovely brow without a frown, just asthe tide was flowing.

I made a bow and said “Fair maid, howcame you here so early? My heart by youit is betrayed, for I do love you dearly. I ama sailor come from sea, if you will accept ofmy company to walk and view the fishesplay”.No more was said, but on our way wegang’d along together. The small birdssang and the lambs did play, and pleasantwas the weather. When we were weary,we did sit down beneath a tree withbranches round. For my true love at lastI’d found. Just as the tide was flowing.

4. The Lover’s GhostWell met, my own true love. Long time Ihave been absent from thee. I am latelycome from the salt sea, and ‘tis all for thesake, my love, of thee.I have three ships all on the salt sea andone of them has brought me to land. I’vefour and twenty mariners on board. Youshall have music at your command.The ship where-in, my love shall sail, thesails shall be of shining silk, the mast of thefine beaten gold. I might have had a King’sdaughter, and fain she would have marriedme, but I forsook her crown of gold. And‘tis all for the sake, my love, of my love ofthee.

5. Wassail SongWassail, wassail all over the town, ourbread it is white and our ale it is brown.Our bowl it is made of the green mapletree. In the wassail bowl we’ll drink untothee. Here’s a health to the ox and to hisright eye. Pray God send our master agood Christmas pie. A good Christmas pieas e’er I did see. In the wassail bowl we’lldrink unto thee. Here’s a health to the oxand to his right horn. Pray God send ourmaster a good crop of corn. A good cropof corn as e’er I did see. In the wassail

bowl we’ll drink unto thee. Here’s a healthto the ox and to his long tail. Pray Godsend our master a good cask of ale. Agood cask of ale as e’er I did see. In theWassail bowl we’ll drink unto thee. Comebutler come fill us a bowl of the best, then Ipray that your soul in heaven may rest, butif you do bring us a bowl of the small, maythe devil take butler, bowl and all. Thenhere’s to the maid in the lily white smock,who tripp’d to the door and slipped back thelock. Who tripp’d to the door and pull’d backthe pin. For to let these jolly wassailerswalk in.

If you like what you hear (and see)tonight, and would like to be

involved as a choir member, patronor helper (or perhaps you wouldsimply like to learn more about

Tring Choral Society), our web sitewill provide a mine of information.

Our web site contains details offuture concerts, rehearsal datesand many other details that are

sure to interest friends of our choir.You can visit us at

www.tringchoral.org.uk

As a member of the choir, you willnot only have the chance to sing

some of the world’s greatest music,but you will also benefit from the

choir’s healthy social life!

Our Membership Secretary,Margaret Collier, will be

pleased to hear from you on 01296660406 or email;

margaretmcollier@gmail.com

WHY NOTJOIN US ?

17th December 2016A Celebration of

Christmas.

With a choir from TringSchool, we present aconcert of Christmas

music including Finzi’s Interra pax and Britten’s ACeremony of Carols, with

carols for choir andaudience, orchestra and

organ.

Robert Schumann was born inZickau, Germany on 8 June 1810and is widely regarded as one of

the greatest composers of the Romanticera. He left the study of law, intending topursue a career as a virtuoso pianist.

He had been assured by his teacher,Friedrich Wieck that he could become thefinest pianist in Europe, but a hand injuryended this dream. Schumann then focusedhis musical energies on composing.

His published compositions were writtenexclusively for the piano until 1840; he latercomposed works for piano and orchestra;many Lieder (songs for voice and piano);four symphonies; an opera; and otherorchestral, choral, and chamber works.Works such as Kinderszenen, Album fürdie Jugend, Blumenstück, the Sonatas andAlbumblätter are among his most famous.His writings about music appeared mostlyin the Neue Zeitschrift für Musik (NewJournal for Music), a Leipzig-basedpublication which he jointly founded.

In 1840, he married Friedrich Wieck'sdaughter Clara, against the wishes of herfather, following a long and acrimonious

legal battle, which found in favour of Claraand Robert. Clara also composed musicand had a considerable concert career asa pianist, the earnings from which formed asubstantial part of her father's fortune.

Schumann suffered from a lifelong mentaldisorder, first manifesting itself in 1833 asa severe melancholic depressive episode,which recurred several times alternatingwith phases of ‘exaltation’ and increasinglyalso delusional ideas of being poisoned orthreatened with metallic items. After asuicide attempt in 1854, Schumann wasadmitted to a mental asylum, at his ownrequest, in Endenich near Bonn.Diagnosed with "psychotic melancholia",Schumann died two years later in 1856without having recovered from his mentalillness.

