Aldeburgh Music Club

VERDIREQUIEM

Saturday 19 May 2012

Aldeburgh Music Clubfounded by Benjamin Britten in 19526 0 Y E A R S O F M U S I C M A K I N G

w w w. a l d e b u r g h m u s i c c l u b . o r g . u k

FROM THE DIRECTOR OF MUSIC

A warm welcome to you for the third concert in the Aldeburgh Music

Club’s 60th Anniversary Season!

November 2012 saw a performance of Mendelssohn’s Elijah here at

Snape and in March our concert at Orford Church included the first

performance of a newly commissioned piece, Merman, by our

composer-in residence Joanna Lee to celebrate the 60th Anniversary.

Tonight the Verdi Requiem sees the performance of another one of the

major works of the choral repertoire. Whichever way you may view and

listen to the Requiem it is undoubtedly a great work. Wonderful choral

writing, amazingly moving and plangent solos for all four soloists, a

vivid and exciting orchestral score and a deeply felt personal tribute by

Verdi.

Tonight is a joint concert with Phoenix Singers, who are based in

Framlingham. It is a great pleasure and privilege for me to be conducting

both choirs in this evenings performance.

The celebratory note continues in our next season with performances

here at Snape Maltings on Saturday 1st December of Handel’s Messiah,

on Saturday 23rd March 2013 of Mozart’s Requiem and our concert to

mark the Centenary of the birth of Benjamin Britten on Sunday 24th

November, which includes another first performance of a commissioned

work by Joseph Phibbs.

Thank you for being with us tonight and please join us for our other

exciting concerts over the coming eighteen months.

Edmond Fivet

Aldeburgh Music Club dedicates this concert to the memory of

Christopher Bunbury, AMC member and Patron.

W E L C O M E

Saturday 19 May 2012 at 7.30pm

Snape Maltings Concert Hall

VERDIREQUIEM

Linda Richardson soprano

Catherine Carby mezzo soprano

James Edwards tenor

James Oldfield bass-baritone

Aldeburgh Music Club ChoirPhoenix Singers

Prometheus Orchestra

Edmond Fivet Conductor

Aldeburgh Music Clubfounded by Benjamin Britten in 1952

Aldeburgh Mus ic C lub i s a Reg is te red Char i t y No 1000990

6 0 Y E A R S O F M U S I C M A K I N GCharity No 1076549

FROM THE CHAIR – ALDEBURGH MUSIC CLUB

Welcome to our concert this evening in which we are delighted to be joined by

Phoenix Singers and the Prometheus Orchestra. Verdi Requiem is a thrilling

work for both audience and performers. This dramatic work speaks of heaven

and hell, fire and earth, darkness and light in music that is theatrical and

devotional. With 4 leading soloists and a choir of approximately 180 singers,

we are looking forward to a very special evening.

Aldeburgh Music Club is indebted to the generous support of over 120

Patrons, donations from the George Frederick Harris Trust, Sabona Company

and The Wentworth Hotel, and to our corporate sponsors, Suffolk Cottage

Holidays and Big House Holidays for their generous support.

David R Smith

FROM THE CHAIR – PHOENIX SINGERS

I extend a welcome to all our supporters, friends and families as well as to

sponsors and patrons who have joined us tonight. The pleasure we derive

from singing in this concert hall is much in evidence and we hope that you

share this enthusiasm. We are delighted to sing Verdi Requiem with the

Aldeburgh Music Club accompanied by the Prometheus Orchestra. We have

had joint productions several times before in our history. Our shared musical

director is Edmond Fivet, and it is a privilege to be trained by him. None of

this would be possible without the generosity of patrons, fund raisers and the

choir itself.

John Francis

W E L C O M E

M U S I C

Guiseppe Verdi 1813-1901Requiem Massfor soloists, double chorus and orchestra

Verdi completed his Requiem in 1873; it was inspired bythe deaths of two great Italians, the composer Rossiniand the poet Manzoni. Though an agnostic and hostileto the official Catholic church, Verdi was neverthelessdeeply attracted by the dramatic and spiritual conceptscontained in the Latin text of the Catholic service for thedead. He wrote for four soloists, a large but flexiblechorus and a full symphony orchestra with augmentedtrumpets and a massive bass drum. These notesintroduce the different sections of the Requiem, followedby the complete text with English translation.

The Requiem begins with a hushed prayer for the souls of the dead to be grantedeternal rest (Requiem aeternam), interrupted by a first expression of praise for God(Te decet hymnus), but then returning to the opening. The movement closes with thethreefold prayer of the daily Mass (Kyrie eleison), in which the soloists enter for thefirst time: this expands to the work’s first climax, but ends quietly.

