Barnt Green Choral SocietyAt the Artrix, Bromsgrove.

Saturday 25 th March 2006.

Wolfgang Amadeus Mozart: Requiem Mass (k626)Antonio Vivaldi: Gloria (RV 589) £1

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Tonight’s Soloists

Catherine began her vocal trainingwhile studying for a degree at theCollege of Ripon and York St,John. Athome in Birmingham she continuedher studies under Gordon Clintonand became an Associate of theRoyal College of Music. She is alsoan Associate of the BirminghamConservatoire. She has sung manyoperatic roles, including Jane in thepremiere of the contemporary operaLady jane Grey. Her oratoriorepertoire ranges from Bach toTippett. Forthcoming engagementsinclude Mahler's IV and a tour ofFrance as guest soloist with theChandos Choir.

Born in Southport, Kathryn waseducated in Leicestershire where sheplayed the viola in the County'sSchools Symphony Orchestra. Afterstudying Music at York University shebegan a teaching career, whilststudying voice at BirminghamConservatoire with Pamela CookMBE. Kathryn sings with the FinziSingers and with them has recentlyrecorded Benjamin Britten choralmusic. Last year she performedMessiah in Columbia and Hollandwith the Gabrieli Consort andPlayers. Future engagementsinclude Bach's Christmas Oratorioand Rossini's Messa di Gloria.

Christopher is a Londoner by birth,but he has lived and worked in theMidlands since the 1970's. His firstinterest was in church music, and hewas a songman in the LeicesterCa-thedral Choir for several years. Hisformal vocal training began when hewas studying for the M. Phil degree inEnglish at Leicester University. As apupil of Stuart Smith, he has takenpart in master-classes with NormaProcter, John Carol Case and JoyMammem.

An experienced recitalist andinterpreter of works in the standardoritario repertoire, he is happy to singanything from Bach to Britten, and isparticularly keen on the work ofnineteenth century composers.

Recent engagements have includedperformances of Elgar's Dream ofGerontius, Puccini's Messa di Gloria,Handel's Messiah and Orff's CarminaBurana with the BGCS.

He has sung more than a dozenoperatic roles, including Ferrando,Nemorino, Alfredo, the Duke ofMantua, Don Alvaro, Don Jose, Maxand Lenski, and created the roles ofThe Squire and Tony respectively inBetty Roe's one act operas CanterburyMorning and A Flight of Pilgrims.

David hails from Kidderminster. Herehe sang in various church and schoolchoirs, but his love of performing wasconfirmed when he joined the localoperatic society as one of the childrenin the Sound of Music.

On leaving school he gained a placeat the Guildhall School of Music andDrama in London where he studiedunder Rudolph Piernay. Here hismusical repertoire was broadenedconsiderably and opportunities alsoarose for small parts in opera at anumber of London Theatres.However, he decided that making aliving in music was rather precariousand so he joined the MetropolitanPolice.

By taking part in their choir he wasable to sing as a soloist at many of thegreat London venues including The

Royal Festival Hall, St Paul's Cathedraland Westminster Abbey. Transferringto West Mercia Constabulary in 1988,he soon joined the Hereford PoliceChoir and continued his singing inearnest.

He has performed some solo workelsewhere when duty allows andcounts a number of high pointsincluding taking the baritone part inCarmina Burana in Cambridge,Fauré’s Requiem in SouthwarkCathedral and the Bach Cantata Ichhabe genug in Walsall. His particularfavourite, however, is to make peoplesmile by singing the songs of MichaelFlanders and Donald Swann, andmore recently those of Richard Stilgoeand Peter Skellern.

Chorus List

SopranosValerie Adams, Rosamund Bateman, Margot Davies, Eileen Felton,Sue Fox, Judith Gibbons, Karen Harvey, Lesley Henley, Janet Lee,Betty Lucas, Anne McKay, Sylvia Parkinson, Joan Prescott, Mysie Raine,Elizabeth Richmond, Shirley Sharp, Margaret Stokes,Wendy Tricklebank, Julie Ward, Pam Wright.

AltosJess Baker, Basia Bielinski, Gill Bradshaw, Fiona Brown,Sylvia Cartwright, Hazel Flinn, Julie Johnson, Pam Jones, Maggie Kelly,Helen Maybee, Margaret Maybee, Christine Morse, Margaret Parry,Carolyn Shaw, Gill Townsend, Andrea Wilkie, Alyson Williams,Aileen Winwood, Ros Wright,.

