bach christmas oratorio - Dulwich Choral Society

 BACH
CHRISTMAS
ORATORIO
Old Royal Naval
College Chapel, Greenwich
Saturday 6 December 2014, 7.30pm Brockwell Art Services
Established 1979
QUALITY PICTURE FRAMING
232-234 Railton Road, SE24 0JT
Telephone 020 7274 7046
Open 11am-7pm weekdays 10am-6pm Saturday
35 years in Herne Hill
www.brockwellart.co.uk
ESTATE AGENTS
VALUERS
PROPERT Y MANAGERS
Harvey & Wheeler are a long established professional independent Estate Agent concentrating on
the upper end of the market for both sales and rentals in Dulwich and surrounding areas. We have
sold some of the largest and most valuable houses to have come to the market here in the last thirty
five years. Originally established in Belgravia in 1855 we also specialise in the sale of period
property in South East London. As a small highly skilled team we aim to take great care of clients
and buyers alike and to build a strong relationship based on trust and experience. We are open six
days a week and are easily contactable outside of normal office hours if required. The office is
situated in the centre of Dulwich Village.
020 8693 4321
www.harveywheeler.com
[email protected]
27 Dulwich Village, London SE21 7BN
Mon - Fri: 9am - 5.30pm, Sat: 9.30am - 4pm
Saturday 6 December 2014, 7.30pm
Old Royal Naval College Chapel, Greenwich
DULWICH CHORAL SOCIETY
SINFONIA BRITANNICA
playing on period instruments
JOHANN SEBASTIAN BACH (1685–1750)
ELIN MANAHAN THOMAS soprano
CATHERINE BACKHOUSE mezzo soprano
ANDREW TORTISE tenor
JONATHAN BROWN bass
PART I: CHRISTMAS DAY
PART II: SECOND DAY OF CHRISTMAS
PART III: THIRD DAY OF CHRISTMAS
PART VI: FEAST OF THE EPIPHANY
AIDAN OLIVER conductor
An interval of 25 minutes follows Part II
Interval refreshments are available in the
Undercroft
Christmas Oratorio (BWV 248)
Weihnachts-Oratorium
Sinfonia Britannica
Rodolfo Richter Leader
SINFONIA BRITANNICA was formed in 1999 by the oboist Anthony Robson, and made its debut in a performance of
Bach’s Mass in B minor at Eton College. It provides orchestras of the highest standard for a wide variety of choral and
vocal groups, and it has rapidly become established as an outstanding and versatile ensemble. Its players, all
specialists in historical performance, work regularly with the UK’s leading period instrument orchestras including the
Orchestra of the Age of Enlightenment, the Academy of Ancient Music and the Monteverdi Orchestra. Recently,
Sinfonia Britannica appeared with opera by definition in their acclaimed production of Handel’s Tamerlano. Besides
its many performances with choirs, it has appeared at the Windsor Festival, Canterbury Cathedral, St Paul’s
Knightsbridge and at Covent Garden with the English Bach Festival.
VIOLINS
Rodolfo Richter (leader)
Adrian Butterfield
Catherine Ford
Kirsten Klingels
Roy Mowatt
Stephen Rouse
Diane Terry
Catherine Weiss
FLUTES
Rachel Beckett
Christine Garratt
VIOLAS
Jan Schlapp
Marina Ascherson
Colin Kitching
BASSOON
Robert Percival
CELLOS
Poppy Walshaw
Jennifer Bullock
BASS
Timothy Amherst
OBOES
Richard Earle
Steph Oatridge
Gerry McDonald
Debbie McDonald
TRUMPETS
Robert Vanryne
Jonathan Impett
Ruth Ross
TIMPANI
Timothy Evans
ORGAN CONTINUO
Alastair Ross
PROGRAMME NOTES
Johann Sebastian Bach (1685-1750): Christmas
Oratorio, 1734
Bach was in his late 30s when he took up his post as
Kantor of Leipzig’s Thomasschule in the early summer
of 1723. He had previously been employed as
Kapellmeister in the court of Cöthen and the new
position represented a step down the social ladder.
However, Leipzig was no ordinary town: it was an
important centre for Lutheran liturgical music; its
regular trade fairs formed the focus of a prosperous
commercial life; the university enjoyed a formidable
reputation. As Kantor, Bach was responsible for music
at four of the town’s churches, he composed and
directed music for major civic events and for many of
the formal events at the university; and from 1729 he
was director of the university’s collegium musicum, a
student body that put on regular concerts twice a
week and provided instrumentalists who played to
acceptable professional standards. He probably saw
his role as being the musical director of the town and
it was unfortunate that the town council really
wanted a Latin master who could organise musical
activities in his spare time. There was constant
tension between Bach and his employers.
The Thomasschule was a boarding school which took
between 50 and 60 pupils who provided four teams of
singers for the town’s churches. The boys were
selected on the basis of their musical ability but they
enjoyed a fine formal education as well. The first choir
class, consisting of the best 12 to 16 singers, was
trained by the Kantor himself and covered the
complete repertoire, including Bach’s own choral
compositions as well as renaissance polyphony and
elaborate chorale settings. Three other choirs were
trained by prefects drawn from among the oldest and
most experienced boys. The second choir sang the
same repertoire as the first choir and between them
they provided sung services alternately at the
Thomaskirche and the Nikolaikirche, Leipzig’s civic
church. The third choir sang a less demanding
repertoire for the Mathäeikirche, whilst the training
choir sang unison chants at the Petrikirche. In Bach’s
day, boys’ voices tended to break when they were in
their late teens and older boys, whose voices were
already darkening but had not yet broken, sang alto
lines. In consequence, Bach was able to call upon
soprano and alto lines with many years of training and
experience well able to cope with the musical and
physical demands that he made upon them. On
special occasions and important feast days the first
and second choirs joined together into an expert choir
of around 30 to 40 voices; because this involved
amalgamating the choirs of two churches,
performances were regularly duplicated between the
two venues in the morning and the afternoon.
Regular Sunday services began at 7 am and lasted for
three hours. The main contributions from the choir
consisted of an introit drawn from the 16th century
polyphonic repertoire, sung unaccompanied apart
from a harpsichord continuo, and a cantata with
instrumental accompaniment. The cantata was sung
after the Gospel reading and before the Creed and the
sermon and it normally took the form of a meditation
on a theme from the Gospel for the day. The services
were strictly timetabled and Bach only rarely
exceeded the 30 minutes allocated to the cantata.
Bach’s first musical priority on taking up the post of
Kantor was to compose cantatas for the Sundays and
feast days of the liturgical year; each annual cycle
required about 60 cantatas and he completed four of
them during his first five years at Leipzig. The fifth and
final series took rather longer and he seems to have
been still working on it into the 1740s.
