Royal Tunbridge Wells Choral Societypresents

A German RequiemJohannes Brahms

Rü ckert-LiederGustav Mahler

Programme £2

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RTWCS with the Salomon OrchestraAnita Watson (Soprano) & Alex Ashworth (Baritone)

Conducted by Rebecca Miller

@RTWChoralSoc

ROYAL TUNBRIDGE WELLS CHORAL SOCIETY

President: Mr G Huntrods CBEVice Presidents: Mr D Watmough, Mr R Dunstall

Gold PatronsMrs E GallMr G GrantMR W Rutherford

Programme for Remembrance Sunday ConcertSunday 13th November 2016, Assembly Hall Theatre

Mahler: Rückert-Lieder

I. Blicke mir nicht in die Lieder! (Do not look at my songs!)

II. Ich atmet’ einen linden Duft (I breathed a gentle fragrance)

III. Ich bin der Welt abhanden gekommen (I am lost to the world)

IV. Um Mitternacht (At midnight)

V. Liebst du um Schönheit (If you love for beauty)

Brahms. Ein Deutches RequiemVocal scores of Brahms Requiem courtesy of Kent County Council Music Lending Library

I. Selig sind die da Leid tragen (Matth. 5,4).Blessed are they that mourn - Choir

II. Denn alles Fleisch es ist wie Gras (1 Peter 1:24).For all flesh is as grass - Choir

III. Herr, lehre doch mich (Psalm 39:4-7).Lord, make me to know mine end - Baritone & Choir

--- Interval ---

IV. Wie lieblich sind deine Wohnungen (Psalm 84,2).How amiable are thy tabernacles - Choir

V. Ihr habt nun Traurigkeit (John 16:22).And he now therefore have sorrow - Soprano & Choir

VI. Denn wir haben hie keine bleibende Statt (Hebrews 13:14)For here we have no continuing city - Baritone & Choir

VII. Selig sind die Toten (Revelation 14:13)Blessed are the dead - Choir

RTWCS with the Salomon OrchestraSoloists: Anita Watson (Soprano), Alex Ashworth (Baritone)

FriendsMrs J FinchMr I HughesMr and Mrs L GroverMrs L McCarthy

Silver PatronsMr M HudsonMr G Huntrods CBEMr R ThatcherMrs P Maxwell

Mr L MorrisMr P Rosling

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PROGRAMME NOTES - MAHLER

Gustav Mahler was an Austrian late-Romanticcomposer, and one of the leading conductorsof his generation. As a composer he acted asa bridge between the 19th century Austro-German tradition and the modernism ofthe early 20th century. While in his lifetimehis status as a conductor was establishedbeyond question, his own music gained widepopularity only after periods of relative neglectwhich included a ban on its performance inmuch of Europe during the Nazi era. After1945 his compositions were rediscoveredand championed by a new generation oflisteners; Mahler then became one of themost frequently performed and recorded of allcomposers, a position he has sustained intothe 21st century.

Born on 7 July 1860, in Kaliště in Bohemia,now Czech Republic (then part of AustrianEmpire) as a German-speaking Jew of humblecircumstances, Mahler displayed his musicalgifts at an early age. After graduating fromthe Vienna Conservatory in 1878, he helda succession of conducting posts of risingimportance in the opera houses of Europe,culminating in his appointment in 1897 asdirector of the Vienna Court Opera (Hofoper).During his ten years in Vienna, Mahler— whohad converted to Catholicism to securethe post— experienced regular oppositionand hostility from the anti-Semitic press.Nevertheless, his innovative productionsand insistence on the highest performancestandards ensured his reputation as one of thegreatest of opera conductors, particularly asan interpreter of the stage works of Wagner,Mozart, and Tchaikovsky. Late in his life hewas briefly director of New York’s Metropolitan

Opera and the New York Philharmonic.Mahler’s œ uvre is relatively small; for muchof his life composing was necessarilya part-time activity while he earned hisliving as a conductor. Aside from earlyworks such as a movement from a pianoquartet composed when he was a studentin Vienna, Mahler’s works are generallydesigned for large orchestral forces,symphonic choruses and operatic soloists.These works were frequently controversialwhen first performed, and several were slowto receive critical and popular approval;exceptions included his Symphony No. 2and the triumphant premiere of his EighthSymphony in 1910. Some of Mahler’simmediate musical successors included thecomposers of the Second Viennese School,notably Arnold Schoenberg, Alban Bergand Anton Webern. Dmitri Shostakovichand Benjamin Britten are among later 20th-century composers who admired and wereinfluenced by Mahler. The InternationalGustav Mahler Institute was establishedin 1955 to honour the composer’s lifeand work.

The Rückert-Lieder are his settings ofpoems by Rückert. The first four songswere premiered on 29 January 1905 inVienna, Mahler conducting himself, togetherwith his Kindertotenlieder (also on poemsby Rückert). The last song, Liebst du umSchönheit, was not orchestrated by Mahlerhimself but by Max Puttmann, an employeeof the first publisher.The set of songs is not a cycle in thenarrowest sense, because the Lieder areindependent, connected only by the poetryand common themes. However, they werepublished together and most often havebeen performed together and come to beknown as the Rückert-Lieder, althoughMahler did set more texts of Rückert.Artists such as Dietrich Fischer-Dieskauand Kathleen Ferrier have chosen their ownorder of the Lieder.

