Saturday 20 December 2014

Conductor: Colin Stevens

Chiltern Orchestral SocietyLeader: Janet Hicks

SOLOISTS

Andrea Gray (Soprano)Elaenor Minney (Soprano)

Ruth Provost (Soprano)Philip Salmon (Tenor)

Julian Empett (Baritone)

Missa Cellensis

Magnificat

ANDREA GRAY (SOPRANO); Andreastudied singing at the Royal College ofMusic and then pursued a career as afreelance singer and teacher. She hassung with professional choirs both in theUK and abroad including The Academy ofAncient Music, Finzi Singers and EuropeanVoices and for many years was also aregular chorister at St Georges HanoverSquare and Farm Street Church in Mayfair.

As a soloist her experience lies mostly inthe field of oratorio and she has appearedwith choral societies around the countryincluding the Bath, Leicester andCheltenham Bach choirs.

Andrea is also an experienced voiceteacher and is currently teaching singing atTring Park School for the Performing Arts.

ELEANOR MINNEY (SOPRANO); In2010 Eleanor gained a First Class Honoursdegree in Vocal Studies from TrinityCollege of Music, London. She was alsoawarded the 2009 Wilfred Greenhouse Alltprize for Cantata and Oratorio for herperformance in JS Bach's St. JohnPassion. Recent operatic roles includeRuggiero (Handel’s Alcina) for MusicaPoetica London, Cherubino (Mozart’sMarriage of Figaro) and Fanny Price(Dove’s Mansfield Park) for HampsteadGarden Opera, Mercedes (Bizet’s Carmen)for Riverside Opera, Maddalena (Verdi’sRigoletto) for Brent Opera, Lucretia(Britten’s The Rape of Lucretia), FlorencePike (Britten’s Albert Herring) for ShadwellOpera, Amanzio (Handel’s Giustino) andSecond Witch (Purcell’s Dido and Aeneas).

Eleanor made her BBC television solodebut in 2013, performing Bach's ErbarmeDich (St. Matthew Passion) with theEnglish Baroque Soloists, for Sir John EliotGardiner's documentary Bach: A

Passionate Life. Other solo highlightsinclude Bach's B Minor Mass with Sir JohnEliot Gardiner in Tuscany, Mozart Requiem(St. Martin-in-the-Fields), MozartCoronation Mass (St. John’s SmithSquare), the world premiere of Tavener'sThe Beautiful Names (BBC SymphonyOrchestra), Daniel-Lesur Les Cantique deCantiques at the BBC Proms, a series ofrecitals with baroque violinist DavinaClarke,   and solo recitals at London's St.Martin-in-the-fields and Cadogan Hall.Future engagements include Joby Talbot'sAlice in Wonderland with the Royal Ballet,and a new production of Gluck's Orpheused Euridice, both at the Royal OperaHouse, Covent Garden. Eleanor is also abusy consort singer. She is a permanentmember of the BBC Singers and the choirof St. Bartholomew the Great and performsregularly with The Monteverdi Choir, TheSixteen, the OAE, Collegium Vocale Gent,Tenebrae and The Eric Whittacre Singers.

  Eleanor is currently based in London,where she studies with Alison Wells

RUTH PROVOST (SOPRANO); Ruth readMusic at Christ’s College, Cambridge, andworked actively as both a cellist and singerduring this time. After graduating, shedecided to embark upon a singing career,and is now studying with Gary Coward.

Ruth has appeared as a soloist in venuesacross the UK; engagements so far includeJ.S. Bach’s Cantata Jauchzet Gott in allenLanden, Magnificat and St John Passion,Buxtehude’s Membra Jesu Nostri, Fauré’sRequiem, Handel’s Messiah, Haydn’s

PHILIP SALMON (TENOR); Philip Salmonwas a boy chorister at St. Paul's Cathedraland an Exhibition Scholar at the RoyalCollege of Music. His career began as aregular soloist with the Monteverdi Choir,performing and recording under Sir JohnEliot Gardiner, and with the HilliardEnsemble. Since then he has sung a wideconcert repertoire with many of theprincipal orchestras of Britain, Europe andbeyond, and operatic roles for most of theBritish companies, including the RoyalOpera, and in Europe and for New YorkCity Opera.Television appearances include BBC TV’sprize-winning ‘opera soap-opera’ TheVampyr, and Britten’s Turn of the Screwwith Scottish Opera and Mentorn Films. Ofhis recordings, Spicer’s Easter Oratoriowas Gramophone CD of the Month.