Johann Sebastian Bach (1685–1750) portrait by
Hausmann, 1746. As Kantor of the Thomasschule in Leipzig,
Bach directed liturgical, civic and university music for the
town. This portrait from the municipal ‘hall of fame’ shows
the sitter at the time of his 60th birthday.
notes were found in the middle register, whilst scale
patterns could only be played in the extreme treble.
The clarino technique for playing these stratospheric
parts was notorious for the physical and technical
demands that it made upon players. Working with
Reiche gave Bach the opportunity to write some of his
most exciting and demanding trumpet parts. Reiche’s
portrait by Haussmann shows him holding a tightlycoiled trumpet. Trumpet-shaped trumpets were the
prerogative of royalty and were used as a privilege in
some towns – of which Leipzig was not one. Evidently
the Leipzig trumpeters were permitted to play the
parts but the town was not allowed to enjoy the
drama and pageantry of the spectacle provided by
fanfare trumpeters.
Gottfried Reiche (1667–1734) portrait by Haussmann,
1726. This portrait was commissioned by the town as part
of a series showing notables from the civic, commercial and
cultural life of Leipzig. It shows the trumpet-player Reiche
at about the time of his 60th birthday.
Leipzig had a distinctive liturgical practice, which
regarded Advent as a penitential season as well as
Lent. After celebrating the first Sunday of Advent, the
remaining Sundays were regarded as tempus clausum,
when complex vocal music was replaced by settings in
a more austere style. The Christmas Season was
marked by celebratory music with amalgamated
choral resources and a larger orchestra than usual.
During his first year at Leipzig, Bach composed festal
cantatas for Christmas day, the feast of St Stephen (26
December), the feast of St John the Evangelist (27
December), the feast of the Circumcision (1 January)
and the feast of the Epiphany (6 January) as well as for
the Sunday services on 2 and 9 January.
Bach could call on enlarged instrumental resources for
these occasions. Leipzig employed a small group of
Stadtpfeifer (the town musicians), who were expected
to perform on a range of brass, woodwind and bowed
stringed instruments. Obviously they could not play all
of them at once and members of the university
collegium musicum were called in to fill out the
ensemble. The Stadtpfeifer were led by Gottfried
Reiche (1667–1734), an outstanding clarino trumpet
player. Before the introduction of valve systems for
brass instruments in the 19th century, players were
limited to the notes of the harmonic series – bugle call
Bach introduced something of a novelty for the
Christmas celebrations of 1734–1735: instead of
composing individual stand-alone cantatas for each of
the Sundays and feast days of the Christmas season
he wrote six separate cantatas, which could be
performed as a complete work with its own narrative
and musical coherence. This is the work now known
to us as the Christmas Oratorio. Much of the music is
shared with a series of secular cantatas marking major
festivities in the royal house of Saxony; these had
been performed in the town during the previous year
as part of celebrations which included ‘illuminations’ –
decorating the town with lanterns, candles and
torches. Sadly, Reiche died suddenly the day after the
last of these performances and local gossip attributed
his death to the demands of the trumpet writing
combined with the smoke from the torches and
lanterns. Although the demanding trumpet parts of
the ‘Christmas Oratorio’ rework those of the secular
cantatas and were performed after Reiche’s death,
Bach was never to write trumpet parts like them
again.
During 1734 and 1735 Bach appears to have been
working on a cycle of oratorios for major feasts of the
liturgical year. The other two which have survived, for
the feasts of Easter and Ascension, also contain
substantial reworkings of material taken from secular
cantatas; this can scarcely be a coincidence and Bach
presumably felt that works intended for the regular
feast days stood a better chance of staying in the
repertoire than the essentially ephemeral secular
cantatas which would be discarded once the festivities
were over. As it happens, Bach’s music did fall into
obscurity after his death but this was a matter of
fashion. Serious musicians continued to revere Bach
and to perform his music in private, although they felt
that it was too ‘difficult’ for the general public.
Mendelssohn was among the musicians who
pioneered the public performance of Bach’s music
from the 1820s onwards. The Bach Gesellschaft,
founded in 1850 to mark the centenary of Bach’s
death, published a score of the ‘Christmas Oratorio’ in
1855. Excerpts were first performed in London at the
Royal Academy of Music in 1868 and the full work, in
an edition published by Novello, was performed in
December 1874 under the direction of Joseph Barnby.
Dr Frances Palmer
Notes on the individual cantatas
Part I of the Christmas Oratorio celebrates the birth of
Christ in aptly jubilant mood. The striking opening to
the first chorus belies its original secular context, a
birthday cantata for the Electress of Saxony, which
drums and trumpets were urged to celebrate. After
the Evangelist tells of the arrival of Joseph and Mary
in Bethlehem, a buoyant alto aria exhorts the faithful
(Zion) to prepare for Christ’s coming, before a chorale
considers what this means at a personal level; the use
of the famous 'Passion chorale' melody (familiar to us
from Bach’s St John Passion) is doubtless intended to
link Christ’s birth to his ultimate sacrifice on the cross.
A short recitative describing Mary laying the child in
the manger leads to a hybrid movement musing on
Christ’s healing mission, in which lines from a
Christmas chorale are sung by the sopranos and
interleaved with reflective comments from the basses.
Trumpets and drums return for the final two
movements, which underscore the power and
kingship of the Christ-child.
Your applause between Parts I and II is welcome
The trumpets and drums are rested for Part II, to be
substituted by two deep-toned oboes da caccia, who
soon make their presence felt in the lilting opening
Sinfonia, one of the few numbers to be specially
written for the oratorio. The subject of this Part is the
Angel's announcement of Christ’s birth to the
shepherds, and the piping oboes make a memorable
contribution to its warmly pastoral flavour. The
Evangelist then describes the shepherds in the fields,
before a chorale excitedly anticipates the next
recitative, in which the Angel utters the famous
words: ‘Fear not, ... for unto you is born this day in the
city of David a Saviour, which is Christ the Lord’. A
light-footed tenor aria with flute obbligato encourages
the shepherds to hurry to see the child, sentiments
echoed in the succeeding group of recitatives and
chorales, until we reach an alto aria cast as a rich and
comforting lullaby. The Evangelist returns to
announce the appearance of the heavenly host, who
are brilliantly evoked in a joyful chorus Ehre sei Gott.
The final chorale brilliantly unites heaven and earth in
lilting harmony by combining both the flutes of the
angels and the oboes of the shepherds.
INTERVAL
The trumpets and drums return for Part III, which
deals with the shepherds’ adoration of the baby Jesus.