Source: Wikipedia

1. Liebst du um Schönheit 1. If you love for beauty’s sake

Liebst du um Schönheit, If you love for beauty’s sake,O nicht mich liebe! Oh, don’t love me!Liebe die Sonne, Love the sun,Sie trägt ein gold’nes Haar! It has the blondest hair!

Liebst du um Jugend, If you love for youth’s sakeO nicht mich liebe! Oh, don’t love me!Liebe der Frühling, Love springtime,Der jung ist jedes Jahr! It’s young each year.

Liebst du um Schätze, If you love for treasure’s sake,O nicht mich liebe. Oh, don’t love me!Liebe die Meerfrau, Love the mermaid,Sie hat viel Perlen klar. She has lots of limpid pearls.

Liebst du um Liebe, If you love for love’s sake,O ja, mich liebe! Oh, do love me!Liebe mich immer, Love me always,Dich lieb’ ich immerdar. I’ll love you back forevermore.

2. Ich atmet’ einen linden Duft! 2. I breathed a gentle fragrance in!

Ich atmet’ einen linden Duft! I breathed a gentle fragrance in!Im Zimmer stand In my roomEin Zweig der Linde, Was a sprig of linden,Ein Angebinde A present

Von lieber Hand. From a dear hand.Wie lieblich war der Lindenduft! How lovely the linden fragrance was!Wie lieblich ist der Lindenduft! How lovely linden fragrance is!Das Lindenreis You plucked the linden shoot

Brachst du gelinde! So gently!Ich atme leis Softly I breathIm Duft der Linde Amidst the linden fragranceDer Liebe linden Duft. Love’s gentle fragrance.

3. Blicke mir nicht in die Lieder! 3. Don’t try to find me out through my songs!

Blicke mir nicht in die Lieder! Don’t try to find me out through my songs!Meine Augen schlag’ ich nieder, I cast my eyes down,Wie ertappt auf böser Tat. As if found out doing something wrong.Selber darf ich nicht getrauen, I don’t even dare,Ihrem Wachsen zuzuschauen. To look at their growing myself.Deine Neugier ist Verrat! Your inquisitiveness is betrayal!

Bienen, wenn sie Zellen bauen, Bees, building cells,Lassen auch nicht zu sich schauen, Don’t let themselves be looked at either,Schauen selber auch nicht zu. They don’t even look at themselves.Wenn die reichen Honigwaben When they’ve revealedSie zu Tag gefördert haben, The bountiful honeycombs,Dann vor allen nasche du! You’ll be first to feast on them!

Mahler— Rückert-Lieder English translationCopyright © 2010 Edmund D. Cohen

4. Um Mitternacht 4. At Midnight

Um Mitternacht At midnightHab’ ich gewacht I was sleeplessUnd aufgeblickt zum Himmel; And looked skyward;Kein Stern vom Sterngewimmel Of that welter of starsHat mir gelacht Not one laughed at me.Um Mitternacht. At midnight.

Um Mitternacht At midnightHab’ ich gedacht I cast my thoughtsHinaus in dunkle Schranken. Out into the dark firmament.Es hat kein Lichtgedanken No lucid thoughtMir Trost gebracht Brought me any comfortUm Mitternacht. At midnight.

Um Mitternacht At midnightNahm ich in acht I dwelled uponDie Schläge meines Herzens; My heart beating;Ein einz’ger Puls des Schmerzes A lone shoot of painWar angefacht SmartedUm Mitternacht. At midnight.

Um Mitternacht At midnightKämpft’ ich die Schlacht, I fought the battle,O Menschheit, deiner Leiden; O humanity, your sufferingNicht konnt’ ich sie entscheiden I couldn’t resolve itMit meiner Macht Not with all my mightUm Mitternacht. At midnight.

Um Mitternacht At midnightHab’ ich die Macht I gave the powerIn deine Hand gegeben! Into Your hand!Herr! über Tod und Leben Lord! Over death and lifeDu hältst die Wacht You keep vigilUm Mitternacht! At midnight.

5. Ich bin der Welt abhanden gekommen 5. I’ve gotten lost to the world

Ich bin der Welt abhanden gekommen, I’ve gotten lost to the world,Mit der ich sonst viele Zeit verdorben, With it I ever wasted so much time,Sie hat so lange nichts von mir vernommen, So long has it heard nothing of me,Sie mag wohl glauben, ich sei gestorben! It might well believe I were dead!

Es ist mir auch gar nichts daran gelegen, It didn’t matter to me a bit,Ob sie mich für gestorben hält, If it took me for dead,Ich kann auch gar nichts sagen dagegen, Far be it from me to contradict,Denn wirklich bin ich gestorben der Welt. Since I really am dead to the world.

