Spohr The Last Judgement - Cambridge University Musical Society

Transcription

Forthcoming Concerts
Faust Chamber Orchestra and
Cambridge University Musical Society Chorus
Come and Sing St John Passion with CUMS Chorus
Saturday 30 April 2016 – 10:30am. Great St Mary’s, Cambridge.
Mark Austin conductor
www.cums.org.uk/events/event/on/2016/04/30
Elgar The Dream of Gerontius
Saturday 11 June 2016 – 7:30pm. Saffron Hall, Saffron Walden.
Jennifer Johnston mezzo soprano
Andrew Kennedy tenor
Ashley Riches bass
Cambridge University Musical Society Symphony Orchestra
Stephen Cleobury conductor
www.cums.org.uk/whats-on/concerts
Classicism according to Cherubino
Sunday 25 September 2016 – 4:00pm. Kings Place Hall One, London.
Rosalind Coad soprano
Prokofiev Symphony no. 1 ‘Classical’
Anna Harvey mezzo soprano
Mozart Oboe Concerto
Bradley Smith tenor
Mozart Le nozze di Figaro ‘Non so più’; ‘Voi che sapete’
Rossini Il barbiere di Sivigilia ‘Una voce poco fa’
Schubert Symphony no. 3
Adam Green baritone
Katie Bray mezzo soprano
Faust Chamber Orchestra
www.faustchamberorchestra.org
Louis Spohr THE LAST JUDGEMENT
TONIGHT’S PERFORMANCE
Spohr – The Last Judgement
1.
2.
3.
4.
5.
6.
7.
8.
9.
Ouvertüre
Soli (SB) e Coro Preis und Ehre ihm
Recitativo (TB) Steige herauf
Solo (T) e Coro Heilig, heilig
Recitativo (ST) Und siehe, ein Lamm, das war verwundet
Solo (S) e Coro Das Lamm, das erwürget ist
Recitativo (T) e Coro Und alle Kreatur/ Betet an
Recitativo (AT) Und siehe, eine große Schar
Soli (SATB) e Coro Heil dem Erbarmer
Interval
10. Sinfonia
11. Recitativo (B) So spricht der Herr
12. Duetto (ST) Sei mir nicht schrecklich in der Not
13. Coro So ihr mich von ganzem Herzen suchet
14. Recitativo (T) Die Stunde des Gerichts
15. Coro Gefallen ist Babylon
16. Soli (SATB) e Coro Selig sind die Toten
17. Recitativo (SA) Sieh, einen neuen Himmel
18. Recitativo (T) e Quartetto Und siehe, ich komme bald
19. Soli (SATB) e Coro Groß und wunderbarlich sind deine Werke
Rosalind Coadsoprano
Anna Harvey
mezzo soprano
Bradley Smithtenor
Adam Greenbaritone
Mark Austinconductor
Friday 4 March 2016
Sunday 6 March 2016
Jerwood Hall, LSO St Luke’s, London – 7.30pm
West Road Concert Hall, Cambridge – 7:30pm
Jerwood Hall, LSO St Luke’s, UBS & LSO Music Education Centre, 161 Old Street, London EC1V 9NG
In accordance with the requirements of Islington Council persons shall not be permitted to stand or sit in any gangway. The taking of photographs and
the use of recording equipment are strictly forbidden without formal consent from LSO St Luke’s. Please make sure that digital watch alarms and mobile
phones are switched off during the performance. LSO St Luke’s is a no-smoking building. No eating or drinking is allowed in the auditorium. No cameras,
tape recorders or other recording equipment may be taken into the hall.
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COMPOSER PROFILE
Erster Teil
Part One
Louis Spohr (1784–1859)
Nr. 1. Ouvertüre
Nr. 1. Ouvertüre
Nr. 2 Soli (SB) e Coro
Preis und Ehre ihm, der da ist, der da war und der da
kommt! Preis und Ehre ihm, dem Erstling der Erstandnen,
dem Beherrscher der Könige der Erde. Ihm, der uns geliebet
und durch sein Blut gereinigt hat,
Praise his awful name, Who was, and is, and is to come:
praise to him who giveth immortality: all glory and majesty
surround His throne. Worship and adore him!
Preis, Ehre und Ruhm!
Praise! Glory to God!
Siehe, er kommt in den Wolken, und ihn wird sehen jegliches
Auge, und wehklagen werden die Geschlechter der Erde.
Mighty he cometh to judgement: for He shall judge the world
in righteousness, and he shall judge his people with His truth.
Fürchte dich nicht: Ich bin’s, der Erste und Letzte und der
Lebendige. Ich war tot, und siehe, ich bin lebendig in alle
Ewigkeit und habe die Schlüssel der Hölle des Todes.
Fear thou not, O man! for thy Redeemer liveth. He that died is
risen, and He shall live to all eternity; and He shall reign, and
shall conquer all his enemies.
Preis und Ehre ihm ...