It opens with a brief chorus of praise, after which the
Evangelist tells of the shepherds’ journey to
Bethlehem and the chorus (now back in character)
recreates its excited babble. A bass recitative and a
chorale remind us that God has made this happen for
all of us, before a cheerful soprano and bass duet
offers wonder at his mercy and compassion. The
Evangelist relates how the shepherds spread the good
news, and an alto aria resolves to make the ‘blissful
miracle’ the foundation of faith. Thought to have been
composed specifically for the purpose, this aria, with
its steady tread and tender violin solo, seems to be
particularly heartfelt in its fervour. An alto recitative
and a chorale echo these feelings; the Evangelist
informs us that the shepherds have returned to their
flocks, and there is one last chorale urging joy before
Part 3 ends with a reprise of the first chorus.
Your applause between Parts III and VI is welcome
Part VI is again coloured by the celebratory sound of
trumpets and drums, and another dancing opening
chorus, this time asking God for a strong faith with
which to resist all enemies. The Evangelist tells how
Herod (represented by the bass soloist) summons the
Wise Men and sends them into Bethlehem to find the
young child of whom he has heard. The soprano
warns us in a horrified recitative that Herod intends
only to kill Jesus, and goes on in a resolute aria to
relate how the saviour's strength can overcome the
pride of any opponent. The Evangelist then describes
the Wise Men’s arrival at the stable and their
presentation of gifts, before a chorale suggests that all
of us have something to give Jesus, namely our spirits
and minds. Warned of Herod’s purpose, the Wise Men
slip away home, but the tenor declares an unswerving
devotion to Jesus in an ardent recitative, before boldly
boasting that no-one need have fear while Christ is by
their side. All four soloists reiterate this in a brief joint
recitative, and the Christmas Oratorio ends with a
richly decorated version of the 'Passion chorale'
rejoicing in Christ’s victory over death, devil, sin and
hell.
Notes compiled by
Aidan Oliver
TEXT AND TRANSLATION
PART 1 Cantata for the First Day of Christmas
1. Chor
Jauchzet, frohlocket, auf, preiset die Tage,
Rühmet, was heute der Höchste getan!
Lasset das Zagen, verbannet die Klage,
Stimmet voll Jauchzen und Fröhlichkeit an!
Dienet dem Höchsten mit herrlichen Chören,
Laßt uns den Namen des Herrschers verehren!
1. Chorus
Celebrate, rejoice, rise up and praise these days,
glorify what the Highest has done today!
Abandon despair, banish laments,
sound forth full of delight and happiness!
Serve the Highest with glorious choruses,
let us honour the name of the Supreme Ruler!
2. Rezitativ – Tenor (Evangelist)
Es begab sich aber zu der Zeit, daß ein Gebot von dem
Kaiser Augusto ausging, daß alle Welt geschätzet
würde. Und jedermann ging, daß er sich schätzen
ließe, ein jeglicher in seine Stadt. Da machte sich auch
auf Joseph aus Galiläa, aus der Stadt Nazareth, in das
jüdische Land zur Stadt David, die da heißet
Bethlehem; darum, daß er von dem Hause und
Geschlechte David war: auf daß er sich schätzen ließe
mit Maria, seinem vertrauten Weibe, die war
schwanger. Und als sie daselbst waren, kam die Zeit,
daß sie gebären sollte. (Luke 2:1, 3–6)
2. Recitative – Tenor (Evangelist)
It came to pass at that time, however, that a decree
went out from Caesar Augustus that the whole world
should be appraised. And everyone went to be
appraised, each to his own city. So Joseph also went
out of Galilee, out of the city of Nazareth, into the
Jewish territory to the city of David, which was called
Bethlehem; since he was of the house and race of
David; so that he might be appraised with Mary, his
betrothed wife, who was pregnant. And while they
were there, the time came for her to deliver.
3. Rezitativ – Alto
Nun wird mein liebster Bräutigam,
Nun wird der Held aus Davids Stamm
Zum Trost, zum Heil der Erden
Einmal geboren werden.
Nun wird der Stern aus Jakob scheinen,
Sein Strahl bricht schon hervor.
Auf, Zion, und verlasse nun das Weinen,
Dein Wohl steigt hoch empor!
3. Recitative – Alto
Now my dearest Bridegroom,
now the hero from David’s branch,
for the comfort, for the salvation of the earth,
will be born at last.
Now the Star out of Jacob will shine,
its light already breaks forth.
Arise, Zion, and give up your weeping now,
your happiness rises high above you!
4. Arie – Alto
Bereite dich, Zion, mit zärtlichen Trieben,
Den Schönsten, den Liebsten bald bei dir zu sehn!
Deine Wangen
Müssen heut viel schöner prangen,
Eile, den Bräutigam sehnlichst zu lieben!
4. Aria – Alto
Prepare yourself, Sion, with tender efforts, to
behold your lovely one, your beloved, near you soon!
Your cheeks
must now glow much more radiantly,
hurry to love the Bridegroom with passion!
5. Choral
Wie soll ich dich empfangen
Und wie begegn' ich dir?
O aller Welt Verlangen,
O meiner Seelen Zier!
O Jesu, Jesu, setze
Mir selbst die Fackel bei,
Damit, was dich ergötze,
Mir kund und wissend sei!
5. Chorale
How shall I embrace You,
and how encounter You?
O desire of the whole world,
O adornment of my soul!
O Jesus, Jesus, place
the torch near me Yourself,
so that what gives You pleasure
be known and familiar to me!
6. Rezitativ – Tenor (Evangelist)
Und sie gebar ihren ersten Sohn und wickelte ihn in
Windeln und legte ihn in eine Krippen, denn sie hatten
sonst keinen Raum in der Herberge. (Luke 2:7)
6. Recitative – Tenor (Evangelist)
And she bore her first son, and wrapped Him in
swaddling clothes and laid Him in a manger, since
there was no other room in the inn.
7. Choral (Sop) und Rezitativ (Bass)
Er ist auf Erden kommen arm,
Wer will die Liebe recht erhöhn,
Die unser Heiland vor uns hegt?
Daß er unser sich erbarm,
Ja, wer vermag es einzusehen,
Wie ihn der Menschen Leid bewegt?
Und in dem Himmel mache reich,
Des Höchsten Sohn kömmt in die Welt,
Weil ihm ihr Heil so wohl gefällt,
Und seinen lieben Engeln gleich.
So will er selbst als Mensch geboren werden.
Kyrieleis!
7. Chorale (Sop) and Recitative (Bass)
He came to earth poor,
Who can rightly exalt this love,
that our Saviour harbours for us?
So that He might have sympathy for us,
Indeed, who could possibly have predicted
how the sorrow of humanity moved Him?
And make us rich in heaven,
The Son of the Highest came into the world,
since its salvation pleased Him so much,
and like His dear angels.
thus He Himself will be born a human.
Kyrie eleison!
