The Sandham Singers

present

A Concert of Advent Readings and Carols

Sunday, 4th December 2016 at 4 pm

St Mary’s Church, Greenham, Newbury, RG19 8RZ

Directed by Janet Coxwell

Accompanied by Steve Bowey

Retiring collection in aid of:

St Mary’s Church and The Sandham Singers Charity No 1142323

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EdwardElgarFromtheBavarianHighlands

Interval

KarlJenkinsTheArmedMan:AMassForPeace

Conductor:CathalGarvey

Orchestra:SouthernSinfonia

Pianistandorganist:SteveBowey

Imam:MoynulHaque,fromtheNewburyMosque

ThesolopartsinTheArmedManwillbesungbymembersofthechoir.

Wearegratefultothefollowingorganisationsfortheirsupport:

TheEnglefieldCharitableTrust

Pleasevisitwww.newburychoral.org.uk/ConcertFeedbacktotellusaboutyourexperienceofourperformance.

ThisprogrammewasprintedbyNewburyCollegePrintRoom.

TheProgramme

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EdwardElgar(1857-1934)FromtheBavarianHighlands

SirEdwardElgarcamefromhumblebeginnings,wasaself-taughtmusicianandaRomanCatholic,allofwhichcontributedtohisfeelingofalienationfromtheestablishmentofhiscountry.Hewas,however,honouredforhisachievementsinhislifetime:hewasknightedin1904,andmadeMasteroftheKing'sMusickin1924.Knownforhispatrioticworks(especiallythePompandCircumstancemarches)Elgarwashorrifiedbythecarnageofwar,asreflectedinhischoralpieceTheSpiritofEngland,writtenin1916.At57whenthe1914-18warbegan,hesignedupasaspecialconstableandjoinedtheHampsteadVolunteerReserveoftheArmy,theFirstWorldWarequivalentoftheHomeGuard.

Elgar'schoralsuite,FromtheBavarianHighlands,isaproductofmuchhappiertimeswhenheandhiswife,Alice,tookaseriesofholidaysinGarmisch,amountainresortinBavaria,inthe1890s.Theywalkedinthemountainsduringthedayandintheeveningswatchedthedancesatlocalinns.Intheautumnof1894,Elgarwrotesixsongs,forwhichAlicesuppliedthewords,adaptedfromGermanfolkmusicoftheregion.Shegaveeachsongasubtitlerelatedtofavouriteplacesfromtheirvisits.Thepiecewasdedicatedtotheex-patriotcouple,theSlingsbyBethells,whoownedtheguesthousewheretheElgarsstayedyearafteryear.

Fiveofthesongsareintripletime,andonlythesecondone,FalseLove,soundsasadnote.TheyaregentleparodiesoftheBavarianstyle,illustratingthespiritofthelocaldances,ratherthancopiesortranslationsofactualfolksongs,andwerefirstperformedin1896attheWorcesterFestival.Elgararrangednumbers1,3and6asanorchestralsuitecalledThreeBavarianDances.

ProgrammeNotesbyJaneHawker

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1.TheDance(Sonnenbichl)

Comeandhastentothedancing,Merryeyeswillsoonbeglancing,Ha!Myheartupbounds!Comeanddanceamerrymeasure,Quaffthebrightbrownalemytreasure,Hark!Whatjoyoussounds!

Sweet-heartcome,onletushaste,On,on,notimeletuswaste,WithmyheartIlovethee!Dance,dance,forrestwedisdain,Turn,twirl,andspinroundagain,WithmyarmIholdthee!

Downthepaththelightsaregleaming,FriendlyfacesgladlybeamingWelcomeuswithsong.Dancingmakestheheartgrowlighter,MakestheworldandlifegrowbrighterAswedancealong!

2.FalseLove(Wamberg)

NowweheartheSpring'ssweetvoiceSinginggladlythro'theworld;Biddingalltheearthrejoice.

Allismerryinthefield,Flowersgrowamidthegrass,Blossomsblue,red,whitetheyyield.

AsIseekmymaidentrue,SingsthelittlelarkonhighFaintosendherpraisesdue.

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AsIclimbandreachherdoor,Ah!Iseearivalthere,Sofarewellforevermore!

EvertruewasItothee,Nevergrievedorvexedthee,love,False,oh!false,artthoutome.

