BELSHAZZAR’S FEAST

Belshazzar’s Feast, Rembrandt van Rijn, 1635

THE DECADESPROJECT 1930–193910

CONCERT PROGRAM

Peter OundjianMusic Director

Luc MartinHero’s Fanfare: Sesquie for Canada’s 150th (Jun 2 only; TSO PREMIÈRE/TSO CO-COMMISSION)

Paul HindemithConcert Music for Brass and Strings, Op. 50Part I: Massig schnell, mit Kraft –

Sehr breit, aber stets fleissend

Part II: Lebhaft – Langsam – Im ersten Zeitmass (Lebhaft)

Alban Berg Violin ConcertoI. Andante – Allegretto

II. Allegro – Adagio

IntermissionIn the North Lobby, join The Decades Project ancillary events curator Tom Allen in conversation with architectural historian Marta O’Brien as they discuss the iconic Toronto architecture of the 1930s.

William WaltonBelshazzar’s Feast

Friday, June 2, 2017

7:30pm

Saturday, June 3, 2017

8:00pm

Sir Andrew Davisconductor

Jonathan Crowviolin

Alexander Dobsonbaritone

Toronto Mendelssohn ChoirNoel Edison

Artistic Director

Huddersfield Choral SocietyGregory Batsleer

Choral Director

Sir Andrew Davis begins our musical exploration of the 1930s with three exceptional works. Hindemith’s Concert Music for Brass and Strings is a stunning showpiece for orchestra without the woodwinds. The amazing sonorities of these two sections playing against and with each other are without comparison anywhere in the orchestral repertoire. Our own Jonathan Crow is the featured soloist in Berg’s beautiful Violin Concerto—a rich, lushly Romantic work tinged with elegiac sensibilities. Berg’s use of the contemporary language his teacher Schoenberg created is highly personal, a singular voice amidst the experimentation and angularity of this musically tempestuous decade. Alexander Dobson, the Toronto Mendelssohn Choir, and the Huddersfield Choral Society join the Orchestra for Walton’s exhilarating oratorio Belshazzar’s Feast. This exciting work might be his masterpiece. It is dramatic, lyrical, highly original, and completely compelling.

Please note that the performance on June 2 is being recorded for online release at TSO.CA/CanadaMosaic.

The June 2 performance is dedicated to the Toronto Symphony Volunteer Committee for their many years of service to the TSO and the community.

Ann H. Atkinson dedicates the June 3 concert to music lovers everywhere.

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THE DETAILS

The young Hindemith stood at the forefront of

the German avant-garde, delighting in creating

bold, daring music that unabashedly flaunted

convention. With time, he became a Bach-like,

fully practical artist. The mature Hindemith

created specific pieces for specific occasions,

and music for the enjoyment of professional and

amateur musicians alike. His productivity was

vast, and his music is vigorous, richly textured,

and life-enhancing.

He composed the Concert Music for Brass and

Strings on commission for the 50th anniversary

of the Boston Symphony Orchestra (BSO). Other

major, enduringly impressive works created for

that auspicious occasion included Stravinsky’s

Symphony of Psalms and Ravel’s Piano

Concerto in G. Serge Koussevitzky conducted

the BSO in the première of Hindemith’s piece

on April 4, 1931.

It was the last in a series of three similarly

titled compositions, for various instrumental

combinations, that he composed during the

period of 1929 to 1930. Their structure, based

upon interaction between separate groups of

instruments, recalls the concerto grosso form of

the Baroque period.

His choice of instruments for this piece gave it

a sound that is often massive and powerful. The

first movement falls into two sections. The first

of them is lively and filled with great contrapuntal

interest, Hindemith regularly layering together

several lines of activity. In terms of style, it

resembles one of Bach’s Brandenburg Concertos,

but it is driven by rhythms and underpinned by

harmonies that are distinctly 20th-century. The

second section of the movement is slower in

tempo and lyrical in mood, giving free rein to the

strings’ expressive capabilities.

The jazz-inflected second movement begins

playfully, as the strings introduce a bounding

fugue subject that is punctuated first by

brass chords, then by solo turns for various

instruments. Contrast arrives with a quiet,

flowing passage, which, in time, is shared by

both groups of instruments. Hindemith brought

back the first section’s themes and built them to

a sonorous, richly textured conclusion.