Praise his awful name …
Ich weiß nun dein Tun: Du hast Böses nicht ertragen und
geduldet um meines Namens willen. Aber deine erste Liebe
hast du verlassen und bist gefallen von deiner Höhe. So ändre
deinen Sinn und tu die ersten Werke! Sei getreu bis in den Tod,
so will ich dir die Krone des Lebens geben.
“I know thy works, and thy labour, and thy patience;
for My sake thou has endured affliction. Yet thy first and
chiefest duty thou hast forsaken; and thou art fallen from thy
high estate. Repent! and return to thy first work. Be thou
faithful unto death, and I will give thee a crown of life.”
Preis und Ehre ihm ...
Praise his awful name …
Nr. 3 Recitativo (TB)
Steige herauf, ich will dir zeigen, was geschehen soll!
“Come up hither, and I will show thee what shall be hereafter.”
Und siehe, ein Thron stand im Himmel, und auf dem Thron ruht
einer! Und ein Regenbogen war um den Thron, und im Kreis
auf Thronen vierundzwanzig Älteste, mit weißen Kleidern
angetan, auf ihren Häuptern goldne Kronen. Und von dem
Throne gingen aus Blitze und Donner,
And lo! a throne was set in heaven and on the throne One
stood. And a rainbow was round about the throne;
and the Elders knelt before the throne, clad in white raiment:
and on their heads were crowns of gold: and from the throne
came thunderings and lightnings,
und Stimmen riefen Tag und Nacht:
and voices crying day and night:
Nr. 4 Solo (T) e Coro
Heilig, heilig, heilig ist Gott der Herr, der Allmächtige, der da
war und der da ist und der da kommt!
“Holy, holy, holy, Lord God Almighty! Who wast, and Who art,
and art to come!”
Nr. 5 Recitativo (ST)
Und siehe, ein Lamm, das war verwundet.
Behold, the Lamb that was slain!
Weine nicht! Siehe, es hat überwunden der Löwe, der da ist
vom Geschlecht Juda!
Weep no more; behold, He that died is risen, and hath
conquered Death and Hell.
Und die Ältesten fielen nieder vor dem Lamm und hatten Harfen
und goldne Schalen voll Rauchwerks und sangen ein neues Lied:
And the Elders fell down before the Lamb, with their harps,
and golden urns burning odours, singing this song of praise:
Nr. 6 Solo (S) e Coro
Das Lamm, das erwürget ist, ist würdig zu nehmen Kraft und
Reichtum und Weisheit und Hoheit und Preis und Ehre!
“All glory to the Lamb that died, exalted now at God’s right
hand, in blessing and wisdom and honour and praise for ever.”
Nr. 7 Recitativo (T) e Coro
Und alle Kreatur, die im Himmel ist und auf Erden und unter
der Erde und im Meer, rief aus und sprach: Betet an!
And every creature that is in heaven, and on the earth,
and under the earth, and in the sea, cried aloud and said:
Lob und Preis und Gewalt ihm, der auf dem Stuhle thront und
dem erwürgten Lamm!
“Blessing, honour, glory and power be unto Him that sitteth
upon the throne, and unto the Lamb for ever.”
Spohr was at the height of his powers when he wrote The Last
Judgement (Die letzten Dinge) in 1825. His European fame
as a virtuoso violinist had been established during the first
two decades of the century, but by 1822, when he took up the
position of Kapellmeister in Kassel, where he was to remain for
the rest of his life, he had also acquired a reputation as one
of the greatest composers of the day. The success of his first
nine violin concertos had been paralleled by two symphonies
(1811 and 1820), three successful operas, Faust (1813), Zemire
und Azor (1818-19) and, most triumphantly, Jessonda (1822),
as well as a large quantity of admired chamber music and
Lieder. During the next thirty-five years of his life he was to write
another two oratorios, four operas, eight symphonies (including
one for double orchestra), several concertos (including one
for string quartet and orchestra), as well as many more lieder
and chamber works (including his four innovative double string
quartets and a string sextet that foreshadowed Brahms’).
THE LAST JUDGEMENT
Programme notes
The Last Judgement was not Spohr’s first oratorio; in 1812
he had composed another oratorio on the Last Judgement,
Das jüngste Gericht, but he had quickly decided that it was
unsatisfactory both from the point of view of the text and
the musical style of the solo numbers, and it remained in
manuscript. More than a decade later, however, he
recognised that the time was ripe for him to succeed in
this genre, and when Friedrich Rochlitz, founding editor
of the leading German music journal of the time, the Leipzig
Allgemeine musikalische Zeitung, unexpectedly wrote to
him in July 1825 to offer the text of Die letzten Dinge, taken
from the Book of Revelation, he seized upon the idea.
Rochlitz informed Spohr that if he chose not to set the text he
would not offer it to anyone else, commenting: ‘I know of no
one, apart from you, who could effectively enter into the idea
so sympathetically and bring to its execution everything that is
necessary.’ Although Spohr was enthusiastic, he was concerned
that the text was too short. In response, Rochlitz pointed out
that Spohr could lengthen the work by including a lengthy
overture, a substantial introduction to Part 2, and other
orchestral sections. He asserted that orchestral music was
capable of ‘allowing the depiction of those innermost feelings
that are beyond words,’ adding: ‘you, who along with
Beethoven are without a doubt the greatest master of this
genre, will assuredly produce the most excellent effects with it.’