Nowamidtheforestgreen,FarfromcrueleyesthatmockWillIdwellunloved,unseen.

3.Lullaby(InHammersbach)

Sleep,myson,oh!slumbersoftly,Whilethymotherwatcheso'erthee,Nothingcanaffrightorharmthee.Oh!sleep,myson.

Far-awayZithersplay,

Dancinggay,Callstoday.

VainlyplayZithersgay,HereIstayAlltheday.

HappilyGuardingthee,PeacefullyWatchingthee.

Sleep,myson,oh!slumbersoftly,Whilethymotherwatcheso'erthee,Oh!sleep,myson.

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4.Aspiration(AspirationbeiSanktAnton)

Overtheheightsthesnowliesdeep,Sunkisthelandinpeacefulsleep;HerebythehouseofGodwepray,Lead,Lord,oursoulstoday.

Shielding,likethesilentsnow,FallHismerciesherebelow.

Calmlythen,likethesnow-boundland,RestweinHisprotectinghand:Bowing,wewaitHismightywill,Lead,Lord,andguideusstill.

5.OntheAlm(HochAlp)

Amellowbellpealsnear,Ithassosweetasound;IknowamaidendearWithvoiceasfullandround.

Asunlitalmshinesclear,Withcloverblossomssweet;TheredwellsmymaidendearAndtheremyloveImeet.

ThereflyingwithnofearTheswallowspassallday,Andfast,mymaidendear,Seeschamoishasteaway.

Icannotlingerhere, Icannotwaitbelow;Toseekmymaidendear,I,tothealm,mustgo.

Themountain'scallIhear,AnduptheheightIbound;IknowmymaidendearWillmarkmyJuchhésound.

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RejoicingcomeIhereMyflaxen-hairedsweet-heart;Ilovethee,maidendear,Nay!bidmenotdepart!Notes:analmisahighmountainpasture.Juchhérepresentsthesoundofyodelling.

6.TheMarksmen(BeiMurnau)

Comefromthemountainside,Comefromthevalleyswide,See,howwemusterstrong,Trampingalong!

Rifleonshouldersling,Powderandbulletsbring,Manlyinmindandheart,Playweourpart.

Surebeeacheyetoday,Steadyeachhandmuststay,IfinthetrialweVictorswouldbe!

Sharpisthecrack!'tisdone!Lostisthechance,orwon;Rightinthegoldisit?Huzza!thehit!

ThesunwillsinkandlightthewestAndtouchthepeakswithcrimsonglow;ThenshadowsfillthevalewithrestWhilestarslookpeaceonallbelow.

Intriumphthenwetakeourway,Andwithourprizeshomewardwend;Throughmeadowssweetwithnew-mownhay,Asongexultantwillwesend.Interval

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KarlJenkins(b.1944)TheArmedMan:AMassForPeace

WelshcomposerKarlJenkinshasmusicinhisblood.Thesonofachapelorganistandchoirmaster,heplayedthepianoandoboeandbecamePrincipaloboistoftheNationalYouthOrchestraofWales.HereadmusicattheUniversityofWales,Cardiff,andwasapostgraduatestudentattheRoyalAcademyofMusic.LeavingtheAcademyhemadehisnameasajazzmusician,playingoboe,saxophone,pianoandkeyboards.Inthelate1960sheco-foundedthejazz-rockbandNucleusandin1972joinedSoftMachine,oneofthemostinfluentialbandsofitstime,whichpioneeredavarietyofinnovativemusicalstylesincludingprogressiverockandminimalism.

KarlJenkins'compositionsforthemedia,especiallyadvertising,notonlyearnedhimprestigiousindustryawardsbutintroducedhimtoethnicmusic,whichhasinformedhismusicallifeeversince.Hehasachievedglobalsuccesswithhismanychoralcompositionsandhasseventeengoldandplatinumdiscawards.In2005hewasawardedanOBE,aCBEin2010,andin2015hebecamethefirstWelsh-borncomposertoreceiveaknighthood,forhisservicestomusic.

Jenkinssaysthatheiscommittedtowritinggood,memorabletunes.Hedescribeshimselfasa'musicaltourist'whorejectstheconfinesofcategorisation.Heconfessestobeinganidealistandinfuseshisworkwithastrongspiritualdimension.Hehasbeencriticisedinmusicalcirclesforbeingtooaccessible,butpeopleallovertheworldwanttosingandlistentohismusic.