The Dies irae sequence (ten sections) opens with an awe-inspiring choral descriptionof the “day of wrath”, on which the world will be turned to ashes and all will bebrought to judgement. Fanfares, in the orchestra and in the distance, herald theprediction of the last trumpet (Tuba mirum). The solo bass recounts how all creation,even death itself, will stand amazed (Mors stupebit). The mezzo-soprano has anextended aria describing the book of record on which the judgement will be based(Liber scriptus). The chorus’s mutterings of “Dies irae” through this section break outbriefly into a reprise of the opening of the movement. At this point, prediction turns tosupplication, and over a plaintive bassoon obbligato the soloists ask who will speak onbehalf of the sinner brought to judgement (Quid sum miser). The chorus and soloistsaddress the king of majesty to plead for salvation (Rex tremendae). The female soloistspray to merciful Jesus for redemption (Recordare). The solo tenor continues theprayer, acknowledging guilt, and asking Jesus, who pardoned Mary Magdalen and thethief crucified with Him, to place him at God’s right hand (Ingemisco). The bass asksthat, when the damned have been consigned to the flames, he will be called with theblessed, and humbly places his future in God’s hands (Confutatis). A last return of theDies irae precedes the closing Lacrimosa for soloists and chorus, a final fervent plea to

M U S I C

be spared on that day of weeping, closing with another prayer for the dead to begranted eternal rest.

The Offertorium, for the soloists, consists of two main parts and an epilogue. The firstpart, Domine Jesu Christe, is a prayer for the souls of the dead to be freed from thepains of hell, and – with a change of mood at the radiant entry of the soprano – to bebrought by St Michael into the holy light, as God promised to Abraham. The secondpart, Hostias, is a solemn offering of “sacrifices and prayer” on behalf of the departed,with the same conclusion, “Quam olim Abrahae”, but followed by a coda returning tothe melody of the opening of the movement.

Sanctus. In most Mass settings, the Sanctus (“Holy, holy, holy, Lord God of Sabaoth”)and Benedictus (“Blessed is he that cometh in the name of the Lord”) are treated asseparate movements, with a common “Osanna” refrain. But Verdi throws themtogether in an intricate fugue for double choir, with a calm middle section and apowerful conclusion.

The Agnus Dei, a prayer to the “lamb of God” for the repose of the departed, is a seriesof varied repetitions of the opening unaccompanied melody, for the female soloistsand the chorus in alternation and finally together.

The Lux aeterna, for the mezzo-soprano, tenor and bass soloists, repeats and amplifiesthe earlier prayers for light and rest “with Thy saints in eternity”. Light-filled texturespredominate, offset by the darker colouring associated with the bass’s “Requiemaeternam”.

Libera me. The solo soprano is joined by the chorus for the final movement. Unlike theprevious prayers for intercession on behalf of the departed souls, this is a personal pleafor salvation on the day of judgement. Verdi sets it in agitated declamation for thesoloist, echoed quietly by the chorus; hollow bassoons introduce a fearful aria.References in the text to earlier passages prompt recalls of previously heard music: firstthe chorus’s dramatic Dies irae, then the opening “Requiem aeternam”, now set forsoloist and chorus, unaccompanied. At this point Verdi returns to the start of the“Libera me” text, but this time the soprano’s declamation introduces an urgent choralfugue, which later broadens in tempo as the soprano rejoins the ensemble, rising to analmost unbearable pitch of intensity. A hushed resumption of the fugue soon gives wayto the soprano’s expressive long phrases; but the basses launch another build-up,culminating in a great cry of “Lord, deliver me from everlasting death on that dreadfulday”. In the aftermath of this, soloist and chorus are reduced to quiet broken phrases,and finally to a hushed monotone utterance: “Libera me”. Programme notes by Anthony Burton © 2010.

Reproduced by kind permission of Anthony Burton.

I. Requiem 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 meam:ad te omnis caro veniet.

Quartet and Chorus:Kyrie eleison.Christe eleison.Kyrie eleison.

II. Sequence

Chorus: Dies irae, dies illa,solvet saeclum in favilla,teste David cum Sibylla.

Quantus tremor est futurus,quando judex est venturus,cuncta stricte discussurus!

Tuba mirum spargens sonum,per sepulcra regionum,coget omnes ante thronum.

Bass: Mors stupebit et natura,cum resurget creatura,judicanti responsura.

Mezzo-soprano and Chorus: Liber scriptus proferetur,in quo totum continetur,unde mundus judicetur.

Judex ergo cum sedebit,quidquid latet apparebit:nil inultum remanebit.

Dies irae, dies illa,solvet saeclum in favilla,teste David cum Sibylla.

I. Requiem and Kyrie

Chorus: Grant them eternal rest, O Lord; and may perpetual light shine upon them.A hymn in Zion befits you, O God, and a debt will be paid to you in Jerusalem. Hear my prayer: all earthly flesh will come to you.

Quartet and Chorus:Lord, have mercy upon us. Christ, have mercy upon us. Lord, have mercy upon us.

II. Sequence

Chorus: The day of wrath, that day will dissolve the world in ashes, as David and the Sibyl prophesied.

How great will be the terror, when the Judge comes who will smash everything completely!

The trumpet, scattering a marvelous sound through the tombs of every land, will gather all before the throne.

Bass: Death and Nature shall stand amazed, when all Creation rises again to answer to the Judge.