Ich bin gestorben dem Weltgetümmel, I have died to the hurly-burly,Und ruh’ in einem stillen Gebiet! And I repose in a silent realm!Ich leb’ allein in meinem Himmel, I live alone in my own Heaven.In meinem Lieben, in meinem Lied! In my love, in my song!

PROGRAMME NOTES - BRAHMS

Ein Deutsches Requiem

A German Requiem - Johannes Brahms (1833-1897)

1. Blessed are they that mourn2. Behold, all flesh is as the grass3. Lord, let me know mine end4. How lovely are thy dwellings5. Ye now have sorrow6. For we have here no abiding city7. Blessed are the dead which die in the Lord

For many years Brahms had been preoccupiedwith the idea of composing a Requiem, but onlyin 1866, when he was 33, did he begin seriouswork on it. It was completed the followingyear with the exception of the fifth movement,which he added later in order to achieve amore balanced structure. In its incompleteform Ein Deutsches Requiem was first heardin Bremen Cathedral on Good Friday 1868.The final version was performed the followingyear at Leipzig’s famous concert-hall, theGewandhaus.

Brahms may have written the Requiem inmemory of his mother, who died in 1865; it isequally possible that he had in mind his greatfriend and mentor, Robert Schumann, whosemadness and tragic death had profoundlyaffected the young Brahms. The composerhimself gave no indication of whose memorialthe Requiem might be, if indeed it was anyone person’s. As with all great music, theuniversal message of its vision transcends thecircumstances of its conception.

The work’s title reflects Brahms’ use of theLutheran Bible rather than the customary Latinone. He compiled the text himself from both Oldand New Testaments, and from the Apocrypha.It has little in common with the conventionalRequiem Mass, and omits the horrors of theLast Judgement - a central feature of theCatholic liturgy - and any final plea for mercy

or prayers for the dead. It also makes onlya passing reference in the last movement toChristian redemption through the death of Jesus.Not surprisingly, the title of “Requiem” has attimes been called into question, but Brahmsstated intention was to write a Requiem tocomfort the living, not one for the souls of thedead. Consequently the work focuses on faithin the Resurrection rather than fear of the Dayof Judgement.

Despite its unorthodox text, the GermanRequiem was immediately recognised as amasterpiece of exceptional vision, and it finallyconfirmed Brahms’ reputation as a composerof international stature.

The similarity of the opening and closingmovements serves to unify the whole work,while the funeral-march of the second isbalanced by the triumphant theme of theresurrection in the towering sixth movement.Similarly, the baritone solo in the third, ‘Lord,let me know mine end’, is paralleled in the fifthby the soprano solo, ‘Ye now have sorrow’.The lyrical fourth section, ‘How lovely arethy dwellings’, is therefore at the heart of thework, framed by the solemnity of the first threemovements and the transition from grief to thecertainty of comfort in the last three.

This carefully balanced architecture is matchedby an equally firm musical structure basedon two principal ideas which Brahms skilfullyuses in a variety of subtle guises throughoutthe work. The most important of these occursat the opening choral entry and consists ofthe first three notes sung by the sopranos tothe words ‘Bless-ed they’. Brahms uses thismusical cell as the main building block ofthe whole piece, subjecting it to a variety oftransformations, including upside-down andback-to-front versions, both of which play assignificant a role as the original form. The otherimportant musical idea is a chorale-like melodyplayed by the violas at the very beginning.Its most obvious re-appearance is in thesecond movement, now in a minor key, as anexpansive melody sung by the choir in unison.Brahms had recently discovered the cantatas ofJ.S.Bach, and there seems little doubt that thistheme was derived from a very similar choralemelody in Bach’s Cantata No.27.

I. Matthew 5:4Selig sind, die da Leid tragen, denn siesollen getröstet werden.

Psalm 126:5,6Die mit Tränen säen, werden mit Freudenernten. Sie gehen hin und weinen undtragen edlen Samen, und kommen mitFreuden und bringen ihre Garben.

II. 1 Peter 1:24Denn alles Fleisch ist wie Gras und alleHerrlichkeit des Menschen wie desGrases Blumen. Das Gras ist verdorretund die Blume abgefallen.

The opening movement, the text of which is oneof the beatitudes from the Sermon on the Mount,begins in hushed and sombre mood, reflectedin the orchestration by the temporary absenceof the violins. As the music proceeds, however,mourning is transformed into comfort.

The second movement, in the dark key of Bflat minor, is centred on the heavy rhythms of afuneral-march, with the chorus proclaiming theinevitability of man’s fate, ‘Behold, all flesh isas the grass’. A lighter central episode providessome brief respite before the funeral-marchreturns. Eventually, at ‘But yet the Lord’s wordstandeth forever’, an energetic allegro emerges,once more transfiguring darkness into light andleading to a glorious conclusion.

The third movement, the baritone soloist andchorus begin by pondering the transience ofhuman existence. The soloist then asks ‘In whatshall I hope?’ and the reply, ‘My hope is in thee’,wells up from the depths in a rising crescendo ofaffirmation. This leads seamlessly into a broad,imposing fugue, remarkable for its omnipresentpedal D which, whilst creating considerabletension during the fugue itself, also provides anunshakable foundation for the final resolution.