This year Philip conducted the UKpremiere of Telemann's Lukas Passion(and sang Evangelist) with Dame EmmaKirkby singing the soprano arias. Otherrecent performances: Raguel in JonathanDove's Tobias and the Angel (funded bythe BBC); Eisenstein (Die Lustige Witwe)at the Royal Albert Hall, with JoseCarreras, Dame Kiri Te Kanawa and theRoyal Philharmonic Orchestra for DivaOpera; Britten's War Requiem, also withthe RPO; and Handel's Brockes Passion inBuenos Aires.

His latest recording, of Mendelssohn’s AveMaria, is on the Naxos label.

Among future plans are engagements inBiarritz, Barcelona, Rome and furtherperformances in Argentina in 2015.

Creation, Mozart’s Reqiuem, Mass in Cminor and Vesperae de Solennes deConfessore and Schubert’s Mass in Eb,with such groups as the CambridgeUniversity Baroque Ensemble, ManchesterBaroque, Winchester Music Club, theThames Chamber Orchestra, GuildfordPhilharmonic Chamber Orchestra andFretwork.

Alongside her solo engagements, Ruth isactive as a choral and consort singer. Shehas worked and toured with groupsincluding The Sixteen, the GabrieliConsort, The Tallis Scholars, BrittenSinfonia Voices, the English Concert, the

BBC Singers and Le Concert d’Astree, andrecorded with Paul McCreesh, ChristopherRobinson, Peter Phillips, David Hill andBob Chilcott. Other projects have includedchorus work in Piccard in Space, a newopera by Will Gregory performed inconjunction with the BBC ConcertOrchestra, and participation in a new scorefor the silent film The Passion of Joan ofArc, with members of Portishead andGoldfrapp. Future engagements includeJ.S. Bach’s Magnificat, Handel’s Messiah,and tours around Europe, USA, Mexicoand Australia with The Sixteen, theGabrieli Consort and The Tallis Scholars.

JULIAN EMPETT (BARITONE); Julian is agraduate of King’s College London. Hestudied singing with the British baritoneDavid Wilson-Johnson at his “Ferrandou”summer school in the Dordogne and

privately at his London studio. He went onto study with the Husler exponent PeterHarrison. He was also a student of theMayer Lismann Opera Workshop at ROHCovent Garden, and of Morley Opera.

In 2002 he made his Proms solo début withThe English Concert under Trevor Pinnock,taking the role of the High Priest in Bach’sSt. Matthew Passion. As an oratorio soloisthe has also appeared at the Barbican Hall,the Wigmore Hall, the Queen ElizabethHall, the Cadogan Hall and St. John’s SmithSquare.

Other notable recent performances haveincluded Elgar’s Dream of Gerontius forEton & Windsor Choral Society, Verdi’sRequiem in St.  George’s RC CathedralSouthwark, Vaughan Williams’s A SeaSymphony in Tewkesbury Abbey, the titlerole of Mendelssohn’s Elijah in Ely andNorwich RC Cathedrals, Haydn’s Creationin Peterborough Cathedral, Beethoven’sMissa Solemnis in Cheltenham Town Hall,and his Choral Symphony in Cambridge’sGuildhall, and Pärt’s Passio (Evangelist) inWestminster Abbey. Forthcoming concertsinclude Mozart’s Requiem in ChesterCathedral, Elgar’s The Apostles, andVaughan Williams’s Five Mystical Songs.He is currently working with Ducere Clarinoin a project performing and recordingcantatas by Telemann.

