Saturday 28 March 2015

Conductor: Colin Stevens

Chiltern Orchestral SocietyLeader: Janet Hicks

SOLOISTS

Melanie Lodge (Mezzo-soprano)Alastair Merry (Baritone)

Requiem

Four Sacred Pieces

MELANIE LODGE (MEZZO SOPRANO)

Melanie studied at The Royal WelshCollege of Music and Drama and hasreceived awards from both Sophie’s SilverLining Fund and the Britten-Pearsfoundation.

Melanie’s many rolesinclude Rosina (TheBarber of Seville)Heritage Opera,Amneris (Aida), Roro (LaRondine) for Go Opera,the creation of Elf (JackFrost) at Saint John’sSmith Square, thecreation of Fasoult (Forthe love of Undine),Giullia (The Gondoliers),La Zelatrice (SuorAngelica), Kate (ThePirates of Penzance) forBuxton G & S Operacompany, Phoebe (TheYeomen of the Guard) ,Giannetta (The Elixir ofLove), ThirdBlumenmädchen(Parsifal), Mercedes (Carmen), MadamPopova (The Bear), Despina (Così fanTutte), Daphne (Thespis), Iolanthe(Iolanthe) Carl Rosa Opera West EndSeason, Pitti-Sing (The Mikado), BeggarWoman (Sweeney Todd), Isabella

(L’Inganno Felice), Olga (The MerryWidow), Une Marchande (Carmen)Scottish Opera, Cherubino (The Marriageof Figaro), Cecilio Lucia Silla & Annio (LaClemenza di Tito) Opera Minima, Alice (LeComte Ory) New Chamber Opera,Fillipievna (Eugene Onegin) BCO, Marthe(Faust) Opera South, Modestina (Il Viaggio

a Riems) WexfordFestival Opera.

Melanie has alsoappeared in manyproductions with EnglishNational Opera, WelshNational Opera, OperaHolland Park, ScottishOpera in addirion toWexford Festival Opera.

Her solo concert workincludes  the  DvořákStabat Mater, theDuruflé, Faure, Mozart &Verdi Requiems,Handel's Messiah,Tippett's Child of OurTime and The Passion ofChrist by Sommerville.

Although Melanie is not a runner, she iscurrently training for the London Marathonto raise money for Lost Chord – a charitythat specialises in providing musicsessions for dementia sufferers.

ALASTAIR MERRY (BARITONE)

Alastair made his first professional singingappearance as first boy in The Magic Flutewhile living in Germany.  Later, he studied

music at Worcester College, Oxford,became a lay clerk at Christ ChurchCathedral, Oxford, and went on to studysinging with Laura Sarti at the GuildhallSchool of Music and Drama.

"For me, art, and especiallymusic, exist to elevate usas far as possible aboveeveryday existence."

(Gabriel Faure)

He  has  sung  a  number  of  solo  operaticroles including, mostrecently, the Count in theMarriage of Figaro withNew Cornwall Opera.Other roles includeMasetto in DonGiovanni, Sid in AlbertHerring, The Forester inRusalka and Dancairo inCarmen.

As  a  professionalchorister, Alastair hassung with the chorusesof Glyndebourne andGarsington Opera, aswell as on the concertplatform with the BBCSingers and NetherlandsRadio Choir. Mostrecently, Alastair sang inthe chorus, and covered and performed asmall role in Welsh National Opera’s

Moses und Aron, and was part of thechorus for EnglishNational Opera’sOtello and The Girl ofthe Golden West.

Alastair  is  also  anactive oratorio soloistand recitalist, havingrecently performed thearias and Pilate inBach’s St JohnPassion, VaughanWilliams’ Five MysticalSongs and Rossini’sPetite MesseSolennelle in concert.He is also one of thetwelve professionalchoirmen of theTemple Church,London and has

recently returned from a trip to WashingtonDC with the choir.

Verdi was born in Roncole, in theformer duchy of Parma, and he firststudied music in the neighbouring

town of Busseto. Upon being rejected bythe Milan Conservatory in 1832 (becauseof his age), he became a pupil of theMilanese composer Vincenzo Lavigna,returning to Busseto in 1833as conductor of thePhilharmonic Society.