After the intensity of the first three movements,the pivotal fourth - a serene pastorale - providesthe opportunity for contemplation and rest. Thisis music of exceptional beauty, and it is hardly

surprising that this movement is so widely knownand loved.

The fifth movement features a sublime sopranosolo accompanied by woodwind, horns andmuted strings. The chorus, too, plays anaccompanying role. Whereas the baritone soloistin the third movement sung of Brahms reserveshis most dramatic music for the imposing sixthmovement. It begins in reflective mood, butsoon the baritone soloist introduces the familiarverses ‘We shall not all sleep, but we shall all bechanged … … at the sound of the last trumpet’,at which point the music explodes into a blaze ofsound and energy. The intensity builds up until‘Death, where is thy sting?’ where a majesticfugue ensues. In the middle of this fugue twofortissimo climaxes grow out of an exhilaratingorchestral Jacob’s ladder that reaches up toheaven as it passes from the bass instrumentsright up to the flutes and violins. The movementends with a final powerful statement.

The last movement begins with a radiant melodyfrom the sopranos, followed by the basses. Themoving final section is a subtle reworking ofmusic from the very opening, and the Requiemreaches its peaceful conclusion at the same wordwith which it began: ‘Blessed’.

Programme notes edited from those created byJohn BawdenBrahms– A German Requiem

Blessed are they that mourn; for they shallbe comforted.

They that sow in tears shall reap in joy.He that goeth forth and weepeth, bearingprecious seed, shall doubtless come again withrejoicing, bringing his sheaves with him.

For all flesh is as grass, and all the glory of manas the flower of grass. The grass withereth, andthe flower thereof falleth away.

James 5:7So seid nun geduldig, lieben Brüder,bisauf die Zukunft des Herrn. Siehe, einAckermann wartet auf die köstlicheFrucht der Erde und is geduldig darüber,bis er empfahe den Morgenregen undAbendregen.

1 Peter 1:25Aber des Herrn Wort bleibet in Ewigkeit.

Isaiah 35:10Die Erlöseten des Herrn werden wiederkommen, und gen Zion kommen mitJauchzen; ewige Freude wird über ihremHaupte sein; Freude und Wonne werdensie ergreifen und Schmerz und Seufzenwird weg müssen.

III. Psalm 39:4-7Herr, lehre doch mich, daß ein Ende mitmir haben muß, und mein Leben ein Zielhat, und ich davon muß.Siehe, meine Tage sind einer Hand breitvor dir, und mein Leben ist wie nichtsvor dir.Ach, wie gar nichts sind alle Menschen,die doch so sicher leben. Sie gehen daherwie ein Schemen, und machen ihnenviel vergebliche Unruhe; sie sammelnund wissen nicht wer es kriegen wird.NunHerr, wessoll ich mich trösten? Ichhoffe auf dich.

Wisdom of Solomon 3:1Der Gerechten Seelen sind in GottesHand und keine Qual rühret sie an.

IV. Psalm 84:1,2,4Wie lieblich sind deine Wohnungen,Herr Zebaoth! Meine seele verlangetund sehnet sich nach den Vorhöfen desHerrn; mein Leib und Seele freuen sichin dem lebendigen Gott. Wohl denen, diein deinem Hause wohnen, die loben dichimmerdar.

V. John 16:22Ihr habt nun Traurigkeit; aber ich willeuch wieder sehen und euer Herz sollsich freuen und eure Freude soll neimandvon euch nehmen.

Be patient therefore, brethren, unto the comingof the Lord. Behold, the husbandmen waitethfor the precious fruit of the earth, and hath longpatience for it, until he receive the early andlatter rain.

But the word of the Lord endureth for ever.

And the ransomed of the Lord shall return,and come to Zion with songs and everlastingjoy upon their heads: they shall obtain joy andgladness, and sorrow and sighing shall fleeaway.

Lord, make me to know mine end, and themeasure of my days, what it is: that I may knowhow frail I am.Behold, thou hast made my days as anhandbreadth; and mine age is as nothingbefore thee.Surely every man walketh in a vain shew: surelythey are disquieted in vain: he heapeth upriches, and knoweth not who shall gather them.And now, Lord, what wait I for? my hope is inthee.

But the souls of the righteous are in the hand ofGod, and there shall no torment touch them.

How amiable are they tabernacles, O Lord ofhosts!My soul longeth, yea, even fainteth for thecourts of the Lord: my heart and my flesh criethout for the living God.Blessed are they that dwell in thy house: theywill be still praising thee.

And ye now therefore have sorrow; but I willsee you again, and your heart shall rejoice, andyour joy no man taketh from you.

Ecclesiasticus 51:27Sehet mich an: Ich habe eine kleine ZeitMühe und Arbeit gehabt und habe großenTrost funden.

Isaiah 66:13Ich will euch trösten, wie Einen seineMutter tröstet.