Mezzo-soprano and Chorus: A written book will be brought forth, which contains everything for which the world will be judged.

Therefore when the Judge takes His seat, whatever is hidden will be revealed: nothing shall remain unavenged.

The day of wrath, that day will dissolve the world in ashes, as David and the Sibyl prophesied.

M U S I C

Soprano, Mezzo-soprano and Tenor: Quid sum miser tunc dicturus?Quem patronum rogaturus,cum vix justus sit securus?

Solo Quartet and Chorus: Rex tremendae majestatis,qui salvandos salvas gratis:salva me, fons pietatis.

Soprano and Mezzo-soprano: 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 ultionis:donum fac remissionisante diem rationis.

Tenor: Ingemisco tamquam reus,culpa rubet vultus meus;supplicanti parce, Deus.

Qui Mariam absolvisti,et latronem exaudisti,mihi quoque spem dedisti.

Preces meae non sunt dignae,sed tu, bonus, fac benigne,ne perenni cremer igne.

Inter oves locum praesta,et ab haedis me sequestra,statuens in parte dextra.

Bass and Chorus: Confutatis maledictis,flammis acribus addictis,voca me cum benedictis.

Oro supplex et acclinis,cor contritum quasi cinis:gere curam mei finis.

Soprano, Mezzo-soprano and Tenor: What can a wretch like me say? Whom shall I ask to intercede for me, when even the just ones are unsafe?

Solo Quartet and Chorus: King of dreadful majesty. who freely saves the redeemed ones, save me, O fount of pity.

Soprano and Mezzo-soprano: Recall, merciful Jesus, that I was the reason for your journey: do not destroy me on that day.

In seeking me, you sat down wearily; enduring the Cross, you redeemed me: do not let these pains to have been in vain.

Just Judge of punishment: give me the gift of redemption before the day of reckoning.

Tenor: I groan as a guilty one, and my face blushes with guilt; spare the supplicant, O God.

You, who absolved Mary Magdalen, and heard the prayer of the thief, have given me hope, as well.

My prayers are not worthy, but show mercy, O benevolent one, lest I burn forever in fire.

Give me a place among the sheep, and separate me from the goats, placing me on your right hand.

Bass and Chorus: When the damned are silenced, and given to the fierce flames, call me with the blessed ones.

I pray, suppliant and kneeling, with a heart contrite as ashes: take my ending into your care.

Chorus:Dies irae, dies illa,solvet saeclum in favilla,teste David cum Sibylla.

Solo Quartet and Chorus: Lacrymosa dies illa,qua resurget ex favilla,judicandus homo reus.Huic ergo parce, Deus.

Pie Jesu Domine:dona eis requiem.Amen.

III. Offertorio

Quartet: Domine Jesu Christe, Rex gloriae:libera animas omnium fideliumdefunctorum de poenis inferniet de profondo lacu; libera eas de ore leonis; ne absorbeat eas tartarus,ne cadant in obscurum. Sed signifer sanctus Michaelrepraesentet eas in lucem sanctam. Quam olim Abrahae promisisti et semini ejus.

Hostias et preces tibi, Domine, laudis offerimus. Tu suscipe pro animabus illis, quarum hodiememoriam facimus. Fac eas, Domine, de morte transire ad vitam, quam olim Abrahae promisisti et semini ejus.

Libera animas omnium fidelium defunctorumde poenis inferni; fac eas de morte transire ad vitam.

IV. Sanctus

Double Chorus: Sanctus, sanctus, sanctus, Dominus DeusSabaoth. Pleni sunt coeli et terra gloria tua. Hosanna in excelsis!Benedictus qui venit in nomini Domini. Hosanna in excelsis!

Chorus:The day of wrath, that day will dissolve the world in ashes, as David and the Sibyl prophesied.

Solo Quartet and Chorus: That day is one of weeping, on which shall rise from the ashes the guilty man, to be judged. Therefore, spare this one, O God.

Merciful Lord Jesus: grant them peace. Amen.

III. Offertorio

Quartet: O Lord Jesus Christ, King of Glory: deliver the souls of all the faithful dead from the pains of hell and from thedeep pit; deliver them from the mouth of the lion; that hell may not swallow them, and that they may not fall into darkness. But may the holy standard-bearer Michael show them the holy light; which you oncepromised to Abraham and his descendents.

We offer to you, O Lord, sacrifices and prayers. Receive them on behalf of those souls whom wecommemorate today. Grant, O Lord, that they might pass from deathinto that life which you once promised to Abraham and hisdescendents.

Deliver the souls of all the faithful dead from thepains of hell; Grant that they might pass from death into that life.

IV. Sanctus

Double Chorus: Holy, holy, holy, Lord God of Sabaoth. Heaven and earth are filled with your glory. Hosanna in the highest! Blessed is he that comes in the name of the Lord. Hosanna in the highest!