At the age of 25, Verdi againwent to Milan, where his firstopera, Oberto, wasproduced at La Scala withsome success. His nextwork, the comic opera UnGiorno di Regno (King for aDay, 1840), was a failure,and Verdi, lamenting alsothe recent deaths of his wifeand two children, decided togive up composing. Aftermore than a year, however,the director of La Scalasucceeded in persuading him to writeNabucco (1842). This opera created asensation; its subject matter dealt with theBabylonian captivity of the Jews, and theItalian public regarded it as a symbol of thestruggle against Austrian rule in northernItaly. I Lombardi (1843) and Ernani (1844),both great successes, followed, but of thenext ten productions only Macbeth (1847)and Luisa Miller (1849) have survived inthe permanent operatic repertory. Verdi'sthree following works, Rigoletto (1851), IlTrovatore (1853), and La Traviata (1853),brought him international fame and remainamong the most popular of all operas.

Operas written in the middle of Verdi'scareer, including Un Ballo in Maschera (AMasked Ball, 1859), La Forza del Destino(The Force of Destiny, 1862), and Don

Carlo (1867), exhibit a greater mastery ofmusical characterization and a greateremphasis on the role of the orchestra thanearlier works. Aïda (1871), also of thisperiod, and probably Verdi's most popularopera, was commissioned by the Khediveof Egypt to celebrate the opening of the

Suez Canal; it wasfirst performed inCairo. Three yearslater, Verdi composedhis most importantnon-operatic work, theRequiem Mass, inmemory of the Italiannovelist AlessandroManzoni. Verdi's othernon-operatic worksinclude the dramaticcantata Inno delleNazioni (Hymn of theNations, 1862) andthe String Quartet in Eminor (1873).

In his seventies, Verdi produced thesupreme expression of his genius, Otello(1887), composed to a libretto skilfullyadapted by the Italian composer andlibrettist Arrigo Boito from theShakespearean tragedy Othello. This wasfollowed by his last opera, Falstaff (1893),also adapted by Boito from Shakespeare,and generally considered one of thegreatest of all comic operas.

In general, Verdi's works are most notedfor their emotional intensity, tunefulmelodies, and dramatic characterizations.He transformed the Italian opera, with itstraditional set pieces, old-fashionedlibrettos, and emphasis on vocal displays,into a unified musical and dramatic entity.His operas are among those mostfrequently performed in the world today.

4 July 2015Mendelssohn; Elijah

19 December 2015 and 19 March 2016to be announced

In the first of Verdi’s Four Sacred Pieces(Ave Maria), listen out for a mostunusual musical device that the

composer makes use of. It is called theScala Enigmata, or Enigmatic Scale. Thisvery uncommon scale includes elementsof both major and minor scales, as well asthe whole-tone scale. It was originallypublished in a Milan journal (GazettaMusicale) as a musical challenge, with aninvitation to harmonize it in some way.

Verdi (who, supposedly, invented thescale) used it in his Ave Maria in responseto the magazine’s challenge. The piecefeatures the scale both in its harmoniesand as a cantus firmus throughout thisshort piece. First you will hear it in thebass, then in each successively highervoice part.

William Hadow, in “The Oxford History ofMusic”, describes it as ‘queer counterpointwhich...is far-fetched and difficult of

intonation; the total effect is almost, if notquite, as musical as it is curious’.

For those of you interested in the technicalside of things, the scale (written out in thekey of G) is G, Ab, B, C#, D#, E#, F#, G,following the musical step pattern ofsemitone, tone and a half, tone, tone, tone,semitone, semitone. The scale lacks aperfect fourth (except descending) and aperfect fifth, both of which are usually usedin standard chord progressions, and helpto establish the tonic.

By the way, the scala enigmatica is notconfined to classical music - guitarist JoeSatriani used in his piece The Enigmaticfrom his album Not of This Earth.

So, when Verdi’s Four Sacred Piecesbegins this evening, not only can youappreciate the lovely singing of TringChoral Society, but you can also see if youcan pick out the Enigmatic Scale!