VI. Hebrews 13:14Denn wir haben hie keine bleibendeStatt, sondern die zukünftige suchen wir.

1 Corinthians 15:51,52,54,55Siehe, ich sage euch ein Geheimnis:Wir werden nicht alle entschlafen, wirwerden aber alle verwandelt werden; unddasselbige plötzlich, in einem Augenblick,zu der Zeit der letzten Posaune. Dennes wird die Posaune schallen, und dieToten werden auferstehen unverweslich.Dann wird erfüllet werden das Wort,das geschrieben steht: Der Tod isverschlungen in den Sieg. Tod, wo istdein Stachel? Hölle, wo ist dein Sieg?

Revelation 4:11Herr, du bist würdig zu nehmen Preisund Ehre und Kraft, denn du hast alleDinge geschaffen, und durch deinenWillen haben sie das Wesen und sindgeschaffen.

VII. Revelation 14:13Selig sind die Toten, die in dem Herrnsterben, von nun an. Ja, der Geistspricht, daß sie ruhen von ihrer Arbeit;denn ihre Werke folgen ihnen nach.

Ye see how for a little while I labour and toil, yethave I found much rest.

As one whom his mother comforteth, so will Icomfort you.

For here have we no continuing city, but weseek one to come

Behold, I show you a mystery; We shall not allsleep, but we shall all be changed.In a moment, in the twinkling of an eye, at thelast trumpet: for the trumpet shall sound, andthe dead shall be raised incorruptible, and weshall be changed.. . . then shall be brought to pass the sayingthat is written, Death is swallowed up in victory.O death, where is they sting? O grave, where isthey victory?

Thou art worthy, O Lord, to receive glory andhonour and power: for thou hast created allthings, and for thy pleasure they are and werecreated.

Blessed are the dead which die in the Lordfrom henceforth: Yea, saith the Spirit, that theymay rest from their labours; and their works dofollow them.

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The PERFORMERSRebecca Miller - Conductor

California-born conductor Rebecca Miller has earned aninternational reputation for her compelling, insightful, andenergetic presence on the podium. Acclaimed for hersophisticated music making and evocative command of variedcomposers and styles and for her ability to communicate withaudiences of all ages, she has guest-conducted the LondonPhilharmonic Orchestra, Orchestra of the Age of Enlightenment,London Mozart Players, BBC Concert Orchestra, BBC ScottishSymphony Orchestra, Royal Northern Sinfonia, SalomonOrchestra, and at the 2014 BBC Proms.

Rebecca is currently an annual guest conductor for the SouthbankSinfonia, Music Director of the Royal Tunbridge Wells ChoralSociety and Orchestra, conductor at the junior department of the

Royal Academy of Music and Director of Orchestras at Royal Holloway University of London, whereshe has launched groundbreaking side-by-side projects with the London Mozart Players, instigated anew Orchestral Scholarship programme, and founded the new ‘Music +’ initiative which builds bridgesthrough music. In her capacity at RHUL, she was Musical Director of Magna Carta 800 at Runnymede,where she conducted the RHUL symphony orchestra and Choir of Royal Holloway alongside theLondon Philharmonic Orchestra and Temple Church Choir for HRH Queen Elizabeth II and 4000dignitaries and members of the public.

Rebecca recently made her debut with the Nashville Symphony as part of the League of AmericanOrchestra’s prestigious ‘Bruno Walter National Conductors Preview’, and future engagements includeconcerts with the BBC National Orchestra of Wales in 2016 and the Buffalo Philharmonic Orchestra in2018, and this season return engagements with the Salomon Orchestra, the Bishop’s Stortford Sinfonia,and two returns to the London Philharmonic Orchestra.

Rebecca’s discography includes discs with the Orchestra of the Age of Enlightenment (CPEBach/Signum/2015 Gramophone Award shortlist), BBC Concert Orchestra (Henry Hadley/DuttonEpoch) and two discs with the Royal Northern Sinfonia (Haydn Symphonies/Signum, Bristow/NewWorld Records). Forthcoming releases for 2017 will include discs with the BBC Scottish Symphony(Amy Beach, Dorothy Howell, Cecil Chaminade/Hyperion Records), and with the Royal NorthernSinfonia (Aaron Jay Kernis with Joshua Roman and Paul Neubauer/Signum).

Rebecca has guest conducted in the US with the Reno Philharmonic, Bakersfield Symphony, SantaCruz Symphony, Chicago College of the Performing Arts, Bard Music Festival, Huntsville Symphony,Williamsport Symphony, and Musiqa Houston, and with the Jerusalem Symphony Orchestra in Israel.As a First-prize winner in the Eduardo Mata International Conducting Competition, Rebecca conductedthroughout Mexico, including repeated engagements with the Orquesta Sinfonica Nacional andOrquesta Filarmonica del UNAM, with the state orchestras of Yucatan, Aguascalientes, and Sinaloa,and with the Teresa Carreño Youth Orchestra in Caracas.