M U S I C

V. Agnus Dei

Soprano, Mezzo-soprano, and Chorus: Agnus Dei, qui tollis peccata mundi, dona eisrequiem.Agnus Dei, qui tollis peccata mundi, dona eisrequiem sempiternam.

VI. Lux aeterna

Mezzo-soprano, Tenor and Bass: Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternum; quia pius es.

Requiem aeternam dona eis, Domine, et luxperpetua luceat eis, cum sanctis tuis in aeternum; quia pius es.

VII. Libera me

Soprano and Chorus: Libera me, Domine, de morte aeterna in die illatremenda; quando coeli movendi sunt et terra: dum veneris judicare saeclum per ignem.

Tremens factus sum ego et timeo, dum discussiovenerit atque ventura ira, quando coelimovendi sunt et terra.

Dies irae, dies illa calamitatis et miseriae; diesmagna et amara valde.

Requiem aeternam, dona eis, Domine, et luxperpetua luceat eis.

Libera me, Domine, de morte aeterna in die illatremenda.

Libera me, Domine, quando coeli movendi suntet terra; dum veneris judicare saeclum per ignem.

Libera me, Domine, de morte aeterna in die illatremenda.Libera me.

V. Agnus Dei

Soprano, Mezzo-soprano, and Chorus: Lamb of God, who takes away the sins of theworld, grant them rest.Lamb of God, who takes away the sins of theworld, grant them rest everlasting.

VI. Lux aeterna

Mezzo-soprano, Tenor and Bass: Let eternal light shine upon them, O Lord, with your saints forever; for you are merciful.

Grant them eternal rest, O Lord, and mayperpetual light shine upon themwith your saints forever; for you are merciful.

VII. Libera me

Soprano and Chorus:Deliver me, O Lord, from eternal death onthat awful day, when the heavens and theearth shall be moved: when you will cometo judge the world by fire.

I tremble, and I fear the judgment and thewrath to come, when the heavens and theearth shall be moved.

The day of wrath, that day of calamity andmisery; a great and bitter day, indeed.

Grant them eternal rest, O Lord, and mayperpetual light shine upon them.

Deliver me, Lord, from eternal death on thatawful day.

Deliver me, O Lord, when the heavens and theearth shall be moved; when you willcome to judge the world by fire.

Deliver me, Lord, from eternal death on thatawful day. Deliver me.

P E R F O R M E R S

EDMOND FIVET conductor

Edmond Fivet has been a major force in British music education, having

been Director of the Royal College of Music Junior Department and

serving, for eighteen years, as Principal of the Royal Welsh College of

Music and Drama.

Edmond was appointed Musical Director of Aldeburgh Music Club in

2008 and of the Phoenix Singers in 2009. Concerts have included

Handel Messiah; Mozart Mass in C Minor and Coronation Mass; Rossini

Petite Messe; Walton Belshazzar’s Feast; Haydn Creation; Fauré Requiem;

Haydn Nelson Mass; Schubert Masses in G and E flat; Orff Carmina

Burana, Lambert Rio Grande and Mendelssohn Elijah.

2008 saw the formation of the Prometheus Orchestra, which Edmond

conducts, and which has given concerts in Ipswich, Bury St Edmunds,

Aldeburgh, Orford, Framlingham, Woodbridge and Snape Maltings.

Programmes have included a range of Haydn, Schubert and Beethoven

symphonies and works by Elgar, Grieg, Wagner, Alwyn, Mozart, Elis

Pehkonen, Christopher Wright, Gordon Crosse and Mendelssohn. In

2010 and 2011 the orchestra took part in the Ipswich School Festival of

Music and played a major role in the 2011 William Alwyn Festival. The

Orchestra’s most recent concerts were in March this year with a

programme that included Haydn’s D major ‘cello concerto and

Beethoven’s Eroica Symphony.

A widely experienced adjudicator, examiner and consultant, Edmond

has worked at home and overseas.

Edmond is Chairman of the Bury St Edmunds Concert Club and Chair

of Making Music’s Concert Promoters Group.

He was appointed a CBE in the 2008 Queen’s Birthday Honours for

services to music and education.

P E R F O R M E R S

LINDA RICHARDSONsoprano

Linda Richardson was born in Cheshire and studied at the Royal

Northern College of Music, where she was a Peter Moores Foundation

Scholar and winner of the Frederic Cox Award, and then at the National

Opera Studio.

An English National Opera Company Principal between 1997 and 2005,

she performed many leading roles. Elsewhere she has sung Karolka

Jenufa, Mimi, Nanetta Falstaff, Pamina Die Zauberflöte, Countess

Marriage of Figaro, Violetta La Traviata with Opera North, Lisetta La

Vera Constanza at Garsington, Norina Don Pasquale for Clonter Opera,

Fairy Queen in Barcelona, First Niece Peter Grimes at Netherlands Opera

and Amina in Opera Holland Park’s La Sonnambula.

