Saturday 6 July 2013

Conductor: Colin Stevens

Chiltern Orchestral SocietyLeader: Janet Hicks

SOLOISTS

Clare Boulter (soprano)Robert Johnston (tenor)Jimmy Holliday (bass)

The Creation

ROBERT JOHNSTON (TENOR): Robertstudied singing at The Royal Academy ofMusic, where he gained LRAM’s in bothteaching and performing, as well as aGRSM. In 1995 he was awarded an ARAM.He now combines being a full time memberof the BBC Singers, with a busy solo careerboth at home and abroad.

At home he has sung the Messiah at theRAH under Sir David Willcocks, CarminaBurana at the Barbican and made his debutat the Three Choirs Festival in 1996 as theEvangelist in Bach’s St Matthew Passionunder Joshua Rifkin. In recent seasonsabroad he has sung The Dream ofGerontius in Cape Town; The Kingdom inthe Teatro Colon, Buenos Aires; TheCreation in Sri Lanka; Samson, TheMessiah and St Nicolas in Holland;Handel’s Ode to St Cecilia in Padova, Italy;

Elijah in Norway; Haydn’s Nelson Mass inParma, Italy, and Judas Maccabaeus withthe MDR orchestra in Leipzig.

Recordings include filming in Munich worksby Carl Orff for The South Bank Show,Maintop in a recording of Billy Budd forErato with Kent Nagano and the Halle,Marquis Pierre in Kurt Weill’s TheFirebrand of Florence with Sir AndrewDavis and the BBC Symphony Orchestraand a selection of carols with David Hill andThe Bach Choir on the CD Noel.

Recent performances include works byHandel and Haydn in Kampen andGroningen, Holland; the Evangelist inBach’s St Matthew Passion in St AlbansAbbey, The Dream of Gerontius in London,Messiah in Redbourn and performances ofthe rarely performed Joseph and his

CLAIRE BOULTER (SOPRANO); Clairestudied at the University of Birminghamand Trinity College of Music, graduatingwith the Allcard Award and the WorshipfulCompany of Musicians Silver Medal forExcellence.

Roles whilst studying include the title rolein Floyd’s Susannah, Lucietta School forFathers, title role Zaide, Pamina DieZauberflöte, Lucia The Rape of Lucretia,Sifare Mitridate, Tytania A MidsummerNight’s Dream and The Pilgrim’s Progress(Philharmonia Voices with Richard Hickoxat Sadler’s Wells).

Most recently Claire performed the role ofCarrie Pipperidge in Opera North'scritically acclaimed production of Carousel

at The Leeds Grand Theatre, The Lowryand London's Barbican Theatre. Otherstage work includes Guadalena, LaPérichole (Opera South), ‘BattlingSopranos’ (MIMOMANIAC, King’s Place),Aline, The Sorcerer (Buxton OperaHouse), ensemble The Pirates ofPenzance (The Carl Rosa OperaCompany), and three seasons at theThursford Christmas Spectacular.

Oratorio work includes Spirit of England,Carmina Burana, Elijah, Messiah, PetiteMesse Solennelle, Nelson's Mass, BachJohannes Passion with Richard Egarr,concerts in venues such as The RoyalPalace, Madrid, St John's Smith Square,The Royal Albert Hall and duetting withJonathan Ansell at the ICC Birmingham.

Brethren by Handel, again in Holland.Robert has also recently finished filmingthe part of the Venetian Opera Singer inthe Ealing Studios feature film of DorianGray.

Robert is also the director of his owncompany, RSVP Voices, contracting

singers and choirs for film and televisionsoundtracks. Credits include Harry Potterand the Order of the Phoenix and HarryPotter and the Half-Blood Prince. RSVPVoices also provided the backing singersfor the debut album of Jarvis Cocker, alsoperforming with him live at the RoyalFestival Hall.

JIMMY HOLLIDAY (BASS); Jimmy wasborn in Birmingham and sang as achorister at Lichfield Cathedral. He gaineda major music scholarship to RadleyCollege and was a member of TheNational Youth Choir of Great Britain andits chamber choir, Laudibus. He sang as aLay Clerk at Winchester Cathedral for fiveyears before moving to London in 2006 tostudy at the RCM’s International OperaSchool. He graduated with distinction asthe Martin Harris scholar supported by aDouglas & Kyra Downie Award and wasalso supported by a Toeman WeinbergerOpera Scholarship. In his last year Jimmywon numerous awards, Including theinaugural Richard Van Allan Award,administered by MBF, and the 10thHampshire Singer of the Year competition.