Convinced by Rochlitz’s suggestions, and also his willingness to
provide text for a few extra numbers, Spohr began composing
the oratorio in October 1825 and finished it in time to perform
it with his choral society in Kassel on Good Friday 1826.
Spohr’s treatment of the work distinguishes it significantly
from other contemporaneous oratorios. He abandoned the
traditional practice of writing a succession of separate solo
and choral numbers in favour of a more through-composed
series of ‘scenes’, similar to the procedure he had used in his
most recent opera Der Berggeist (1824). He also employed
his highly individual chromatic harmonic idiom, his
considerable melodic gifts, and his masterly command of
orchestration to enhance the oratorio’s expressive and
dramatic impact. These features were a potent factor in the
work’s success. At the Lower-Rhine Musical Festival in May
1826 it made such a powerful impression that the festival was
prolonged to include a second performance, in aid of the
Greek War of Independence; and in England, where it was
first performed at the 1830 Norwich Festival as The Last
Judgement, it was hailed as ‘one of the greatest musical
productions of the age [...] in which is embodied every
passion, sentiment and feeling’ (Harmonicon, 1830, p. 466).
It became Spohr’s most enduring masterpiece and continued
to be performed long after most of his once admired music
had been forgotten. In recent years, along with the finest of
his other compositions in all the major genres of his time,
this oratorio has justly emerged from a century of neglect.
Composer Profile and Programme Notes by Professor Clive Brown, MA (Cantab.), MA, DPhil (Oxon.), Professor of Applied Musicology at University of Leeds.
His publications include: ‘Louis Spohr: A Critical Biography’ (Cambridge, 1984) and ‘Classical and Romantic Performing Practice 1750-1900’ (Oxford, 1999).
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Nr. 8 Recitativo (AT)
Und siehe, eine große Schar aus allen Heiden und Völkern und
Sprachen traten zu dem Thron und dem Lamme. Sie waren
angetan mit weißen Kleidern und trugen Palmen in den
Händen. Sie fielen nieder auf ihr Angesicht und beteten an.
And lo! a mighty host of all nations and people stood before
the throne and the Lamb. Of spotless white was every
garment: in every hand a palm was borne. They fell before
the throne of God with holy fear.
Diese sind gekommen aus großer Trübsal und haben ihre
Kleider weiß gemacht und hell im Blute des Lammes. Darum
sind sie vor Gottes Thron und dienen ihm Tag und Nacht.
Und das Lamm wird sie leiten zu Quellen lebendigen Wassers,
und Gott wird trocknen alle Tränen von ihren Augen.
These, who passed through heavy tribulation, have washed
their robes, and made them white in the blood of the Lamb.
They stand before God’s throne, and serve him day and night:
and the Lamb shall lead them to fountains of living waters,
and God shall wipe away all tears from their eyes.
Nr. 9 Soli (SATB) e Coro
Heil, dem Erbarmer Heil!
Er selbst wird trocknen alle Tränen von ihren Augen. Kein Leid
ist mehr noch Schmerz noch Klage.
Der Herr ist unser Gott, und wir sind sein. Ja, wir sind sein.
Hail, our Redeemer! Hail!
Yes, every tear and every sorrow he shall wipe away from
their eyes: nor sin, nor death, nor pain, nor sorrow shall there
be known. He is our God and we are his people.
INTERVAL OF 20 MINUTES
Zweiter Teil
Part Two
Nr. 10 Sinfonia
Nr. 10 Sinfonia
Nr. 11 Recitativo (B)
So spricht der Herr: Das Ende kommt; von allen Winden der
Erde kommt nun das Ende! Es kommt auch über dich. Ich
will dich richten wie du verdienet hast, und will dir geben,
was dir gebühret. Mein Antlitz übersieht dich nicht; mein
Auge dringt in dein geheimstes lnnre! Von draußen bricht’s
daher, von fernen Grenzen naht es sich. Der Gesang der
Schnitter verstummt im Feld der Ernte und die Stimme der
Hirten auf den Bergen. Klage tönt vom Tal herauf und aus
den Klüften Wehgeschrei. Er kommt, der Tag der Schrecken
kommt, sein Morgenrot bricht an. Es hat sich aufgemacht
der Tyrann, die Geißel Gottes für die Völker. Auf den Gassen
geht das Schwert, in den Häusern wohnt Hungersnot. Sie
werfen ihr Silber heraus und achten ihr Gold als Spreu,
denn es errettet sie nicht am Tage des Herrn. Ihre Seelen
werden nicht davon gesättigt, für ihre Glieder macht man
Ketten. Die Könige stehen gebeugt, die Fürsten klagen
in Trauer, des Volkes Arme sinken matt herab, und seine
Tränen fallen in Staub.