TheArmedMan:AMassForPeacewascommissionedbytheRoyalArmouries,theUK'sNationalMuseumofArmsandArmour,tocommemoratethemillennium.MasteroftheArmouriesatthetime,GuyWilson,puttogetheraseriesoftextsthatwouldreflecttheorganisation'sdesiretopromoteanunderstandingoftheconsequencesofwar,whilelookingaheadwithoptimismtoanewmillenniumofpeace.

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Theresultisamixtureofsacredandseculartexts,inavarietyofpoetryandprosestylesandfromdifferentcultures,allwithinthebroaderframeworkoftheChristianMass.JenkinstookupthechallengetoworkwiththeRoyalArmouriestocomposethemusic,anddedicatedittothevictimsofthewarinKosovothatwashappeningashewroteit.

1.TheArmedMan

Thecatalystfortheentirepiecewasthetuneofthefirstmovement,L'HommeArmé,asecularsongwritteninBurgundybetween1450and1463,bearingthemessagethatthearmedmanmustbefeared.ThissimplemelodywentontobecomewidelyusedbyRenaissancecomposersforsettingsoftheLatinMass,ensuringthatitsurvivedtothisday.JenkinsbuildstherhythmofthismovementwithrepetitionoftheshortlinesofFrenchtext.Themarchingfeetandmilitarydrumscontraststronglywiththevoicesofthechoir,theordinarypeoplewhosufferwhenthepowerfulgotowar.

L'homme,l'homme,l'hommearmé, L'hommearmé

L'hommearmédoitondouter,doitondouter.Onafaitpartoutcrier,QuechacunseviegnearmerD'unhaubregondefer.

Thearmedmanshouldbefeared.EverywhereithasbeenproclaimedThateachmanshallarmhimselfWithacoatofironmail.

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2.CalltoPrayers

InthismovementtheMuslimcalltoprayer,orAdhaan,issungjustasitisfivetimesaday,everyday,ineverymosqueintheworld.

AllahuAkbarAllahuAkbar

AllahuAkbarAllahuAkbar

AshaduAnLaIlla-L-LahAshaduAnLaIlla-L-Lah

AshaduAnnaMuhammadanRasulu-l-lahAshaduAnnaMuhammadanRasulu-l-lah

HayyaAla-s-salahHayyaAla-s-salah

HayyaAla-l-FalahHayyaAla-l-Falah

AllahuAkbarAllahuAkbar

LaIllahailla-lah

Allahisthegreatest.

IacknowledgethatthereisnogodbutAllah.

IacknowledgethatMuhammadisthemessengerofAllah.

Hastentoprayer.

Hastentosuccess.

Godisgreatest.

ThereisnogodbutAllah.

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3.Kyrie

TheKyrieisanelementoftheRequiemMasswhichasksfordivineblessinginthetraditionalGreektext.Incontrasttothesparseeffectofthefirsttwomovements,thesingersareaccompaniedbyafullerinstrumentalsound.Thelyricismandexpressionhaveacatharticeffect.Themiddlesectionofthemovement,whichJenkinsdescribesas'afterPalestrina',referstothesixteenth-centurycomposer'stwosettingsoftheL'HommeArmétune.

Kyrieeleison.Christeeleison.Kyrieeleison.

Lord,havemercy.Christ,havemercy.Lord,havemercy.

4.SaveMefromBloodyMen

SungbyunaccompaniedmalevoicesinthestyleofGregorianchant,SaveMefromBloodyMenimploresGodtosaveusfromthosewhowoulddousharm.ThetextistakenfromtwoPsalms.Thesuddendrumbeatinthefinalphraseremindsusoftheproximityofwarandthepieceendswithasenseofforeboding.

Bemercifuluntome,OGod:Formanwouldswallowmeup.Hefightingdailyoppressethme.Mineenemieswoulddailyswallowmeup:Fortheybemanythatfightagainstme.Othoumosthigh.Defendmefromthemthatriseupagainstme.Delivermefromtheworkersofiniquity,Andsavemefrombloodymen.

