Night and Day

including works by

Brahms, Mahler, Schumann, Lauridsen and

Whitacre

Conductor: William Petter Accompanist: Paul Ayres

St John the Divine

Saturday 5th July 2014 at 7.30pm

Registered Charity No 1112448

Programme

Blessed City, Heavenly Salem Bairstow

Abendlied Rheinberger

O Thou the Central Orb Wood Sleep Whitacre

“Musical Interlude”

Hail Gladdening Light Wood Evening Hymn H. Balfour Gardiner

Interval

Sure on this Shining Night Lauridsen Mondnacht Schumann arr. Petter Urlicht Mahler arr.Gottwald 4 Songs Op 92 Brahms

“Musical Interlude”

All Alone Berlin arr. Petter The Very Thought of You Noble arr. Ayres

Blessed City, Heavenly Salem Edward Bairstow (1874-1946) Sir Edward Cuthbert Bairstow was an English organist and composer in the Anglican Church music tradition. Born in Huddersfield, he studied the organ and went on to receive his Music Doctorate at Durham University in 1901. Bairstow held posts in London, Wigan and Leeds before being appointed organist at York Minster in 1913 where he served until his death. A composer of both instrumental and choral pieces, miniature and large-scale, Bairstow’s output includes twelve published organ works and chamber music. He is however best known for his sacred choral works. Bairstow was an admirer of Brahms and also of the polyphony of earlier English composers and these influences may be heard in the five, musically contrasting verses of Blessed City, Heavenly Salem. The melodic material of this anthem is based on plainsong, but is sung to an elaborate organ accompaniment. There is a remarkable instrumental interlude between the fourth and fifth verses in which the organ extends the triumphant feel of the fourth verse, and then gradually subsides into the mood of peace in the final phrases.

Blessed city, heavenly Salem, Vision dear of peace and love, Who of living stones art builded In the height of heaven above, And by Angel hands apparelled, As a bride doth earthward move. Out of heaven from God descending, New and ready to be wed To thy Lord, whose love espoused thee, Fair adorned shalt thou be led; All thy gates and all thy bulwarks Of pure gold are fashioned. Bright thy gates of pearl are shining; They are open evermore; And their well-earned rest attaining Thither faithful souls do soar,

Who for Christ's dear Name in this world Pain and tribulation bore. Many a blow and biting sculpture Polished well those stones elect, In their places now compacted, By the heavenly Architect. Nevermore to leave the Temple Which with them the Lord hath decked. To this Temple, where we call Thee, Come, O Lord of hosts, today; With Thy wonted loving kindness, Hear Thy servants as they pray; And Thy fullest benediction Shed within its walls alway. Amen.

Abendlied Josef Rheinberger (1839-1901) Rheinberger, born in Liechtenstein, was an organist and composer who spent most of his life in Germany. He showed musical talent at an early age, studied at the Munich Conservatorium and eventually became a professor of piano and composition. In his music can be heard influences of his contemporary Brahms, as well as the earlier musical giants, Schubert and Bach. Rheinberger wrote a wealth of music for the organ, as well as choral religious works including twelve masses, a Requiem and a Stabat Mater. Abendlied is the third of a collection of three sacred songs published in 1873. The text, from Luke, Ch. 24, is scored for two soprano parts, two tenors, plus alto and bass. An “a cappella” piece for six-part choir and written when the composer was only sixteen, Abenlied has been called a “miniature gem” of the choral repertoire. Bleib bei uns, denn es will Abend werden, und der Tag hat sich geneiget.

Bide with us, for evening shadows darken, and the day will soon be over.

O Thou the Central Orb Charles Wood (1866-1926) Born in Armagh, Ireland, Wood was exposed to music from an early age as his father sang tenor in the Cathedral choir. He attended the cathedral choir school and then studied organ, firstly at the cathedral, but later as one of fifty inaugural class members of the Royal College of Music where his professors included Stanford and Parry. Wood continued his education at Cambridge, eventually becoming a professor. Wood is known mainly for his Anglican Church music and O Thou, the Central Orb, an anthem with organ accompaniment, is one of his most frequently performed and recorded pieces. A setting of a text by H. Ramsden Bramley, the music is at times reverential, at times weighty and culminates in an Amen section of great splendour.

O Thou, the central orb of righteous love, Pure beam of the most High, eternal Light Of this our wintry world, Thy radiance bright Awakes new joy in faith, hope soars above. Come, quickly come, and let thy glory shine, Gilding our darksome heaven with rays Divine. Thy saints with holy lustre round Thee move, As stars about thy throne, set in the height Of God's ordaining counsel, as Thy sight Gives measured grace to each, Thy power to prove. Let Thy bright beams disperse the gloom of sin, Our nature all shall feel eternal day In fellowship with thee, transforming day To souls erewhile unclean, now pure within. Amen.