He followed the RCM with a year’s study atThe National Opera Studio, London,supported by British American Tobaccoand the Friends of Covent Garden.

Jimmy is in extremely high demand as aconsort singer and regularly works withEXAUDI, Ensemble Plus Ultra (recentwinner of Gramaphone’s Early Music CD),The Gabrieli Consort, The Sixteen(including second series of BBC’s SacredMusic), Tenebrae, BBC Singers, The Tallis

Scholars and I Fagiolini. He is a regular inthe choir at Temple Church, London. Asan Oratorio performer across the UK andEurope, recent highlights include J.S. BachSt Matthew Passion with The DunedinConsort, Verdi Requiem with David Hilland the BSO, Bach Easter Oratorio andCantata BWV 158 Der Friede sei mit dir atThe Wigmore Hall with Florilegium,Monteverdi 1610 Vespers in France withEmmanuelle Haïm and Mendelssohn’sElijah at Winchester Cathedral.

In RCM productions Jimmy performednumerous roles including Bottom inBritten’s A Midsummer Night’s Dream,Sarastro in Mozart’s Die Zauberflöte andKecal in Smetana’s The Bartered Bride.Since leaving NOS opera performancesinclude Stravinsky’s The Rake’s ProgressNick Shadow for Ostrava Opera, CzechRepublic and his debut with ENO inWolfgang Rihm’s Jakob Lenz PastorOberlin (cover) and ensemble role. Herecently returned to Ostrava to singHeinrich der Vogler in Wagner’s Lohengrin.Future roles include Bottom A MidsummerNight’s Dream (cover) and Colline LaBoheme, both for Opera North

Jimmy is an Independent Opera VocalScholar and is taught by GraemeBroadbent.

Joseph Haydn was born in 1732 inRohrau, Austria, a village near theborder with Hungary. He became one

of the most important, prolific andprominent composers of the classicalperiod and is often called the "Father of theSymphony" and "Father of the StringQuartet" because of hisimportant contributionsto these genres.

A life-long resident ofAustria, Haydn spentmuch of his career as acourt musician for thewealthy Hungarianaristocratic Esterházyfamily on their remoteestate. Isolated fromother composers andtrends in music until thelater part of his long life,he was, as he put it,"forced to becomeoriginal".

Joseph Haydn was the brother of MichaelHaydn, himself a highly regardedcomposer, and Johann Evangelist Haydn,a tenor. He was also a close friend ofMozart and a teacher of Beethoven.

When Joseph was six, his parents hadnoticed that their son was musicallytalented and knew that in Rohrau he wouldhave no chance to obtain any seriousmusical training and they accepted aninvitation from their relative JohannFrankh, the choirmaster in Hainburg, thatHaydn be apprenticed to Frankh in hishome to train as a musician and singer.Haydn therefore went off with Frankh toHainburg (seven miles away) and never

again lived with his parents. He receivedvaluable musical training there, and soonwas able to play both harpsichord andviolin. The people of Hainburg were soonhearing him sing treble parts in the churchchoir.

There is reason to thinkthat Haydn's singingimpressed those whoheard him, because hewas soon brought to theattention of Georg vonReutter, the director ofmusic in St. Stephen'sCathedral in Vienna, whowas touring theprovinces looking fortalented choirboys.Haydn passed hisaudition with Reutter,and in 1740 moved toVienna, where heworked for the next nineyears as a chorister,after 1745 in the

company of his younger brother Michael.

By 1749, Haydn had finally maturedphysically to the point that he was nolonger able to sing high choral parts. On aweak pretext, he was summarily dismissedfrom his job. However, he had the goodfortune to be taken in by a friend who, for afew months, shared with Haydn his family'scrowded garret room. Haydn was able tobegin immediately his pursuit of a careeras a freelance musician.

When he was a chorister, Haydn had notreceived serious training in music theoryand composition, which he perceived as aserious gap. To fill it, he worked his way

through many counterpoint exercises andcarefully studied the works of Carl PhilippEmanuel Bach.