Nr. 12 Duetto (ST)
Sei mir nicht schrecklich in der Not, Herr, meine Zuversicht!
Ich bin allein, bleibst du mir nicht. Verlassen bin ich, stehst
du nicht zu mir! Der Freund vergisst, der Bruder weicht, ich
schau auf dich, o Herr, auf dich, mein einzig Teil.
Thus saith the Lord: “The end is near, and all the winds of
heaven proclaim its coming. Prepare to meet thy God! I will
reward thee even as thy works have been, and judge thee as
thou hast deserved. To Me is every action known; each secret
thought is unveiled before Me.” The day of wrath is near: the
Almighty shall reveal His power! The reaper’s song is silent in
the field, and the shepherd’s voice on the mountain. The valleys
then shall shake with fear, with dread the hills shall tremble.
It comes! the day of terror comes! The awful morning dawns!
Thy mighty arm, O God, is uplifted! Thou shalt shake the earth
and heavens: they shall shrivel as a scroll, when Thou in wrath
appearest. For men shall cast away their silver, and count their
gold as dross: it shall not save in the great and awful day!
Where is now the monarch’s might, where all his splendour,
where the dreams of earthly greatness? The princes of the
earth shall cast their crowns before Thee; and all the power
of the mighty shall fail, when Thou, O Lord, shall come to
judge the world.
Nr. 13 Coro
So ihr mich von ganzem Herzen suchet, will ich mich finden
lassen, spricht der Herr. Und so ihr euch redlich zu mir kehret,
will ich euch sammeln von allen Örtern der Erde. Ich will euer
Gott sein, und ihr sollt mein Volk sein. So spricht der Herr.
“If with your whole hearts ye humbly seek Me, I will be found
of you,” saith the Lord: “and if ye return to Me sincerely,
I will receive you from all the ends of the earth. I will be your
Father, and ye shall be my people”: thus saith the Lord.
Nr. 14 Recitativo (T)
Die Stunde des Gerichts, sie ist gekommen. Anbetet den,
der gemacht hat Himmel und Erde!
Jehovah now cometh to judgement! Bow down to worship
Him who made the heavens and the earth.
Nr. 15 Coro
Gefallen ist Babylon, die Große. Sie suchen den Tod und finden
ihn nicht, sie ringen nach ihm, er fliehet sie.
Destroyed is Babylon the mighty! The smoke of her torment
ascendeth for evermore.
Die Stunde der Ernte ist da. Reif ist der Erde Saat.
Das Grab gibt seine Toten, das Meer gibt seine Toten,
das Siegel wird gebrochen, das Buch wird aufgetan.
Sie zagen, sie beben.
The hour of judgement is come! Now is the Lord at hand!
The grave gives up its dead: the sea gives up its dead:
the seals are broken: the books are all unclosed:
the mighty now tremble before Him!
Es ist geschehen.
It is ended!
Selig sind die Toten, die in dem Herren sterben,
von nun an in Ewigkeit. Sie ruhen von ihrer Arbeit,
und ihre Werke folgen ihnen nach.
Blest are the departed who in the Lord are sleeping,
from henceforth for evermore: they rest from their labours,
and their works follow them.
Nr. 17 Recitativo (SA)
Sieh, einen neuen Himmel und eine neue Erde, von Gott
bereitet und schön geschmückt als eine Braut.
I saw a new heaven and a new earth, by God prepared
and adorned as a bride.
Sieh, eine Hütte Gottes bei den Menschen, er wird bei ihnen
wohnen, sie werden sein Volk sein!
Lo! the house of God is with men, and He will dwell among
them, and they shall be his people.
Nicht Sonne mehr noch Mond: Er ist ihr Licht, und seine
Herrlichkeit umleuchtet sie.
Nor sun shall be, nor moon: God is their sun; there shall his
Majesty unclouded rise.
Kein Tempel steht in Gottes Stadt. Er ist ihr Tempel und das Lamm.
No earthly house is there: God is their temple and their light.
Nr. 18 Recitativo (T) e Quartetto
Und siehe, ich komme bald und mein Lohn mit mir, zu feben
jeglichem nach seinen Werken.
Behold! He soon shall come, in His might arrayed, to give to
every one according to his work.
Ja komm, Herr Jesu.
“Then come, Lord Jesus!”
Groß und wunderbarlich sind deine Werke, Herr,
allmächtiger Gott. Gerecht und wahrhaftig sind deine Wege,
du König der Heiligen.
Great and wonderful are Thy works, O thou Almighty God!
How just and true are all Thy Commandments, Jehovah,
King of Saints!”
Wer sollte dich nicht fürchten, Herr, nicht deinen Namen
preisen? Du allein bist heilig. Und alle Völker der Erde werden
kommen und anbeten vor dir.
O Lord, who shall not fear Thee, Lord who shall not glorify
Thee! All nations of the earth shall come and worship before
Thy throne for Thou alone art holy.