In the twilight of his life, Verdi publisheda collection of four pieces entitled theQuattro Pezzi Sacri. Composed over

some eight years prior to their publication,they reveal the eyes of Italy's most famousopera composer looking towards theafterlife through the sacred texts of theCatholic church. Much of the music is quiteprogressive: the style reflects the greattonal expansion of the latter nineteenthcentury, as well as Verdi’s own advancesin operatic composition. At the same time,the Quattro Pezzi Sacri provide Verdi'sretrospective view of some highlights of hisItalian cultural heritage, making referencesas far back as Dante and Palestrina.

Two of the Quattro Pezzi Sacri borrow thetraditional texture of stile antico churchcompositions, a cappella choral writing. Inthe Laudi alla Vergine (composed around1890), Verdi uses only a quartet ofwomen's voices to set his Italian text fromthe final Canto of Dante's Paradiso. Hedeliberately evokes the music of the ItalianRenaissance in the vocal texture, with itsclear cadences and imitative writing; thevoice-leading, on the other hand, is oftenrichly chromatic and wanders far from thehome key. Verdi's Ave Maria similarlytranslates a severe, four-voicedunaccompanied choral texture into athoroughly "modern" harmonic idiom. The

piece took life as Verdi's response to aneditorial challenge in a Milanese periodical(1888) for any composer to write musicbased upon a scala enigmatica. Verdiplaces this challenging scale in each voicein turn as an archaic cantus firmus. Theother voices weave often extremelychromatic harmonies about it; almost everynote of the twelve-tone scale appears inthe first four bars alone.

The other two pieces deploy the full rangeof choral and orchestral forces. StabatMater (1896-1897) sets the completedrama of the Passion as seen throughMary's eyes; it does so in a series ofimages from the ancient Latin text.

In preparation for the winter 1895composition of the Te Deum, Verdi studiedthe music of both Victoria and Purcell,though he ultimately created somethingquite different. His intention was amusically adventurous portrayal of his ownemotional responses to the traditional text,something he seems to have achieved. Inany event, the score must have meant a lotto Verdi, as he asked to have it buried withhim.

(See the article about Verdi’s EnigmaticScale elsewhere in this programme)

1. Ave Maria; 2. Stabat Mater; 3. Laudi alla Vergine; 4. Te Deum

1. AVE MARIA (CHORUS)Ave Maria, gratia plena, Dominus tecum,benedicta tu in mulieribus, et benedictusfructus ventris tui Jesus. Sancta Maria,Mater Dei, ora pro nobis peccatoribus nuncet in hora mortis nostrae. Amen.(Hail Mary, full of grace, the Lord is withthee. Blessed art thou among women,and blessed is the fruit of thy womb, Jesus.Holy Mary, Mother of God, pray for ussinners, now and in the hour of our death.Amen.)

2. STABAT MATER (CHORUS)Stabat Mater dolorosa, juxta crucemlacrymosa, dum pendebat Filius. Cujusanimam gementem contristatam etdolentem, per transivit gladius. O quamtristis et afflicta, fuit illa benedicta MaterUnigeniti! Quae moerebat et dolebat.Pia Mater, dum videbat nati poenas inclyti.Quis est homo, qui non fleret, MatremChristi si videret in tanto supplicio?Quis non posset constistari, Christi Matremcontemplari dolentem cum Filio?Vidit Jesum in tormentis, et flagellissubditum. Vidit sum dulcem natummoriendo desolatum, dum emisit spiritum.Eja Mater fons amoris me sentire vimdoloris fac, ut tecum lugeam. Fac ut ardeatcormeum in amando Christum Deum, utsibi complaceam. Sancta Mater, istudagas, crucifixi fige plagas cordi meo valide.Tui nati vulnerati, tam dignati pro me pati,poenas mecum divide. Fac me tecum pieflere, crucifixo condolere donec ego vixero.Juxta crucem tecum stare, et me tibisociare in planctu desidero. Virgo virginumpraeclara, mihi jam non sis amara, fac metecum plangere. Fac, ut portem Christimortem, passionis fac consortem, etplagas recolere. Fac me plagis vulnerati,fac me cruce inebriari, et cruore Filii.

