Stabat Mater Requiem Gloria - Beverley Chamber Choir

Beverley Chamber Choir
& Orchestra
Music Director: Mark Pybus
Rutter
Requiem
Rutter
Gloria
Pergolesi
Stabat Mater
Good Friday - March 29th 7:30pm
St. Mary’s Church Beverley
Tickets £16 - Reserved
£12 - Unreserved & £5 - Students
from Beverley Tourist Information
01482 391672 or on the door from 6.45pm
www.beverleychamberchoir.org
Reg Charity No 1094877
kindly supported by

Alan Binnington - Dedication
Tonight’s concert is dedicated to the memory and work of
former President, Music Director and Founder of Beverley
Chamber Choir Alan Binnington. Alan formed the Beverley
Chamber Choir in 1998 and led the choir for over 11
years before retiring as Music Director in 2009. He then
became the Choir’s President until his unfortunate death
from Cancer in January this year.
Alan was a great friend to many people, including many
members of the Chamber Choir. It is with sadness that
we no longer have his guiding hand and wise words but
with great fondness that we remember Alan tonight by
performing two of his favourite pieces The Requiem and
Gloria by John Rutter.
Acknowledgments
Beverley Chamber Choir would like to thank the Manager and Staff of
Waitrose Willerby for the financial and practical support they have given
the choir as tonight’s concert sponsor.
Thanks also to the Vicar, Churchwardens and staff of St Mary’s Church.
Programme design is by Mervyn King.
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Mark Pybus - Music Director
Mark was born in Beverley and received his first musical
education as a chorister in the Minster choir. He went on to
win both academic and organ scholarships at the University
of Edinburgh.
After holding appointments at St. Mary’s Episcopal Cathedral,
Edinburgh and Paisley Abbey, Mark won a postgraduate
scholarship to study in Paris with international recitalist
Susan Landale. Here he won the Premier Prix d’Orgue at
Superieur level.
Mark went on to become the Assistant Master of the Music
at Sheffield Cathedral where he accompanied and directed
the choirs not only for the daily services but also for
broadcasts, recitals and recordings.
He has performed in many cathedrals, abbeys and churches
both in the UK and abroad. He also performs regularly in
the USA and recently performed to critical acclaim at the
International Messiaen Festival in Copenhagen. As a continuo
player he has performed with several renowned groups
including the BT Scottish Ensemble.
Mark is also well-known throughout the country as a choral
clinician and has directed many events for the Royal School
of Church Music.
He is currently Director of Music at Hymers College in Hull
where he leads a large and thriving music department of
national repute.
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The Soloists
Hugh Blog: Leader
Hugh Blogg majored in peformance and
composition at the University of Leeds
obtaining a first class Bmus (Hons) degree in
2008. He went on to study with Thelma Handy
at the Royal Northern College of Music where
he recently graduated from his masters degree
with distinction. In addition to his studies
he was regularly engaged on the professional
orchestral scene. During college he enjoyed
many leadership roles, a particular highlight of
which was the RNCM String Ensemble that
performed in Shanghai, and Beijing as part
of their China Tour. Recently he has enjoyed
working with Marcia Crayford as part of the
Mid Wales Chamber Orchestra Mentoring
Scheme and playing principal of Sinfonia
Cymru on a number of occasions. In 2012
he attended an ECMA Session in Vilnius, and
the International Academy of String Quartets,
Aldeburgh, where he received intensive
coaching from the Kopelman Quartet.
Christina Waldock: solo cello
Requiem movement 2
Christina has played as a chamber and solo
musician in Europe, Russia and America, at
festivals and music clubs around the UK and
on London’s South Bank. She has a fruitful duo
partnership with Australian pianist Mark Knoop
and has played concertos by Elgar, Dvorak,
Schumann, Kabalewsky, Tchaikowsky and John
Tavener. Christina is principal cellist of the Hull
Sinfonietta and teaches cello at the University of
Hull and all around the East Riding. She has been
a regular participant in Beverley Chamber Choir
concerts during the last decade, both as singer
and cellist.