8. Arie – Bass
Großer Herr, o starker König,
Liebster Heiland, o wie wenig
Achtest du der Erden Pracht!
Der die ganze Welt erhält,
Ihre Pracht und Zier erschaffen,
Muß in harten Krippen schlafen.
8. Aria – Bass
Great Lord, o powerful King,
dearest Saviour, o how little
you care about the glories of the earth!
He who sustains the entire world,
who created its magnificence and beauty,
must sleep in a harsh manger.
9. Choral
Ach mein herzliebes Jesulein,
Mach dir ein rein sanft Bettelein,
Zu ruhn in meines Herzens Schrein,
Daß ich nimmer vergesse dein!
9. Chorale
Ah, my heart’s beloved little Jesus,
make Yourself a pure, soft little bed
within my heart’s chamber in which to rest,
so that I never forget You!
PART II
Cantata for the 2nd Day of Christmas
1. (10.) Sinfonia
1. (10.) Sinfonia
2. (11.) Rezitativ – Tenor (Evangelist)
Und es waren Hirten in derselben Gegend auf dem
Felde bei den Hürden, die hüteten des Nachts ihre
Herde. Und siehe, des Herren Engel trat zu ihnen, und
die Klarheit des Herren leuchtet um sie, und sie
furchten sich sehr. (Luke 2:8–9)
2. (11.) Recitative – Tenor (Evangelist)
And there were shepherds in the same region in the
fields near the sheepfolds, who guarded their flock at
night. And behold, the angel of the Lord approached
them, and the brilliance of the Lord shone around
them and they were very afraid.
3. (12.) Choral
Brich an, o schönes Morgenlicht,
Und laß den Himmel tagen!
Du Hirtenvolk, erschrecke nicht,
Weil dir die Engel sagen,
Daß dieses schwache Knäbelein
Soll unser Trost und Freude sein,
Dazu den Satan zwingen
Und letztlich Friede bringen!
3. (12.) Chorale
Break forth, o lovely light of morning,
and let heaven dawn!
You shepherd-folk, do not fear,
for the angel tells you
that this weak little boy
shall be our comfort and joy,
compelling Satan as well
and bringing peace at last!
4. (13.) Rezitativ – Tenor, Sop (Evangelist, Engel)
Und der Engel sprach zu ihnen:
4. (13.) Recitative – Tenor, Sop (Evangelist, Angel)
And the angel said to them:
“Fürchtet euch nicht, siehe, ich verkündige euch große
Freude, die allem Volke widerfahren wird. Denn euch
ist heute der Heiland geboren, welcher ist Christus,
der Herr, in der Stadt David.”
(Luke 2: 10–11)
“Do not be afraid; behold, I proclaim great joy for you,
which will occur for all people. For today the Saviour is
born for you, which is Christ, the Lord, in the city of
David.”
5. (14.) Rezitativ – Bass
Was Gott dem Abraham verheißen,
Das läßt er nun dem Hirtenchor
Erfüllt erweisen.
Ein Hirt hat alles das zuvor
Von Gott erfahren müssen.
Und nun muß auch ein Hirt die Tat,
Was er damals versprochen hat,
Zuerst erfüllet wissen.
5. (14.) Recitative – Bass
What God promised to Abraham,
now, fulfilled, He has had announced
to the group of shepherds.
A shepherd, then, first of all,
had experience of God.
And now, also, a shepherd is first of all
to know the fulfilment
of what once was promised.
6. (15.) Arie – Tenor
Frohe Hirten, eilt, ach eilet,
Eh ihr euch zu lang verweilet,
Eilt, das holde Kind zu sehn!
Geht, die Freude heißt zu schön,
Sucht die Anmut zu gewinnen,
Geht und labet Herz und Sinnen!
6. (15.) Aria – Tenor
Happy shepherds, hurry, ah hurry,
before you delay too long,
hurry to see the lovely Child!
Go, this joy is so exquisite,
seek to achieve this loveliness,
go and delight heart and senses!
7. (16.) Rezitativ – Tenor (Evangelist)
Und da habt zum Zeichen: Ihr werdet finden das Kind
in Windeln gewickelt und in einer Krippe liegen.
(Luke 2:12)
7. (16.) Recitative – Tenor (Evangelist)
And there you will have as a sign: you will find the
Child wrapped in swaddling clothes and lying in a
manger.
8. (17.) Choral
Schaut hin, dort liegt im finstern Stall,
Des Herrschaft gehet überall!
Da Speise vormals sucht ein Rind,
Da ruhet itzt der Jungfrau'n Kind.
8. (17.) Chorale
Look there, there He lies in a dark stall,
whose majesty encompasses everything!
Where once an ox searched for food,
now the Child of the Virgin rests.
9. (18.) Rezitativ – Bass
So geht denn hin, ihr Hirten, geht,
Daß ihr das Wunder seht:
Und findet ihr des Höchsten Sohn
Un einer harten Krippe liegen,
So singet ihm bei seiner Wiegen
Aus einem süßen Ton
Und mit gesamtem Chor
Dies Lied zur Ruhe vor!
9. (18.) Recitative – Bass
Then go there, you shepherds, go,
so that you see the miracle:
and when you find the Son of the Highest
lying in a harsh manger,
then sing to Him by His cradle
in a sweet tone
and with full chorus
this lullaby!
10. (19.) Arie – Alto
Schlafe, mein Liebster, genieße der Ruh,
Wach nach diesem vor aller Gedeihen!
Labe die Brust,
Empfinde die Lust,
Wo wir unser Herz erfreuen!
10. (19.) Aria – Alto
Sleep, my beloved, enjoy Your rest,
and awaken after it for all the fortunate!
Let your heart delight,
experience the joy
that rejoices our hearts!
11. (20.) Rezitativ – Tenor (Evangelist)
Und alsobald war da bei dem Engel die Menge der
himmlischen Heerscharen, die lobten Gott und
sprachen: (Luke 2:13)
11. (20.) Recitative –Tenor (Evangelist)
And immediately, with the angel, there was a throng
of the heavenly hosts, who praised God and said:
12. (21.) Chor (Die Engel)
“Ehre sei Gott in der Höhe und Friede auf Erden und
den Menschen ein Wohlgefallen.” (Luke 2:14)
12. (21). Chorus (The Angels)
“Glory be to God in the highest and peace on earth
and a happy occurrence for humanity.”
13. (22.) Rezitativ – Bass
So recht, ihr Engel, jauchzt und singet,
Daß es uns heut so schön gelinget!
Auf denn! Wir stimmen mit euch ein,
Uns kann es so wie euch erfreun.
13. (22.) Recitative – Bass
Thus rightly, you angels, rejoice and sing,
that it works out so beautifully for us today!
Up then! We play along with you;
we can celebrate just as you do.