Halleluja! Sein ist das Reich und die Kraft und die Herrlichkeit
von Ewigkeit zu Ewigkeit.
Thine is the kingdom, the power, and the glory, for ever
and evermore.
Amen. Halleluja. Amen.
Alleluia! Amen!
Forsake me not in this dread hour, O God most merciful!
Thou art my hope, O Lord, give ear unto my prayer! O spare
thy servant and cast him not away! If thou forsake me, wither
shall I flee? No friend is nigh, no arm to save, but only Thou,
Almighty Lord of Hosts. In Thee, O Lord, in Thee alone I trust!
Source: Novello’s Original Octavo Edition.
German text adapted from the Bible by Friedrich Rochlitz. English translation by Edward Taylor for Novello Octavo Edition (1844).
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CONDUCTOR
TENOR
Mark Austin
Bradley Smith
Mark Austin is a rising conductor in a new generation with a talent and passion for
communication with audiences. He studied at Cambridge and the Royal Academy
of Music, and has developed a reputation for brilliant musicianship and insightful
interpretations, complemented by accessible spoken introductions to the music. He is
founder and artistic director of Faust Chamber Orchestra. In 2016 he performs with
the orchestra at LSO St Luke’s, Kings Place and West Road Concert Hall, Cambridge.
Mark has worked as assistant conductor for Marin Alsop, Steuart Bedford, David
Hill and the late Sir Colin Davis, with orchestras including BBC Symphony Orchestra
(BBC Proms), Orchestra of the Age of Enlightenment, Bournemouth Symphony
Orchestra and the Hangzhou Philharmonic in China. Guest appearances include
Orchestra of St John’s, Hertford Symphony Orchestra, and Southbank Centre’s
Voicelab Project. In opera, credits include Il barbiere di Siviglia (Musique Cordiale
International Festival, France), Hansel and Gretel (Mercury Theatre, Colchester)
and La traviata for Opera South, where he is music director. He works regularly with
The Bach Choir, including on tour to China and for a recent BBC Radio broadcast.
Bradley Smith has just graduated from the Royal Academy of Music Opera
Course where he performed Tom Rakewell (The Rake’s Progress), the Male
Chorus (The Rape of Lucretia), le Prince Charmant (Cendrillon), and Arithmétique
(L’enfant et les sortilèges).
SOPRANO
BARITONE
Rosalind Coad
Adam Green
Born in Winchester, British soprano Rosalind Coad studied at both the Royal College
of Music and later at the Royal Academy of Music. At the RAM, Rosalind performed
Noémie Cendrillon, Spirit Dido and Aeneas, La Bergère L’enfant et les sortilèges and
Baronesa Irene La Vera Constanza. Other roles include Donna Elvira Don Giovanni
and Musetta La Bohème, Hélène La Belle Hélène, Sandman Hänsel und Gretel,
and Elisetta in Cimarosa’s Il Matrimonio Segreto.
Adam Green studied at St John’s College, Cambridge, the Royal Academy of
Music, London, and the National Opera Studio. Winner of the Song Prize at the
National Mozart Competition and the Great Elm Competition he was awarded
the prestigious Ian Fleming and Sybil Tutton Awards.
Oratorio engagements include Bach’s Christmas Oratorio, St John and St Matthew
Passions, Handel’s Messiah, Judas Maccabeus, and Athalia, Haydn’s The Creation,
and Mendelssohn’s Elijah at venues including St John’s Smith Square, the Cadogan
Hall, and St Martin-in-the-Fields.
Operatic roles at English National Opera include Belcore (The Elixir of Love),
Arbace (Idomeneo), Aeneas (Dido and Aeneas). Other roles include the title
role in The Barber of Seville for Welsh National Opera, First Mate (Billy Budd)
with Daniel Harding and the LSO, Retrofire (Buzz on the Moon) by Jonathan
Dove for Channel 4.
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Future engagements include the role of Lelio in Cesti’s Le Nozze in Sogno at the
Salzburg Festival this summer.
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Also in demand as a concert singer, Rosalind repertoire includes St Matthew
Passion, St John Passion, Messiah, Dixit Dominus, Israel in Egypt, Samson,
Requiem, Exultate Jubilate, Stabat Mater, Petite Messe Solennelle, Gloria,
Creation and Nelson Mass. Other highlights include (cover) Fiordiligi Cosi fan Tutte
for Garsington Opera, a role that she will perform for Scottish Opera on tour.
Subsequent engagements include covers of Ginevra Ariodante and 1st Nymph
in Rusalka both for Scottish Opera as well as concerts in the UK.
He played Tamino (Die Zauberflöte) for Longborough Opera’s Young Artists, Peter
Quint (Turn of the Screw) as a Young Artist for Opera Holland Park, and he was a
member of the Glyndebourne Chorus performing Rameau’s Hippolyte et Aricie.
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His extensive concert experience includes performances of Bach’s
Weihnachtsoratorium in Frankfurt under Lutz Köhler, Brahms’ Requiem, Handel’s
Messiah and Fauré’s Requiem all at the Royal Albert Hall under Sir David Willcocks
and with the RPO, Elgar’s Coronation Ode with the BBC Symphony Orchestra.