Sleep Eric Whitacre (1970) Whitacre grew up in Nevada and in his early years, his eclectic musical tastes included playing in a marching band and in a techno-pop group on synthesizer. He discovered classical choral music – described as “like seeing colour for the first time” - at University and began composing, eventually gaining a Master’s degree at the Juilliard School of Music. Whitacre is now widely known as a conductor and composer of choral and instrumental music and has introduced the concept of the “virtual choir” to the internet. Sleep began its life as a setting of Robert Frost’s poem “Stopping by the Woods on a Snowy Evening”. Unknown to Whitacre however, the Frost estate had banned any musical settings of the writer’s work and publication was prevented. After some years, the composer asked his friend and poet Charles Anthony Silvestri to write a new text for the song - a challenging task that required the exact structure of the original and the sentiment to match the music. In interviews, Whitacre has spoken about the “chorale-like nature” of the piece and his love of the dissonance caused by close “clusters” of notes, particularly when produced by the timbre of human voices.

The evening hangs beneath the moon, A silver thread on darkened dune. With closing eyes and resting head I know that sleep is coming soon. Upon my pillow, safe in bed, A thousand pictures fill my head, I cannot sleep my mind’s a flight; And yet my limbs seem made of lead. If there are noises in the night, A frightening shadow, flickering light; Then I surrender unto sleep, Where clouds of dream give second sight. What dreams may come both dark and deep, Of flying wings and soaring leap As I surrender unto sleep.

“Musical Interlude”

Hail Gladdening Light Charles Wood (1866-1926) The second piece tonight by Wood is seen as his most popular anthem. The music is a strident work for double choir. The bright, outer sections contrast with a more mellow middle section. Hail! gladdening Light, of His pure glory poured, Who is th'immortal Father, heavenly, blest, Holiest of Holies - Jesu Christ our Lord! Now we are come to the sun's hour of rest; The lights of evening round us shine; We hymn the Father, Son, and Holy Spirit divine! Worthiest art thou at all times to be sung With undefiled tongue, Son of our God, giver of life, alone: Therefore in all the world thy glories, Lord, they own. Amen.

Evening Hymn H. Balfour Gardiner (1877-1950) Balfour Gardiner studied piano at the Hoch Conservatory in Frankfurt and gained a degree at Oxford. He taught music briefly at Winchester College and then went on to earn his living as a composer, taking up the mantle of Stanford and Elgar. Balfour Gardiner was also a conductor, notably of contemporary British composers including Bax, Holst and Grainger and was a patron of younger musicians. A generous inheritance allowed him to fund a private benefit concert of Holst’s The Planets in 1918, as well as the means to purchase a house in France for the ailing Delius.

Evening Hymn is perhaps his best-known work and is a setting of the Compline hymn Te lucis ante terminum. The piece, scored for eight-part choir and organ, is a lush and romantic work full of rich harmonies. Although the music begins as a morning hymn, the mood soon changes to one of mystery with a tremulous supplication to God for His protection from the terrors of the night. The danger past, the anthem returns to reflection on hope and thanksgiving, concluding with a stunning and uplifting ‘Amen’ section, finally subsiding into silence. Te lucis ante terminum, Rerum Creator, poscimus, Ut pro tua clementia, Sis praesul et custodia. Procul recedant somnia, Et noctium phantasmata: Hostemque nostrum comprime, Ne polluantur corpora. Praesta, Pater piissime, Patrique compar unice, Cum Spiritu Paraclito, Regnans per omne saeculum. Amen.

To thee before the close of day, Creator of the world, we pray That, with thy wonted favor, thou Wouldst be our guard and keeper now. From all ill dreams defend our sight, From fears and terrors of the night; Withhold from us our ghostly foe, That spot of sin we may not know. O Father, that we ask be done, Through Jesus Christ, thine only Son, Who, with the Holy Ghost and thee, Doth live and reign eternally. Amen.