14. (23.) Choral
Wir singen dir in deinem Heer
Aus aller Kraft Lob, Preis und Ehr,
Daß du, o lang gewünschter Gast,
Dich nunmehr eingestellet hast.
14. (23.) Chorale
We sing to You in Your host
with all our might praise, glory and honour,
since You, o long-awaited guest,
from now on have become present.
PART III
Cantata for the 3rd Day of Christmas
1. (24.) Chor
Herrscher des Himmels, erhöre das Lallen,
Laß dir die matten Gesänge gefallen,
Wenn dich dein Zion mit Psalmen erhöht!
Höre der Herzen frohlockendes Preisen,
Wenn wir dir itzo die Ehrfurcht erweisen,
Weil unsre Wohlfahrt befestiget steht!
1. (24.) Chorus
Ruler of Heaven, hear the murmur,
let the dull songs be pleasing to You,
when Your Zion exalts You with psalms!
Hear the delightful praises of our hearts,
when we acknowledge our present awe of You,
since our pilgrimage has been confirmed!
2. (25.) Rezitativ – Tenor (Evangelist)
Und da die Engel von ihnen gen Himmel fuhren,
sprachen die Hirten untereinander: (Luke 2:15)
2. (25.) Recitative – Tenor (Evangelist)
And when the angels went away from them towards
heaven, the shepherds said to one another:
3. (26.) Chor
“Lasset uns nun gehen gen Bethlehem und die
Geschichte sehen, die da geschehen ist, die uns der
Herr kundgetan hat.” (Luke 2:15)
3. (26.) Chorus
“Let us go now towards Bethlehem and see this thing
that has happened there, which the Lord has
announced to us.”
4. (27.) Rezitativ – Bass
Er hat sein Volk getröst',
Er hat sein Israel erlöst,
Die Hülf aus Zion hergesendet
Und unser Leid geendet.
Seht, Hirten, dies hat er getan;
Geht, dieses trefft ihr an!
4. (27.) Recitative – Bass
He has comforted His people,
He has rescued His Israel,
sending help out of Zion
and ending our sorrow.
Look, shepherds, He has done this;
go, this is what awaits you!
5. (28.) Choral
Dies hat er alles uns getan,
Sein groß Lieb zu zeigen an;
Des freu sich alle Christenheit
Und dank ihm des in Ewigkeit.
Kyrieleis!
5. (28.) Chorale
All this He has done for us,
to indicate His great love;
for this all Christianity rejoices
and thanks Him for it in eternity.
Kyrie eleison!
6. (29.) Arie (Duett) – Soprano, Bass
Herr, dein Mittleid, dein Erbarmen
Tröstet uns und macht uns frei.
Deine holde Gunst und Liebe,
Deine wundersamen Triebe
Machen deine Vatertreu
Wieder neu.
6. (29.) Aria (Duet) – Soprano, Bass
Lord, your compassion, your mercy
comforts us and makes us free.
Your gracious favour and love,
Your miraculous doings
make Your fatherly devotion
renewed again.
7. (30.) Rezitativ – Tenor (Evangelist)
Und sie kamen eilend und funden beide, Mariam und
Joseph, dazu das Kind in der Krippe liegen. Da sie es
aber gesehen hatten, breiteten sie das Wort aus,
welches zu ihnen von diesem Kind gesaget war. Und
alle, für die es kam, wunderten sich der Rede, die
ihnen dir Hirten gesaget hatten. Maria aber behielt
alle diese Worte und bewegte sie in ihrem Herzen.
(Luke 2:16–19)
7. (30.) Recitative – Tenor (Evangelist)
And they came hastily and found both Mary and
Joseph, along with the child lying in the manger.
When they had seen it, however, they spread the
word around, that had been spoken about this child.
And everyone to whom it came marvelled at the
sayings that the shepherds had told them. Mary
however kept all these words and pondered them in
her heart.
8. (31.) Arie – Alto
Schließe, mein Herze, dies selige Wunder
Fest in deinem Glauben ein!
Lasse dies Wunder, die göttlichen Werke,
Immer zur Stärke
Deines schwachen Glaubens sein!
8. (31.) Aria – Alto
Enclose, my heart, these blessed miracles
fast within your faith!
Let these wonders, these divine works,
forever be the reinforcement
of your weak faith!
9. (32.) Rezitativ – Alto
Ja, ja, mein Herz soll es bewahren,
Was es an dieser holden Zeit
Zu seiner Seligkeit
Für sicheren Beweis erfahren.
9. (32.) Recitative – Alto
Yes, yes, my heart shall cherish this,
what it has experienced
at this glorious time for its blessedness
as a sure revelation.
10. (33.) Choral
Ich will dich mit Fleiß bewahren,
Ich will dir
Leben hier,
Dir will ich abfahren,
Mit dir will ich endlich schweben
Voller Freud
Ohne Zeit
Dort im andern Leben.
10. (33.) Chorale
I will cherish You assiduously,
I will
live for You here,
to You will I depart,
with You, at last, I will float
full of joy,
endlessly,
there in the other life.
11. (34.) Rezitativ – Tenor (Evangelist)
Und die Hirten kehrten wieder um, preiseten und
lobten Gott um alles, das sie gesehen und gehöret
hatten, wie denn zu ihnen gesaget war. (Luke 2:20)
11. (34.) Recitative – Tenor (Evangelist)
And the shepherds went back again, praising and
glorifying God for everything that they had seen and
heard, as it had been spoken to them.
12. (35.) Choral
Sei froh dieweil,
Das euer Heil
Ist hie ein Gott und auch ein Mensch geboren,
Der, welcher ist
Der Herr und Christ
In Davids Stadt, von vielen auserkoren.
12. (35.) Chorale
Meanwhile, be happy,
for your salvation
is born here a God and also a person,
He, who is
the Lord and Christ
in David’s city, chosen out of many.
1. (24.) Chor wiederholt.
1. (24.) Opening chorus repeated.
PART VI
Cantata for the Feast of Epiphany
1. (54.) Chor
Herr, wenn die stolzen Feinde schnauben,
So gib, daß wir im festen Glauben
Nach deiner Macht und Hülfe sehn!
Wir wollen dir allein vertrauen,
So können wir den scharfen Klauen
Des Feindes unversehrt entgehn.
1. (54.) Chorus
Lord, when our proud enemies snarl,
then grant that, in firm faith,
we can look for Your help and strength!
We will trust in You alone,
thus we can escape the sharp claws
of the enemy unscathed.
2. (55.) Rezitativ – Tenor, Bass (Evangelist, Herodes)
Da berief Herodes die Weisen heimlich und erlernet
mit Fleiß von ihnen, wenn der Stern erschienen wäre.