Alasdair Hill: solo oboe Requiem
movement 6
Alasdair began playing the oboe at the age of
11 Whilst at Madras College, St Andrews. After
graduating from the Royal Northern College of
Music Alasdair started a two-year postgraduate
course at the prestigious Royal College of
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Music. Since moving to the RCM, Alasdair has
enjoyed playing with the college ensembles
including principal oboe in opera and symphony
orchestras and has also played with The
Philharmonia Orchestra in Buckingham Palace
for a royal reception. Alasdair plays with The
Arion Ensemble (www.thearionensemble.co.uk),
a wind quintet based in Manchester. Alasdair is
a Leverhulme Orchestral Mentor at the Royal
College of Music and is also supported by the
Robertson Trust.
Elaine Dave: solo soprano
Elaine is a singing teacher for the East Riding
Schools’ Music Service, and trains their Youth
Choir and newly formed Senior Choir. She was
a founder member of the Beverley Chamber
Choir and a chorister at the Beverley Minster
having on occasion sung the Allegri Miserere
for both choirs. Elaine has sung amongst others
Bach B minor Mass, Handel Messiah, Schubert
Mass in G, Vivaldi Gloria and both the Faure and
Rutter Requiems, as well as the Tippett – Five
Negro Spirituals from ‘A Child of Our Time’
and Pergolesi Salve Regina in C Minor. Having
sung the Berlioz ‘Les Nuits D’ete’ with the
Scarborough Symphony Orchestra in 2011 she
will be performing this work again with piano
at the Music Recital Club later this year, as well
as a recital at Beverley Minster in June. Elaine
will be performing the Gliere Concerto for
Coloratura Soprano and Orchestra with the
SSO next year.
Berenice Lewis: solo contralto
Berenice grew up in Leicester where she
studied piano and organ with Howard Gregory
and sang with the Leicestershire Youth Choir.
Whilst in York Berry became involved in
various groups as pianist, conductor, singer
and violinist. Whilst working for her degree,
Berry also made time to coach singers, teach
the piano and act as regular repetiteur for the
York Musical Theatre Company and York Opera.
During her student years she was organist at St.
Denys’ Church, Walmgate. Berry currently holds
the post of Assistant Organist at St Mary’s
Church, Beverley and Music Director of York
Philharmonic Male Voice Choir. She now also
teaches piano and singing full-time.

The Choir
Sopranos
Contraltos
Tenors
Basses
Joyce Davidson
Emma Ellerington
Judith Goodall
Janet Hayton
Jenny O’Donnell
Cara Parkinson
Bronwen Prosser
Janet Sanderson
Chloe Salvidge
Gwyneth Sargent
Rachel Sawkins
Debbie Rippingale
Caitriona Talbot
Sue Williamson
Mary Cutland
Cathie Dance
Joan Hoare
Berenice Lewis
Shirley Littlefair
Edwina Parker
Janet Ratledge
Rachael Robinson
Helen Tilsed
David Bowden
Keith Cartwright
David Ellerington
Michael Ellerington
Roger Hoare
Ian Reid
Alex Sharaz
Michael Waltham
Peter Hunt
Robert Lewis
Ian McLean
Kevin Ormond
Paul Rippingale
Crispin Rolfe
The Orchestra
Violins: Hugh Blogg (Leader), Rachael England, Rachael Drury, James Woodrow
Violas: Josie Goynes, Elizabeth Salvidge
Cellos: Christina Waldock, Rachel Gray
Double Bass: Richard Waldock
Flutes: Ian Denley, Margaret Bolton
Clarinets: Kim Jameson, Emily Berridge
Oboe: Alasdair Hill
Bassoon: Richard Ion
Horns: Garry Oglesby, Janus Wadsworth
Trumpets: Jonathan Thomson, Mark Addison, Tom Kwaterski, Tim Barber
Trombones: Kieran Joy, David Price, Rich Mcveigh
Tuba: Andy Mallon
Timpani: Gary Stewart
Percussion: Tom Merry
Harp: Alice French
Organ & continuo: Darius Battiwalla
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Requiem: John Rutter
Text and translation
Requiem was written in 1985 in memory of
the composer’s father. The first performance
was given in Dallas, Texas in October 1985, and
what was conceived as a personal memorial
has gone on to become one of John Rutter’s
internationally most often-performed choral
works, both in church and concert hall.