TenorsRichard Colley, Michael Davenport, Paul Goldsmith, Raymond Hopkins,David Marsh, Pauline Quartly, John Russell, Phil Viney, Kevin Ward,Albert Whurr.

BassesWally Davies, John Felton, Chris Hackney, Peter Jackson, Brian Jones,Peter Maine, David Richmond, Len Smith, Brian Williams,Keith Williams, Ron Wills.

Programme NotesRequiem Mass K626. Mozart 1756-1791

As most people know, the year 2006 is the 250th anniversary of the birth ofWolfgang Amadeus Mozart, and it is therefore appropriate that BGCS hasincluded in this concert a work of the master; not just any work, but one ofhis greatest and best loved compositions, the ‘Requiem Mass’, written at theend of his life. It would be churlish of me to comment on his word settingskills, his gift for melody, his harmony and counterpoint and mood setting,all of which are of the highest order and, although commissioned bysomeone else, is a fitting conclusion to his remarkable, albeit, short life. TheMass contrasts dramatically with the other work in tonight’s programme,Vivaldi’s one of his best known compositions.

1 Requiem aeternam 7 Lacrymosa 2 Dies irae 8 Domine Jesu 3 Tuba mirum 9 Hostias 4 Rex tremendae 10 Sanctus 5 Recordare 11 Benedictus 6 Confutatis maledictis 12 Agnus Dei

Considerable controversy surrounds the manuscript of the Requiem.Research to date suggests that Mozart completed fully (ie both choral andorchestral parts) only the opening Introit (“Requiem” and Kyrie”) and hadwritten the vocal parts only of the “Dies Irae” sequence as far as the 9 th bar ofLacrymosa with some indications of basic instrumentation (e.g.introductions and the opening of the famous trombone solo for “Tubamirum”). In a similar fashion he had sketched indications for the Offertory(“Domine Jesu” and “Hostias”). There is no extant record of any othermovements in Mozart’s hand.

A number of people, including Sir Thomas Beecham, have completed theorchestration and have considered ways in which to add the final sections ofthis Requiem Mass. The most accepted is Franz Xaver Sussmayer (1766-1803), who, in his mid 20’s studied composition with Mozart. Mozartentrusted to Sussmayer the composition of the recitatives for “La Clemenza”,and it is possible that he discussed with his pupil ideas for the “Sanctus”,“Benedictus” and the “Agnus Dei” of the Requiem. Mozart had establishedprecedents in earlier masses to set the “Lux aeterna” to music from an

opening “Kyrie”, and this Sussmayer decided to do in his composition of theRequiem. Eybler, another of Mozarts pupils, completed the orchestration ofmuch of the “Dies irae” sequence.Controversy also surrounds the circumstances of Mozart’s early death lessthan two months before his 36th birthday. It is accepted, however, that CountFranz von Walsegg, who wished to be known as a composer and paidmusicians to write pieces to which he put his own signature, sent hissteward anonymously to commission a Requiem from Mozart for 50 ducats.Evidently the mysterious stranger visited Mozart on several occasions to askhow the composition was progressing. Perturbed by the belief that thestranger was a messenger from beyond the grave, worried by his increasinglyserious financial problems and the stress of underpaid work, Mozart’s healthsuffered, and he died on the morning of 5th December, 1791. His pupilSussmayer, was at his side and the Requiem manuscript lay on thebedspread.

It is fair to say that the film “Amadeus” perpetuated many myths concerningMozart’s life. He was not buried in a pauper’s grave; at that time there was nosuch thing as a pauper’s grave. Mozart was rarely poor, although he hadfinancial difficulties from time to time, and he and his wife lived incomfortable style in Vienna, an expensive city. At that time there were twoways for a musician to make a living: by a salaried position in a court, or ( andthis was relatively new) as a freelance musician, earning by performing,teaching and from one off commissions. Mozart spent the first half of hiscareer as a court servant (the Archiepiscopal court in Salzburg), and thesecond as a successful freelance.

Incidentally, the story that Mozart wrote out Allegri’s “Miserere” accuratelyfrom memory, having heard it only once in St Peter’s, is true; it was widelyreported in the newspapers at the time.

Gloria RV 589. Vivaldi 1678-1741

Antonio Vivaldi was born in Venice and taught to play the violin by his father,who was a member of the orchestra of St. Mark’s Basilica. In 1703, at the ageof twenty five , he took Holy Orders, but stopped saying Mass after two yearsdue to congenital breathing problems. (He was nicknamed ‘il prete rosso’because of his red hair). In the same year he began teaching at the Ospedaledella Pieta orphanage for girls, remaining there for 37 years until 1740, whenhe left for Vienna and subsequently died there.