Und weiset sie gen Bethlehem und sprach:
“Ziehet hin und forschet fleißig nach dem Kindlein,
und wenn ihr's findet, sagt mir's wieder, daß ich auch
komme und es anbete.” (Matthew 2:7–8)
2. (55.) Recitative – Tenor (Evangelist)
Then Herod summoned the sages secretly and cleverly
discovered from them when the star had appeared.
And he directed them towards Bethlehem and said:
“Go there and seek diligently for the infant, and when
you find it, report to me, so that I can also come and
pay my devotions to it.”
3. (56.) Rezitativ – Soprano
Du Falscher, suche nur den Herrn zu fällen,
Nimm alle falsche List,
Dem Heiland nachzustellen;
Der, dessen Kraft kein Mensch ermißt,
Bleibt doch in sichrer Hand.
Dein Herz, dein falsches Herz ist schon,
Nebst aller seiner List, des Höchsten Sohn,
Den du zu stürzen suchst, sehr wohl bekannt.
3. (56.) Recitative – Soprano
Liar, you seek only to destroy the Lord;
You employ all false trickery
to supplant the Saviour;
yet He, whose power no man can measure,
remains in secure hands.
Your heart, your false heart is already,
with all its deceit, very well known
to the Son of the Highest whom you seek to crush.
4. (57.) Arie – Soprano
Nur ein Wink von seinen Händen
Stürzt ohnmächtger Menschen Macht.
Hier wird alle Kraft verlacht!
Spricht der Höchste nur ein Wort,
Seiner Feinde Stolz zu enden,
O, so müssen sich sofort
Sterblicher Gedanken wenden.
4. (57.) Aria – Soprano
Only a wave of His hands
topples the impotent power of humans.
Here all strength is laughable!
If the Highest speaks only a word,
to terminate the pride of His enemies,
o, then how immediately must
the thoughts of mortals be turned aside!
5. (58.) Rezitativ – Tenor (Evangelist)
Als sie nun den König gehöret hatten, zogen sie hin.
Und siehe, der Stern, den sie im Morgenlande
gesehen hatten, ging für ihnen hin, bis daß er kam und
stund oben über, da das Kindlein war. Da sie den
Stern sahen, wurden sie hoch erfreuet und gingen in
das Haus und funden das Kindlein mit Maria, seiner
Mutter, und fielen nieder und beteten es an und täten
ihre Schätze auf und schenkten ihm Gold, Weihrauch
und Myrrhen. (Matthew 2:9–11)
.
5. (58.) Recitative – Tenor (Evangelist)
When they had heard the King, they went away. And
behold, the star which they had seen in the East went
before them until it came and stood over where the
infant was. When they saw the star, they were highly
delighted, and went into the house, and found the
infant with Mary, His mother; and they fell down and
worshipped Him and presented their treasures; and
they gave Him gold, frankincense and myrrh.
6. (59.) Choral
Ich steh an deiner Krippen hier,
O Jesulein, mein Leben;
Ich komme, bring und schenke dir,
Was du mir hast gegeben.
Nimm hin! Es ist mein Geist und Sinn,
Herz, Seel und Mut, nimm alles hin,
Und laß dirs wohlgefallen!
6. (59.) Chorale
I stand here by Your cradle,
o little Jesus, my life;
I come, I bring and give to You,
what You have given to me.
Take it! It is my spirit and mind,
heart, soul, and will, take all of it,
and let it be pleasing to You!
7. (60.) Rezitativ – Tenor (Evangelist)
Und Gott befahl ihnen im Traum, daß sie sich nicht
sollten wieder zu Herodes lenken, und zogen durch
einen andern Weg wieder in ihr Land.
(Matthew 2:12)
7. (60.) Recitative – Tenor (Evangelist)
And God commanded them in a dream that they
should not journey back to Herod, and they travelled
by another way back to their own land.
8. (61.) Rezitativ – Tenor
So geht! Genug, mein Schatz geht nicht von hier,
Er bleibet da bei mir,
Ich will ihn auch nicht von mir lassen.
Sein Arm wird mich aus Lieb
Mit sanftmutsvollem Trieb
Und größter Zärtlichkeit umfassen;
Er soll mein Bräutigam verbleiben,
Ich will ihm Brust und Herz verschreiben.
Ich weiß gewiß, er liebet mich,
Mein Herz liebt ihn auch inniglich
Und wird ihn ewig ehren.
Was könnte mich nun für ein Feind
Bei solchem Glück versehren!
Du, Jesu, bist und bleibst mein Freund;
Und werd ich ängstlich zu dir flehn:
Herr hilf!, so laß mich Hülfe sehn!
8. (61.) Recitative – Tenor
Go then! It is enough, my treasure does not leave,
He remains here with me,
I also will not let Him leave me.
His arm will, out of love,
embrace me with tender emotions
and the greatest gentleness;
He shall remain my bridegroom,
I will dedicate my heart and breast to Him.
I surely know that He loves me,
my heart loves Him inwardly as well
and will always honour Him.
What kind of enemy now, amid such happiness,
could harm me!
You, Jesus, are and remain my Friend;
and if I will beseech you anxiously:
Lord, help! then let me see assistance!
9. (62.) Arie – Tenor
Nun mögt ihr stolzen Feinde schrecken;
Was könnt ihr mir für Furcht erwecken?
Mein Schatz, mein Hort ist hier bei mir.
Ihr mögt euch noch so grimmig stellen,
Droht nur, mich ganz und gar zu fällen,
Doch seht! Mein Heiland wohnet hier.
9. (62.) Aria – Tenor
Now, you arrogant enemies, you may tremble;
what kind of fear can you arouse in me?
My treasure, my sanctuary is here with me.
You may seem still so horrible,
threatening to defeat me once and for all,
yet see! My Saviour lives here.
10. (63.) Rezitativ – S A T B
Was will der Höllen schrecken nun,
Was will uns Welt und Sünde tun,
Da wir in Jesu Händen ruhn?
10. (63.) Recitative – S A T B
How can hell frighten now,
what can the world and sin do to us,
since we are safe in Jesus’s hands?
11. (64.) Choral
Nun seid ihr wohl gerochen
An eurer Feinde Schar,
Denn Christus hat zerbrochen,
Was euch zuwider war.
Tod, Teufel, Sünd und Hölle
Sind ganz und gar geschwächt;
Bei Gott hat seine Stelle
Das menschliche Geschlecht.
11. (64.) Chorale
Now you are well avenged
upon the horde of your enemies,
since Christ has pulverised
what was contrary to you.
Death, devil, sin and hell
are weakened once and for all;
the place of the human race
is next to God.
SOUTH LONDON MUSIC
We are a fast, efficient music supplier with an extensive stock of sheet music. We also sell instrumental
accessories (strings, reeds, bags etc) and a growing range of instruments, including violins, guitars, woodwind
& brass, recorders, percussion and ukuleles! We also sell CDs, DVDs gifts, novelties and baby percussion.