Haydn's positive attitude and sense ofhumour made him a favourite amongmusicians. Music students valued hisknowledge and skill and considered it anhonour to learn from him. One suchmusician was Mozart. Although Mozartwas much younger than Haydn, the twomen treated each other with a mutualrespect reserved for the obviously gifted.Although Haydn openly regarded Mozartas the more dramatic composer, his youngcounterpart looked to Papa Haydn as amentor and the master of quartets.

Haydn's sense of humour often came intoplay during his thirty-year tenure withPrince Esterhazy. The prince had becomecomplacent when listening to Haydn'ssymphonies, even falling asleep at theperformances. This was something that,naturally, upset the diligent composer,especially when the prince emitted a loudsnore during a part of the symphony overwhich Haydn had especially laboured.Haydn decided to create a new symphonyfor the prince, a symphony that he hopedwould "get Prince Esterhazy's attention."This particular symphony was written witha long slow movement, designed to be sosoothing that the prince would surely fallasleep. On the evening of theperformance, the prince did indeed drift off.Then, suddenly, a loud chord shattered theserenity of the murmuring movement. Theprince awoke with a start and almost fell offhis chair! As is now well known, Haydnadeptly gave the piece the name The"Surprise” Symphony.

On another occasion, Haydn was plaguedby his musicians who were complainingthat they were long overdue for a holiday.He again faced the dilemma with ingenuity,composing a symphony during which themusicians' parts dropped off two by two.On the evening of the performance, Haydnsaved this symphony as the last number,knowing that dusk would set in and themusicians would need to play the piece bycandlelight. As each instrument's partfinished, the musicians blew out theircandles and left the stage until only Haydnwas left. Prince Esterhazy got the messageand gave everyone a holiday. The piecewas named The “Farewell“ Symphony.

When the prince for whom Haydn hadserved most of his career died, Haydn sawit as yet another opportunity. He packed hisbags and travelled to London, where hewas employed by the entrepreneur J PSalomon to compose symphonies, thedemand for which was amazing. Even atthe age of sixty, Haydn's stamina wasunquenchable and he produced some ofhis greatest work including the famous"London” Symphonies.

After a return to Austria, Haydn turned to anew type of composition - the oratorio. Hewrote The Creation and The Seasons, bothtributes to his love of nature and God. Anenthusiastic hunter and fisherman and aman who considered his peace to comefrom God, it was not out of character forHaydn to turn to the topic.

Haydn died at the age of 77 on 31 May1809. Elssler, Haydn's faithful servant andfriend, wrote that Haydn passed from thisworld "quietly and peacefully," just as hehad lived.

Haydn was inspired to write a largeoratorio during his visits to England in1791–1792 and 1794–1795, when heheard oratorios of Handel performed bylarge forces. Israel in Egypt is believed tohave been one of these. It is likely thatHaydn wanted to try to achieve results ofcomparable weight, using the musicallanguage of the mature classical style.

The work on the oratorio lasted fromOctober 1796 to April 1798. It was also aprofound act of faith for this deeplyreligious man, who appended the words"Praise to God" at the end of everycompleted composition. He laterremarked, "I was never so devout as whenI was at work on The Creation; I fell on myknees each day and begged God to giveme the strength to finish the work." Haydncomposed much of the work while at hisresidence in the Mariahilf suburb ofVienna, which is now the Haydnhaus. Itwas the longest time he had ever spent ona single composition. Explaining this, hewrote, "I spent much time over it because Iexpect it to last for a long time." In fact, heworked on the project to the point of

exhaustion, and collapsed into a period ofillness after conducting its premiereperformance.

The Creation is set for three vocal soloists(soprano, tenor, and bass, with anincidental solo for alto in the finale), four-part chorus (soprano, alto, tenor, bass),and a large Classical orchestra - thereseems little doubt that Haydn wanted a bigsound (by the standard of his day) for hiswork.

The three soloists represent angels whonarrate and comment on the successivesix days of creation: Gabriel (soprano),Uriel (tenor), and Raphael (bass). Thechoral singers are employed in a series ofmonumental choruses, several of themcelebrating the end of one particular day ofcreation.

The orchestra often plays alone, notably inthe episodes of tone painting: theappearance of the sun, the creation ofvarious beasts, and above all in theoverture, the famous depiction of theChaos before the creation.

Part of one of Haydn’s sketches for The Creation

FIRST PART

No 1 Introduction

The Representation of Chaos

No 2 Recitative with chorus

RAPHAELIn the beginning God created the heavenand the earth,and the earth was without form and void;and darkness was upon the face of thedeep.