Flammis ne urar succensus, per te,Virgo, sim defensus, in die judicii.Christe, cum sit hinc exire, da permatrem me venire ad palmam victoriae.Fac ut animae donetur paradise Gloria.Amen.(The mourning Mother stood weepingbeside the cross while her son washanging on it. Her lamenting soul, fullof anguish and grief, was perceived asby a sword. Oh, how sad and distressedwas that blessed Mother of an only son.How she mourned and grieved, thatdevoted Mother, as she watched thesuffering of her glorious son. What manwould not weep to see the Mother ofChrist in such suffering? Who could notshare the sadness, contemplate Christ’sMother grieving with her son? For thesins of her people, she saw Jesus intorment, and subjected to flogging.She saw her sweet child, desolate as Hedied, as He gave up the ghost. OhMother, fount of love, help me feel realgrief, that I may mourn with Thee.Help my heart to burn with love for Christmy God, that I may please him. HolyMother, help me hold the wounds of thecrucified firmly in my heart. Yourwounded Son thus deigned to suffer forme. May I share his punishment. Helpme truly to weep with thee, to grieve withthe crucified to the end of my life. Tostand with thee beside the cross, whollyto share in the mourning is my desire.Chosen Virgin of virgins do not refuseme now. Let me mourn with thee. Letme bear Christ’s death. Let me sharethe passion and reflect on His wounds.Let me be wounded with His wounds.Let that cross inspire me with love foryour son. Lest in flames I burn, may I bedefended by thee, Virgin, in the day of

judgement. Christ, when I must go fromhere, grant through your mother, for me tocome to the palm of victory.May my soul be granted the glory ofparadise. Amen.)

3. LAUDI ALLA VERGINE MARIA(SOPRANOS AND ALTOS)Vergine Madre, figlia del tuo Figlio, umileed alta pui che creatura, termine fisod’eterno consiglio,tu se’colei che l’umananatura nobilitasti siche’l suo fattore nondisdegno di farsi sua fatura.Nel ventre tuo raccese l’amore per lo cuicaldo nell’eterna pace cosi e germinatoquesto fiore. Qui se’a noi meridiana face dicaritate. Egiuso, in traimortali, se’disperanza Fontana vivace.Donna, se’tanto grande e tanto vali, chequal vuol grazia, ed a te non ricorre, suadisianza vuoi volar senz’ali. La tuabenignita non pur soccorre a chi dimanda,ma molte fiate liberamente al dimandarprecorre.In te misericordia, in te pietate, in temagnificenza, in te s’aduna. Quantunquein creaturare di bontate. Ave. Ave.(Virgin mother, daughter of your own son,most humble yet highest of any creature,human heart of the divine mystery, You areshe who so ennobled human nature thatGod, the maker of mankind, would notdisdain being made man Himself. In yourwomb was rekindled the love, the warmthof eternal peace, and thus is sprouted thisflower, the Celestial Rose.For us in heaven your charity blazes likethe noon sun, while among mortals you arethe bubbling fountain of Hope. Lady, atonce so great and so precious, whoeverdesires grace but lacks your intercession,would send that desire aloft as if withoutwings.Not only does your kindness succour allthat ask, but you often answer petitionseven before they have been requested.In you is all mercy, in you is all pity, in youis all majesty, in you is united everything ofgoodness in living creation.)