Choral music is a speciality with a comprehensive range of vocal scores and CDs.
Open Monday to Saturday 10am-5.30pm
29 Grove Vale, East Dulwich, SE22 8EQ
T: 0208 693 9879 M: 07957 461677
[email protected]
Owner/ Manager: Rupert Perkins
Buy online at www.slmusic.co.uk
Please join our Facebook community: www.facebook.com/SouthLondonMusic
ELIN MANAHAN THOMAS
CATHERINE BACKHOUSE
Elin Manahan Thomas was born and bred in Swansea,
and first studied Anglo-Saxon, Norse and Celtic at
Clare College, Cambridge, before turning to the world
of music, and to performing and presenting. She is
known for her interpretation of baroque music and
made the world premiere recording of a newlydiscovered Bach cantata in 2006 for Sir John Eliot
Gardiner.
Catherine Backhouse has just completed the
prestigious Opera Studies course at the Guildhall
School of Music & Drama, where she has been
awarded a Fellowship and continues to study with
John Evans.
Elin's concert repertoire ranges from the renaissance
to the contemporary. She received great acclaim for
her ‘Pie Jesu’ on Naxos’s award-winning recording of
the Rutter Requiem, and gave world premiere
performances of Sir John Tavener's Requiem (with the
RLPO) and Love Duet (Manchester International
Festival). Recent performances include Dowland in the
Antwerp Festival with Fretwork, Finzi Dies Natalis in
Hoddinott Hall with BBC NOW on Radio Three, and a
tour of China performing baroque favourites with the
Academy of Ancient Music.
She has performed in Classic FM’s fifteenth birthday
concert; on ‘Friday Night is Music Night’ for Radio 2;
at Songs of Praise’s ‘The Big Sing’; she was invited to
perform in the Vatican on Easter Sunday; as well as
appearing at the Edinburgh International Festival with
the Royal Flanders Ballet; and she made her BBC
Proms debut in 2013 in the Dr Who Prom, alongside
Daleks! Elin is an Honorary Fellow at the Royal Welsh
College of Music and Drama and Swansea University.
This year Catherine played the role of Flora (La
Traviata for Opera South); Kate Julian in Britten’s
Owen Wingrave at the Aldeburgh and Edinburgh
International Festivals as a Britten-Pears Young Artist;
L’Enfant (L’Enfant et les Sortilèges at the Barbican
Concert Hall); and Venus/Seneca’s Friend/cover Nero
(The Coronation of Poppea for Ryedale Festival
Opera). Previous work includes Prince Orlofsky in Die
Fledermaus at Clonter Opera; Cherubino in Le Nozze di
Figaro; Jean in Le Portait de Manon by Massenet and
Eva in Comedy on the Bridge by Martinu at Guildhall;
Mezzo Actor in Judith Weir’s A Night at the Chinese
Opera with British Youth Opera; Hippolyta in A
Midsummer Night’s Dream at the Barbican Theatre;
Rossweisse in Die Walküre at the St Endellion Festival,
Ino in Handel’s Semele and Sesto in Mozart’s La
Clemenza di Tito for Hampstead Garden Opera; and
Mabel/Nurse Wallace in Unknown Doors by Iain
Burnside in the Barbican Pit Theatre.
Recent solo oratorio work includes Handel’s Messiah
with Dunedin Consort, Rossini’s Petite Messe
Solennelle with the South London Singers, Bach Mass
in B Minor with The Rodolfus Choir, Couperin Leçon de
Ténèbres in St Mary’s Cathedral, Edinburgh and
Handel’s Israel in Egypt at the St David’s Festival,
Wales.
ANDREW TORTISE
JONATHAN BROWN
Andrew Tortise was a choral scholar at Wells
Cathedral before taking up a similar position at
Trinity College, Cambridge, under the direction of
the late Richard Marlow. Since graduating in
2002, he has enjoyed a diverse career on the
operatic stage and on the concert platform.
Jonathan Brown was born and raised in
Toronto. He studied at the University of Western
Ontario, the RCM and Clare College, Cambridge
as well as the Britten-Pears School in Aldeburgh
with Sir Thomas Allen and Anthony Rolfe
Johnson.
Andrew made his operatic debut in 2004 in
Handel’s Semele in Paris, and since then has sung
at the Salzburg Festival, and for Glyndebourne
Festival Opera, Glyndebourne on Tour, Opera
North, WNO, Dutch National Opera and Opera de
Lyon. He made his debut for the Royal Opera,
Covent Garden in 2013.
Operatic roles include Marcello (La Bohème,
Royal Albert Hall), Belcore (L'Elisir d'Amore),
Count Almaviva, Yamadori (Madam Butterfly),
Giove (La Calisto), Orestes (Giasone), Ariodate
(Xerxes), Garibaldo (Rodelinda), Silvio (I Pagliacci),
Malatesta (Don Pasquale), Masetto (Don
Giovanni), Shepherd (Venus and Adonis) and
Aeneas (Dido and Aeneas). He performed the role
of Trojan (Idomeneo) for Sir Simon Rattle with the
Berlin Philharmonic in the Salzburg Easter
Festival.
In concert, he has sung with the LSO, BBC
Symphony Orchestra, BBCSSO, Scottish Chamber
Orchestra, National Symphony Orchestra
(Washington DC) and for groups such as the AAM,
OAE, Les Arts Florissants and the Monteverdi
Choir.
Future engagements include his return to the
Royal Opera for Mozart’s Mitridate and Wagner’s
Die Meistersinger von Nürnberg, his debut at
Theater an der Wien in Bach’s Christmas Oratorio
and a return to Dutch National Opera for Lurcanio
in Handel’s Ariodante. He will sing St Matthew
Passion on tour with the OAE, Haydn’s Nelson
Mass with the Britten Sinfonia and Elijah with the
Bach Choir and, in 2015, tour the US with the
Monteverdi Choir singing Monteverdi’s Vespers
and Orfeo.
He was a regular soloist on Sir John Eliot
Gardiner’s Bach Pilgrimage in 2000. Concert work
has included a tour of St Matthew Passion across
Europe and Bach’s Magnificat under Sir Roger
Norrington. He has worked regularly with
Philippe Herreweghe, touring South America in
Bach’s St John Passion. Recordings include
Purcell’s Ode to St Cecilia with Herreweghe, Dido
and Aeneas and Blow’s Venus and Adonis under
René Jacobs, Fauré Requiem with the London
Festival Orchestra for BMG and Forester in
Sullivan’s The Golden Legend for Hyperion.
(BBC Proms), Wagner Twilight of the Gods and
Beethoven Fidelio.