Vivaldi’s output of compositions was enormous, with 94 operas, well over 300Concertos, together with choral music including Oratorios, Cantatas,Masses and settings of sections of the Mass, such as his . By the timehe published his set of Violin Concertos in 1725, Vivaldiwas famed throughout Europe, and indeed was better known in France,Holland and England than in his native Venice. His music influenced manycomposers, notably, Bach.

The in D (RV589) is the best known of three that he composed.Although he took Holy Orders, Vivaldi never held a post requiring him tocompose sacred vocal music as part of his official duties. At the Pieta, theVenetian orphanage-conservatoire which he served in various capacities – asviolin master, director of the orchestra and purveyor of new instrumentalcompositions – from 1703 until 1740, Vivaldi would have been asked to supplymusic of this kind only when the institution was without a ‘maestro di coro.’Such interregna arose between 1713 and 1719, in 1726 (briefly) and between1737 and 1739. When his talents in this sphere became recognised, Vivaldireceived many commissions from other sources and manuscripts of hissacred vocal works circulated widely both inside and outside Italy. Most ofthe movements of these works are composed in ‘modern’ style, owing muchto Vivaldi’s experience as a composer of concertos ( the best known being

), rather than the Palestrinian idiom.

The is deservedly among his best loved works. It is an extended settingin twelve numbers, well controlled in key, instrumentation, tempo and thevocal forces required. The concluding movement, a double fugue on thewords ‘Cum Sancto Spiritu’, is thought to be adapted from a setting fordouble chorus and orchestra by G. M. Ruggieri, a minor Venetiancontemporary about whom little is known – the instrumental contribution isexpanded and some beneficial amendments to the vocal parts are introduced.

All in all this makes for a very attractive work, effective melodic invention,mostly straight forward harmony, modulation and counterpoint, and aptword setting. All the more effective when sung, as tonight, in the originallatin.

Peter Ward 2006.

Antonio VivaldiGloria

ForSolo Voices, Mixed Chorus and Orchestra

1. Gloria 2. Et in terra pax hominibus 3. Laudamus te 4. Gratias agimus tibi 5. Propter magnam gloriam 6. Domine Deus 7. Domine fili Unigenite 8. Domine Deus, Agnus Dei 9. Qui tollis peccata mundi 10. Qui sedes ad dexteram11. Quoniam tu solus Sanctus 12. Cum Sancto Spiritu

IntervalRefreshments are available front of house

Wolfgang Amadeus MozartRequiem Mass (K626)

Forsoprano, alto, tenor & bass soli, SATB chorus & orchestra

1. Requiem aeternam 2. Dies irae 3. Tuba mirum 4. Rex tremendae 5. Recordare 6. Confutatis maledictis 7. Lacrymosa 8. Domine Jesu 9. Hostias 10. Sanctus11. Benedictus 12. Agnus Dei

Programme Order

Requiem aeternam dona eis, Domine,et lux perpetua luceat eis.Te decet hymnus, Deus, in Sion,et tibi reddetur votum in Jerusalem.Exaudi orationem meam,ad te omnis caro veniet.Requiem aeternam dona eis, Domine,et lux perpetua luceat eis.

Kyrie eleison.Christe eleison.Kyrie eleison.

Dies irae, dies illaSolvet saeclum in favilla,Teste David cum Sibylla.

Quantus tremor est futurusQuando judex est venturusCuncta stricte discussurus.

Tuba mirum spargens sonumPer sepulcra regionumCoget omnes ante thronum.

Mors stupebit et naturaCum resurget creaturaJudicanti responsura.

Text and translation

Grant them eternal rest, O Lord,and may perpetual light shine on them.Thou, O God, art praised in Sion,and unto Thee shall the vowbe performed in Jerusalem.Hear my prayer, unto Thee shall allflesh come.Grant them eternal rest, O Lord,and may perpetual light shine on them.

Lord have mercy upon us.Christ have mercy upon us.Lord have mercy upon us.

Day of wrath; that dayWill dissolve the earth in ashesAs David and the Sibyl bear witness.

What dread there will beWhen the Judge shall comeTo judge all things strictly.

A trumpet, spreading a wondrous soundThrough the graves of all lands,Will drive mankind before the throne.