INTERVAL

Sure on this Shining Night Morten Lauridsen (1943) Morten Lauridsen lives and works in America, dividing his time between Los Angeles where he teaches composition at the University of Southern California, and a tiny island off the coast of Washington where he enjoys the “serenity and silence” which he treasures. Much of Lauridsen’s output is characterised by a sense of spirituality, although this belies the composer’s early musical experiences as a trumpeter in dance bands and his enjoyment of music by such pop icons as Joni Mitchell, James Brown and Cole Porter! Sure on This Shining Night, written in 2005, is a setting of a poem by the American poet and writer, James Agee (1909-55). The words and music aptly reflect the awe of the lone traveller observing the wonders of the universe. Lauridsen’s’s trademark harmonies – the addition of intervals of the 2nd and 9th to chords - are in evidence, as is his love of the American Broadway songwriters whose “long, elegant lines” he admired. In his introduction to the song, the composer writes “I set James Agee’s marvellous verse very much like a song from the American Musical Theatre and it should be sung in that manner”. Sure on this shining night Of star-made shadows round, Kindness must watch for me This side the ground, On this shining night. The late year lies down the north, All is healed, all is health.

High summer holds the earth. Hearts all whole. Sure on this shining night, I weep for wonder Wand’ring far alone Of shadows on the stars. Sure on this shining night.

Mondnacht Robert Schumann (1810-1856) arr. Petter Although a brilliant pianist, Schumann initially began training as a lawyer but abandoned his studies hoping to become an instrumental soloist. Sadly, a hand injury prevented this ambition; nevertheless, Schumann focused his musical skills and energies on composition. Until 1840 his works were exclusively for the piano, but later his output included lieder, symphonies, an opera, choral and chamber music. He married Clara, the musical daughter of his piano teacher, against her father’s wishes. Mondnacht has been described as “one of the greatest of all Schumann songs” and comes from a collection known as Liederkreis, settings of texts by the poet Eichendorf (1788-1857). Written in the first year of his marriage to Clara,

Schumann wrote to his new wife that the song “is my most romantic music ever”. The music centres on a simple, repeated eight-bar phrase in a dream-like and tender nocturne in which the voice – or voices in this arrangement - soars above the delicate piano accompaniment. Es war, als hätt der Himmel, Die Erde still geküßt, Daß sie im Blüthenschimmer Von ihm nur träumen müßt. Die Luft ging durch die Felder, Die Ähren wogten sacht, Es rauschten leis' die Wälder, So sternklar war die Nacht. Und meine Seele spannte Weit ihre Flügel aus, Flog durch die stillen Lande, Als flöge sie nach Haus.

It was as if the sky Had quietly kissed the earth, So that in a shower of blossoms She must only dream of him. The breeze wafted through the fields, The ears of corn waved gently, The forests rustled faintly, So sparkling clear was the night. And my soul stretched Its wings out far, Flew through the still lands, As if it were flying home.

Urlicht Gustav Mahler (1860-1911) arr.Gottwald Mahler was a late-Romantic Austrian composer whose music bridged the 19th Century German tradition with the modernism of the early 20th Century. He was also one of the leading conductors of his generation. Mahler showed early musical talent, graduated from the Vienna Conservatory in 1878 and held a succession of conducting posts in the opera houses of Europe. Later in his life, he was to direct the New York Metropolitan Opera as well as the city’s Philharmonic Orchestra.

Most of Mahler’s compositional output is for large orchestral forces and some of his symphonies include choruses and operatic soloists, although this innovation resulted in controversy and critical public reaction. The song Urlicht, translated as Primal Light, is a setting of a text from a collection of early 19th Century German folk poetry called “Des Knaben Wunderhorn”. One of Mahler’s loveliest songs, it appears in the fourth movement of Symphony number 2, sung by an alto soloist. This evening’s performance is an arrangement (2008) for eight voice parts by the German composer and arranger, Clytus Gottwald.

O Röschen rot! Selig sind, die Trauer leiden, Und ihr Brot mit Tränen tränken! Der Mensch liegt in größter Not, Der Mensch liegt in größter Pein, Je lieber möcht ich im Himmel sein. Da kam ich auf einem breiten Weg, Da kam ein Engelein und wollt mich abweisen. Ach nein, ich ließ mich nicht abweisen! Ich bin von Gott und will wieder zu Gott, Der liebe Gott wird mir ein Lichtlein geben, Wird leuchten mir bis an das ewig selig Leben! O little red rose! Blessed are those who mourn, And bathe their bread in tears! Man lies in greatest need, Man lies in greatest pain. Ever would I prefer to be in heaven. Once I came upon a wide road, There stood an Angel who wanted to turn me away. But no, I will not be turned away! I came from God, and will return to God, The loving God who will give me a little light, To lighten my way up to eternal, blessed life!