AIDAN OLIVER
Aidan Oliver pursues a varied career as conductor
and chorus master across the full range of
operatic, symphonic and choral repertoire. As
Director of Philharmonia Voices he is involved in
many of the Philharmonia Orchestra’s most
ambitious projects, while as conductor he holds
positions at St Margaret’s Church Westminster,
the St Endellion Festival and Dulwich Choral
Society. He also assists regularly on the staff of
the Royal Opera House and at English National
Opera, and works with many of London’s leading
choirs.
Aidan is one of the UK’s most sought-after chorus
masters. He has prepared the BBC Symphony
Chorus for broadcasts including Syzmanowski
Stabat Mater (BBC Proms) and Walton
Belshazzar’s Feast; the BBC Singers for Boulez
cummings ist der dichter, Mendelssohn Antigone
(BBC Proms) and Ligeti Le Grand Macabre; and
English National Opera for Britten Peter Grimes
As Assistant Conductor to Esa-Pekka Salonen,
Aidan has toured with the Philharmonia to the
USA, Europe and Russia. He was also invited by
the late Lorin Maazel to direct the chamber
orchestra in performances under him of Britten
War Requiem in London and Hong Kong. As the
Associate Conductor of the St Endellion Festival in
Cornwall he has conducted works as varied as
Macmillan Seven Last Words, Tchaikovsky
Symphony No 5, Wagner Wesendonck Lieder,
Rachmaninov All-Night Vigil, and Stravinsky The
Soldier’s Tale, the latter with Rory Kinnear as
narrator.
As Director of Music at St Margaret’s
Westminster, Aidan works with organist Thomas
Trotter and a professional choir to provide the
music for many high-profile Parliamentary
occasions, including memorial services for many
leading public figures. Under Aidan, the choir has
developed a particular association with
contemporary music, premiering works by
composers including Joseph Phibbs, Matthew
Martin, Gareth Treseder, Alastair Putt and Francis
Grier.
Aidan Oliver began his musical career as a
chorister at Westminster Cathedral, later
studying at Eton College and at King’s College
Cambridge. After graduating with a Double First
in Classics, he pursued further studies at Harvard
University (as a Kennedy Scholar), the National
Opera Studio and King’s College London. He lives
in East Dulwich with his wife Lois and their two
children.
Dulwich Choral Society
Honorary President Dame Emma Kirkby
Vice Presidents His Honour Judge Michael
Goodman, Roger Page
Musical Director Aidan Oliver
Chairman Dr Iain Saville CBE
Accompanist David Elwin
Dulwich Choral Society was founded in 1944. Today
it is a thriving, friendly choir that performs at least
three concerts a year, including two with
professional orchestras and top-class soloists. Since
2006 Aidan Oliver, one of the UK’s leading choral
conductors, has been the choir’s Musical Director.
As well as giving concerts in the Dulwich area, the
choir has performed more widely in central London
and abroad. Since 1998 the choir has undertaken
tours to Belgium, the Czech Republic, France, Italy,
Germany and Estonia, Bosnia and Herzegovina. Our
most recent overseas tour was to Portugal in 2014,
where we performed in some very beautiful venues
in Lisbon and Sintra. Closer to home the choir
performs in several of the wonderful churches in and
around Dulwich, and enjoys a strong local following.
Would you like to join us?
New choir members are always welcome. If you are
interested in joining the choir, please contact Jo
Merry, our Membership Secretary, on 020 7737
3169 or [email protected]
for more details.
Entry is subject to an informal audition by the
Musical Director who, besides a reasonable singing
voice, will be looking for basic sight-reading ability
and general musicality. Membership costs £165 a
year and is currently free for those aged under 26 or
in full-time education.
Rehearsals take place on Monday evenings from
7.30 to 9.30pm at All Saints Church, Lovelace Road,
West Dulwich, London. The church is about 5–10
minutes’ walk from either Tulse Hill or West Dulwich
stations and is served by a number of bus routes,
including the 3, P13 and 201.
For further details, visit:
www.dulwichchoralsociety.org.uk
Sopranos
Altos
Nicola Alexander
Margaret Bailey
Linda Beadnell
Jackie Bowie
Sue Chandler
Mary Cooper
Marie-Pierre Denaro
Edith Fehrenbach
Honor Gay
Didi Greig
Cecilia Hill
Tamara Howard Pierce
Juliana Kirby
Denise Lawson
Julia Layton
Heidi Lempp
Emily Lodge
Kassy Luto
Priscilla Macpherson
Morven Main
Fenella Maitland-Smith
Teresa Marshall
Amy Mount
Susan Perolls
Carmo Ponte
Susan Powell
Hilary Putt
Fleur Read
Jenny Thomas
Jane Tippett
Charlotte Townsend
Jessica Watson
Gracita Woods
Becky Bahar
Zina Boykova
Sonia Butler
Marilyn Checkley
Helen Chown
Julia Field
Joanna French
Vivien Gambling
Helen Graham
Gill Hancock
Sarah Hughes
Stephanie Jacob
Julie Jones
Jenny Kay
Jo Merry
Karen Mills
Vanessa Mitchell
Jane Palmer
Catherine Parkin
Kate Powell
Nicola Prior
Rosemary Publicover
Susan Robinson
Rebecca Sloane
Frances Steele
Tenors
Roger Atkins
Forbes Bailey
Rowan Barnard
Nick Bolt
Giles Craven
Robert Foster
Steve Harrison
Andrew Lang
Jon Layton
Jonathan Palmer
Michael Palmer
John Quigley
Iain Saville
Eric Sneyd
David Storey
Peter Swift
Nick Vaisey
Basses
Andrew Black
Christopher Braun
John Britton
Ian Chown
Guy Collins
Chris Dodd
Michael Faulkner
Malcolm Field
Simon Foster
Stephen Frost
Alan Grant
John Greig
Alex Hamilton
Michael Kenny
Paul Kinnear
Adrian Lambourne
Mike Lock
Peter Main
Hugh Marchant
Duncan Pratt
Barney Rayfield
Mike Shepherd
Paul Stern
Richard Webb
Olley’s Fish Experience in Herne Hill has become the
first in the UK to add a total of eight quality MSC certified
species of fish to their menu.
ENGLAND AND WALES
2014
Best Takeaway of the Year
Ro
Hi
rn
e
He
Half Moon
ad
Norwo
od Ro
Brockwell
Park
d
ch
d
oa
nR
lwi
Milkwoo
ilto
Ra
Du
ll
Herne Hill
ad
Croxte
d Road
www.olleys.info
Olleys Fish Experience
[email protected]
olleysfishexp
65 - 69 Norwood Road, Herne Hill, London, SE24 9AA
0208 671 8259 (Takeaway)
0208 671 5665 (Restaurant)