MEZZO SOPRANO
LEADER
Anna Harvey
Guy Button
Sheffield-born mezzo-soprano Anna Harvey studied on the opera course at the
Royal Academy of Music under Elizabeth Ritchie and Iain Ledingham, graduating
with the Alumni Development Award for a singularly distinguished studentship. A
graduate in Music of Jesus College, Cambridge, Anna’s engagements in the current
season include La Grosse Dame Les mamelles de Tirésias (Dutch National Opera),
Bradamante Alcina (Longborough Festival Opera), Cherubino Le nozze di Figaro
(Longborough Opera and cover for Welsh National Opera), cover Serafin Figaro
Gets a Divorce (Welsh National Opera), Handel’s Messiah at the Royal Festival Hall
and the Cadogan Hall, Bach’s Mass in B Minor with the Royal Northern Sinfonia
under Paul McCreesh, and Vivaldi’s La Senna Festeggiante at the Spitalfields
Festival with Harry Bicket and The English Concert.
Guy is a graduate of the Guildhall School of Music and Drama Artist Masters
Programme and completed his undergraduate degree in Music at Robinson
College, Cambridge. He has appeared as chamber musician and soloist at
the Wigmore Hall, St. Johns’ Smith Square and many other high profile venues
throughout the UK, Europe and Asia. He has performed concerti by Mendelssohn,
Tchaikovsky, Mozart, Bach and Vivaldi. As second violin of the Ruisi Quartet (winners
of the Royal Philharmonic Society prize for outstanding British string ensemble),
he has been privileged to work with Simon Rowland-Jones, Peter Cropper, Levon
Chilingirian, Christoph Richter, James Boyd, Ferenc Rados and Rita Wagner. Guy is
principal second violin of the 12 Ensemble, London’s unconducted string orchestra
and a member of the award winning baroque ensemble La Serenissima.
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Photo by Adrien Pain
PROFILE
FAUST CHAMBER ORCHESTRA
On-Stage
Now in its 5th year, Faust Chamber Orchestra has emerged as the
leading force making classical music fresh, comprehensible and
inspirational in the concert hall. Under the artistic direction of conductor
Mark Austin, it is the only orchestra which believes accessible spoken
introductions and musical demonstrations deserve a place at the
heart of every performance. Following work with international artists
including Guy Johnston and James Baillieu, and a 4-star review from
The Times, 2016 will see Faust Chamber Orchestra (formerly Faust
Ensemble) perform at LSO St Luke’s and Kings Place, make a debut
recording and expand its educational programme.
First Violins
Guy Button leader
Jenna Sherry
Naomi Rump
Douglas Harrison
Ed McCullagh
Christiane Eidsten Dahl
Flutes
Abigail Burrow
Helen Wilson
Second Violins
James Toll
Simon Howes
Charlotte Fairbairn
Lavinia Price
Clarinets
Anna Hashimoto
Chris Goodman
Audiences are drawn to Faust Chamber Orchestra’s distinctive
programming which throws light on the hidden meanings of works
using commentary and comparison, together with live musical
illustrations and the chance for listeners to ask questions. Recent
successes have included an eclectic mix of Haydn and Sally Beamish,
as well as “Ways into Bach”, an exploration of dance in the music of JS
Bach alongside linked works by CPE Bach and Grieg. The orchestra
is committed to new music and recently gave the world premiere of
Oliver Rudland’s new opera Pincher Martin at the Britten Theatre in the
Royal College of Music.
Faust Chamber Orchestra’s approach to music is about ensuring its
vitality now and for generations to come. The ensemble leads a wide
range of educational projects, working in partnership with Chiltern
Music Academy, at Chickenshed Theatre and in several primary
and secondary schools. These include school workshops, side-byside sessions and joint performances. Members of the orchestra are
currently involved with a major research project at Warwick University
focusing on Music of the Napoleonic Era.