She performs extensively on the oratorio and concert platform, and is a

frequent recitalist, having sung at the Newbury, Three Choirs and

Arundel Festivals. Other concert work includes Missa Solemnis, Brahms

Requiem with the Northern Sinfonia, Messiah with the English Chamber

Orchestra in Spain and Britten’s Les Illuminations with the Netherlands

Radio Chamber Orchestra. Recent concerts include an Italian Gala with

the City of Birmingham Symphony Orchestra conducted by Carl Davis,

Carmina Burana at the Royal Festival Hall and she has appeared as a

guest soloist on Friday Night is Music Night on BBC Radio 2. Linda

appeared as Annie in Jonathan Dove’s TV opera When She Died on

Channel 4. Recordings include Hearts and Flowers, a collection of

Victorian Parlour Songs, and Oscar Un Ballo in Maschera for Chandos.

Most recent and current plans include Gilda at Opera North, Countess

throughout UK and France with Diva opera, Katya Kabanova with ETO,

Mimi La Bohème with Opera Holland Park, Alice Falstaff and Cio-Cio

San Madame Butterfly Longborough Festival Opera, Mrs Coyle Owen

Wingrave Nuremburg International Music chamber Festival and Alice

Falstaff with Holland Park Opera.

CATHERINE CARBYmezzo soprano

Australian mezzo-soprano Catherine Carby studied at the Canberra

School of Music and the Royal College of Music, London.

She has performed with major opera companies including Opera

Australia, Opera Queensland, Victoria State Opera and West Australian

Opera in roles including Romeo I Capuleti e i Montecchi, Countess

Geschwitz Lulu, for which she was nominated for a Green Room Award,

Hippolyta A Midsummer Night’s Dream, the title role in Carmen, Mallika

Lakmé, Arsace Partenope, Nicklausse Les contes d’Hoffmann, Prince

Orlofsky Die Fledermaus, Octavian Der Rosenkavalier and Fenena

Nabucco.

International concert and recital engagements have included

performances with the Melbourne and Queensland Symphony

Orchestras, the New Zealand Symphony Orchestra, the Sydney

Philharmonia and the Tasmanian Symphony Orchestra.

Her recordings include The Love of Three Oranges (Chandos CD), Der

Rosenkavalier (Opera Australia DVD) and Classic 100 Opera (ABC).

JAMES EDWARDStenor

Born in Essex, James Edwards made his Royal Opera, Covent Garden

debut as an Apprentice / Die Meistersinger von Nürnberg, later joining

the Young Artists Programme.

His roles have included the title role in Albert Herring at the Salzburg

Landestheater, Novice / Billy Budd for English National Opera,

Pinkerton / Madam Butterfly at the Royal Albert Hall, London, Mr

Erlanson / A Little Night Music at the Théâtre du Châtelet, Paris, Pirelli /

Sweeney Todd and Tom Rakewell / The Rake’s Progress for Gothenburg

Opera, The Duke of Mantua / Rigoletto for Grange Park Opera, M.

Erlanson / A Little Night Music at the Théâtre du Châtelet, Paris, Tom

Rakewell / The Rake’s Progress at the Gothenburg Opera, Roderigo /

Otello at the Opéra Royal de Wallonie, Liège, and First Brother / The

Seven Deadly Sins for the Royal Ballet. Recordings and broadcasts

P E R F O R M E R S

include The Carmelites for Chandos and Friday Night is Music Night for

BBC Radio 2.

On the concert platform he has appeared with major orchestras

including the BBC Philharmonic, the Brighton Philharmonic Orchestra,

the CBSO, the Israel Camerata, the London Philharmonic Orchestra and

the RTÉ Concert Orchestra

In 2011, James Edwards was elected an Associate of the Royal Academy

of Music by the Governing body of the RAM for distinguishing himself

in the field of Opera.

JAMES OLDFIELDbass-baritone

Born in Ipswich, James Oldfield read Geography at Trinity College,

Cambridge, furthering his studies at London’s Royal College of Music.

He holds the Leonard Ingrams Award from Garsington Opera. He has

broadcast for the BBC and his recordings include James MacMillan

Seven Last Words from the Cross on Naxos and the Monteverdi Vespers

1610 on Signum CD. Recent highlights have included Messiah for

Raymond Gubbay Ltd, and Huddersfield Choral Society, Karl Jenkins’

The Armed Man with the Philharmonia Orchestra, Carmina Burana

with the Hallé, The Fairy Queen with the Retrospect Ensemble and

débuts with Garsington Opera as Figaro / Le nozze di Figaro,

Gothenburg Opera as Nick Shadow / The Rake’s Progress, Opera North

as Achilla / Giulio Cesare, ROH2 as Ludd / Ludd and Isis and Stanley Hall

Opera as Prince Gremin / Eugene Onegin.