CHORUSAnd the Spirit of Godmoved upon the face of the waters.And God said, Let there be light!And there was light.

URIELAnd God saw the light, that it was goodand God divided the light from thedarkness.

No 3 Aria with chorus

URIELNow vanish before the holy beamsThe gloomy shades of ancient night.The first day of days appears.Now chaos ends, and order fair prevails.Afrighted fly hell’s spirits black in throngs.Down they sink in the deep abyssTo endless night.

CHORUSDespairing cursing rageAttends their rapid fall.A new-created worldSprings up at God’s command.

No 4 Recitative

RAPHAELAnd God made the firmament, and dividedthe waters,which were under the firmament from thewaters,Which were above the firmament , and itwas so.And God made the firmament, and dividedthe waters which were under thefirmament, and it was so.Now furious storms tempestuous rage; likechaff by the winds impelled are the clouds;by heaven’s sudden fire the sky isinflamed; and awful thunders are rolling onhigh.Now from the floods in steam ascendreviving showers of rain, the drearywasteful hail, the light and flaky snow.

No 5 Chorus with soprano solo

GABRIELThe marvellous work behold amazed theglorious hierarchy of heaven; and to theethereal vaults resound the praise of Godand of the second day.

CHORUSAnd to the ethereal vaults resound thepraise of God and of the second day.

No 6 Recitative

RAPHAELAnd God said: Let the waters under theheavens be gathered together in one placeand let the dry land appear: and it was so.And God called the dry land "earth"and the gathering of waters called he"seas";And God saw that it was good.

No 7 Aria

RAPHAELRoaming in foaming billows, uplifted, roarsthe boisterous sea, mountains and rocksnow emerge, their tops among the cloudsascend through the open plains out-stretching wide, in serpent error rivers flow.Softly purling glides on through silent valesthe limpid brook.

No 8 Recitative

GABRIELAnd God said, Let the earth bring forthgrass the herb yielding seed, and the fruittree yielding fruit after his kind, whose seedin itself upon the earth, and it was so.

No 9 Aria

GABRIELWith verdure clad the fields appear,delightful to the ravished sense; by flowerssweet and gay enhanced is the charmingsight. Here fragrant herbs their odoursshed; here shoots the healing plant; withcopious fruit the expanded boughs arehung; in leafy arches twine the shadygroves; o’er lofty hills majestic forests wave.

No 10 Recitative

URIELAnd the heavenly host proclaimedthe third day, praising God and saying:

No 11 Chorus

CHORUSAwake the harp, the lyre awake,And let your joyful song resound!Rejoice in the Lord, the mighty God,For He both heaven and earthHath clothed in stately dress.

No 12 Recitative

URIELAnd God said, Let there be lights in thefirmament of heaven, to divide the day fromthe night, and to give the light upon theearth, and let them be for signs, and forseasons and for days and for years. Hemade the stars also.

No 13 Recitative

URIELIn splendour bright is rising now the sun,and darts his rays, a joyful happy spouse,a giant proud and glad to run his measuredcourse. With softer beams, and milderlight, steps on the silver moon throughsilent night. The space immense of theazure sky a countless host of radiant orbsadorns.And the sons of God announced the fourthday, in song divine, proclaiming thus Hispower.

No 14 Chorus with soloists

CHORUSThe heavens are telling the glory of God,The wonder of His workDisplays the firmament.

GABRIEL, URIEL, RAPHAELTo day that is coming speaks it the day,The night that is gone to following night.

CHORUSThe heavens are telling the glory of God;The wonder of His workDisplays the firmament.

GABRIEL, URIEL, RAPHAELIn all the lands resounds the word, neverunperceived, ever understood.

CHORUSThe heavens are telling the glory of God;The wonder of His workDisplays the firmament.

SECOND PART

No. 15 Recitative

GABRIELAnd God said, let the waters bring forthabundantly the moving creature that hathlife, and fowl that may fly above the earthin the open firmament of heaven.

No. 16 Aria

GABRIELOn mighty pens uplifted soars the eaglealoft, and cleaves the air in swiftest flight tothe blazing sun. His welcome bids to mornthe merry lark, and cooing calls the tenderdove his mate. From every bush andgrove resound to the nightingale’sdelightful notes; no grief affected yet herbreast, nor to a mournful tale were tunedher soft enchanting lays.