4.TE DEUM (CHORUS)Te Deum laudamus. Te Dominumconfitemur. Te aeternum patrem omnisterra venerator. Tibi coeli et universaepotestates. Tibi Cherubim et Seraphimproclamant. Sanctus, Dominus DeusSabaoth. Pleni sunt coeli et terra majestatisgloriae tuae. Te gloriosus Apostolorumchorus. Te prophetarum laudabilisnumerus. Te martyrum candidatus laudatexercitus. Te per orbem terrarum sanctaconfitetur Ecclesia.Patrem immensae majestatis.Venerandum tuum verum et unicum Filium.Sanctum quoque paraclitum spiritum.Tu, Rex gloriae, Christe. Tu Patrissempiternus es Filius. Tu ad liberandumsuscepturus hominem non horruisti Virginisuterum. Tu devicto mortis aculeo, aperuisticredentibus regna coelorum. Ad dexteramDei sedes in Gloria Patris. Judex crederisesse venturus. Te ergo, quaesumus, tuisfamulis subveni, quos pretioso sanguineredemisti. Aeterna faccum Sanctis tuis inGloria numerari. Alvum fac populum tuum,Domine, et benedic haereditati tuae. Etrege eos, et extolle illos usque in aeternum.Per singulos dies benedicimus te. Etlaudamus nomen tuum in saeculum et insaeculum saeculi. Dignare, Domine, dieisto sine peccato nos custodire. Misererenostril, domine. Fiat misericordia tua,Domine, supernos, quemadmodumsperavimus in te speravi. Non confundar inaeternum. In te, Domine, in te speravi.(We praise Thee, O God. Weacknowledge Thee to be the Lord. All theearth doth worship Thee the Fathereverlasting. To Thee all the angels cryaloud. The heavens and all the powerstherein. To Thee cherubim and seraphimdo continually cry Holy, Holy, Holy, LordGod of Sabaoth; heaven and earth are fullof the majesty of Thy glory. The gloriouscompany of apostles praise Thee. Thegoodly fellowship of the prophets praiseThee. The noble army of martyrs praiseThee. The Holy Church throughout all theworld doth acknowledge Thee; the father ofan infinite majesty; Thine honourable true

and only Son; also the Holy Ghost thecomforter. Thou art the King of Glory, OChrist. Thou art the everlasting Son of theFather. When Thou tookest upon Thee todeliver man, Thou didst not abhor theVirgin's womb. When Thou hadstovercome the sharpness of death, Thoudidst open the kingdom of heaven to allbelievers. Thou sittest at the hand of Godin glory of the Father. We believe thatThou shalt come to be our Judge. Wetherefore pray Thee, help Thy servants,whom Thou hast redeemed with Thy

precious blood. Make them numbered withThy saints in glory everlasting. O Lordsave Thy people and bless Thine heritage.Govern them and lift them up for ever. Dayby day we magnify Thee; and worship Thyname, ever world without end. Vouchsafe,O Lord to keep us this day without sin. OLord, have mercy upon us, have mercyupon us. O Lord, let Thy mercy lightenupon us, as our trust is in Thee. O Lord inThee have I trusted let me not beconfounded.)

If you like what you hear (and see) tonight, and would like to beinvolved as a choir member, patron or helper (or perhaps youwould simply like to learn more about Tring Choral Society), our

web site will provide a mine of information.

Our web site contains details of future concerts, rehearsal datesand many other details that are sure to interest friends of our choir.

You can visit us at www.tringchoral.org.uk

As a member of the choir, you will not only have the chance to singsome of the world’s greatest music, but you will also benefit from

the choir’s healthy social life!

Our Membership Secretary, Margaret Flanigan, will bepleased to hear from you on 01442 823915.

Happiness is……singing in a choir

Gabriel-Urbian Fauré was born on 12May 1845, in Pamires, France.From the age of nine he studied

piano and organ with Saint-Saëns, whoencouraged young Gabriel to play pianomusic by Liszt. In 1865 Fauré wasawarded first prize in composition, for hisCantique de Jean Racine, Op 11.

Fauré became a regular at the salons ofSaint-Saëns and Pauline Garcia-Viardot,where he met many prominent Parisianintellectuals such as the writers GustaveFlaubert and Ivan Turgenev, andcomposers Hector Berlioz and GeorgesBizet. With those contacts Fauré initiatedthe formation of the Societe NationaleMusique around the figure of Saint-Saëns.Fauré also took over the position oforganist at the Eglise de la Madeleine in1877, when Saint-Saens retired. At thattime, Fauré became engaged to MarianneViardot, the daughter of Pauline Viardot,but the engagement was broken off byMarianne.

Faure was so seriously in love,heartbroken and depressed that he couldnot stay in the same salon. He cancelled allsocial obligations and left Paris, He wentto Weimar, where he met Liszt andexpressed his gratitude by playing his owncompositions to Liszt. He then travelled toCologne to listen to the operas of Wagner,whom he much admired.

Back in Paris, he renewed his activity atSociete Nationale Musique. He marriedMarie Frement in 1883, and the couple hadtwo sons.