Julian Empett is a Lay Vicar at WestminsterAbbey. As well as singing the daily servic-es he has taken part in numerous TV andradio broadcasts, most notably as soloist atthe funeral in 2002 of HM Queen Elizabeththe Queen Mother, in 2011 the marriage ofHRH Prince William to Catherine Middletonand for the memorial service of NelsonMandela this year. With the Abbey choir hehas recorded a number of significant soloson the Hyperion label, most recently in Wil-liam Walton’s anthem The Twelve.

Julian has also given several song recitals:most significant among these have been SirArthur Somervell’s Tennyson’s ‘Maud’ withpianist John Nightingale, and Schubert'smagnum opus Winterreise, with pianistRaymond Lewis.

His wider singing career has included workwith The Sixteen, Tenebrae, The EnglishConcert, The Gabrieli Consort, CollegiumMusicum 90, European Voices, The King’sConsort, The Choir of the Enlightenmentand the Tallis Scholars.

Looking at Bach’s reputationand standing as one of thegreatest composers of all time,

it is difficult to believe that, during hislifetime, he was little-known and wasmostly recognized for performing onthe organ. He was immensely skilledin many established musical forms,including, for example, the cantataand fugue, and developed them intocomplex and sublime pieces. Hecomposed over a thousand works inalmost every musical genre (exceptopera).

Bach was born (on 21 March 1685)and died in Germany, and spent hisentire life there, working as anorganist, teacher, and composer.His musical activities didn’t occupyall his time, however, as he hadtwenty children, including four whobecame famous composers in theirown right - Carl Philipp Emanuel,Wilhelm Friedemann, JohannChristoph Friedrich, and JohannChristian.

Bach was the youngest of eightchildren. His father, Johann AmbrosiusBach, had been a town musician, andprobably gave Bach his early musiclessons. His mother, Maria Elisabetha, andhis father died within a year of each other(in 1694 and 1695, respectively).Orphaned at the age of ten, Bach moved inwith an older brother, Johann Christoph,who was the organist at St. Michael'sChurch, Ohrdruf, and taught Bach muchabout the organ.

Bach's own early career began in 1703 andinvolved playing the violin and organ in

quite a lowly position in the ruling court inWeimar and in Neukirche, Arnstadt.

In October 1707, Bach married his cousinMaria Barbara Bach (not to be confusedwith the American actress who starred in aJames Bond film!); together they wouldeventually have seven children (includingthe aforementioned Wilhelm Friedemannand Carl Philipp Emanuel ).

In 1708, Bach was appointed organist andchamber musician to the Duke of Saxe-Weimar and, during the next nine years,

composed many of his finest organcompositions, becoming well-known as afine organist. It was during this fruitfulperiod that he composed the Toccata andFugue in D Minor (1705), Cantata No. 208(1713), and The Little Organ Book (1714).He then had a period as Kapellmeister inthe court of the music-lover Prince Leopoldof Anhalt-Cothen and, while there, hismajor works included the BrandenburgConcertos (1721), The Well-TemperedClavier (first book, 1722). In 1721,however, the Prince married a woman whodid not share the Prince's interest in music,and the Prince's support of Bach lessened.Bach would soon leave.

After the death of his wife in 1720, Bachmarried Anna Magdalena Wilcke (thedaughter of the town trumpeter) and theywould have thirteen children together(including Johann Christian ). Altogetherthen, Bach had twenty children with his twowives, although ten of them died in infancy.

In 1723 he became Kantor of St. Thomas'sin Leipzig and remained in that town for the

rest of his life and gave to the world someof his most sublime works, including St.John Passion (1723), St. Matthew Passion(1727), Suite No. 3 in D (1729), Magnificatin D Major (1731), Christmas Oratorio(1734), Italian Concerto (1735), GoldbergVariations (1741-1742, originally called"Aria With Diverse Variations," but laternicknamed after Bach's student JohannGottlieb Goldberg), The Well-TemperedClavier (second book, 1742), the MusicalOffering (1747), and The Art of the Fugue(unfinished, 1749).