No. 17 Recitative

RAPHAELAnd God created great whales, andevery living creature that moveth:and God blessed them, saying,Be fruitful all, and multiply.Ye winged tribes be multiplied,And sing on every tree; multiply,Ye finny tribes, and fill each watery deep;Be fruitful, grow, and multiply,And in your God and Lord rejoice.

No 18 Recitative

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

No. 19 Trio

GABRIELMost beautiful appear, with verdure youngadorned, the gently sloping hills; theirnarrow sinuous veins distil, in crystaldrops, the fountain fresh and bright.URIEL

In lofty circles play, and hover in the air, thecheerful hosts of birds; and as they flyingwhirl their glittering plumes are dyed asrainbows by the sun

RAPHAELSee flashing through the deep in throngingswarms the fish a thousand ways around.Upheaved from the deep, the immenseleviathan sports on the foaming wave.

GABRIEL, URIEL, RAPHAELHow many are Thy works, O God!Who may their number tell?

No. 20 Chorus with soloists

CHORUSThe Lord is great, and great His might, Hisglory lasts for ever and for evermore.

No. 21 Recitative

RAPHAELAnd God said, Let the earth bring forth theliving creature after his kind, cattle, andcreeping thing, and beast of the earth, afterhis kind.

No 22 Recitative

RAPHAELStraight opening her fertile womb,The earth obeyed the word,And teemed creatures numberless,In perfect forms and fully grown.Cheerful, roaring, stands the tawny lion.With sudden leap the flexible tiger appears.The nimble stag bears up his branchinghead. With flying mane and fiery look,impatient neighs the noble steed. Thecattle in herds already seek their food onfields and meadows green. And o’er theground, as plants, are spread the fleecy,

INTERVAL

meek and bleating flocks. Unnumbered asthe sands, in swarmsarose the hosts of insects. In longdimension creeps, with sinuous trace, theworm.

No. 23 Aria

RAPHAELNow heaven in fullest glory shone; earthsmiled in all her rich attire; the room of airwith fowl is filled; the water swelled byshoals of fish; by heavy beasts the groundis trod; but all the work was not complete;there wanted yet that wound’rous being,that, grateful, should God’s power admire,with heart and voice His goodness praise.

No. 24 Recitative

URIELAnd God created man in HisOwn image, in the image of God createdHe him. Male and female created He them.He breathed into his nostrils the breath oflife, and Man became a living soul.

No. 25 Aria

URIELIn native worth and honour clad, withbeauty, courage, strength, adorned, erect,with front serene, he stands a man, the lordand king of nature all. His large andarched brow sublime, of wisdom deepdeclares the seat. And in his eyes withbrightness shines the soul, the breath andimage of his God. With fondness leansupon his breast the partner for him formed,a woman, fair and graceful spouse. Hersoftly smiling virgin looks, of flowery springthe mirror, bespeak him love, and joy, andbliss.

No. 26 Recitative

RAPHAELAnd God saw every thing that He hadmade, and behold, it was very good. And

the heavenly choir, in song divine, thusclosed the sixth day.

No. 27 Chorus

CHORUSAchieved is the glorious work;The Lord beholds it, and is pleased.In lofty strains let us rejoice, our song let bethe praise of God.

No 27a Trio

GABRIEL, URIELOn Thee each living soul awaits;.From Thee, O Lord, all seek their food;Thou openest Thy hand,And flllest all with good.

RAPHAELBut when Thy face, O Lord, is hid,With sudden terror they are struck;Thou takest their breath away,They vanish into dust..

GABRIEL, URIEL, RAPHAELThou sendest forth thy breath again,And life with vigour fresh returns;Revived, earth unfolds new strengthAnd new delights.

No. 27b Chorus

CHORUSAchieved is the glorious work,Our song let be the praise of God.Glory to his name for ever,He sole on high exalted reigns.Halleluia!

PART THREE

No. 28 Orchestral introduction andrecitative

URIELIn rosy mantle appeared, by music sweetawakedThe morning, young and fair.

From heaven’s angelic choirPure harmony descends on ravished earth.Behold the blissful pair,Where hand in hand they go; their glowinglooksExpress the thanks that swell their gratefulhearts.A louder praise of God their lipsShall utter soon; then let our voices ring,United with their song.