From 2007-2010 Rebecca was Resident Conductor of the Louisiana Philharmonic Orchestra, whereshe directed her own series, the “Casual Classics”, and conducted subscription, pops, education,family, and community concerts. From 2005-2007, Rebecca was the LAO’s ‘American ConductingFellow’ of The Houston Symphony, leading over 35 family, classical, and education concerts per year.

Rebecca holds a Bachelor’s degree in Piano from Oberlin Conservatory, a Master’s in Music inConducting from Northwestern University, and served for two years as the Paul Woodhouse JuniorFellow in Conducting at London’s Royal College of Music.

The SOLOISTS

Anita Watson - SopranoAnita Watson grew up in Sydney and began singing in achoir at the age of eight. Despite her coming from a non-musicalfamily, they encouraged her musical ambitions and afterstudying at the Sydney Conservatorium of Music, she wonthe Australian Singing Competition as well as a contract atthe Cologne Opera studio in Germany. Anita has been livingin the UK since her tenure as a Jette Parker Young Artist atthe Royal Opera House from 2007-2009. A winner of numerousprizes at international competitions including the ARD InternationalMusic Competition, Operalia, Queen Sonja and Neue Stimmen, hercareer has been varied with opera, recitals and concerts.

Most recently she has sung Anne Trulove, The Rake’s Progress in Santiago de Chile, Pamina, TheMagic Flute for Welsh National Opera, Fiordiligi, Così fan tutte for Diva Opera, Governess, TheTurn of the Screw in Toulouse and Mimì, La Bohème for Opera North. Concert highlights includeBeethoven’s 9th Symphony with Sir Antonio Pappano and the Accademia Nazionale di SantaCecilia, Strauss Vier letzte Lieder with the Rheinische Philharmonie in Koblenz and the MariinskyOrchestra in St Petersburg, Mahler’s 8th Symphony and Parsifal at the Proms with Sir Mark Elderand the Hallé Orchestra.

Anita was recently married and enjoys exploring around her new home in West Sussex as wellas keeping fit, teaching singing, and watching game shows, whilst dreaming of owning agolden retriever.

Alex Ashworth - Bass-BaritoneAlex began singing as a chorister at Lichfield Cathedral. Beforejoining the choir of St John’s College, Cambridge as a choralscholar, he sang for a year with the choir of Tewkesbury Abbey andregularly hunted for the Severn Bore. After graduating in naturalsciences, he won a scholarship at the Royal Academy of Music,where he studied with Mark Wildman, David Lowe and JuliusDrake.

Alex’s career has taken him far afield, singing roles forGlyndebourne Festival Opera, Welsh National Opera and ScottishOpera, for Opera de Lille, Icelandic Opera and the Opera

Comique in Paris. Alex has even performed the title rôle of Falstaff in Lapland, in a recreation ofShakespeare’s Globe made, props and all, of ice, whilst the temperature dipped to minus thirtycelsius. The padding was very necessary.

In oratorio Alex has worked often as a soloist for Sir John Eliot Gardiner, recording Bach’sB Minor Mass and Stravinsky’s Œ dipus Rex (with the London Symphony Orchestra) as wellas Monteverdi’s Vespers. 2016 has seen him touring Europe in Bach’s St Matthew Passion,Mozart’s C Minor Mass and Schumann’s Manfred and, following some much larger footstepsfrom Birmingham to Berlin, joining the Berlin Philharmonic Orchestra in further performances ofŒ dipus Rex. Alex has performed Messiah almost countless times, never tiring of it.

Soloists appear by arrangement with Jill Davies of Davies Music: www.daviesmusic.com

Salomon OrchestraThe orchestra has been recognised for many years as London’s finest non-professional orchestra,even receiving favourable comparisons in the national press with professional orchestras.Talented and passionate amateur musicians from a wide variety of professional occupations are invited toplay in each series. They range from long-standing players to new young members (some even followingtheir founder parents!).

Three concerts a year are promoted at St John’s Smith Square. For many years now each has a differentconductor and is preceded by a concentrated short series of rehearsals.

Working in this way maintains freshness, vitality and commitment. The orchestra has worked with artistesin the early years of their professional careers (more recently Robin Ticciati, Nicholas Collon and GuyJohnston). Many are now well-known internationally, including conductors Sir Andrew Davis, Sir SimonRattle, Sir Mark Elder and Martyn Brabbins.