By 1740, Bach's eyesight was failing. Twoeye operations resulted in Bach's completeblindness, operations which also damagedhis health and may well have hastened hisdeath.

He died of a stroke on 28 July 1750. He isburied at St John's cemetery, Leipzig. Hiswidow, Anna, lived for another ten years,dying in poverty in 1760. Bach's death in1750 effectively marked the end of theBaroque period in music.

28 March 2015Fauré Requiem

Verdi Four Sacred Pieces

4 July 2015Mendelssohn Elijah

19 December 2015To be confirmed

1. Magnificat (Chorus)Magnificat anima mea Dominum.My soul doth magnify the Lord.

2. Et exultavit (Solo)Et exultavit spiritus meus in Deo salutarimeo.And my spirit hath rejoiced in God mysaviour.

3. Quia respexit (Solo)Quia respexit, humilitatem, ancillae suae,ecce enim ex hoc beatam me dicent .For he hath regarded the lowliness of hishandmaiden. Behold from henceforth allgenerations shall call me blessed.

4. Omnes Generationes (Chorus)Omnes generationes.For behold all generations.

5. Quia fecit (Solo)Quia fecit mihi magna, qui potens est, etsanctum nomen ejus.For He that is mighty hath magnified me,and holy is his name.

6. Et misericordia (Duet)Et misericordia a progenie, in progenies,timentibus eumAnd His mercy is on them that fear Himthroughout all generations.

7. Fecit Potentiam (Chorus)Fecit potentiam in brachio suo, dispersitsuperbos mente cordis sui.The Lord hath shewed strength with Hisarm and scattered the proud in theimagination of their hearts.

8. Deposuit potentes (Solo)Deposuit potentes de sede et exaltavithumiles.He hath put down the mighty from theirthrones and hath exalted them of lowdegree.

9. Esurientes implevit (Solo)Esurientes implevit bonis, et divitesdimisit, inanes.He hath filled the hungry with good things,and the rich hath sent empty away.

Bach’s Magnificat is written fororchestra, a five-part choir and fouror five soloists. The text is the

canticle of Mary, mother of Jesus, as toldby Luke the Evangelist.

Bach composed an initial version in E flatmajor in 1723 for Christmas Vespers inLeipzig. He later removed the Christmas-specific texts to make it suitable for year-round performance, as well astransposing it to D major, providing better

sonority for the trumpets in particular. Thenew version, which is the one usuallyperformed, had its premiere at theThomaskirche on July 2, 1733, the fourthSunday after Trinity Sunday, which wasthe Feast of the Visitation at the time.

The work is divided into twelve partswhich can be grouped into threemovements, each beginning with an ariaand completed by the choir in a fugalchorus.

10. Suscepit Israel (Trio)Suscepit Israel puerum suum, recordatusmisericordiae suae.His servant Israel, He hath holpen inremembrance of his mercy.

11. Sicut Locutus Est (Chorus)Sicut locutus est ad patres nostros,Abraham et seminie ejus in secula.Even as He promised to our forefathers, to

Abraham and to his seed, for ever.

12. Goria Patri (Chorus)Gloria Patri, gloria Filio, gloria SpirituiSancto. Sicut erat in principio, et nunc etsemper et in secula seculorum. Amen.Glory be to the Father, glory be to the Son,glory be to the Holy Ghost. As it was in thebeginning, is now and ever shall be.Amen.

If you like what you hear (and see) tonight, and would like to beinvolved as a choir member, patron or helper (or perhaps you wouldsimply 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, rehearsal dates andmany 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 to singsome 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.

Happiness is…

…singing in a choir

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’s and a teacher of Beethoven’s.

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, inthe 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

Our Membership Secretary, Margaret Flanigan, will be

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 "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,"both tributes to his love of nature and God.An enthusiastic hunter and fisherman anda man 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.