No. 29 Duet with Chorus

ADAM and EVEBy Thee with bliss, O bounteous Lord,Both heaven and earth are stored.This world, so great, so wonderfulThy mighty hand has framed.

CHORUSFor ever blessed be His power,His name be ever magnified.

ADAMOf stars the fairest, pledge of day,That crown’st the smiling morn.And thou, bright sun, that cheer’st theworld.Thou eye and soul of all.

CHORUSProclaim in your extended courseThe almighty power and praise of God.

EVEAnd Thou that rul’st the silent night,And all ye starry hosts,Everywhere spread wide His praiseIn choral songs about.

ADAMYe mighty elements by His powerYour ceaseless changes make;Ye dusky mists, and dewy streams,That rise and fall through the air.

CHORUSResound the praise of God our Lord.Great his name and great His might.

EVEYe purling fountains, tune His praise;And wave your tops, ye pines. Ye plants,exhale, ye flowers, breatheTo him your balmy scent.

ADAMYe that on mountains stately tread,And ye that lowly creep;Ye birds that sing at heaven’s gate,And ye that swim the stream.

ADAM and EVEYe creatures all, extol the Lord.

CHORUSYe creatures all, extol the LordHim celebrate, Him magnify.

ADAM and EVE.Ye valleys, hills, and shady woods,Made vocal by our song,From morn till eve you shall repeatOur grateful hymns of praise.

CHORUSHail! Bounteous Lord! Almighty, Hail!Thy word called forth this wond’rous frame,The heavens and earth Thy power adore;We praise Thee now and evermore.

No. 30 Recitative

ADAMOur duty we have now performed,In offering up to God our thanks.Now follow me, dear partner of my life,Thy guide I’ll be; and every stepPours new delights into our breasts,Shows wonders everywhere. Then may’stthou feel and know the high degree of blissthe Lord allotted us, And with devotedheart His bounties celebrate. Come, followme, thy guide I’ll be.

EVEO thou for whom I am, my help, my shield,My all, thy will is law to me;So God our Lord ordains; and fromobedience

Grows my pride and happiness.No. 31 Duet

ADAMGraceful consort, at thy sideSoftly fly the golden hours;Every moment brings new rapture,Every care is lulled to rest.

EVESpouse adored at your side,Purest joy o’erflow the heart;Life and all I have is thine;My reward thy love shall be.

ADAM and EVEThe dew dropping morn, O how shequickens all!The coolness of even, O how she allrestores!How grateful is of fruits the savour sweet!How pleasing is of fragrant bloom the smellBut, without thee, what is to meThe morning dew, the breath of even,The savoury fruit, the fragrant bloom.With thee is every joy enhanced?With thee is every joy enhanced,With thee delight is ever new,With thee is life incessant bliss,Thine, thine it all shall be.

No 32 Recitative

URIELO happy pair! And happy still might beIf not misled by false conceit.Ye strive at more than granted is;And more desire to know, than know yeshould.

No 33 Chorus with solos

FINAL CHORUS with SOLOSSing the Lord, ye voices all,Magnify His name through all creation,Celebrate His power and glory,Let his name resound on high.Praise the Lord. Utter thanks.Jehovah's praise for ever shall endure.Amen.

Beethoven was so overawed byHaydn’s talent and reputation asa quartet composer that when hecame to publish his own earlyefforts he rearranged them asshort piano pieces to avoidcomparison.

Shortly after Haydn’s body wasburied it was dug up. His headwas cut off and removed byamateur phrenologists who thenreburied the body. The theft wentunrecognised for some yearsand it took nearly 150 years forHaydn’s skull to be reunited withhis body.

Germany’s national anthem is byHaydn and is partly inspired bythe British national anthem.Impressed by the way ‘God savethe Queen’ united Britons’patriotism and aware that Austriawas under threat of invasionfrom the French in 1797, Haydncomposed a similarly stirringmelody for Austria. He set it towords specially written byLorenz Haschka (‘Gott erhalteFranz den Kaiser… Lange lebeFranz der Kaiser’ or ‘God saveEmperor Franz…Long liveEmperor Franz’), and the songwas presented to Emperor FranzII on his birthday.

Did youknow?