ALDEBURGH MUSIC CLUB CHOIR

soprano

Maggie Beale

Juliet Brereton

Sylvia Catchpole

Hazel Cox

Diana Crawford

Elizabeth Fivet

Shirley Fry

Helen Geldart

Philippa Godwin

Belinda Grant

Jan Green

Camilla Haycock

Louise Holdsworth

Brenda Hopkins

Chris Ive

Penny Kay

Primrose Lazar

Anne Lonsdale

Wendy Marshall

Linda Martin

Jenny Mullan

Elizabeth Nicholls

Suki Pearce

Teresa Roper

Sandra Saint

Sarah Somerset

Janet Tait

Sylvia Taylor

Janet Warnock

Angela Williams

Carol Wood

alto

Sylvia Binning

Susan Brinkhurst

Janet Bryanton

Margaret Charles

Jean Clouston

Elizabeth Donovan

Rosemary Draper

Rosemary Gale

Sheila Griffiths

Judith Groves

Jane Hart

Jean Hickson

Gwyneth Howard

Anita Jefferson

Rosemary Jones

Auriol Marson

Anne Morris

Frances Osborn

Judith Payne

Elspeth Pearson

Norma Pitfield

Valerie Potter

Heather Richards

Gillian Varley

tenor

John Beale

Charles Burt

Peter Fife

Robin Graham

Peter Howard-Dobson

Perry Hunt

Doug Ireland

Ian Kennedy

Guy Marshall

Michael Pim

Alan Thomas

bass

Humphrey Burton

David Edwards

Charles Fear

Jack Firman

David Greenwood

David Grugeon

Graeme Kay

David Madel

Chris Mattinson

Michael Pearce

Julian Potter

Peter Roberts

John Sims

David Smith

Robin Somerset

John Tipping

Trevor Wilkinson

P E R F O R M E R S

PHOENIX SINGERS

soprano

Jill Abbott

Stephanie Askew

Marilyn Baddeley

Margherita Baker

Lesley Bennion

June Bird

Kaye Dawe

Wendy Gourlay

Liz Hamilton

Barbara Howard

Marion Kirton

Marian Lanyon

Rosemary Martin

Judy Moorhouse

Susan Moyle

Melanie Pike

Anne Pickstock

Jane Pollock

Claire Rowell

Trish Schreiber

Jennifer Toll

Hilary Weston

Margaret Wilkins

alto

Marion Banyard

Miranda Barclay

Kate Blount

Sharon Chin

Gill Clare

Angela Dobson

Helga Friend

Julie Griffiths

Jane Hobbs

Jill MacGuire

Polly Mander

Jane O’Leary

Neville Parkin

Linda Sherman

Geraldine Smith

Maggie Smith

Susie Starke

Jill Taylor

Muriel Treadway

tenor

Pauline Cobley

Ray Fenning

Colin Hamilton

Peter Moorhouse

Giles Pebody

bass

Tim Barker

Michael Dawe

Keith Dobson

John Francis

John Gill

Brian Goodge

soprano

Liisa Beagley

Judy Broadway

Clare Hawes

Edith Peck

Trudie Saunders

Lizzy Simms

Sara Viney

Helen Wingfield

Caryl Wright

alto

Judith Harwood Lawrence

Elizabeth Holt

Patsy Murray

Ruth Redgrave

Nicky Winter

tenor

Ben Edwards

Bob Gee

Paul Reeve

Will Stansbury

bass

Ian Galbraith

Richard Lea

Sandy Martin

Neil Murray

David Walsh

GUEST SINGERS

PROMETHEUS ORCHESTRA

violin

Pam Munks leader

Felicity Broome Skelton

Jessie Ridley

Lizzie Skinner

Greg Eaton

Helen Stanley

Christina Everson

Wendy Brown

Liz Marsen

Margaret Catchpole

Clare Varney

Helen Morgan

Helen Taber

Molly Craxton

Shinaine Wykes

Chris Gibson

Gabriel Anderson

Sue Thomas

viola

Graeme Scott

Hayley Chisnall

Mary Kate Ingram

Paul Davis

Barnaby Adams

Ben Harrison

cello

Jeremy Hughes

Hattie Bennett

Katherine Joyson

Nick Parry

Claire Hollocks

Oliver Ray

basses

Philip Simms

Nick Laughlin

Alastair Hume

flute

Stephanie Wingham

Oliver Wood

Jane Henshaw

oboe

Rob Rogers

Mel Tricker

clarinet

Cliff Wybrow

Sandy Tate

bassoon

Steven Lock

Olivia Peacock

Tim Hughes

David Lock

horn

Kay Dawson

Marian Hellen

Martin Childs

Helene Cort

trumpet

Ray Simmons

John Jermy

Ian Abbott

Nick Bailey

off stage trumpets

Tim Rhodes

Vince Taber

Adrian Robinson

Jamie McDowell

trombones

Tony Parsons

Owen Dawson

Mike Tatt

tuba

Ken Fitzhugh

timpani

Gary Kettel

percussion

Oliver Taylor

Aldeburgh Music Club is celebrating its 60th anniversary year in 2012. The Club, founded by

Benjamin Britten and Peter Pears, has evolved over the years into one of East Anglia’s leading

choral societies with over 100 members and 120 patrons. The choir rehearses at the Aldeburgh

Community Centre on Tuesday evenings from September to May. We always welcome new

singers. Our purpose is to share the enjoyment of making music to the highest possible

standard. The Club organises three major concerts a year in which we are joined by professional

soloists and orchestras, and is a regular visitor to Snape Maltings Concert Hall.