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5.Sanctus

TheSanctusisthepartoftheMassassociatedwiththeconsecrationofbreadandwine,andisoftengivenanetherealtreatment.Incontrast,Jenkinstakestheusualtext,ahymnofpraisetoGod,andinterweavesrestrained,chant-likelinesreminiscentofthefirstmovementwithsectionsofmorecomplexharmoniesandorchestration.Theeffectisunsettling;theaudiencenolongerhasanyideaofwhattoexpect.

Sanctus,sanctus,sanctus,DominusDeusSabaoth,Plenisuntcaelietterragloriatua.Hosannainexcelsis.

Holy,holy,holy,LordGodofHosts.Heavenandeartharefullofyourglory.Hosannainthehighest.

6.HymnBeforeAction

Thefeelingofuncertaintyisheightenedinthismovement,inwhichwearesweptalongbythebroad,theatricalmelody,onlytobeoverwhelmedbyRudyardKipling'swords,whichtalkoftheneedforsacrificeintimesofwar,andendwiththepoignantappeal:'Lordgrantusstrengthtodie!'

Theearthisfullofanger,Theseasaredarkwithwrath,TheNationsintheirharnessGoupagainstourpath:EreyetweloosethelegionsEreyetwedrawtheblade,JehovahoftheThunders,LordGodofBattles,aid!

Highlustandfrowardbearing,Proudheart,rebelliousbrowDeafearandsouluncaring,

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WeseekThymercynow!ThesinnerthatforsworeThee,ThefoolthatpassedTheeby,OurtimesareknownbeforeTheeLordgrantusstrengthtodie!

7.Charge!

Nowthereisnodoubtthatwarwillensue,andinCharge!theagitatedmusicechoesthemomentumofthebattle.ThetextisbasedonJohnDryden'sASongforStCecilia'sDayof1687.Asthecacophonyofwarbuildstoacrescendo,thesingersaredirectedto'conveyhorror'withrandomcriesandoutpouringsofgrief.AnunsettlingsilenceisfollowedbytheLastPost,traditionallyplayedtomarktheendofthemilitarydayandatceremoniestocommemoratethewardead.

Thetrumpet'sloudclangourexcitesustoarms,Withshrillnotesofangerandmortalalarms.

Howblestishewhoforhiscountrydies.

ThedoubledoublebeatofthethunderingdrumcriesHark!thefoescome;Charge,'tistoolate,toolatetoretreat!

Howblestishewhoforhiscountrydies.

ThedoubledoublebeatofthethunderingdrumcriesHark!thefoescome;Charge,'tistoolate,toolatetoretreat!Charge.

8.AngryFlames

InthismovementJenkinsevokestheeerysilenceoftheaftermathofwar.TheeffectsofmassdestructionaredescribedinthestarkwordsofJapanesepoetTogeSankichi,whowasinHiroshimaatthetimeoftheatomicbombandwhodiedin1953ofleukaemiacausedbyexposuretoradiation.

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PushingupthroughsmokeFromaworldhalfdarkenedbyover-hangingcloud,TheshroudthatmushroomedoutAndstruckthedomeofthesky,Black,red,blue,Danceintheair,Merge,Scatterglitteringsparks,alreadytoweroverthewholecity.QuiveringlikeseaweedThemassofflamesspurtsforward.Poppingupinthedensesmoke,Crawlingoutwreathedinfire,Countlesshumanbeingsonallfours,Inaheapofembersthateruptandsubside,Hairrent,Rigidindeath,Theresmouldersacurse.

9.Torches

Thismovementisareminderthatdevastationonthisscaleisnotamodernphenomenon.TorchesisanexcerptfromtheepicSanskritpoemTheMahabharata.Itportraysingraphicdetailthehorrorsofwarinflictedonhumansandanimals,the'livingtorches'.

Theanimalsscatteredinalldirections,screamingterriblescreams.Manywereburningotherswereburnt.Allwereshatteredandscatteredmindlessly,theireyesbulging.Somehuggedtheirsons,otherstheirfathersandmothers,unabletoletthemgo,andsotheydied.Othersleaptupintheirthousands,facesdisfiguredandwereconsumedbythefire.

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Everywherewerebodiessquirmingontheground,wings,eyesandpawsallburning.Theybreathedtheirlastaslivingtorches.