SOPRANOSCelestria BellGillie BlighAnne BoxJane BrownHilary ColbertMargaret CollierSally DussekAnn GrayMary HaywoodZoe HillKatie HughesSue JonesChristine KeenMargaret KirkbyHarriet MackinderBrigid MathersHeather NashFiona O’NeillEileen PattersonBarbara PearceSheila PulferPam RushCarol ScribbinsRosemary SouthworthBrenda StapletonJenny StevensHelen StokesElizabeth ThompsonJenny Watkins

ALTOSKaren BaldwinRachel BaldwinChristine BassJanet BriantNicky BullJean BygateSally CottleKate DaviesAnn DenwoodMargaret FlaniganSarah GarrettNatasha GethingJane GloverJanet GravesCindy GreenMaggie HalseyJenny HoareLorna LangJane LeggGill LerigoElizabeth MoxleyRhian NichollsEnid PowellMarilyn PryorPhyllis ReynoldsJacquie RotheroeChris SiversAnne WalesHeather WignallKate Winterbottom

TENORSJenny Brannock-JonesCliff BrownRichard BrownJeanne EustacePhilip HayesRoger JuddNigel LewisChris SmithDavid Wilde

BASSESRobert AllnuttAlan ArcherDavid ChaseyDave ClarkeAdrian CollinBob DaviesPaul DoughtyChris DovePeter GravesRichard GryllsGeoff HarrisonJim HetheringtonHugh HudsonDavid LongTony MackinderRichard OnslowRichard TregoningJohn WatkinsGuy Williams

Our next concert14 December 2013—------------------------

Gounod; St Cecilia MassParry; Magnificat

Violin; Ed Hewitt, Frances Bigg,Darrell Dunning, Marion Garrett,David Glenister, Fiona Jacob, DavidMoore, Roger Neighbour, LesliePearce, Mark Redman, Chris Shelley,Frances Stanhope

Viola; Steffi Cook, Roger Evans,Katie Hayes, John Saunders

Cello; Hilary Drinkall, Mary Harris

Bass; Keith Leonard, Sudhir Singh

Flute; Rachel Tuckley, CarolineWelsh

Oboe; Emily Cockbill, Frances Slack

Clarinet; Esther Moors, TheresaWhiffen

Bassoon; Caroline Cartwright,Thomas Dryer-Beers

Horn; Stuart Carruthers, John Lovell

Trumpet; Leah Loukes, AllanRobinson

Trombone; Simon Astridge, ChrisBrown, David Taine

Timpani; Richard Baron-Tait

Organ; Adrian Johnson

ACKNOWLEDGEMENTSTring Choral Society thanks the Iain Rennie Hospiceat Home shop, Tring, for support as our ticket agents.

The piano accompanist for Tring Choral Society rehearsals is Adrian Johnson.

Our thanks go to Roy Mathers for writing and compiling this programme.

Tring Choral Society is financially supported by Dacorum Borough Council throughTring Arts Trust.

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

Financial assistance received from the Eastern Arts Board,administered by NFMS Eastern Region.

Leader; Janet Hicks

Mrs J AldridgeMr G E BullMr J BurchellMr J H CadgeMrs A CaloiaMs A CaloiaMrs J CherryMr and Mrs F ClarkMr and Mrs S EustaceMr R FlaniganMr and Mrs R FranklinMrs S K FranklinMr and Mrs J HawkesMr C W HoareMrs J Hollingsworth

Mr M JacksonMr K JohnsonMrs E MarchantMr I MartinMrs B MatthewsMrs M F MerlierMrs E NichollsMr R O’ReillyMr C B J PearceMr G PulferMr D RushMr P ScribbinsMr and Mrs J StackMr and Mrs J StanhopeMrs J Stevens

Mr W StringerMr and Mrs E TapsonDr and Mrs D ThallonMr and Mrs W ThomasMr and Mrs K ToddMr and Mrs J K WatsonMr and Mrs M WatsonMr A Winterbottom

Life MembersMrs J AldridgeMr and Mrs D BanyardMr R GryllsMr J Renals

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

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If you like what you hear (and see) tonight, and would like tobe involved as a choir member, patron or helper (or perhapsyou would simply like to learn more about Tring Choral

Society), our web site will provide a mine of information.

Our web site contains details of future concerts, rehearsaldates and 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 will not only have the chance tosing some of the world’s greatest music, but you will also

benefit from the choir’s healthy social life!

Our Membership Secretary, Margaret Flanigan, will bepleased to hear from you on 01442 823915.