Program note by Don Anderson

Paul HindemithConcert Music for Brass and Strings, Op. 50

Born: Hanau, Germany, Nov 16, 1895 Died: Frankfurt, Germany, Dec 28, 1963Composed: 1930

17min

For a program note to Luc Martin’s Hero’s Fanfare: Sesquie

for Canada’s 150th, please turn to page 13 of the Sesquies

Canada Mosaic program.

A VIVID COMBINATIONThe unusual scoring

of Paul Hindemith’s

Concert Music for

Brass and Strings

and his inventive

juxtaposition of the

timbres and sonorities

of these instruments imbues the work

with a special vitality. The brass section

is divided into three quartets: one of

trumpets, one of horns, and one of three

trombones and tuba. To balance out the

brass, Hindemith requested that the string

body be as large as possible; moreover, he

eliminated the division of first and second

among the violins, and they play grouped

together.

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Alban Berg was the most traditionally expressive

member of the Second Viennese School, a

circle of composers whose other members

were Arnold Schoenberg, its founder, and Anton

Webern. In the Violin Concerto, he employed

the innovative, controversial methods of

composition that Schoenberg developed, but

as biographer Karen Monson wrote of it, “lush

enough to gratify 20th-century symphonic

tastes, and certainly quicker and easier to

assimilate than Berg’s full length operas, the

Violin Concerto was quickly to become his most

popular work.”

American violinist Louis Krasner strongly

championed new music. Impressed by Berg’s

compositions, he approached him, early

in 1935, to commission a concerto. Berg

originally planned to make it an abstract work.

He gradually began to think of it in more

programmatic terms, a direction crystallized by a

dramatic development in his personal life.

On April 22, Manon Gropius, the 18-year-old

daughter of Berg’s friend Alma (widow of Gustav

Mahler) and architect Walter Gropius, died from

polio. Deeply moved by the loss of this lovely,

warm-hearted young woman, Berg decided to

make his new concerto both a character sketch

of Manon, in which she is portrayed by the solo

violin, and a requiem to her spirit. He completed

it on August 12, a short period by his usually

painstaking standards. He inscribed the score to

Louis Krasner and “To the memory of an angel.”

Berg did not live to hear the concerto played, as

he died that December. It can therefore be taken,

however unintentionally, as his own requiem, as

well as that of Manon Gropius. Krasner gave the

première in Barcelona, Spain, on April 19, 1936.

The concerto has two movements, each consisting

of two continuous sections. Apparently, Berg

intended the first movement to portray Manon in

life, while the second represents her death and

transfiguration. In addition to original themes, the

concerto includes the merry Austrian folk song “A

Bird on the Plum Tree Has Awakened Me” (second

part of the first movement), and in the coda of the

second movement, Bach’s setting of the Lutheran

chorale melody, Es ist genug (It is enough).

Program note by Don Anderson

Alban Berg Violin Concerto

Born: Vienna, Austria, Feb 9, 1885Died: Vienna, Austria, Dec 24, 1935Composed: 1935

22min

LOUIS KRASNERUkrainian-born

American violinist Louis Krasner (1903–1995)

approached Berg

with a request for a

violin concerto after

witnessing a performance of Berg’s opera

Wozzeck in New York, an experience he

described as “overwhelming”. Berg was

initially uninterested, believing that Krasner

wanted a virtuosic showpiece. But Krasner

argued: “The attacking criticism of 12-tone

music everywhere is that this music is only

cerebral and without feeling or emotion.

[...] Think of what it would mean for the

whole Schoenberg movement if a new

Alban Berg Violin Concerto should succeed

in demolishing the antagonism of the

‘cerebral, no emotion’ cliché and argument.”

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THE DETAILS

Walton came to attention through impudent,

jazz-inflected scores such as the spoken-and-

played “entertainment” Façade (1922), and

cemented his reputation as a bright light of

music with the warm, haunting Viola Concerto

(1929). He made further inroads into conservative

domains (but not through conservative means)

by creating an example of that long-time British

favourite, the choral work with orchestra.

Belshazzar’s Feast was commissioned by the

BBC, to be premièred at the 1931 Leeds Triennial

Festival. Author Osbert Sitwell came up with

the Old Testament story of the “handwriting on

the wall” as the subject. Using the King James

edition of the Bible, he drew upon the books of

Daniel, Isaiah, Revelation, and the Psalms. The

première audience initially registered shock at

the fierceness expressed by both text and music,

but by the end of the performance, the score’s

sheer visceral impact swept them to their feet.