10.AgnusDei

Inacompletechangeofmood,theAgnusDeiremindsusofthehopeofredemptionfromsinthroughChrist.ThegentlemelodyandtraditionalLambofGodlitanyisthepartoftheMasswhenbreadisbroken.Itasksthatwebegrantedfirstmercyandfinallypeace.

AgnusDei,Quitollispeccatamundi,Misererenobis.AgnusDei,Quitollispeccatamundi,Donanobispacem.

LambofGod,whotakesawaythesinsoftheworld,havemercyuponus.LambofGod,whotakesawaythesinsoftheworld,grantuspeace.

11.NowtheGunshaveStopped

ThisshortmovementactsasaninterludeinwhichGuyWilson'swordsconveythefeelingsofasurvivorofwarwhosecomradesdidnotcomehome.

Silent,sosilent,now,Nowthegunshavestopped.Ihavesurvivedall,IwhoknewIwouldnot.Butnowyouarenothere.Ishallgohomealone;

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AndmusttrytolivelifeasbeforeAndhidemygrief.Foryou,mydearestfriend,whoshouldbewithmenow,Notcold,toosoon,Andinyourgrave,Alone.

12.Benedictus

Apoignantcellosolobeginsthismovement,thepartoftheMassinwhichfaithisaffirmed.Thechoirsingsquietlyatfirst,butthereisasuddenchangetofortissimoasthesingersproclaim'Hosannainexcelsis'.Thehealingprocesshasbegun,preparingforthereturntotheoriginalfifteenth-centurythemeinthefinalmovement,butthistimetocelebratepeace.

Benedictus,benedictusQuivenitinnomineDominiHosannainexcelsis.

BlessedishewhocomesinthenameoftheLord.Hosannainthehighest.

13.BetterisPeace

Jenkins'musicaldirectionforBetterisPeaceisgiocoso,merryandjocular.ItbeginswithMalory'saccountinLeMorted'ArthurofLancelotandGuinevere'sdeclarationthat'Betterispeacethanalwayswar',sungtotheL'HommeArmétune.ThenTennyson'swordsfromhispoemRingOut,WildBellsof1850joyfullyproclaimthatathousandyearsofwarcanheraldanewmillenniumofpeace.Thefinalsectionbringsanotherchangeofmood,alyrical,hymn-likesetting,sungunaccompanied,oftextfromtheBookofRevelationthatwecanovercomedeathandsuffering.

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Betterispeacethanalwayswar,Andbetterispeacethanevermorewar,alwayswar,alwayswar,betterispeacethanevermorewar,andbetterandbetterispeace.

L’homme,l'homme,l'hommearmé,L'hommearmédoitondouter?

Ringoutthethousandwarsofold.Ringinthethousandyearsofpeace.Ringouttheold,ringinthenew,Ringhappybellsacrossthesnow.Theyearisgoing,lethimgo,Theyearisgoing,lethimgo.Ringoutthefalse,ringinthetrue,Ringoutoldshapesoffouldisease.Ringoutthenarrowinglustofgold;Ringoutthethousandwarsofold,Ringinthethousandyearsofpeace.Ringinthevaliantmanandfree,Thelargerheart,thekindlierhand.Ringoutthedarknessoftheland,RingintheChristthatistobe.Theyearisgoing,lethimgo,Theyearisgoing,lethimgo.Ringoutthefalse,ringinthetrue.

GodshallwipeawayalltearsAndthereshallbenomoredeath,Neithersorrownorcrying,Neithershalltherebeanymorepain.

PraisetheLord,PraisetheLord,PraisetheLord.

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CathalGarveyhailsfromIrelandwherehemadehisnameasachoralandorchestralconductor.

SincemovingtoLondonin2009,hehasconductedSouthernSinfonia,LondonInternationalOrchestra,CoventGardenChamberOrchestra,IMaestri,LondonRepertoireOrchestra,LondonMedicalOrchestra,King'sCollegeLondonSymphonyOrchestraandMorleyCollegeChoir.HewasalsoChorusMasterand

AssistantConductorfortwoseasonsatGrangeParkOpera.HeiscurrentlyontheconductingstaffoftheRoyalAcademyofMusic.