Salomon Orchestra – Sunday 13th November 2016Violin 1Tara Persaud – LeaderHeather BinghamJo LappinDiana MugglestoneFiona Orford-WilliamsJoanna PietersNick HardistyJudith StichtenothPaula MartinClare le Fort

Violin 2John MartinSonja NagleStefan BownRobert ChatleyDeborah DoweDiane DumasAlexandra LamontMarlena SwiateckaJeannie OkikioluMervyn Jones

ViolaRobert SpencerAli EvansBeccy SpencerKathy ReedJessica TownsendAmelia Halsey

CelloKate ValdarJulian LancasterLibby WildeRos LaherNick WarrenJohn Lacy

Double BassPhilip AustinPeter TauntonBob McFarland

FluteKirstie AshdownLibby SummersStephen O’Hanlon

OboeNick RidleySuzanne Wheatley

ClarinetAlan MariesDavid Johnston

BassoonDavid OuthwaiteNick BradshawRichard Sheldon (Contra)

HornKeith MariesBecky CraigRay LeeCharlotte Silver

TrumpetJohn HackettRichard Knight

TromboneNick MorrisSimon AstridgeAlison Knight

TubaDavid Young

TimpaniBrian Furner

CelesteTony Summers

HarpAnna Wynne

SOPRANOS

Elaine Abbs

Annalize Bagshaw

Lydia Beadsworth

Diana Blower

Sylvia Byers

Adriana Capadose

Jane Cole

Jill Dunstall

Sophie Esdaile

Nina Filby

Emma Francis

Rosemary Frost

Patricia Fuller

Susan Horne

Rosemary Hughes

Evelien Hurst-Buist

Kim Jinks

Eve Johnson

Helen MacNab

Maggie Marston

Anne Metherell

Louise Packham

Michele Palmer

Eileen Phillips

Pat Prior

Glenda Revell

Ann Spillman

Sue Townsend

Jessica Walters

Poppy Walters

Catherine Whitlock

Anne Willatt

Royal Tunbridge Wells Choral SocietySunday 13th November 2016

ALTOS

Julie Burton

Margaret Butcher

Beth Breen

Pauline Coxshall

Emma Fever

Jean Finch

Joanna Finlay

Liz Ford

Kasia Fox

Ruth Gray

Celia Grew

Annette Grey

Rebecca Harris

Heather Herrin

Sheila Jones

Kim Keeler

Charlotte Marks

Ailsa Mcmahon

Magali Nicole

Margie O’Neil

Ginny Osborn

Val Palmer

Melissa Richards

Catherine Rigby

Ros Robertson

Jane Selley

Jenny Selway

Maggie Slater

Yvonne Spencer

Muriel Thatcher

Norma Timmermans

Liza Waller

Jane Walters

TENORS

Peter Elliott

David Gook

Richard Hardingham

Sharon Harrison

Guy Huntrods

Peter Rosling

Olivia Seaman

Alan Spencer

Neil Townsend

Peter Driscoll

BASSES

Brian Akery

Gerald Chew

Pat Connelly

Mike Dowden

Roy Dunstall

Gavin Grant

Glen Goodall

Antony Gordon

Graham Hall

David Ham

Nicholas Humphrey

Trevor Hurrell

Adrian Johnson

Jonnie Jones

John Kemp

David Lyall

David Miller

Chris Reece

Michael Selway

John T Spary

Clive M Steward

Martin Williams

David Wright

Interested in singing with RTWCS?Why not give us a try!We welcome enquiries from potential new members of the society, whether experienced or not.We do not hold auditions, and we always give newcomers the opportunity to join one or tworehearsals before deciding whether they wish to become a member.

If you wish to give us a try, please telephone our membership secretary (Jane Walters) on01892 543158 or the general secretary (Trevor Hurrell) on 07770 823104. Alternatively visit themembership section of our website www.rtwcs.org.uk, and submit the on-line application form.

Details of RTWCS forthcoming events are shown on the back cover as well as the website.

Friends & PatronsMore culture at lower costBecome a Friend, Patron or Sponsor of theRoyal Tunbridge Wells Choral Society.The majority of arts-based charities dependon voluntary financial support. Our singingmembers pay an annual subscriptionwhich roughly covers our overheads butthe income from the sale of tickets is rarelyenough to cover the cost of hiring theconcert hall and paying for the orchestraand soloists.

Becoming a Friend or Patron helps usto close the gap and at the same timeguarantees a preferential choice of a ‘bestseat in the house’ for our Autumn,Christmas and Spring concerts. Friendsand Patrons also receive periodicNewsletters, and are invited to attendchoir members’ social events.

Friends are currently asked to pay aminimum of £65 pa and receive all thebenefits listed above. This amounts tothe cost of the best seat prices for all ourconcerts but in most cases also allows theSociety to claim a Gift Aid refund from HMRevenue and Customs.

Patrons are those supporters who feel theywould like to donate a little more than thebasic Friends subscription. Silver Patronsare those who make a contribution between£100 and £199, whilst those contributing£200 and over are classed as Gold Patrons.Gold Patrons receive two free tickets ratherthan one.

Unless they ask not to be included, thenames of Friends and Patrons are listed inour concert programmes in recognition oftheir support.

Sponsors are particularly valued; normallylocal commercial entities, they are invited tocontribute to the costs of staging concertsin return for exposure on all our publicitymaterial – including posters, flyers,programmes, and our website. Although wehave some guide- lines, terms are flexibleand negotiated with individual sponsors.