After the stern opening proclamation, the

baritone soloist and chorus lament the

oppressed state of the Hebrew slaves in

Babylon. The baritone sings an unaccompanied

recitative enumerating Babylon’s vast riches

and its profound evils. The vibrant depiction of

the feast proper makes prominent use of the

jagged rhythmic syncopations of early jazz. The

chorus, taking the viewpoint of the Hebrews,

describes how Belshazzar, king of Babylon,

commits blasphemy by having his slaves bring

forth the golden drinking vessels that his father,

Nebuchadnezzar, had stolen from the sacred

Hebrew temples in Jerusalem, at the same time

as he had enslaved the population. Belshazzar

and his courtiers imbibe from them, sealing their

doom in the eyes of God. Belshazzar (baritone

soloist) calls for praises to be sung to his people’s

gods. The chorus shifts to the role of Babylonians,

singing ecstatic odes to their deities.

At the height of the festivities, the God of the

Hebrews intervenes. He sends forth a phantom

hand to inscribe the fate of Belshazzar and his

people on the wall of the palace. The scene is

climaxed by the chorus’s electrifying shout of

“Slain!” as Belshazzar and his kingdom are cast

down. The Hebrews celebrate their freedom in a

jubilant hymn of praise.

Program note by Don Anderson

William WaltonBelshazzar’s Feast

Born: Oldham, England, Mar 29, 1902Died: Ischia, Italy, Mar 8, 1983Composed: 1930–1931

36min

RECEPTIONThe première performance of Belshazzar’s

Feast was an enormous critical and

public success, but not everyone viewed

it favourably. Despite its biblical subject

matter, the Church of England deemed it

unsuitable for performance in cathedrals,

and The Times’s music critic disliked the

work’s ending, stating that it “culminates in

ecstatic gloating over the fallen enemy—

the utter negation of Christianity.” It was

banned by the organizers of the Three

Choirs Festival until 1957, and it was not

performed at Worcester Cathedral until

1975. Nevertheless, the work gained

popularity elsewhere, and it quickly became

an established part of the choral repertoire.

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Text to Belshazzar’s FeastArranged from biblical sources by Osbert Sitwell

Thus spake Isaiah:Thy sons that thou shalt beget,They shall be taken awayAnd be eunuchsIn the palace of the King of Babylon.Howl ye, howl ye, therefore:For the day of the Lord is at hand! By the waters of Babylon,There we sat down: yea, we weptAnd hanged our harps upon the willows. For they that wasted usRequired of us mirth;They that carried us away captiveRequired of us a song.Sing us one of the songs of Zion. How shall we sing the Lord’s songIn a strange land? If I forget thee, O Jerusalem,Let my right hand forget her cunning.If I do not remember thee,Let my tongue cleave to the roof of my mouth.Yea, if I prefer not Jerusalem above my chief joy. By the waters of BabylonThere we sat down: yea, we wept.O daughter of Babylon, who art to be destroyed,Happy shall he be that taketh thy childrenAnd dasheth them against a stone,For with violence shall that great city Babylon be thrown downAnd shall be found no more at all.

Babylon was a great city,Her merchandise was of gold and silver,Of precious stones, of pearls, of fine linen,Of purple, silk, and scarlet,All manner vessels of ivory,All manner vessels of most precious wood,Of brass, iron, and marble,Cinnamon, odours, and ointments,Of frankincense, wine, and oil,Fine flour, wheat, and beasts,Sheep, horses, chariots, slaves,And the souls of men. In BabylonBelshazzar the King made a great feast,Made a feast to a thousand of his lords,And drank wine before the thousand. Belshazzar, whiles he tasted the wine,Commanded us to bring the gold and silver vessels:Yea! the golden vessels, which his father, Nebuchadnezzar,Had taken out of the temple that was in Jerusalem. He commanded us to bring the golden vesselsOf the temple of the house of God,That the King, his Princes, his wives,And his concubines might drink therein. Then the King commanded us:Bring ye the cornet, flute, sackbut, psalteryAnd all kinds of music: they drank wine again,Yea, drank from the sacred vessels,

continued on next page

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THE DETAILSAnd then spake the King:Praise ye the God of Gold,Praise ye the God of Silver,Praise ye the God of Iron,Praise ye the God of Wood,Praise ye the God of Stone,Praise ye the God of Brass,Praise ye the Gods! Thus in Babylon, the mighty city,Belshazzar the King made a great feast,Made a feast to a thousand of his lordsAnd drank wine before the thousand. Belshazzar whiles he tasted the wineCommanded us to bring the gold and silver vesselsThat his Princes, his wives, and his concubinesMight rejoice and drink therein. After they had praised their strange gods,The idols and the devils,False gods who can neither see nor hear,Called they for the timbrel and the pleasant harpTo extol the glory of the King.Then they pledged the King before the people,Crying, Thou, O King, art King of Kings:O King, live for ever... And in that same hour, as they feasted,Came forth fingers of a man’s handAnd the King sawThe part of the hand that wrote.