CathalbeganhiscareerasanOperaChorusMasterworkingformostofIreland’smajoroperacompaniesincludingOperaIreland,OperaTheatreCompany,AnnaLiviaOperaFestival,OperaSouthandLyricOpera.Forthesecompanieshehasworkedonoverfiftyproductions,includingLaBohème,Iltrovatore,BorisGodunov,Aïda,LadyMacbethofMtsensk,Hérodiade,Larondine,MadamaButterfly,TheFlyingDutchman,TheSilverTassie,Cavalleriarusticana,Tosca,DonCarlo,Latraviata,Carmen,Macbeth,Faust,Martha,TheQueenofSpades,AndreaChénier,Jenůfa,Rigoletto,OrfeoedEuridice,LaCenerentola,Fidelio,DonPasquale,ThePearlFishersandLuciadiLammermoor.HeactedasAssistantConductorformanyoftheseproductionsandhasalsoconductedseveralmusicalsinCorkandDublin.

DuringhistenyearsinDublin,CathalconductedtheNationalSymphonyOrchestraofIreland,theRTÉConcertOrchestra,theOrchestraofStCecilia,theUlyssesOrchestra,theIrishSinfonia,theDublinBaroquePlayers,theRoyalIrishAcademyofMusicWindEnsemble,DublinConcertBand,theRTÉPhilharmonicChoir,BrayChoralSocietyandfrom2001to2006wasPrincipalConductoroftheDublinOrchestralPlayers.

CathalGarvey—MusicalDirector

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From2004to2009hewasMusicalDirectoroftheDunLaoghaireChoralSocietywithwhomhehadahighlysuccessfultenure,coveringawiderangeofsacredmusicandoratorios.DuringthistimehebecameanotedchampionofBritishmusic,conductingmanyworksbyElgar,Delius,Britten,Tippett,Stanford(Irish!)and,inparticular,VaughanWilliamswithwhosemusichehasaspecialaffinity.Athis2005debutconcertwithDunLaoghaireChoralSociety,theIrishTimeswrote:

"CathalGarveyisayoungconductorknockingatthedoor.HismostprominentachievementtodatehasbeenhistransformingimpactatOperaIreland….Garveynotonlyhasgoodmusicalinstinctsbutalsothetechnicalproficiencytocommunicatethemtohischoirandplayers."

CathalbeganviolinandpianostudiesinhisnativeCorkatanearlyage,continuingattheCorkSchoolofMusicandlaterreadingmusicatUniversityCollegeCork.AftercompletinghisMastersDegreeinConductinghestudiedfortwoyearsattheprestigiousCollegeofMoscowConservatory.

Asaviolinist,CathalwasamemberoftheNationalYouthOrchestraofIrelandandhasplayedprofessionallywithnumerousorchestrasincludingtheNationalSymphonyOrchestraofIrelandandtheGerman-basedPhilharmoniaoftheNations.HecurrentlyworksasafreelanceplayerinLondon.

Asachorister,Cathalhassungandtouredwithmanylargechoirsandchamberchoirs,amongthemtheIrishYouthChoir,UniversityCollegeCorkChoir,Madrigal'75andtheCollegeofMoscowConservatoryChoir.

NewburyChoralSocietywasdelightedtoappointhimasitsMusicalDirectorin2009.

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Stevestudiedorganandpianofromanearlyage,playingtheorganregularlyatStFrancisandStAndrewschurchesinCoulsdon.

AfterstudyingEngineeringatSalfordUniversityhemovedtoNewburytoworkforVodafone.In1991StevewasappointedasaccompanistoftheCromwellSingersandbecametheirmusicaldirectorin1993.From1992,hewasDirectorof

MusicatStMary'sChurch,Shaw-cum-Donnington,andregularlyaccompaniesforlocalchoirs,includingtheDouaiChoralSociety,theDownlandChorale,theRSCMSouthernCathedralSingers,BerkshireMaestrosyouthchoirs,WorcesterCollegeOxfordandNewburyChoralsociety.

InJune1995anopportunityatworktookStevetoliveinHolland.OnreturningtoNewburyin1997hereturnedtoStMary'sShaw-cum-Donningtonasorganist.HeisaregularperformerintheNewburyandDistrictOrganists'AssociationlunchtimerecitalseriesandhasalsogivenrecitalsinThaxted,CaterhamandManchesterandFarnham.In2001hewasappointedMusicalDirectoroftheSandhamSingers.