Our recent concerts reflect the range of music which the choir performs; Walton Belshazzar’s

Feast in autumn 2009, Scarlatti motets and Vivaldi Gloria in spring 2010, Haydn Creation in May

2010, Handel Messiah in December 2010, Schubert Mass No 6 in E flat major in March 2011,

Rutter Requiem and Poulenc Gloria in May 2011, Mendelssohn Elijah in November 2011, and

the world premieres of Home from the Sea by Elis Pehkonen and Merman by AMC’s composer-

in residence for 2011/12, Joanna Lee, in March 2012.

Aldeburgh Music Club is a registered charity, a member of Making Music, and a member of the

Britten 100 Familiar Fields project to celebrate the centenary of Benjamin Britten in 2013.

Humphrey Burton is best known for his music broadcasting. Joining the BBC in 1955 he was,

by 1965, the first Head of the new Music and Arts Department. He went on to be a founder

member of London Weekend Television as Head of Drama, Arts & Music and later edited and

hosted the arts magazine Aquarius. He returned to the BBC in 1975 to head Music and Arts

again. He hosted Omnibus and then inaugurated Arena and the long-running series Young

Musician of the Year. For the past 30 years he has combined freelance activity as a director of

televised opera and concerts with work as an impresario, broadcaster and biographer. Now

resident in Aldeburgh, Humphrey is fully involved in music, nationally and internationally,

whilst being an energetic champion of amateur music through the Aldeburgh Music Club.

A L D E B U R G H M U S I C C L U B

ALDEBURGH MUSIC CLUB COMMITTEE 2011-2012

Chairman David Smith

Vice Chairman Chris Mattinson

Hon Treasurer Perry Hunt

Hon Secretary Auriol Marson

Marketing Penny Kay

Music Librarian Philippa Godwin

Patrons’ Administrator Elizabeth Nicholls

Social Secretary Juliet Brereton

Concert Manager Penny Kay

Director of Music Edmond Fivet CBE

Orchestral Manager Liz Page

Rehearsal Accompanist Rosemary Jones

President Humphrey Burton CBE

Vice Presidents Alan Britten CBE

Valerie Potter

President Emeritus Rae Woodland

Valerie Potter’s introduction to the Aldeburgh Music Club was in 1959 at a performance of

Purcell’s King Arthur. She was staying with her future mother-in-law Mary Potter (Chairman

1959-1963) and made coffee for the performers. Valerie joined the choir as soon as she lived here

permanently and quickly became involved in the expansion of committee work needed for

concerts at The Maltings. After retiring as Chairman (1998-2003), Valerie was made Vice

President.

Alan Britten had a long and notable career in the oil industry, followed by service as Chairman

of the English Tourism Council. Throughout that time, he maintained his musical interests and

was a regular visitor to Aldeburgh Festivals. From 1989-1999 he served on the Council of what

was then the Aldeburgh Foundation, after which he was appointed President of the Friends of

Aldeburgh Music, a position which he still holds. He is an Honorary Fellow of the Trinity Laban

Conservatoire. He is also a Board member of Trinity College London, and a member of the

Britten-Pears Local Liaison Committee. As Benjamin Britten’s nephew, Alan represents a direct

link with one of the Aldeburgh Music Club’s founding fathers and we especially value his

support for what he describes as ‘one of my uncle’s outstanding legacies’.

Aldeburgh Music Club in rehearsal at Snape Maltings November 2011

PRESIDENTS

1959-86 Peter Pears

1988-2010 Rae Woodland

2010- Humphrey Burton

VICE-PRESIDENTS

1959-76 Benjamin Britten

1959-84 Imogen Holst

1977-2010 Rosamund Strode

2003- Valerie Potter

2010- Alan Britten

DIRECTORS OF MUSIC

1952-61 Imogen Holst

1961-62 Monica Venn

1963-64 John Boyce

1964-71 Rosamund Strode

1971-75 W H Swinburne

1978-86 Monica Morland

1986-2001 Philip Reed

2001-07 Philip Simms

2007- Edmond Fivet

The Phoenix Singers is a choral society of mixed voices based in Framlingham. It wasfounded by Malcolm Russell in 1976 and he remains our President. As its namesuggests, the original small choir enlarged, flourished and rose to have some 70amateur voices. Three concerts a year are usually performed, mainly sacred works,produced in St Michael’s Church Framlingham and sometimes in FramlinghamCollege. Recently Handel’s Messiah, Beethoven’s Mass in C, Faure’s Requiem have beenin our repetoire. Secular works have included Constant Lambert’s Rio Grande, CarlOrff ’s Carmina Burana, works by Gilbert & Sullivan, operatic choruses by Mozart,Tchaikovsky and Verdi. Edmond Fivet and Liz Page engage professional musicians toaccompany us in all our performances.