The Missa Cellensis in honorem Beatissimae Virginis Mariae (to give it its full title)was originally written in 1766, after Haydn was promoted to Kapellmeisterat Eszterháza.  The title refers to the town of Mariazell in the region of Styria, for

which the mass was composed, a fact that was established by the discovery, in 1970, ofthe only surviving fragment of Haydn's autograph score, in Budapest, clearly assigningthe mass to the pilgrimage cult of Mariazell. Until that discovery, the work was formerlyknown as Missa  Sanctae Caeciliae, or in German Cäcilienmesse, a title probablyattributed to the mass in the nineteenth century. Whether the alternative title refers to aperformance of the piece by the St Cecilia's Congregation, a Viennese musicians’fraternity, on some St Cecilia's day (22 November), as has been suggested, remainsspeculation.

It is believed that the original manuscript was lost in the Eisenstadt fire of 1768, and thatwhen Haydn rewrote the piece from memory, he may also have expanded it. It may haveoriginally consisted of only Kyrie and Gloria, with the other parts added later.

The mass is scored for vocal soloists, SATB choir, 2 oboes, 2 bassoons, 2 trumpets inC, timpani, strings and organ, the latter supplying figured bass for most of the duration.

1. Kyrie (Chorus)Kyrie eleison, Christe eleison, Kyrieeleison.(Lord have mercy Christ have mercy, Lordhave mercy.)

2. Credo (Soprano and chorus)Credo in unum Deum, Patremomnipotentem factorem coeli et terrae.Visibilium omnium et invisibilium. Et inunum Dominum Jesum Christum et exPatre natum ante omnia saecula. Deum deDeo, lumen de lumine. Deum verum deDeo vero. Genitum, non factum,consubstantialem Patri, per quem omniumfacta sunt. Qui propter nos homines etpropter nostram salutem ascendit,descendit de coelis.(I believe in one God,Father almighty whomade both heaven and earth and all thingsvisible and invisible. And in one LordJesus Christ the only begotten Son of God

born of the Father before all worlds. Godof God, light of light, true God of true Godbegotten not made, being of one substancewith the Father, by whom all things weremade. Who for us men, and for oursalvation came down from heaven.)

3. Et Incarnatus (Contralto, Tenor andBass )Et incarnatus est, de Spiritu Sancto exMaria Virgine. Et homo factus est.Crucifixus etiam pro nobis passus etsepultus est.(And was incarnate of the Holy Ghost of theVirgin Mary, and was made man.)

4. Et Ressurexit (Soprano, Tenor andChorus)Et ressurexit tertia die, se cundumScripturus. et ascendit in coelum, sedetaddexteram Patris. Et iterum venturus estcum Gloria, judicare vivos et mortuos.

The Text

(He rose on the third day according to theScriptures and ascended into heavenseated at the right hand of God.)

5. Sanctus (Chorus)(Sanctus, sanctus, sanctus, DominusDeus Sabaoth. Pleni sunt coeli et terraGloria tua Osanna in excelsis.)(Holy, holy, holy, Lord God of Sabaoth.Heaven and earth are full of Thy glory.Hosanna in the highest.)

6. Benedictus (Solo quartet and chorus)Benedictus qui venit in nomine Domine.Hosanna in excelsis.(Blessed is he that cometh in the name ofthe Lord. Hosanna in the highest.)

7. Agnus Dei (Bass )Agnus Dei qui tolis peccata mundimiserere nobis. Agnus Dei qui tolispeccata mundi, pacem.(Lamb of God, who taketh away the sins ofthe world have mercy upon us. Lamb ofGod who taketh away the sins of the world,give us peace.)

8. Dona (Chorus)Dona nobis pacem(Give us peace.)

9. Gloria (Soprano and Chorus)Gloria in excelsis Deo, et in terra paxhominibus bonae voluntatisLaudamus te,benedicimus te adoramus teglorificamus te.