In2006StevejoinedtheRoyalCollegeofOrganists,andinJulythefollowingyeartooktheexaminationforAssociate(ARCO)inwhichhewasawardedtheLimpusprizeforperformance,aswellastheSowerbuttsandSamuelBakerprizes.Afterfurtherstudy,hewasawardedtheFellowshipdiploma(FRCO)inJanuary2011.

SteveBowey-Accompanist

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SouthernSinfonia’sreputationcontinuestogrowastheleadingprofessionalChamberOrchestraintheSouthofEngland.WithSirRogerNorringtonasitsPatronandDavid

HillasitsMusicDirector,theorchestrawasestablishedin1990andisbasedinSomersetandBerkshire.

ItsuniqueabilitytoplaymodernandBaroqueinstruments,andthereforemusicfromthe1600stothepresentday,atthecorrectpitchandwithinformedplayingstyle,putsitinhugedemand,asdoesitscommitmenttocontemporaryandnewmusic.TheorchestraisOrchestrainResidenceattheCornExchangeandtheUniversityofWinchester,hasanassociationwithReadingUniversity,andperformsinvenuesthroughoutEngland,includingLondon,Wells,Exeter,Canterbury,Cambridge,NottinghamandRomsey.

AswellasregularorchestralconcertsandperformanceswiththeSouthofEngland’smostestablishedchamberchoirsandchoralsocieties,theorganisationrunsbiennialYoungandOlderMusicianoftheYearcompetitions,providesaperformanceplatformfortheHampshireSingingCompetitionwinnerandrunsregularandextensiveeducationalprogrammes,aswellasapopularlunchtimeseriesofCaféConcerts.SouthernSinfonia’smostrecentreleasesincludetheMonteverdiVespers,ontheSignumlabel,theworldpremiereofCarlRütti’sRequiem(Naxos),andtheBachBMinorMass,withRalphAllwoodandtheRodolfusChoir(Signum).

Forfurtherinformationabouttheorchestra,sponsorshipopportunitiesortobecomeaFriendoftheorchestrapleaseemailinfo@southernsinfonia.co.uk

SouthernSinfonia

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HonoraryLifePatron:LadyKnillChairperson:LizWallace Secretary:NatSmithTreasurer:TracySmith ConcertManager:MikeBarthorpeRehearsalaccompanist:SteveBowey

SOPRANOS ALTOS RachelAtkinsonRebeccaBergerHelenBomgardnerTeresaBrownChristineCastleMarionCroxfordAnnDoyleSarahFoleyJanetFreerEllieGibsonGillHitchcockMonicaHuddieMurrieJacksonLauraineLeighKlugmanBeverleyLewisPennyLovelockKatieMasseyLynneMooreDebbieMurphy

MargaretOwenPaulinePhillipsLauraRushtonTaylorBrigittaSmallSarahSouthPatriciaStewartJudithStockFenisiaStopherHeatherYule

KatharineAndrewsGayleAshbyMargaretBakerHilaryBanksDeniseBarthorpeJaquieBaskerAngelaBatesJaneBurgessHelenCookJacquieCooperLizCoughlanHelenDouglassNicolaFosterMargaretFreemanElizabethHanningLynetteHarperJaneHawkerJennyHaywardMavisHughesdonGwendaHutchinson

KikiKettunenCeinwenLallyMaryLawlerEmmaLeaderClareOwenSusannePadelBridgetPurrGeorginaSeamanSallySinclairNatSmithTracySmithAnnTurnerVicciVaughanAnnVoddenLizWallaceSallyWalshMargaretWrightMargaretYates

TENORS BASSES

PeterAngwinMikeBarthorpeMatthewEvansRussellGeorgeDerekHarwoodNicLampkinRichardPapworth

NeilRendallAndrewSalisburyTonyVickersAngelaWhitcombJeremyWrightNickYates

GeraldAtkinsonRobinBaskerPeterBellDavidBomgardnerMikeBraideDavidCraigPeterDonnellyJohnGarbuttPaulHigh

DavidHuntAlexanderJacksonRichardMooreBrendanMurphyAndrewParkerBarrieSeamanJonTrickeySimonWake

NewburyChoralSocietyMembers