Unlike the dramatic, large-scale Requiems of
Berlioz and Verdi, Rutter’s setting belongs in
the smaller-scale, more devotional tradition of
Fauré and Duruflé. The choral forces do not
need to be large, there is only one soloist, the
instrumentation is restrained, the duration less
than forty minutes. As with Fauré and Duruflé,
the Latin text of the Missa pro defunctis is
not set in its entirety, the chosen portions
being those which underline a theme of light
and consolation emerging out of darkness and
despair; and as with more than one twentiethcentury
Requiem, vernacular texts are
interwoven with the traditional Latin.
There are two psalms associated with the rite
of burial, the sombre De profundis (Psalm 130)
and the serenely confident Psalm 23, each of
these settings having an important part for a
solo instrument, cello and oboe respectively.
In addition, movements 5 and 7 incorporate
sentences from the Anglican Burial Service, in
the incomparably magnificent English of the
1662 Book of Common Prayer.
The complete seven-movement work forms an
arch-like structure: the first and last movements
are prayers to God the Father, movements
2 and 6 are psalms, 3 and 5 are prayers to
Christ the Son, and the central Sanctus is an
affirmation of divine glory.
The occasion of a Requiem is one for
reflection and looking back, and, like a number
of composers in their Requiem settings,
Rutter pays homage to his predecessors –
influences including Fauré, Mahler, Howells and
Gershwin can be detected, along with the use
of Gregorian chant at two key points in the
work – but out of these disparate elements
a synthesis emerges which has been widely
recognized as the composer’s own.
LOUISE LUEGNER
© Collegium Records
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Requiem: John Rutter
Text and translation
Requiem aeternam dona eis, Domine: et lux
perpetua luceat eis. Te decet hymnus Deus in
Sion, et tibi reddetur votum in Ierusalem: exaudi
orationem meam, ad te omnis caro veniet. Kyrie,
eleison! Christe, eleison! Kyrie, eleison!
Grant them eternal rest, O Lord, and may light
eternal shine upon them.
A hymn is raised unto Thee in Zion,
and a vow paid to Thee in Jerusalem:
give ear to my prayer, O Lord,
unto Thee all flesh shall come at last.
Lord, have mercy!, Christ, have mercy! Lord, have
mercy!
Out of the deep have I called unto thee, O Lord:
Lord, hear my voice. O let thine ears consider
well: the voice of my complaint. If thou, Lord, wilt
be extreme to mark what is done amiss: O Lord,
who may abide it? For there is mercy with thee:
therefore shalt thou be feared. I look for the Lord;
my soul doth wait for him: in his word is my trust.
My soul fleeth unto the Lord: before the morning
watch, I say, before the morning watch. O Israel,
trust in the Lord, for with the Lord there is mercy:
and with him is plenteous redemption. And he
shall redeem Israel: from all his sins.
Pie Jesu Domine, dona eis requiem, Pie Jesu
Domine, dona eis requiem, Pie Jesu Domine,
dona eis requiem, sempiternam.
Pious Lord Jesus, Give them rest.
Agnus Dei, qui tollis pecatta mundi: dona eis
requiem. Man that us born of a woman hath
but a short time to live, and is full of misery. He
cometh up, and is cut down like a flower; he
fleeth as it were a shadow. Agnus Dei, qui tollis
peccata mundi: dona eis requiem. In the midst of
life, we are in death: of whom may we seek for
succour? Agnus Dei, qui tollis peccata mundi: dona
eis requiem.
I am the resurrection and the life, saith the Lord: he
that believeth in me, though he were dead, yet shall
he live: and whosoever liveth and believeth in me
shall never die.
The lord is my shepherd: therefore can I lack
nothing. He shall feed me in a green pasture: and
lead me forth beside the waters of comfort. He
shall convert my soul and bring me forth in the
paths of righteousness, for his Name’s sake. Yea,
though I walk through the valley of the shadow of
death, I will fear no evil: for thou art with me; thy
rod and thy staff comfort me. Thou shalt prepare
a table before me against them that trouble me:
thou hast anointed my head with oil, and my cup
shall be full. But thy loving-kindness and mercy
shall follow me all the days of my life: and I will
dwell in the house of the Lord for ever.
