Chipperfield Choral Society

March 12th 2005

Venue: The Barbirolli Hall, St. Clement Danes School, Chenies Road, Chorleywood

Programme

Te Deum for the Empress Marie Therese        Franz Joseph Haydn (1732 -1809)

Five Mystical Songs                                    Ralph Vaughan Williams (1872-1958)

Mass in C                                                  Ludwig van Beethoven (1770-1827)

Soloists

Amanda Forbes - Soprano

Amanda Forbes is currently in her first year of the postgraduate opera course at the Royal Academy of Music, London studying with Elizabeth Ritchie and Clara Taylor. She holds a BMus with first class honours in performance from the University of Melbourne, Australia.

In 2003 Amanda was awarded the ‘Joan Sutherland Society of Sydney Silver Jubilee Vocal Scholarship’ adjudicated and awarded by Dame Joan Sutherland, as well as winning the Australian National Aria and the Governor General’s shield as part of the Australian National Eisteddfod.

Since moving to London in September of 2004 Amanda has performed the role of ‘Queen of the Night’ for the Royal Academy’s production of The Magic Flute. Amanda has also worked in a public master class with Dame Anne Evans and appeared as soprano soloist in Vivaldi’s Gloria with the Cambridge Philharmonic. Her previous roles include ‘Gretel’ in Humperdinck’s Hansel and Gretel, First Lady in Mozart’s Die Zauberflöte with the Melbourne Conservatorium of Music, ‘Mabel’ in Pirates of Penzance and ‘Josephine’ in H.M.S Pinafore with the Savoy Opera Company, Australia. She was regularly a soloist with the Melbourne University Orchestra, performances including Barber’s Knoxville Summer of 1915; Beethoven’s Ah Perfido!; Bach’s Mein Herze Schwimmt im Blut; Mozart’s Ch’io mi scordi di te and Handel’s Neun Deutschen Arien.

Amanda is recipient of a Rae & Edith Bennet Travelling Scholarship awarded by the University of Melbourne for her postgraduate studies in the United Kingdom, and is also supported by the Josephine Baker Trust.
 

Anna Huntley - Mezzo Soprano

Anna Huntley was born in Teeside in 1982 and is a Foundation Scholar at the Royal Academy of Music where she is currently in her third year studying with Beatrice Unsworth and Clara Taylor. Anna has won many awards and prizes, most recently  the City of Birmingham Choir’s National Singing Award (after which she appeared with them as a guest soloist in the Birmingham Symphony Hall) and the Hampshire Singing Award. As part of this prize, Anna will give a solo recital in the Winchester Festival in the summer of 2005.

Anna’s recent oratorio performances have included Mozart’s Solemn Vespers, Vivladi’s Gloria and Stabat Mater and Haydn’s Nelson Mass. Future engagements include a concert tour of New York, a masterclass with Robert Tear and a performance of Mahler’s Lieder Eines Fahrenden Gesellen with the Colne Philharmonic Orhcestra.

Most recently, Anna was asked to perform Arnold Cooke’s Song Cycle for Horn and  Voice in the Royal Academy’s memorial concert for the horn player Ifor James, with horn player Jeffery Bryant and accompanist Jennifer Partridge. Her future plans include solo recitals in Teesside and Oxford.

Richard Rowe - Tenor

Richard Rowe despite studying Geology at Imperial College in London, and a career in business, Richard Rowe returned to his initial love, singing, and has been following a demanding schedule for the last five years, appearing in operas and on the concert platform.  He has undertaken principal roles including Tamino in Magic Flute; Don Jose in Carmen; the title role in Albert Herring; Gustavo in Un Ballo In Maschera; Turridu in Cavalleria Rusticana and Eisenstein in Die Fledermaus, at diverse venues, from the Richmond and the Cochrane theatres in London, to the Minack theatre in Cornwall.  Concert performances as soloist in both sacred and secular music have included appearances at St Albans Abbey, Rochester Cathedral, Purcell Room, The National Gallery, The V&A, Dulwich Picture Gallery and Gordonstoun School. Richard has worked with many different types of musical ensemble, from early music presentations to full modern orchestras, enjoying the diversity of experience. Richard's coaches have included Raimond Herrinx, Peter Medhurst, Kenneth Bowen and Nina Walker, and he is now continuing his studies at the Royal Academy of Music, where future plans include concert programmes of Schubert lieder, Britten songs, and Ottavio in Don Giovanni at the Purcell Room with the Classical Music Company.

Alex Ashworth -Baritone

Alex Ashworth - After singing with the choir of Tewkesbury Abbey, Alex Ashworth went up to St John’s College Cambridge, where he was a choral and academic scholar.  He then won an Entrance Scholarship to the Royal Academy of Music, where he studied with Mark Wildman and David Lowe.  Whilst at the Academy he won numerous prizes, including the Sir Arthur Bliss Song Prize, the Mario and Grisi Recital Prize, a “Star Award” from the Countess of Munster Musical Trust, and the prestigious “Ian Fleming Award” from the Musicians’ Benevolent Fund.