Four Songs Op 92 Johannes Brahms (1833-1897) Johannes Brahms was born in Hamburg, the son of a bass player in the city orchestra. He toured Europe extensively as a conductor and enjoyed popularity and influence throughout his life. Brahms was a virtuoso pianist as well as a composer of symphonies, concertos, chamber works and instrumental solo pieces. His output of vocal music - solo lieder, duets, quartets and a wealth of choral music - is greater than that of his instrumental works. The Quartets for 4 voices and piano, composed over a number of years, had not originally been conceived as a set but were published together in 1884. The settings are of four poems which, although by the different German Romantic poets Daumer, Allmers, Hebbel and Goethe, all share a common nocturnal

theme and images inspired by the sky. The varying musical moods of the first three songs are mainly introspective and nostalgic but the final song, Goethe’s Warum, is introduced by rising dramatic chords and dotted rhythms followed by a choral melody of wide-leaping intervals. This restless mood is short-lived as the music soon subsides into a peacefully lilting 6/8 finale. 1. O schöne Nacht O schöne Nacht am Himmel märchenhaft erglänzt der Mond in seiner ganzen Pracht; Um ihn der kleinen Sterne liebliche Genossenschaft. O schöne Nacht! Es schimmert hell der Tau am grünen Halm; Mit Macht im Fliederbusche schlägt die Nachtigall. Der Knabe schleicht zu seiner Liebsten sacht. O schöne Nacht! Oh beautiful night! The moon is fabulously shining in its complete splendour in the sky; Around it, sweet company of little stars. Oh beautiful night! The dew is shimmering brightly on the green blades of grass; The nightingale sings ardently in the lilac bush, and The boy steals softly to his lover. Oh beautiful night! 2. Spätherbst Der graue Nebel tropft so still herab auf Feld und Wald und Heide, als ob der Himmel weinen will in übergroßem Leide. Die Blumen wollen nicht mehr blühn, die Vöglein schweigen in den Hainen, es starb sogar das letzte Grün, da mag er auch wohl weinen.

The grey mist drops down so silently upon the field, wood and heath that it is as if Heaven wanted to weep in overwhelming sorrow. The flowers will bloom no more, the birds are mute in the groves, and the last bit of green has died; Heaven should indeed be weeping.

3. Abendlied Friedlich bekämpfen Nacht sich und Tag. Wie das zu dämpfen, Wie das zu lösen vermag! Der mich bedrückte, Schläfst du schon, Schmerz? Was mich beglückte Sage, was wars doch, mein Herz? Freude wie Kummer, Fühl' ich, zerrann, Aber den Schlummer Führten sie leise heran. Und im Entschweben, Immer empor, Kommt mir das Leben Ganz, wie ein Schlummerlied vor.

Peacefully does night struggle with the day: how to muffle it, how to dissolve it. That which depressed me, are you already asleep, o Pain? That which made me happy, say, what was it, my heart? Joy, like anguish, I feel has melted away, but they have gently invoked slumber instead. And as I float away, ever skyward, it occurs to me that life is just like a lullaby.

4. Warum Warum doch erschallen himmelwärts die Lieder? Zögen gerne nieder Sterne, die droben blinken und wallen, zögen sich Lunas lieblich Umarmen, zögen die warmen, wonnigen Tage seliger Götter gern uns herab!

Why then do songs resonate Ever up towards heaven? They would draw down the stars That twinkle and sparkle above; Or Luna’s lovely embrace; Or the warm, blissful days Of the blessed gods towards us!

“Musical Interlude”

All Alone Irving Berlin (1888-1989) arr. Petter Irving Berlin was born Israel Isidore Beilin in what is now Belarus. His father was a cantor in the synagogue who, in 1893, took the decision to move his family to New York to escape religious persecution. By the time of the 1900 census, the name Beilin had been changed – allegedly as the result of a miss-spelling on a vocal score - to Berlin. A self-taught pianist with no formal musical training, Berlin started out as a street singer and singing waiter, but he went on to become one of the most prolific and popular songwriters of the 20th Century. He penned over 1,500 songs including Puttin’ on the Ritz, White Christmas, God Bless America and the scores of dozens of musicals and films.

All Alone was published in 1924 and has since been performed and recorded by numerous artists, including Frank Sinatra in 1962 and Miss Piggy in the Muppet Show!

The Very Thought of You Ray Noble (1903-1978) arr. Ayres Noble was an English bandleader, composer, arranger, radio comedian and actor. He was born in Brighton, studied at the Royal Academy of Music, but after winning a competition in 1927 for the best British dance band orchestrator, he firmly established his career in the lighter side of music. Noble was appointed staff arranger for the BBC at the age of 21, going on to become a music advisor for HMV – a post which involved conducting the house band known as ‘The New Mayfair Orchestra’. His growing fame prompted a move to New York in 1934 where he had several No 1 hits including Love is the Sweetest Thing and The Very Thought of You, the latter remaining at the top of the music charts for five weeks.