Those among our audience who areinterested in technicalities may like toknow the following.

The Spanische Liebeslieder is essentiallya work in G minor with episodes in therelative major (two items in B flat major),the submediant (E flat major) and a largecentral panel in the dominant (theRomanze in D major), which acts as apivotal point between the two halves of thecycle and ushers in the dance in G minor,which introduces Part Two. The tonalscheme and the allocation of solos makethe Spanisches Liebeslieder a neater andmore consciously constructed cycle thanSchumann’s earlier SpanischesLiederspiel. (Adapted from notes byGraham Johnson © 2002)So there you have it!

(NB In our performance, we sing theRomanze in Db major)

1 VorspielPiano, four hands

2.Tief im Herzen trag’ ich PeinTief im Herzen trag’ ich Pein. Tief imHerzen trag’ ich Pein, Muss nach aussenstille sein. Den geliebten Schmerzverhehle Tief ich vor der Welt Gesicht; Undes fühlt ihn nur die Seele, Denn der Leibverdient ihn nicht. Wie der Funke, frei undlicht, Sich verbirgt im Kieselstein, Trag’ ichinnen tief die Pein.(Deep in my heart I bear the pain, butoutwardly must silent be. I conceal thisbeloved anguish deep from the face of theworld and only my soul feels it, for my bodydeserves it not. As the spark, free and light,is hidden in the pebble, so I my pain docarry deep inside me.)

3 O wie lieblich ist das MädchenO wie lieblich ist das Mädchen, Wie soschön und voll Anmut. Sag’ mir an, duwackrer Seemann, Der du lebst aufdeinem Schiffe, Ob das Schiff und seineSegel, Ob die Sterne wohl so schön sind!Sag’ mir an, du stolzer Ritter, Der du gehstim blanken Harnisch, Ob das Ross und obdie Rüstung, Ob die Schlachten wohl soschön sind! Sag’ mir an, du Hirtenknabe,Der du deine Herde weidest, Ob dieLämmer, ob die Matten, Ob die Berge wohlso schön sind!(O how charming is the maiden, howbeautiful and full of grace, how beautiful!Tell me now, O valiant sailor, you who liveupon your ship, whether the ship with all itssails, whether the stars are just asbeautiful! Tell me now, O proud knight, youwho ride in shining armour, whether yoursteed and all his harness, whether thebattles are just as beautiful! Tell me now,O shepherd boy, you who take your flockto pasture, whether the lambkins and themeadows, whether the mountains are just

as beautiful! O how charming is themaiden, how beautiful and full of grace,how beautiful!)

4 Bedeckt mich mit BlumenBedeckt mich mit Blumen, Ich sterbe vorLiebe.Dass die Luft mit leisem Wehen Nicht densüssen Duft mir entführe! Bedeckt mich!Von Jasmin und weissen Lilien Sollt ihrhier mein Grab bereiten. Ich sterbe. Undbefragt ihr mich: Woran? Sag’ ich: Untersüssen Qualen Der Liebe.(Cover me with flowers, I die of love. Letthe gentle breeze not take from me theirsweet scent! Of jasmine and white liliesprepare here my grave. Cover me withflowers, for I die. And if you ask me:Whereof? I reply: Of the sweet pangs oflove.)

5 Flutenreicher EbroFlutenreicher Ebro, Blühendes Ufer, All’ ihrgrünen Matten, Schatten des Waldes,Fraget die Geliebte, Die unter euch ruhet,Ob in ihrem Glücke Sie meiner gedenket.Und ihr tauigen Perlen, Die ihr im FrührotDen grünenden Rasen Bunt mit Farbenschmückt, Fraget die Geliebte, Wenn sieKühlung atmet, Ob in ihrem Glücke Siemeiner gedenket. Ihr laubigen Pappeln,Schimmernde Pfade, Wo leichten Fusses,Mein Mädchen wandelt, Wenn sie euchbegegnet, Fragt sie, fragt sie, Ob in ihremGlücke Sie meiner gedenket.(O Ebro rich in floods, and riverbank inbloom, all you green meadows and forestshades, ask my beloved, who restsbeneath you, if in her happiness she isthinking of me! And you pearls of dew, whoin the early red of dawn decorate theverdant grass with many colours, ask mybeloved, as she breathes the cooling air, ifin her happiness she is thinking of me!You leafy poplars and shimmering paths,

whereon my lady treads so light of foot,when she meets you, ask her If in herhappiness she is thinking of me! Youswarming birds, who greet the sunrisesinging with voices of flutes, ask mybeloved, this riverbank’s flower, if in herhappiness she is thinking of me!)