Sponsors for recent seasons have includedBurfields House Wealth Management, JohnLewis at Home, Hotel du Vin and FenwickElliott. We can also offer advertising spacein our programmes; rates are negotiable –especially for smaller local businesses.www.rtwcs.org.uk

More informationAnyone who would like more informationor would like to become a Friend or Patronisasked to contact Gerald Chew bytelephone (01892 527958) or by email togeraldchew26@gmail.com

If you know or represent a company ororganisation that may be interested inbecoming a Sponsor, or willing to place anadvertisement in a future programme, pleasecontact our publicity officer Melissa Richardsby email to publicity@rtwcs.org.ukRTWCS is a registered charity - no 273310

ROYAL TUNBRIDGE WELLSSymphony OrchestraSPRING CLASSICS

SUN 5 MAR 2017 3PMELGAR - Serenade for stringsMOZART - Sinfonia Concertante for Winds K297bMENDELSSOHN - “ Reformation” Symphony No. 5

Soloists: RTWSO wind ensembleConductor: Roderick Dunk

SUN 2 APR 2017 3PMMOZART - Symphony No. 39MAHLER - Symphony No. 5

Conductor: Roderick Dunk

SUN 5 FEB 2017 3PMSHOSTAKOVICH - Festival OvertureRACHMANINOV - Rhapsody on a Theme of PaganiniTCHAIKOVSKY - Manfred Symphony

Soloist: Peter Donohoe (piano)Conductor: Neil Thomson

Assembly Hall Theatre, Crescent Road, TunbridgeWells, Kent TN1 2LU01892 530613 / 532072www.assemblyhalltheatre.co.uk

Tickets £17, £20, £24 & £27(18 or under & students £1)booking fees apply

www.rtwso.org

ROYA L TU N B RIDGE W ELLSSym phony Orchestra

Tickets £17,£20,£24 & £27(18orunder& students £1)

SU N DAY 4 DECEM B ER 2016 3PM

Sponsored

by W estw ell

W ealth M anagem ent

A Grand Opera Gala!

Susana Gaspar, Jean Rigby, Jung Soo Yun, Richard M orrison

Conductor - Roderick Dunk

perform ing popular highlights from :

Die M eistersinger F idelio The M agic F luteSam son & Delilah La B ohèm e The B arber of Seville

La Traviata Aida Rigoletto

E.R. HICKMOTT & SON01892 522 462

CHAUFFEUR DRIVEN CARS BASED INTUNBRIDGE WELLS, KENT

For your special occasions and weddings, we offer 1950’s Rolls Royce limousinesand modern air conditioned six seater limousines. We serve our local area including:‑

Tunbridge Wells, Tonbridge and Sevenoaks.

Vehicles can be dressed with white ribbons and flowers for weddings.Our classic car hire is available for special occasions, ensuring that you arrive in style.

What do we cover with our car hire service?

B 6 & 7 seater vehicles also available

B Local or long distance journeys

B Special outings

B The Races

B Corporate functions

WEDDING CAR HIRE IN KENTSince the 1950s we have been hiring out our limousines for weddings –

this service continues today and on most weekends our vehicles are dressedin the white ribbons for those happy occasions. We also have Rolls Royces and

stretched limousines available for private hire for other celebrations

All our wedding vehicles come complete with white ribbonsand champagne for the bride and groom.

If you have any special requirements or enquiries on ourclassic car hire, please contact us at

E.R. Hickmo� & Son on 01892 522 462

UPCOMING EVENTS:

Sunday 20th November, 7.30 pm. Mayfield Festival Choir.Handel’s Messiah, St. Dunstan’s Church, Mayfield.

Sunday 11th December, 6.00 pm. RTWCSChristmas Concert featuring Britten Ceremony of Carols,Royal Tunbridge Wells Choral SocietySt Mary’s Church, Goudhurst

December 24th, 7.00 pm. Carols at Hotel du VInHotel du Vin are proud to continue to support RTWCS who will be performingin the hotel on Christmas Eve. Do come along.

Spring ConcertSunday 7th May 2017 Royal Tunbridge Wells Choral SocietyJS Bach – Mass in B MinorWith the Southbank Sinfonia, Assembly Hall Theatre

Summer ConcertSunday 2nd July 2017Informal Summer Event – details to be announced

Send YourChristmas Cards

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0845 4989622Post & Packing Tunbridge Wells

23 Mount Pleasant Road, TN1 1NTPost & Packing Tonbridge8385 High Street, TN9 1RX

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Send Your

A Concert ofChristmas MusicSt. Mary’s Church, Goudhurst

Sunday 11th December at 6pm

A concert of music, audience carolsand readings, featuring Vaughan WIlliams’

“Fantasia on Christmas Carols”from performers:

Roland Millar (Baritone)The Wadhurst Band

Chris Harris (organist)Royal Tunbridge Wells Choral Society

Conducted by Rebecca Miller

Tickets £10 or £5 for childrenavailable through choir members, at the dooror online via www.rtwcs.org.uk

W W W . R T W C S . O R G . U K

Generously supported byBurfields House Wealth Management Ltd

www.burfieldshouse.co.uk

RTWCS is a Registered Charity, number 27331@RTWChoralSoc

ROYAL TUNBRIDGE WELLSCHORAL SOCIETY

PRESENTS