Gratias agimus tibi propter magnamgloriam tuam.(Glory be to God on high and on earth ,peace goodwill to all men.We praise Thee we bless Thee, weworship Thee, we glorify Thee.We give thanks to Thee for Thy great glory.)

10. Domine (Contralto, Tenor, Bass )Domine Deus Rex coelestis, Deus Pateromnipotens. Domine Fili unigenite JesuChriste, Agnus Dei, Filius Patris.(Lord God, heavenly King, God the Fatheralmighty, only son of God, Jesus Christ,Lamb of God son of the Father.)

11. Qui Tolis ( Contralto and Chorus)Qui tolis peccata mundi,miserere nobis.Suscipe deprecationem nostram.(Thou who takest away the sins of theworld, have mercy upon us. Receive ourprayer.)

12. Quoniam (Soprano )Quoniam tu solus sanctus tu solusDominus, tu solus altisimus.(For Thou only art holy; Thou only art theLord.)

13. Cum Sancto ( Chorus)Jesu Christe,cum Sancto Spiritu, in GloriaDei Patris, Amen.(Thou only O Christ with the HolyGhost, art most high in the glory ofGod the Father, Amen.)

Violin; Frances Bigg, DarrellDunning, Marion Garrett, DavidGlenister, Ed Hewitt, Fiona Jacob,David Moore, Roger Neighbour,Lesley Pearce, Chris Shelley,Frances Stanhope

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

Cello; Hilary Drinkall, MaryHarris

Bass; Elliott Dryer-Beers, SudhirSingh

Flute; Rachel Tuckley, CarolineWelsh

Oboe; Victoria Parkin, FrancesSlack

Bassoon; Caroline Cartwright

Trumpet; Jeremy Loukes, LeahLoukes, Allan Robinson

Timpani; Eric Wilson

Organ/Harpsichord; AdrianJohnson

Leader; Janet Hicks

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 byDacorum Borough Council through Tring Arts Trust.

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

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

SOPRANOSCelestria BellGillie BlighJane BrownCorinna ChuteHilary ColbertMargaret CollierSally DussekElaine FlorsheimMary HaywoodZoe HillKatie HughesSue JonesChristine KeenHarriet MackinderBrigid MathersHeather NashFiona O’NeillEileen PattersonBarbara PearcePam RushRosemary SouthworthBrenda StapletonJenny StevensHelen StokesElizabeth ThompsonJenny Watkins

ALTOSKaren BaldwinRachel BaldwinChristine BassJanet BriantNicky BullJean BygateKathy ChantlerKate DaviesAnn DenwoodDorothy DenwoodMargaret FlaniganNatasha GethingJane GloverJanet GravesMaggie HalseyAndrea HeginbottomJenny HoareLorna LangJane LeggGill LerigoElizabeth MoxleyRhian NichollsElizabeth NorrisEnid PowellMarilyn PryorPhyllis ReynoldsChris SiversAnne WalesHeather WignallKate Winterbottom

TENORSJenny Brannock-JonesCliff BrownRichard BrownJohn DeaneJeanne EustaceRoger JuddNigel LewisDavid Wilde

BASSESRobert AllnuttAlan ArcherDavid ChaseyDave ClarkeAdrian CollinBob DaviesPaul DoughtyPeter GravesRichard GryllsGeoff HarrisonDavid HayesJim HetheringtonWilliam HollandsHugh HudsonDavid LongTony MackinderDavid MorganRichard OnslowRichard TregoningGuy Williams

Mrs J AldridgeMr G E BullMr J BurchellMrs J 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 M HerbautMr C W Hoare

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

Mr and Mrs K ToddMrs Suki VaidMr J R WatkinsMr and Mrs J K WatsonMr and Mrs M WatsonMr A Winterbottom

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

Why not become a Patron of Tring Choral Society?For a minimum donation of £25, you too could become a Patron of Tring Choral Society,this annual donation entitling you to two free tickets (in any one season). You will alsoreceive an annual newsletter giving concert details in advance, and an invitation to join oursocial events.

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

Telephone; 01442 872727

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