He performs regularly in recital, works including Schubert’s “Die Winterreise”, Schumann’s “Dichterliebe” and “Liederkreis”, and has taken part in Masterclasses with Graham Johnson, Thomas Allen and Sarah Walker on German Lied. In Oratorio, recent performances include Monteverdi “Vespers” in St John’s Smith Square and Southwark Cathedral, Handel “Israel in Egypt” for the Oxford Bach Choir in the Sheldonian Theatre Oxford and Mahler's Eighth Symphony in Birmingham Symphony Hall.

On stage Alex has sung the title role in “Eugene Onegin” for Scottish Opera on tour, Frederic in “Lakme” for the Chelsea Opera Group in the Queen Elizabeth Hall, the lead in “Don Giovanni” at London Royal School’s Opera with Sir Colin Davis, and Falstaff, both for Royal Academy Opera, and more recently in Swedish Lapland, in a recreation of the Globe Theatre constructed entirely from ice and snow!  After his work with Scottish Opera, he was awarded the John Scott Award for young singers. Future plans include singing the Curzio in "Julius Caesar" for Glyndebourne Festival, and understudying the title role in "Wozzeck" for Welsh National Opera

Orchestra

(top)

Programme Notes

Te Deum for the Empress Marie Therese, Franz Joseph Haydn (1732 -1809)
Periodically, learned musicians meet to discuss the complex subject of key, especially how and why composers choose the basic tonality of their compositions. There are many more questions than answers in this complex subject and debate can become confusingly technical and elusive, but it is interesting that the key of C major features prominently in tonight’s concert. Both Haydn and Beethoven selected it as the foundation for the Te Deum and the Mass respectively, though Vaughan Williams, writing in the twentieth century, takes us much further afield in the Five Mystical Songs. Interestingly, Haydn also chose C major for his only other Te Deum, a youthful piece, composed in 1765, but tonight’s work, with full orchestral accompaniment, was written 35 years later in 1800 for the Empress Marie Therese of Austria. Haydn’s patron, Prince Nicolaus was at first loathe to allow him to compose for anyone but himself, nevertheless the piece was written and first performed in September of that year in Eisenstadt, on the name day of Nicolaus’s wife, Princess Marie, and probably in conjunction with the Nelson Mass (Missa in Angustiis), to honour the first visit there of Lord Nelson.

The Te Deum has three distinct sections and though it exhibits great power and terseness, it whirls through the extensive text in something less than fifteen minutes whilst still finding time for a double fugue and an immense climax in the final pages. Haydn regarded C major as a festive and jubilant key and it is that key that dominates in the outer sections. It is often coupled with bright trumpet dominated sound and prominent tympani, an orchestration he often used in other choral works based in that key. Also we should not forget that glorious chorus “The heavens are telling” and the music to “let there be light” in his oratorio “The Creation”, where the brilliance of C major is employed to create superbly dramatic and joyful moments.

In the Te Deum, the opening section (Te Deum laudamus) is strongly tuneful and supported by a busy orchestra. The celebratory mood is quickly established and there are plenty of opportunities to continue in this manner with phrases such as “Pleni sunt caeli” and “Tu Rex gloriae Christe”. A slow, restrained short passage (Te ergo quaesumus) follows in the dark key of C minor, and reflects the prayerful pleas in the text for help and redemption in the world to come. The final section (Aeterna fac) and a return to C major, propels us into joyful adulation of the saints. Even at “miserere nobis”, Haydn finds it difficult to forsake the major key for long. A mere four bars in D minor lead gently back to the home key and the final two-themed fugue (In te Domine speravi) bursts onto the scene. The fugue eventually resolves into a powerful but simpler chordal texture with accented syncopations at “non confundar” and a final fortissimo long note, appropriately enough on the word “aeternam”, brings the festivities to a fitting conclusion.
(top)

Five Mystical Songs, Ralph Vaughan Williams (1872-1958)

Ralph Vaughan Williams was the most important composer of his generation and a key figure in the 20^th century revival of British music following Parry and Elgar. The Five Mystical Songs for baritone soloist, chorus and orchestra were written in 1911 and first performed that year at the Three Choirs Festival in Worcester Cathedral. The words by George Herbert, a fine 17^th century poet, Anglican priest and hymn writer, appealed greatly to Vaughan Williams who chose five of the most affirmative and exultant texts which celebrate the mystery of the Passion of Jesus Christ and his resurrection at Easter.

The first poem (Easter), begins with the words “Rise heart; thy Lord is risen” and Vaughan Williams’s opening music surges upwards with real intensity. The chorus sings in similar vein, re-iterating and sometimes joining with the soloist as he tells of using the raw materials of the crucifixion to fashion a lute and so with music, aspire to heavenly glory. The musical setting is elaborate and there is real richness in the supporting orchestral detail.

In No.2 (I got me flowers), Herbert writes of the wonder of sunrise on Easter morning. Vaughan Williams surprisingly chooses a minor key here but by so doing creates an evocative air of mystery. At the words “can there be any day but this?” the unaccompanied wordless chorus changes the key and mode to major and the quiet peace of dawn is beautifully captured. It is one of the most magical moments in all of Vaughan Williams’s music.