And this was the writing that was written:“MENE, MENE, TEKEL UPHARSIN”“THOU ART WEIGHED IN THE BALANCE AND FOUND WANTING.”In that night was Belshazzar the King slainAnd his Kingdom divided. Then sing aloud to God our strength:Make a joyful noise unto the God of Jacob.Take a psalm, bring hither the timbrel,Blow up the trumpet in the new moon,Blow up the trumpet in ZionFor Babylon the Great is fallen, fallen.Alleluia! Then sing aloud to God our strength:Make a joyful noise unto the God of Jacob,While the Kings of the Earth lamentAnd the merchants of the EarthWeep, wail, and rend their raiment.They cry, Alas, Alas, that great city,In one hour is her judgement come.

The trumpeters and pipers are silent,And the harpers have ceased to harp,And the light of a candle shall shine no more. Then sing aloud to God our strength:Make a joyful noise to the God of Jacob,For Babylon the Great is fallen. Alleluia!

THE ARTISTS

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Sir Andrew DavisconductorSir Andrew Davis, now Conductor Laureate, served as

TSO Music Director from 1975 to 1988.

Sir Andrew Davis is the music director and principal

conductor of the Lyric Opera of Chicago, and chief

conductor of the Melbourne Symphony Orchestra. Maestro

Davis’s career spans over 40 years during which he has

been the musical and artistic leader at several of the world’s most distinguished opera

and symphonic institutions, including the BBC Symphony Orchestra (conductor

laureate; chief conductor, 1991–2004), Glyndebourne Festival Opera (music director,

1988–2000), and the Toronto Symphony Orchestra (conductor laureate; principal

conductor, 1975–1988). He recently received the honorary title of conductor emeritus

from the Royal Liverpool Philharmonic Orchestra. One of today’s most recognized

and acclaimed conductors, Sir Andrew has conducted virtually all of the world’s major

orchestras, opera companies, and festivals.

Born in 1944 in Hertfordshire, England, Maestro Davis studied at King’s College,

Cambridge, where he was an organ scholar before taking up conducting. His wide-

ranging repertoire encompasses the Baroque to contemporary, and spans the

symphonic, operatic, and choral worlds. A vast and award-winning discography

documents Sir Andrew’s artistry, with recent CDs including works of Berlioz, Elgar,

Grainger, Delius, Ives, Holst (nominated for a GRAMMY® in 2015 for Best Choral

Performance), and York Bowen (nominated for a GRAMMY® in 2012 for Best Orchestral

Performance). He currently records exclusively for Chandos Records. In 1992, Maestro

Davis was made a Commander of the British Empire, and in 1999, he was designated a

Knight Bachelor in the New Year Honours List.

Jonathan CrowviolinTSO Concertmaster Jonathan Crow joined the TSO in 2011.

The 2016/17 season marks Canadian violinist Jonathan

Crow’s sixth season as Concertmaster of the Toronto

Symphony Orchestra. A native of Prince George, BC,

Jonathan earned his Bachelor of Music in Honours

Performance from McGill University in 1998, at which

time he joined the Orchestre symphonique de Montreal (OSM) as Associate Principal

Second Violin. Between 2002 and 2006, Jonathan was the Concertmaster of the

continued on next page

THE ARTISTS

Alexander DobsonbaritoneThese performances mark Alexander Dobson’s TSO début.

British-Canadian baritone Alexander Dobson has been

praised for his musical and dramatic artistry on both

opera and concert stages. Highlighting Dobson’s 2016/17

season is his performance in the title role in Don Giovanni

at Milwaukee’s Florentine Opera, a role he has also sung

with Orchestre Métropolitain de Montréal. Dobson also appears in concert with the

Calgary Philharmonic Orchestra (Handel’s Messiah) and the Milwaukee Symphony

Orchestra (Mozart’s Requiem). In recital, Dobson can be heard this season on a

program at Mooredale Concerts in Toronto.