Violas
Elitsa Bogdanova
Jennifer Coombes
Rachel Lanskey
Heather Bourne
Cellos
Jonathan Rees
Hannah Sloane
Auriol Evans
Bryony Moody
Double Basses
Sam Rice
Siret Lust
Supporters
Oboes
Katie Bennington
Fraser Kelman
Bassoons
Miriam Panter
Sinead Frost
Horns
Chris Beagles
Letty Stott
Trumpets
Ellie Lovegrove
Samuel Ewens
Trombones
Rupert Whitehead
Stephanie Dyer
Simon Minshall
Timpani
Elsa Bradley
Faust Chamber Orchestra is extremely grateful to its generous supporters:
Platinum Patrons
Gordon Austin & Ruth Lambert
Jan & Leni du Plessis
Jenefer Farncombe
The Earl & Countess Howe
The Stevenson Family’s Charitable Trust
Sally Yates
And one anonymous Platinum Patron
Gold Patrons
Connie Kleiner
Dr G J G Rees & Dr C A Rees
Silver Patrons
Dr & Mrs Gary Bell
Alice Berkeley
Gareth Cadwallader & Nancy Neville
His Honour Roger Connor & Mrs Connor
Richard & Louise Hannah
Jan & Belinda Pethick Charitable Fund
Dr J. Sonnabend
Christopher & Annie Stephens
And one anonymous Silver Patron
Friends
Robin & Teresa Barttelot
George J.D. Bruce
Jay & Julia Cartwright
Paul & Janet Churchouse
Peter & Lilah Clarke
Tony & Jill Davis
Ian & Ginny Greig
Rhylva Holder
Alastair Land
Bertrand & Beatrice Lavigne
Mr & Mrs Roger Lumby
Mr & Mrs Peter Constable Maxwell
Alison Montague-Jones
William Morton & Anne Furneaux
Caroline Ryder
Jeremy & Beverley Schrire
Margherita Pirami
The Very Reverend Dr Victor Stock
Freddie Sumption
Rosalind & Derek Sweeting
Cristina Teychenne
Bill & Fiona Timmis
Ray & Margaret Tincknell
Thomas & Angela Webb
Lynda Weiss
Bernard & Elizabeth Whelan
Jeanette Yeoman
And two anonymous friends
Trusts and Foundations
Richmond Parish Lands Charity
Beaconsfield Old Church School Charity
If you would like to support Faust Chamber Orchestra, please contact Chief Executive
Maud Saint-Sardos [email protected] or visit the
dedicated section on our website: www.faustchamberorchestra.org/friends--patrons.html
Faust Chamber Orchestra is a registered charity in England and Wales (no. 1163070)
10
11
PROFILE
CAMBRIDGE UNIVERSITY MUSICAL SOCIETY CHORUS
On Stage
Cambridge University Musical Society (CUMS) is one of the
oldest and most distinguished university music societies in the
world. It offers a world-class musical education for members of
the University and local residents, nurturing the great musicians
of the future and providing performing opportunities for over
500 Cambridge musicians every year.
Sopranos
Lucie Aman
Kirsten Barr
Rebecca Bishop
Lies Blom-Smith
Tanja Brown
Frances Butler
Chiara Canu
Bridget Ford
Kate Gaseltine
Suzi Haigh
Shirley Holder
Mateja Jamnik
Rebecca Kippax
Anne Kremmer
Helen Latchem
Hester Lees-Jeffries
Clara Lloyd
Emily McCarthy
Lia McLean
Liz Morris
Anne Presanis
Helen Robbins
Sheila Rushton
Becky Shercliff
Hilary Turner
Helena Tyte
Rosalyn Wade
Mary Ward
The Society has played a pivotal role in British musical life for
almost 170 years. It has educated such luminaries as Sir Andrew
Davis, Sir Mark Elder, Sir John Eliot Gardiner, Edward Gardner,
Christopher Hogwood and Robin Ticciati, has given world or UK
premieres of works by Brahms, Holloway, Lutoslawski, Maxwell
Davies, Rutter, Saxton and Vaughan Williams, and has given
successive generations of Cambridge musicians the experience
of visiting conductors and soloists including Britten, Dvořák,
Kodály, Menuhin and Tchaikovsky. Since the 1870s, CUMS has
enjoyed the leadership of several of Britain’s finest musicians,
including Sir Charles Villiers Stanford, Sir David Willcocks, Sir
Philip Ledger, and, from 1983 to 2009, Stephen Cleobury.
In 2009 Stephen Cleobury assumed a new role as Principal
Conductor of the CUMS Chorus, and Sir Roger Norrington
was appointed as Principal Guest Conductor. Martin Yates,
‘one of the most exciting and versatile British conductors of
his generation’ in the words of The Times, joined the team as
Principal conductor of the CUMS Symphony Orchestra; and
a Great Conductors series was launched with the objective
of exposing CUMS members to a succession of world-class
visiting conductors.
In February 2010 CUMS entered another new phase of its
development when it merged with the Cambridge University
Chamber Orchestra and Cambridge University Music Club. In
October 2010 the Society launched the Cambridge University
Lunchtime Concerts — a new series of weekly chamber recitals at
West Road Concert Hall showcasing the University’s finest musical
talent. In 2011 it merged with the Cambridge University Chamber
Choir, which is directed by Martin Ennis and David Lowe.
CUMS continues to provide opportunities for the University’s
finest student soloists and conductors by awarding conducting
scholarships and concerto prizes, and it actively encourages new
music by running a composition competition and premièring at
least one new work each year. Recent highlights have included
Wagner’s Parsifal (Act III) conducted by Sir Mark Elder, a
recording of The Epic of Everest’s original score for the British
Film Institute, a concert of Haydn and Mendelssohn at Kings
Place, London conducted by Sir Roger Norrington and Britten’s
War Requiem in Ely Cathedral conducted by Stephen Cleobury.