No.3 (Love bade me welcome) is perhaps Herbert’s most perfectly conceived poem and is a dramatic representation of the mystery of the Holy Communion. The soloist is supported by a gently flowing accompaniment and towards the close, the quiet insistence of Love is reinforced by the plainsong hymn “O Sacrum Convivium” which is woven into the texture by the humming chorus.

No.4 (The Call) is for soloist alone. It is a fervent religious invocation in its call for truth and light. In the final bars, widespread orchestral chords accompany the plea for “joy as none can part”.

Finally, the joyful Easter Antiphon (Let all the world in every corner sing), for chorus only, is spirited and energetic. It is an exhilarating paean of praise and the orchestral accompaniment adds greatly to the general effect with a vivid representation of the pealing of Easter bells.

(top)

Mass in C, Ludwig van Beethoven (1770-1827)

Haydn’s Te Deum and Beethoven’s Mass in C share several similarities. Apart from the basic key of C major, the Mass, like the Te Deum, was first performed at Eisenstadt, at the court of Haydn’s patron Prince Nicolaus Esterhazy, and again, like the Te Deum, it was first performed on the name day of Nicolaus’s wife, Princess Marie. By 1807 however, Haydn, though officially still employed by Nicolaus, was much less involved in the music at Eisenstadt and in that year Nicolaus chose to commission Beethoven rather than Haydn to write the customary celebratory mass in honour of his wife. In spite of Beethoven’s growing reputation, it was a commission that made him unusually nervous. The type of composition requested was one in which he was inexperienced and furthermore, it was one that had been mastered with special excellence by Haydn, who in the years up to 1802 had written six such masses for the Princess’s name day. Comparisons were inevitable but it was a time when Beethoven’s creativity was at its height and the commission was accepted. He was wise however not to try to match the grandeur of Haydn’s masses but contrived a style that in some ways was simpler and more spiritual. In the event, the piece was not too well received and Nicolaus, probably expecting something on the lines of Haydn’s models, was decidedly restrained in his opinion of much of the music. Beethoven however, was pleased with his composition and it is now well regarded and frequently performed.

The Mass is in six sections, each self-contained. The four soloists generally merge with the chorus and only stand out where this is essential for textual or expressive reasons, as in the Benedictus. Some of the most striking effects are the unison or octave passages for the chorus, e.g. in the Gloria at “Quoniam tu solus sanctus” and twice in the Benedictus, but even more dramatically in the Credo (Deum de Deo and sub Pontio Pilato). Traditional fugues heighten the intensity and raise the musical temperature considerably in the final sections of the Quoniam (Cum Sancto Spiritu) and Et resurrexit (Et vitam venturi saeculi).

(top)

Press Reviews

Review of March 12th 2005 Concert:

Chipperfield Choral Society’s well-supported concert on 12^th March at St. Clement Danes School, Chorleywood, fully lived up to the expectations of its enthusiastic audience. They gave a powerful account of the opening work, Haydn’s short but lively Te Deum of 1800, with strong, confident entries and skilful negotiation of some florid vocal lines, although clear enunciation of words was sometime lost across the orchestra’s accomplished playing. By contrast Five Mystical Songs, Vaughan Williams’ lovely setting for baritone, chorus and orchestra of words by the 17^th century poet George Herbert was the perfect vehicle for displaying the choir’s nicely blended tone and expressive singing in the many quiet moments. The hushed ending to the second song, “I got me flowers”, was particularly effective. Alex Ashworth’s mellifluous baritone was a pleasure to listen to, his attention to dynamics and sensitive shaping of words and phrases reflecting his experience in Lieder singing.

 After the interval choir and baritone were joined by the remaining three soloists: Amanda Forbes (soprano), Anna Huntley (mezzo-soprano), and Richard Rowe (tenor).  Beethoven’s Mass in C does not provide many opportunities for individual soloists to stand out, but they were all excellent and their voices blended beautifully, particularly in the Benedictus.   The choir evidently enjoyed singing this piece and made the most of the contrasts in volume, showing good control in the softer passages.  The conductor, Delia Meehan, kept all the forces together with her clear and intelligent direction and ensured, as always, a most enjoyable evening of music.       

Liz Hart and Ruth Hellen

The following appeared in the Watford Observer on Friday 18 March 2005:-

The audience at Chipperfield Choral Society’s concert on Saturday, March 12, were treated to an entertaining evening with expressive singing and accomplished playing from the orchestra. The concert, at St Clement Danes School, Chorleywood, included performances from soloists Amanda Forbes, Anna Hintley and Richard Rowe.

(top)

For More Information Contact:

Chipperfield Choral Society
Chipperfield, Hertfordshire, UK
Tel:
FAX:
Internet: Secretary@chipperfieldchoral.co.uk

Send mail to webmaster@chipperfieldchoral.co.uk with questions or comments about this web site.
Copyright © 2005 Chipperfield Choral Society
Last modified: 07/19/07