On the concert stage, Dobson has shown versatility with both classical and

contemporary repertoire. He has performed Mahler’s Songs of a Wayfarer with

Orchestre Métropolitain, Faure’s Requiem with the Windsor Symphony Orchestra,

and Mahler’s Symphony No. 8 with the combined National Arts Centre Orchestra

and Orchestre Métropolitain. He has sung Handel’s Messiah with The Philadelphia

Orchestra, Orchestra London, National Arts Centre Orchestra, and many others.

Recent performances of contemporary works include the role of “The Master” in

Coleman Lemieux & Compagnie’s production of Against Nature, and “The Pilot”

in Soundstreams’ production of Airline Icarus, a new opera by Brian Current. A

recording of Airline Icarus (winner of the 2015 JUNO for Classical Composition of

the Year) featuring Mr. Dobson was released on Naxos Records in 2015.

OSM; during this time, he was the youngest concertmaster of any major North

American orchestra. He continues to perform as guest concertmaster with

orchestras around the world.

Jonathan has performed as a soloist with most major Canadian orchestras. An avid

chamber musician, he has performed at chamber music festivals throughout North

America, South America, and Europe. He is a founding member of the New Orford

String Quartet, who recently won a 2017 JUNO Award for Classical Album of the

Year—Solo or Chamber Ensemble, for their recording of two Brahms string quartets.

Jonathan is also the curator and host of The TSO Chamber Soloists series. Currently,

he is Associate Professor of Violin at the University of Toronto and Artistic Director of

the Toronto Summer Music Festival. Jonathan has recorded for ATMA, Bridge, CBC,

Oxingale, Skylark, and XXI-21 labels, and is heard frequently on Chaîne Culturelle of

Radio-Canada, CBC Radio Two, and National Public Radio, along with Radio France,

Deutsche Welle, Hessischer Rundfunk, and the RAI in Europe.

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Toronto Mendelssohn Choir

Noel EdisonArtistic DirectorCynthia HawkinsExecutive DirectorJennifer Min-Young LeeAssociate Conductor

The Toronto Mendelssohn Choir made its TSO début in

March, 1937.

The Toronto Mendelssohn Choir (TMC), Canada’s world-renowned large vocal

ensemble, performs choral music drawn from five centuries, including grand symphonic

masterworks, world premières of new compositions, and rarely heard works. In addition

to its own concert season, the TMC also appears regularly with the Toronto Symphony

Orchestra (TSO) and makes other guest appearances.

The TMC presented its first concert on January 15, 1895, as part of Massey Hall’s inaugural

season. Since then, the TMC has flourished under the leadership of seven of Canada’s pre-

eminent conductors. Under Noel Edison’s tenure, the Choir has won widespread praise for

its recordings and from audiences and critics for its performances in Toronto, New York,

Vienna, and Salzburg, and in Vancouver during the 2010 Cultural Olympiad.

The choristers of the TMC include professional singers, auditioned volunteers, and choral

apprentices. Twenty members of the Elora Singers, founded and directed by Noel Edison,

form the professional core of the TMC. The TMC’s Choral Apprentice Program brings

experienced 17–22-year-old singers into the Choir and supports them through bursaries,

voice coaching, and mentoring. The TMC’s Associate Conductor position supports the

development of emerging conductors.

SopranoKathryn BarberAnn-Marie Barrett-TandyNicole BernabeiLesley Emma Bouza *Joanne Chapin *Laureen ChoiJanet EideLeslie FinlayKaveri GandhiJulia GossPat M. IrwinMarilyn Isaac StewartLarisa IsakharovaJennylynd JamesDanielle KainChristine KerrJennifer KerrAlysha LadhaMarlene LyndsTeresa Mahon *Sachiko MarshallAmanda McDermottLydia McIntoshLindsay McIntyre *Lisa MilliganJulia Morson *Dawn O’DwyerAlison PriceBoyanna RajicHeather RoweJennifer Sadler

Lora Marie SanbornJoanne TangAnne ThorneMay VillegasJennie WordenKate Wright *Hannah YouClaire X. YuSophya Yumakulov

AltoJane AgostaMarlo AlcockJulia Barber *Betty BennettSarah ClimenhagaKristin CrawfordCora M.M. DuskKirsten Fielding *Kim FinkelsteinGillian GrantIlone HarrisonCharlotte Hodgkins *Valarie KoziolManami KugeClaudia Lemcke *Jennifer McGrawMarcia MyersAnnie OdomPamela Psarianos ¥Marg RappoltTaya Rosenberg