Death and Nature shall be astonishedWhen all creation rises againTo answer to the Judge.

MozartRequiem

Liber scriptus profereturIn quo totum continetur,Unde mundus judicetur.Judex ergo cum sedebitQuidquid latet apparebit,Nil inultum remanebit.

Quid sum miser tuct dicturus,Quem patronum rogaturus,Cum vix justus sit securus?

Rex tremendae majestatis,Qui salvandos salvas gratis,Salve me, fons pietatis.

Recordare, Jesu pie,Quod sum causa tuae viae,Ne me perdas illa die.

Quaerens me sedisti lassus,Redemisti crucem passus,Tantus labor non sit cassus.

Juste judex ultionisDonum fac remissionisAnte diem rationis.

Ingemisco tamquam reus,Culpa rubet vultus meus,Supplicanti parce, Deus.

Qui Mariam absolvistiEt latronem exaudisti,Mihi quoque spem dedisti.

A book, written in, will be brought forthIn which is contained everything that is,Out of which the world shall be judged.When therefore the Judge takes His seatWhatever is hidden will reveal itself.Nothing will remain unavenged.

What then shall I say, wretch that I am,What advocate entreat to speak for me,When even the righteous may hardlybe secure?

King of awful majesty,Who freely savest the redeemed,Save me, O fount of goodness.

Remember, blessed Jesu,That I am the cause of Thy pilgrimage,Do not forsake me on that day.

Seeking me Thou didst sit down weary,Thou didst redeem me, sufferingdeath on the cross.Let not such toil be in vain.

Just and avenging Judge,Grant remissionBefore the day of reckoning.

I groan like a guilty man.Guilt reddens my face.Spare a suppliant, O God.

Thou who didst absolve Mary MagdaleneAnd didst hearken to the thief,To me also hast Thou given hope.

Preces meae non sunt dignae,Sed to bonus fac benigne,Ne perenni cremer igne.

Inter oves locum praesta,Et ab haedis me sequestra,Statuens in parte dextra.

Confutatis maledictisFlammis acribus addictis,Voca me cum benedictis.

Oro supplex et acclinis,Cor contritum quasi cinis,Gere curam mei finis.

Lacrimosa dies illaQua resurget ex favillaJudicandus homo reus.Huic ergo parce, Deus,Pie Jesu Domine,Dona eis requiem.

Domine, Jesu Christe, Rex gloriae,libera animas omnium fideliumdefunctorumde poenis inferni, et de profundo lacu:libera eas de ore leonis,ne absorbeat eas tartarus, ne cadant inobscurum,sed signifer sanctus Michaelrepraesentet eas in lucem sanctam,quam olim Abrahae promisistiet semini ejus.

My prayers are not worthy,But Thou in Thy merciful goodness grantThat I burn not in everlasting fire.

Place me among Thy sheepAnd separate me from the goats,Setting me on Thy right hand.

When the accursed have beenConfoundedAnd given over to the bitter flames,Call me with the blessed.

I pray in supplication on my knees.My heart contrite as the dust,Safeguard my fate.

Mournful that dayWhen from the dust shall riseGuilty man to be judged.Therefore spare him, O God.Merciful Jesu, LordGrant them rest.

Lord Jesus Christ, King of glory,deliver the souls of all the faithfuldeparted from the pains of hell andfrom the bottomless pit.Deliver them from the lion's mouth.Neither let them fall into darknessnor the black abyss swallow them up.And let St Michael, Thy standard-bearer,lead them into the holy lightwhich once Thou didst promiseto Abraham and his seed.

Hostias et preces, tibi, Domine,laudis offerimus;tu suscipe pro animabus illis,quarum hodie memoriam facimus:fac eas, Domine, de morte transire advitam,quam olim Abrahae promisistiet semini ejus.

Sanctus, Sanctus, Sanctus,Dominus Deus Sabaoth!Pleni sunt coeli et terra gloria tuaOsanna in excelsis.

Benedictus qui venit in nomine DominiOsanna in excelsis.

Agnus Dei, qui tollis peccata mundi,dona eis requiem.Agnus Dei, qui tollis peccata mundi,dona eis requiem sempiternam.

Lux aeterna luceat eis, Domine,cum sanctis tuis in aeternum,quia pius es.Requiem aeternam dona eis, Domine,et lux perpetua luceat eis,cum sanctis tuis in aeternum,quia pius es.