6 Intermezzo – NationaltanzPiano, four hands

7 Weh, wie zornig ist das MädchenWeh, wie zornig ist das Mädchen, Weh,wie zornig, weh, weh! Im Gebirge geht dasMädchen Ihrer Herde hinterher, Ist soschön wie die Blumen, Ist so zornig wiedas Meer. Weh, wie zornig ist dasMädchen, Weh, wie zornig, weh, weh!(Woe, how angry is the maiden, woe, howangry, woe, woe! On the mountains shefollows her flock. She is beautiful as theflowers, but angry as the sea. Woe, howangry is the maiden, woe, how angry, woe,woe!)

8 Hoch, hoch sind die BergeHoch, hoch sind die Berge, Und steil ist ihrPfad; Die Brunnen sprüh’n Wasser Undrieseln ins Kraut. O Mutter, o Mutter, Lieb’Mütterlein du, Dort, dort in die Berge Mitden Gipfeln so stolz, Da ging einesMorgens Mein süssester Freund. Wohl riefich zurück ihn Mit Zeichen und Wort, Wohlwinkt’ ich mit allen Fünf Fingern zurück,Wohl rief ich zurück ihn Mit Zeichen undWort!(High are the mountains and steep theirpaths. The fountains spray water andtrickle on the grass. O mother, dearestmother, there in the mountain peaks soproud one morning my sweetest friendwas passing. I called him back withgesture and word, I beckoned him returnwith my open hand.)

9 Blaue Augen hat das MädchenBlaue Augen hat das Mädchen, Werverliebte sich nicht drein! Sind so reizendzum Entzücken, Dass sie jedes Herzbestricken, Wissen doch so stolz zublicken, Dass sie schaffen eitel Pein.Machen Ruh’ und Wohlbefinden, Sinnenund Erinn’rung schwinden, Wissen stetszu überwinden Mit dem spielend süssenSchein. Keiner, der geschaut ihr Prangen,Ist noch ihrem Netz entgangen, Alle Weltbegehrt zu hangen Tag und Nacht anihrem Schein. Blaue Augen hat dasMädchen Wer verliebte sich nicht drein!(Blue eyes has the maiden. Who wouldnot fall in love with them? They arecharming, captivating, and hold everyheart in thrall. They know how to gaze soproudly. To bring forth purest pain. Theymake all peace and contentment, allsenses and memories to vanish. Theyknow how to overcome with their playfulsweetest glow. No-one who has seen theirsplendour, has yet escaped from their net,The whole world yearns to hang day andnight on their lustre.)

10 Dunkler Lichtglanz, blinder BlickDunkler Lichtglanz, blinder Blick, TotesLeben, Lust voll Plage, Glück erfüllt vonMissgeschick, Trübes Lachen, froheKlage, Süsse Galle, holde Pein, Fried’ undKrieg in einem Herzen, Das kannst, Liebe,du nur sein, Mit der Lust erkauft durchSchmerzen.(Dark radiance and blind glance, dead life,pleasure full of trouble, happiness filledwith misfortune, dull laughter, joyful plaint,sweet bitterness and gracious agony, warand peace in the one heart; that can but beyou, O Love, bought with pleasure throughmuch pain.)

(We are most grateful to Colin Arney forthis English translation)

My indifference to money and my spendthrift ways are disgraceful. You have noidea how reckless I am; how often I practically throw money out of the window. I amalways making good resolutions, but the next minute I forget and give the waitereightpence. (Robert Schumann)

Lord, who has made us for Thine own,hear as we sing before Thy throne.Allelulia. Accept Thy children’s rev’rentpraise, for Thy wondrous works and ways.Alleluia.Waves rolling in on ev’ry shore, pause atHis footfall and adore. AlleluliaYe torrents rushing from the hills, blessHim whose hand your fountains fills.Allelulia.

Earth, ever through the power divine,seedtime and harvest shall be Thine.Allelulia.Sweet flowers that perfume all the air.Thank him that He hath made you fair.Allelulia.

Burn, lamps of night, with constant flame.Allelulia. Shine to the honour of His name.Allelulia. Thou sun, whom all lands obeyrenew His praise from day to day. Allelulia.