PHOENIX SINGERS COMMITTEE 2011-2012

Chairman (acting) John FrancisSecretary (acting) Rosemary MartinTreasurer Maggie SmithDirector of Music Edmond Fivet CBE

Librarian Rosemary MartinOrchestral Manager Liz PagePublicity Claire RowellAdvertisements/Sponsors Colin Row

Sponsors, patrons and new members are all welcome and if you would like to join usor be associated with the choir please visit our website www.phoenixsingers.org.uk orcontact John Francis: pintail@globalnet.co.uk tel: 01728 648586.

Phoenix Singers is indebted to our Patrons:

David CraigMichael and Kaye DaweDavid HowellSarah Somerset and others who wish to remain anonymous

P H O E N I X S I N G E R S

S P O N S O R S H I P

SUPPORTING ALDEBURGH MUSIC CLUB

Support of every sort is vital for the success of Aldeburgh Music Club. This can becontributed in a practical way, for example by helping with concert arrangements,or by becoming a Friend, Sponsor or Patron.

If you are thinking of supporting AMC please contact our Honorary Secretary,Mrs Auriol Marson Tel 01728 602217, in the first instance.

FRIENDS

Friends pay an annual subscription of 50p plus £15 per ticket for ‘The friends ofAMC 100 Club Draw’ which has prizes of £20 to £100. Each ticket is valid forevery draw during the year.

PATRONS

By becoming a Patron you can help to underwrite our concerts. Your name islisted (if you wish) in our concert programmes and you are invited to socialevents. The suggested minimum subscription is £100, or £125 for a couple, but wehope that people who are able to contribute more will be generous enough to do so.

Our Patrons’ Administrator is Mrs Elizabeth Nicholls Tel: 01728 453777.

CORPORATE SPONSORSHIP AND DONATIONS

We welcome sponsorship from companies, organisations and individuals. Thismay be in the form of support for a particular concert, soloists, orchestral players,publication, or more broadly supporting our concert and educational activities.

For further information, please contact the AMC Chair, David Smith Tel: 01728 638793.

ADVERTISING IN CONCERT PROGRAMMES

You can support the Club at the same time as promoting your business byadvertising in our concert programmes.

Please contact the AMC Chair, David Smith Tel: 01728 638793.

S P O N S O R S H I P

CORPORATE SPONSORS

Big House Holidays and Suffolk Cottage Holidays

“As a company, we are committed to giving something back to our community. We are proud to be sponsors of Aldeburgh Music Club”

John Hammond, Managing Director

GRANTS AND DONATIONSGeorge Frederic Harris TrustEDF EnergySabona Company Ltd.The Wentworth Hotel

John AdamsTim and Jane AllenDavid AndrenSir Derek and Lady AndrewsTony and Gill BaileyTom and Sue BalchFollett and Libby BalchDavid and Heather BarthelmasGilly BeddardTony and Iris BloomfieldSally BluntMaggie BoswellPhill and Juliet BreretonAlan and Judi BrittenPhilip Britton and Tom SouthernAmanda BunburyCharles and Geraldine BurtAnne BushellJane CattLady CaveJean CloustonKeith and Ann CoventryMichael and Kaye DawePeter and Bridget DickinsonCaroline ErskinePeter and Margaret FifeMichael and Phyllida Flint

Judith FoordShirley FryRichard and Sheila GriffithsMervyn and Jane HallDavid and Pauline HawkinsPaddy HeazellHugo Herbert-JonesAlison HughesSimon and Chris IveWilliam and Rhonda JacobPenny JonasFrederik van KretschmarPhilip LawsonTony LeeEva LoefflerEric and Claire LowrySir David MadelMichael MarsonElizabeth MatthiasSylvia MillerBarbara MoorDavid and Anne MorrisPatrick and Elizabeth NichollsSir Stephen and Lady OliverAndrew and Susan ParisJohn and Mary PatonJudith Payne

Michael and Suki PearceElis and Pamela PehkonenDavid and Anne PerfectBernard and Caroline PinnockSusan PoolJulian and Valerie PotterJohn and Jennifer RaisonSimon and Judy RaisonAnn RutherfordLilias SheepshanksJohn SimsLady SinclairElizabeth SpinneyIan and Janet TaitNiels and Ann ToettcherDavid TomlinsonAdam and Jo TurnbullSir John and Lady WaiteJohn and Ann-Margaret WaltonCarol WatsonDorothy Whately-SmithTrevor and Belinda WilkinsonVanessa WilliamsRae WoodlandChristopher and Shinaine WykesChris and Jackie Youlden

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Saturday 1 December 2012 at 7.30pmSnape Maltings Concert Hall

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Aldeburgh Music Clubfounded by Benjamin Britten in 1952

6 0 Y E A R S O F M U S I C M A K I N G

Saturday 24 November 2012 at 7.30pmSt Michael’s Church, Framlingham

Music for Choir and BrassRutter, Gabrieli, Bruckner, ParryPhoenix SingersPrometheus Brass Ensemble

www.phoenixsingers.org.uk Charity No 1076549