In 2015, highlights for the Chorus included a joint venture in June
2015 with members of The Bach Choir in King’s Chapel for a
performance of Verdi’s Requiem under the direction of David
Hill and a live broadcast of Berlioz Te Deum on Radio 3 in King’s
Chapel with Stephen Cleobury. The Chorus is looking forward
to performing in two venues in Rome in April under the direction
of Mark Austin and a performance of Elgar’s The Dream of
Gerontius in June in Saffron Hall to mark Stephen Cleobury’s
retirement from CUMS.
Altos
Rachel Bateman
Lorely Britton
Helen Clayton
Ruth Cocksedge
Penelope Coggill
Gillian Flinn
Wendy Fray
Jo Gough
Caroline Goulder
Nicola Hardy
Alexandra Hayes
Ines Heimann
Fernanda Lai
Philippa Mann
Tina Muller
Sarah Page
Sarah Payne
Wendy Phillips
Mary Richardson
Lynne Rushton
Christine Skeen
Helen Smalley
Jo Stansfield
Mary Stapleton
Rachel Thomas
Barbara Tuchel
Miranda Zwalf
Tenors
Michael Atkins
Robert Culshaw
Robert Dewolf
Chris Ford
Paul Fray
Andrew Goldsbrough
Neal Harris
Matt Maguire
Matthew Maitra
Richard Neill
Kingsley Reavell
Jason Sanders
Philip Schwartz
Andrei Iosif Smid
Robin Tunnah
Jo Whitehead
Basses
Giles Agnew
John Barber
Peter De Vile
Raymond Gay
Simon Gough
Mel Gulston
Christian Haas
Martin Harvey
Jack Klinck
Connor McCabe
Colin Pendrill
Jim Pollard
Ian Richardson
Martin Richardson
Ma-H Rushton
Michael Sharp
Stephen Sharp
Ivan Viejo
Nicholas Ward
Alan Woodward
Lawrence Wragg
More information including details of all officers of CUMS, can be found at www.cums.org.uk
12
13
Photo by Anne Presanis
CAMBRIDGE UNIVERSITY MUSICAL SOCIETY CHORUS
Supporters
CUMS is grateful for the support of:
Principal Sponsor
TTP Group
Supporters’ Circle
as of 21 January 2016:
Sponsors
Bloom Design
Churchill College
Clare Hall
CUMS Fund
CUMS Supporters’ Circle
Darwin College
Donald Wort Fund
Emmanuel College
Gonville & Caius College
Homerton College
Jesus College
King’s College
Lucy Cavendish College
Murray Edwards College
Newnham College
St Catharine’s College
Selwyn College
University of Cambridge
Faculty of Music
University of Cambridge
Societies Syndicate
West Road Concert Hall
Wolfson College
The Britten Circle £10,000+
Adrian & Jane Frost
and one anonymous donor
The Vaughan Williams
Circle £2,500+
Monica Chambers
The Stanford Circle £1,000+
Sir Keith Stuart
Principal Benefactors £500+
Simon Fairclough
Justin Lee
The New Europe Society
and two anonymous donors
Benefactors £250+
Stuart Ffoulkes
Stuart & Sibella Laing
David Munday
Howarth Penny
Neil Petersen
and two anonymous donors
Honorary Life Member
Maggie Heywood
Donors £100+
Dr Anne E Allan
Richard Andrewes
Angela & Rod Ashby-Johnson
John & Elizabeth Ball
John Barber
Frank & Genevieve Benfield
Chris Coffin
Robert Culshaw
Martin Darling
Professor Helen Dent
Alan Findlay
C J B Ford
Caroline Goulder
Andrew & Rachel Grace
Michael Gwinnell
Donald & Rachel Hearn
Philip & Lesley Helliar
Mr Jonathan Hellyer Jones
Ruth & Mike Holmes
Lady Jennings
Jennie King
Tom Kohler
Christopher Lawrence
Debbie Lowther & John Short
John MacInnes
Sue Marsh
Andrew Morris
Paul Nicholson
Val Norton
Mrs Gillian Perkins
Adrian & Liane Powell
Edward Powell
Kathryn Puffett
Dr Ian Randle &
Dr Sharon Gibbs
Judith Rattenbury
Ruth Rattenbury
Hugh Salimbeni
Catherine Sharp
Dr M. L. Sharp
Peter Shawdon
Robert & Christine Skeen
Andrew Soundy
Mrs A. Sutherell
Veronica & Alex Sutherland
Grahame & Cilla Swan
Dr Patricia Tate
Sir John Meurig Thomas
Jo Stansfield
Mary Stapleton
Jo Whitehead
Ruth Williams
Mark & Laurie Woolfenden
and 21 anonymous donors
CUMS Chorus is grateful for two
particular sources of income in 2015
which are helping to fund this concert:
Roger Williamson
A loyal Chorus member
who died in December 2015
An Auction of Promises
Organised by chorus
members in March 2015
Info on the Supporters’ Circle and how to become a member can be found at www.cums.org.uk 14

Spohr The Last Judgement - Cambridge University Musical Society

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