Amy RossiterJan SzotLisa TaharaHalyna TroianChantelle WhitesideEmma WillemsmaAndrea WongSusan WorthingtonVirginia WrightDace Zacs

TenorSamuel BrovermanBrian ChangPeter DeRocheJohn GladwellNicholas Gough *Alejandro GuerreroValdis Jevtejevs *Clement KamRobert Kinar *Nestor LiAllen MahabirTimmy MoWilliam ParkerJeremy RunnallsIsaiah-John Sison ¥Steve Szmutni *Max von HoltzendorffAndrew Walker *Christopher WenmanBill Wilson

BassHernan BoteroJarlen CadenTony ChurchillBarry CleggJordan Collalto *John GrinvaldsMiles HearnJeffery JarmanRonald JewellNien-Chu (David) KuanDennis Kwok ¥Tom LaurieLawrie McEwan *Marc Michalak *Roger MusselmanDaniel ParkinsonPhil PenneyDavid B. PowellMilovan PrelevicJordan Scholl *Edward ShafranAndrew SlonetskyBrian SnellSeymour SternChia-An (Victor) TungJonathan Wong ¥David Yung *

* Elora Singers¥ Apprentice Members

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THE ARTISTSHuddersfield Choral Society

Gregory BatsleerChoral Director

These performances mark the Huddersfield Choral

Society’s TSO début.

Founded in 1836, the Huddersfield Choral Society is a

Yorkshire-based choir with a membership of over 150 singers.

The Society includes the Huddersfield Choral Society Youth

Choirs who have this year celebrated their 30th anniversary.

The Choir’s regular season takes place in Huddersfield and the Choir accepts external

invitations, which see them performing not only in concert venues throughout the country,

but also overseas.

Annually, the Choir performs a season of three subscription concerts and two public

concerts along with external engagements. In recent years, these have included

performances at the Buxton Festival, BBC Proms, and BBC Songs of Praise, and

international tours to mainland Europe and Japan. The Choir recently recorded a selection

of British choral music for CD release conducted by Aidan Oliver and accompanied by

organist Thomas Trotter.

Huddersfield Choral Society is fortunate to perform under the batons of highly distinguished

conductors, including Vasily Petrenko, Paul Daniel, Jane Glover, and Martyn Brabbins, and to

work with internationally renowned orchestras such as the Royal Liverpool Philharmonic

Orchestra, BBC Philharmonic, Royal Northern Sinfonia, and the Orchestra of Opera North.

The Choir looks forward to an exciting future following the appointment of new choral

director Gregory Batsleer, and with continuing musical direction of Martyn Brabbins.

Huddersfield Choral Society’s 2017 Canada tour includes these performances with the

Toronto Symphony Orchestra, and a concert entitled Choral Splendour on June 4 with the

Toronto Mendelssohn Choir featuring some of the greats of British choral music.

SopranoLouise AlpMargaret AtkinsonJill BamfordLydia BaylissCharmaine BeaumontJanet BoothChristine BroadbentColleen BrownMary CadwaladrGwyneth CooperHannah DashwoodSue EllisJulia HarveyKate Hyland-CollierCaroline JonesHelen KettlewellElaine LeeCath MurgatroydJean Parker

Carol RandersonJane SargentDoreen SmurthwaiteDebbie StephensRuth StonesMarilyn SutcliffeSarah WickhamSue WildeDenise WilkesGlynis WilkinsonJane Williamson

AltoRuth AldredThelma BatemanRuth BostockAnn BoswellRowena BurtonJean CollisonChristine Durham

Janet GabanskiGaynor HalidayRichard HallasAndrea HindsonSue HornbySusan KirbyElizabeth MortimerVicki ScurrahEileen ShellerFiona TewsonSusan TurnbullMichelle WalkerJenni WohlmanJulie WoottonClare Wright

TenorStephen BrookFrances DurningGraham Fearnley

Jeremy GarsideAlan StephensMichael WiddallTim Wilkes

BassGareth BeaumontJohn HarmanDavid HartleyDaniel HegartyKeith HornerGarry HumeChristopher KnealeBarrie MortimerGeoffrey PriestleyGraham SmeltTerry SmurthwaiteMark TaylorRichard ThompsonAndrew Wright