We offer unto Thee this sacrificeof prayer and praise.Receive it for those soulswhom today we commemorate.Allow them, O Lord, to cross fromdeath into the lifewhich once Thou didst promise toAbraham and his seed.

Holy, holy, holy,Lord God of Sabaoth.Heaven and earth are full of Thy glory.Hosanna in the highest.

Blessed is He who cometh in thename of the Lord.Hosanna in the highest.

Lamb of God, who takest away thesins of the world, grant them rest.Lamb of God, who takest away thesins of the world, grant themeverlasting rest.

May eternal light shine on them, O Lord,with Thy saints for ever,because Thou art merciful.Grant the dead eternal rest, O Lord,and may perpetual light shine on them,with Thy saints for ever,because Thou art merciful.

Vivaldi Gloria

Glory to God on high

And peace on earth to men of goodwill

We praise you, we bless you, weadore you, we glorify you

We give thanks to you

O Lord Jesus Christ, only-begotten Son

O God, King of Heaven, omnipotentFather

O Lord Jesus Christ, only-begottenSon

8. SoloO Lord, Lamb of God, only-begottenSon of the Father, King of Heaven,have mercy on us

ChoirYou who bears the sins of the world,have mercy upon usYou who bears the sins of the world,accept our supplication

You who sit at the right hand of theFather, have mercy upon us

Gloria in excelsis Deo

Et in terra pax hominibus bonaevoluntatis

Laudamus te, Benedicimuste,Adoramus te, Glorificamus te

Gratias agimus tibi

Propter magnam glo riam tuam

Domine Deus, Rex celestis, DeusPater omnipotens

Domine Fili Unigenite, Jesu Christe

8. SoloDomine Deus, Agnus Dei, FiliusPatris, Rex Caelestis,Domine Fili Unigenite, miserere nobis

ChoirQui tollis peccata mundi, misererenobisQui tollis peccata mundi, suscipedeprecationem nostram

Qui sedes ad dexteram Patris, miser-ere nobis

Quoniam tu solus Sanctus, Tu solusDominus, Tu solus Altissimus, JesuChriste

Cum Sancto Spiritu in gloria DeiPatris, Amen

Since You alone are Holy, the oneGod, the Most High, Jesus Christ

With the Holy Spirit in the glory ofGod the Father, Amen

Our Musical Director

Steve joined Barnt Green Choral Society in May 2002. He was brought up inHexham, Northumberland, where he was a chorister in Hexham Abbey Choir,and where he started learning to play the organ. He read Music with appliedPhysics at Surrey University, studying the Organ under Philip Moore andGerald Gifford. He returned to Hexham to teach Music after a post-graduateyear at Newcastle University before moving to Bromsgrove, where he worksat North Bromsgrove High School.

He spent many years as organist and choirmaster at St. Godwalds, Finstall,and has conducting experience with a wide range of choirs and ensembles.He enjoys acting when he gets the chance, and loves Scottish Islands. Hehopes that choir members find rehearsals fun as well as challenging!

Friends of Barnt Green Choral SocietyWould you like to become a ‘friend’ of Barnt Green Choral Society?

As a ‘friend’ you are entitled to reduced price tickets for our two mainconcerts, held in November and March, and priority booking for our popularChristmas and Summer concerts. You will also receive a copy of ournewsletter, which we hope to produce twice a year.

Your contribution will be greatly appreciated and will help the Societycontinue to produce enjoyable concerts using first class soloists andmusicians.

If you would like to become a ‘friend’ of BGCS please send your name andaddress and a cheque for £10 to: Fiona Brown, The Secretary BGCS, StableDoor House, School Lane, Alvechurch, Birmingham B48 7SA.

Barnt Green Choral Society, (Registered Charity No. 515334) is an affiliatedmember of (National Federation of Music Societies).

The Society gratefully acknowledges support from:

Margaret Parry (Chairman) 0121 445 2566

Details of the Society are also available on its website at:

Future dates for your diary

Summer Concert June 11th 2006. ‘ ’7.30 p.m. St. Andrew’s Church, Barnt Green and afterwards in theParish Centre an excellent supper.

November Concert - November 18th 2006. (inEnglish) 7.30 p.m. The Artrix, School Drive, Bromsgrove. Box Office01527 577330.

Christmas Concert - December 16th 2006 A programme of‘ 7.00 p.m. St Andrew’s Church,Sandhills Lane, Barnt Green.

March Concert - March 24th 2007. Bernstein .Chilcot’s with Keith Hearnshaw and a youngperson’s choir.