The lack of any musical success kept himworking as the organist at the Eglise de laMadeleine, and also teaching piano andharmony, which took up all his time. Hisown compositions were sold to his

publisher at 50 francs each, including thecopyright. At that time Fauré composed thehis most important choral work - the workyou will hear this evening.

However, success did not come easily but,after ten years of hardship, Fauré wasfinally promoted to the governmentposition of the Inspector of MusicConservatoires in the French provinces. In1896 he became chief organist at theEglise de la Madeleine and also replacedMassenet as professor of composition atthe Conservatoire de Paris. His studentsthere included Ravel, Boulanger, Enesco,and Koechlin, who later orchestratedFauré’s popular suite Pelleas etMelisande. In the 1890s, Fauré wrote thepiano duet Dolly Suite and a vocal piece,La bonne chanson, for Emma Bardac,Debussy’s wife.

The works of his later years were affectedby his hearing loss, which eventuallyresulted in his retirement. He died ofpneumonia on 4 November 1924, and waslaid to rest in the Cemetiere de Passy inParis.

The Requiem, Op 48, was not composedto the memory of a specific person but, inFauré’s words, ‘for the pleasure of it’ andwas first performed in 1888. Fauré isthought not to have had strong religiousbeliefs and it has been described as "alullaby of death". In setting the Requiem,he left out the Dies Irae poem, athough thereference to the day of judgment appearsin Libera me, which he added to the normalmass. Personal grief may have influencedthe composition, as it was started after thedeath of his father and, before it wascompleted, his mother passed away aswell. The Requiem can thus be seen as anexpression of Faure's personal tragedywritten after the death of his parents.

1. Introit and Kyrie (Chorus)Requiem aeternam dona eis, Domine.Et lux perpetua luceat eis.Te decet hymnus, Deus, in Sion,Et tibi reddetur votum in Jerusalem.Exaudi orationem meamAd te omnis caro veniet.Kyrie, eleison!Christe, eleison!Kyrie, eleison!(Eternal rest give unto them, O LordAnd let perpetual light shine upon themA hymn, O God, becomes you in ZionAnd a vow shall be paid to you inJerusalem. Hear my prayerAll flesh shall come before you.Lord, have mercy on us.Christ, have mercy on us.Lord, have mercy on us.)

2. Offertorium (Choir and Baritone Soo)O Domine Jesu Christe, Rex gloriae,libera animas defunctorumde poenis inferni et de profundo lacu.O Domine Jesu Christe, Rex gloriae,libera animas defunctorum de ore leonis neabsorbeat tartarus,O Domine Jesu Christe, Rex gloriae,ne cadant in obscurum.Hostias et preces tibi, Domine,laudis offerimustu suscipe pro animabus illis,quarum hodie memoriam facimus.Fac eas, Domine, de mortetransire ad vitam,Quam olim Abrahae promisistiet semine eius.O Domine Jesu Christe, Rex gloriae,libera animas defunctorumde poenis inferniet de profundo lacu:ne cadant in obscurum.Amen.

(Lord Jesus Christ, king of glory,deliver the souls of all the faithful departedfrom the pains of Helland from the bottomless pit.Lord Jesus Christ, king of glory,deliver them from the jaws of the lion,lest hell engulf them.Lord Jesus Christ, king of glory,Plunge them not into darkness.Lord, in praise we offer yousacrifices and prayers,accept them on behalf of thosewho we remember this day:Lord, make them passfrom death to life,as once you promised to Abrahamand to his seed.Lord Jesus Christ, king of glory,deliver the souls of all the faithful departedfrom the pains of Helland from the bottomless pit:Plunge them not into darkness.Amen.)

3. Sanctus (Choir)Sanctus, sanctus, sanctusDominus Deus Sabaoth!Pleni sunt coeli et terra gloria tua.Hosanna in excelsis!(Holy, holy, holy Lord God of hosts!Heaven and earth are full of your glory.Hosanna in the highest!)

4. Pie Jesu (Soprano Solo)Pie Jesu, Domine, dona eis requiem,Sempiternam requiem.(Dearest Jesus, Lord, grant them rest,Eternal rest.)