William Petter William Petter is a freelance choral director, tenor and singing teacher based in London. He began his musical life as a chorister at New College, Oxford, under the direction of Edward Higginbottom. Whilst studying for a degree in Neuroscience at University College, London, he started singing as a tenor, and went on to study as a postgraduate at the Royal Academy of Music, for which he gained the highest award, distinction with DipRAM. He has been musical director of Concordia Voices since 2011, and also directs the professional choir of St Magnus the Martyr, and chamber choir Sine Nomine Singers. He previously directed the Orpington and District Free Church Choir, performing many great works with them including Bach Easter Oratorio, Handel Messiah, Stainer Crucifixion, Mendelssohn Elijah, as well as Mozart Requiem, Solemn Vespers K339, Piano Concerto no 23 in collaboration with Forest Philharmonic. He teaches singing at Orchard House School and St Michael and All Angels, Bedford Park, as well as having a flourishing private practice. As a singer, he enjoys a busy oratorio career, working for groups including Oxford Bach Choir, Oxford Harmonic Society, Hull Bach Choir, Queens Park Singers, Chigwellian Singers and Benson Choral Society. He gives recitals and has performed Die Schöne Müllerin in Oxford, Petts Wood and Burgh House, Hampstead, and an English song recital in Oxford, for which he was given an award by the John Ireland trust. He also enjoys consort work, working with groups including The Sixteen, the Choir of the Enlightenment, Philharmonia Voices, Britten Sinfonia Voices, London Voices, Westminster Abbey Choir, Westminster Cathedral Choir and other London church choirs. He has recently recorded the St Magnus Choir’s first CD and led a choral workshop on Fauré’s Requiem for Arts Richmond. Future plans include singing the part of the Evangelist in Bach St Matthew Passion for Carshalton Choral Society.

Paul Ayres Paul Ayres was born in London, studied music at Oxford University, and now works freelance as a composer & arranger, choral conductor & musical director, and organist & accompanist. His compositions usually involve words – solo songs, choral pieces, music for theatre productions – and he is particularly interested in working with pre-existing music, from arrangements of folksongs, hymns, jazz standards and nursery rhymes to ‘re-compositions’ of classical

works, as in Purcell’s Funeral Sentence, 4A Wreck and Messyah. New pieces have been commissioned by the BBC Singers, the London Festival of Contemporary Church Music, Concordia Youth Choir, The Esoterics, Texas Lutheran University, Wartburg College, Wheaton College and Alexandria Choral Society. Paul is the regular conductor of City Chorus, the London College of Music choirs and the Walbrook Singers, and he is the associate accompanist of Crouch End Festival Chorus. He has led many education workshops for children, played piano for improvised comedy shows and musical theatre, and has given solo organ recitals in the UK, Scandinavia, Europe, North America and Australia. Please visit www.paulayres.co.uk to find out more.

Concordia Voices

Soprano Alto Tenor Bass

Jackie Allen Anne Gooding Anusha Hesketh Prill Hinckley Julia Lavery Rosie Oxborrow Ruth Parker Fiona Rowett Fiona Wimblett

Lindsey Baldwin Rebecca Bevan Julie Hall Ramani Leathard Jane Newman Anne Rowett Jane Purser Janet Taylor Shelagh Testar

Stuart Coldwell Clive Hall David Taylor

Alan Baldwin

Chris Edwards Jo Foley Martin Hinckley Christopher Johnson Tim Rice Tim Rowett

Founded in 2000 as the Apocalypse Singers by Christopher Hodges, a founder member of The Sixteen, the choir was renamed Concordia Voices under the musical directorship of Neil Ferris and is currently directed by William Petter. Our regular accompanist is the composer and arranger Paul Ayres. The choir performs regularly in south-west London where it is based, and in St Luke’s Chelsea. We have also toured abroad and to other locations in the UK as well as taking part in local musical events. Concordia Voices enjoy performing music from a wide repertoire ranging over 4 centuries and the choir has a keen interest in performing the work of contemporary composers, including Jonathan Dove, James MacMillan, Morten Lauridsen, John Tavener and Naji Hakim. In the last 4 years, we have performed specially commissioned works by Paul Spicer and Paul Ayres.

Concordia Voices rehearse on Sunday evenings from 6:45 to 9pm in St. James’s Church, Hampton Hill. We are a small, friendly choir and new singers are warmly welcome. If you are interested in joining us please contact our secretary for more information at, secretary@concordiavoices.org, or visit www.concordiavoices.org

Future Concerts:

Saturday November 22nd 2014, St Luke’s, Chelsea. Saturday March 14th 2015, St John the Divine, Richmond.