An Englishman will take you into a large room, beautifully proportioned, andwill point out to you that it is white - all over white - and somebody will say whatexquisite taste. You know in your own mind, in your own soul, that it is nottaste at all, that it is the want of taste, that it is mere evasion. English musicis white and evades everything.(Edward Elgar)

An old photograph showing two of the composers featured intonight’s programme. Top row: Vaughan Williams, Adeline Vaughan Williams,

Gustav Holst; Bottom row: Dorothy Langman, Vally Lasker, Nora Day.

SOPRANOSNiamh AlisonUna AlisonCelestria BellGillie BlighJane BrownCorinna ChuteCharlotte Clark*Hilary ColbertMargaret CollierSally DussekElaine FlorsheimMary HaywoodZoe HillKatie HughesSue JonesChristine KeenLucy KibbleHarriet MackinderBrigid MathersHeather NashFiona O’NeillEileen PattersonBarbara PearcePam RushRosemary SouthworthBrenda StapletonHelen StokesElizabeth ThompsonJenny WatkinsJenny Watt* Choral Scholar

ALTOSKaren BaldwinRachel BaldwinChristine BassJanet BriantNicky BullJean BygateKathy ChantlerSue CollinsKate DaviesAnn DenwoodDorothy DenwoodIsobal FentonMargaret FlaniganNatasha GethingJane GloverJanet GravesMaggie HalseyJenny HoareLorna LangJane LeggGill LerigoElizabeth MoxleyRhian NichollsElizabeth NorrisEnid PowellMarilyn PryorHarriette PurchasPhyllis ReynoldsChris SiversHeather WignallKate Winterbottom

TENORSJenny Brannock-JonesCliff BrownRichard BrownJohn DeanePhilip HayesRoger JuddAndrew RobertsonChris SmithDavid WildeMax Wittwer

BASSESRobert AllnuttAlan ArcherMichael BernsteinDavid ChaseyDave ClarkeBob DaviesPaul DoughtyPeter GravesRichard GryllsGeoff HarrisonTony MackinderDavid MorganRichard OnslowRichard TregoningJohn WignallGuy Williams

Violins; Frances Bigg, Ed Hewitt, Henry Fagg,Darrell Dunning, Lesley Pearce, David Glenister,David Moore, Roger Neighbour, Mark Redman,

Chris Shelley, Frances Stanhope

Violas; Katie Hayes, John Saunders,Ceri Fagg, Steffi Cook

Cellos; Hilary Drinkall, Mary Harris,Herrick Hayes, Caroline Ridout

Bass; Sudhir Singh

Organ; Ken Martlew

ACKNOWLEDGEMENTS

Tring Choral Society thanks the Rennie Grove HospiceCare Shop, Tring, for support as our ticket agents.

The piano accompanist for Tring Choral Society rehearsals is AdrianJohnson.

Our thanks go to Roy Mathers for writing and compiling thisprogramme.

We are grateful for the presence of St John Ambulancerepresentatives at this concert.

Leader; Janet Hicks

Mr G E BullMr J BurchellMrs J CadgeMrs A CaloiaMs A CaloiaMrs J CherryMr R FlaniganMr and Mrs R FranklinMrs S K FranklinMr and Mrs J HawkesMr M HerbautMr C W HoareMrs J HollingsworthMr D Long

Mrs E MarchantMr I MartinMrs M F MerlierMr R O’ReillyMr C B J PearceMr G PulferMr and Mrs J StackMr and Mrs JStanhopeMrs J StevensMr W StringerMr and Mrs E TapsonDr and Mrs D ThallonMr and Mrs W Thomas

Mr and Mrs K ToddMr J R WatkinsMr and Mrs J KWatsonMr and Mrs M WatsonMr A Winterbottom

Life MembersMr and Mrs D BanyardMr R GryllsMr J RenalsMrs R SouthworthMrs K Woodward

Why not become a Patron of Tring Choral Society?

For a minimum donation of £25, you too could become a Patron of Tring Choral Society,this annual donation entitling you to two free tickets (in any one season). You will alsoreceive an annual newsletter giving concert details in advance, and an invitation to join oursocial events.

To become a Patron, simply fill in the form below and send it, with your donation, toMrs B S Mathers, 8 Old Mill Gardens, Berkhamsted, Hertfordshire HP4 2NZ

Telephone; 01442 872727

I would like to become a Patron of Tring Choral Society and enclose

a cheque for £.......................

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