5. Agnus Dei and Lux aeternaAgnus Dei, qui tollis peccata mundidona 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.Lamb of God, who takes away the sins ofthe world, Grant them rest.Lamb of God, who takes away the sins ofthe world, Grant them eternal rest.Let everlasting light shine on them, O Lord,with your saints for ever: for you artmerciful.Eternal rest grant them, Lord;and let perpetual light shine upon them.

6. Libera Me (Choir and Baritone Solo)Libera me, Domine, de morte aeternain die illa tremenda quando coeli movendisunt et terra, dum veneris judicaresaeculum per ignem. Tremens factus sumego et timeo, dum discussio venerit atqueventura ira: Dies illa, dies irae,calamitatis et miseriae, Dies illa, diesmagna, Et amara valde.Requiem aeternam dona eis, Domine,Et lux perpetua luceat eis.

(Deliver me, O Lord, from eternal death onthat awful day when the heavens andearth shall be shaken and you shall cometo judge the world by fire. I am seized withfear and trembling until the trial is at handand the wrath to come:Day of trial, day of wrath,Death and destruction,Day of trial, day of vengeance,Day of bitter grief.Eternal rest grant them, Lord,and let perpetual light shine upon them.)

7. In Paradisum (Choir)In paradisum deducant angeli:In tuo adventu suscipiant te martyres,Et perducant te in civitatem sanctemJerusalem.Chorus angelorum te suscipiat,Et cum Lazaro quondam paupereAeternam habeas requiem.(Into paradise may the angels lead you:May your arrival be greeted by the martyrs,And may they lead you into the holy city,Jerusalem. Choirs of angels sing to you,and with Lazarus, once a poor man. Mayyou have eternal rest.)

Violin; Frances Bigg, Darrell Dunning,David Glenister, Ed Hewitt, Fiona Jacob,David Moore, Roger Neighbour, LesleyPearce, Mark Redman, Chris Shelley,Frances Stanhope

Viola; Adrienne Cook, Vicky Drury,Roger Evans, Ceri Fagg, Katie Hayes,John Saunders

Cello; Hilary Drinkall, Mary Harris

Bass; Elliott Dryer-Beers, Sudhir Singh

Flute; Caroline Welsh

Clarinet; Esther Moors, TheresaWhiffen

Bassoon; Caroline Cartwright,Thomas Dryer-Beers

Horn; Stuart Carruthers, John Lavell,Katrina Nichols, Richard Todd

Trumpet; Jeremy Loukes, Leah Loukes,Allan Robinson

Trombone; Simon Astridge, ChrisBrown, David Taine

Percussion; Richard Baron-Tait

Harp; Ruth Holden

Organ; Jonathan Lee

Leader; Janet Hicks

ACKNOWLEDGEMENTSTring Choral Society thanks the Iain Rennie Hospice at

Home shop, Tring, for their long-standing supportas our ticket agents.

The piano accompanist for Tring Choral Society rehearsals is Adrian Johnson.

Our thanks go to Roy Mathers for writing and compiling this programme.

Tring Choral Society is financially supported byDacorum Borough Council through Tring Arts Trust.

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

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

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

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

TENORSJenny Brannock-JonesCliff BrownRichard BrownJohn DeaneJeanne EustaceAlfie GlasserRoger JuddNigel LewisAndrew RobertsonDavid Wilde

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

Mr G E BullMr J BurchellMrs J CadgeMrs A CaloiaMs A CaloiaMrs J CherryMr and Mrs S EustaceMr R FlaniganMr and Mrs R FranklinMrs S K FranklinMr and Mrs J HawkesMr M HerbautMr C W HoareMrs J HollingsworthMrs E Marchant

Mr I MartinMrs M F MerlierMr R O’ReillyMr C B J PearceMr G PulferMr P ScribbinsMr and Mrs J StackMr and Mrs J StanhopeMrs J StevensMr W StringerMr and Mrs E TapsonDr and Mrs D ThallonMr and Mrs W ThomasMr and Mrs K ToddMrs Suki Vaid

Mr and Mrs J K WatsonMr and Mrs M WatsonMr A Winterbottom

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

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

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

Telephone; 01442 872727

I would like to become a Patron of Tring Choral Society and enclose

a cheque for £.......................

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