I heard a voice from heaven saying unto me.
Blessed are the dead who die in the Lord, for
they rest from their labours: even so saith the
Spirit.
Lux aeterna luceat eis Domine: Cum sanctis tuis
in aeternum, quia pius es. Requiem aeternam
dona eis Domine, et lux perpetua luceat
eis.
Let eternal light shine on them, Lord,
as with Your saints in eternity,
because You are merciful.
Grant them eternal rest, Lord,
and let perpetual light shine on them,
as with Your saints in eternity,
because You are merciful.
INTERVAL (10 minutes)
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Stabat Mater:
Giovanni Battista Pergolesi (1710-1736)
2010 marks the 300th anniversary of the birth
of Pergolesi, in Jesi, Italy. His setting of the
medieval Marian hymn Stabat Mater has won
a permanent place in the repertory. It was
written towards the end of his life while he
was suffering from tuberculosis, the cause of
his premature death at the age of twenty-six in
a monastery in Pozzuoli, the Italian spa town
melodic talent and harmonic skill impressing
many of his contemporaries.
After a solemn opening, Pergolesi emphasises
the text with the repeated trills of the soprano
in “Cujus animam gementem” and the dramatic
pauses in the alto aria “Fac, ut portem Christi
mortem”. His inspired and sensitive word
on the Bay of Naples. In the 18th century it
became one of the most frequently printed
and celebrated works, inspiring among other
arrangements, Bach’s tribute to Pergolesi in the
form of a musical parody in his German setting
of Psalm 51.
A significant figure in the history of Italian
opera, Pergolesi’s Stabat Mater is also highly
dramatic in its narrative and musical style with
its moving imagery of Mary grieving at the foot
of the cross. The score shows his abundant
settings and use of prolonged note values as
in the soprano’s “Vidit suum dulcem natum,”
suggest the slow exhaling of Christ’s spirit.
The score features two full-scale fugues in the
“Fac, ut ardeat cor meum,” and the concluding
“Amen.”
For this performance we are singing a modern
arrangement that sets the work for two soloists
and chorus, rather than just the two soloists of
the original.
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Stabat Mater: Pergolesi
Text and translation
1. Stabat Mater dolorosa
Iuxta crucem lacrimosa
Dum pendebat Filius.
2. Cuius animam gementem
Contristatam et dolentem
Pertransivit gladius.
3. O quam tristis et afflicta
Fuit illa benedicta
Mater unigeniti!
4. Quae moerebat et dolebat,
Pia Mater, dum videbat
Nati poenas incliti.
5. Quis est homo qui non fleret,
Matrem Christi si videret
In tanto supplicio?
6. Quis non posset contristari,
Christi Matrem contemplari
Dolentem cum Filio?
7. Pro peccatis suae gentis
Vidit Iesum in tormentis,
Et flagellis subditum.
8. Vidit suum dulcem natum
Moriendo desolatum
Dum emisit spiritum.
9. Eja Mater, fons amoris
Me sentire vim doloris
Fac, ut tecum lugeam.
10. Fac, ut ardeat cor meum
In amando Christum Deum
Ut sibi complaceam.
11. Sancta Mater, istud agas,
Crucifixi fige plagas
Cordi meo valide.
12. Tui nati vulnerati,
Tam dignati pro me pati,
Poenas mecum divide.
13. Fac me tecum, pie, flere,
Crucifixo condolere,
Donec ego vixero.
14. Juxta crucem tecum stare,
Et me tibi sociare
In planctu desidero.
15. Virgo virginum praeclara,
Mihi jam non sis amara
Fac me tecum plangere.
1. At the cross her station keeping,
stood the mournful mother weeping,
close to Jesus to the last.
2. Through her soul, of joy bereaved,
bowed with anguish, deeply grieved,
now at length the sword hath passed.
3. Oh how sad and sore distressed
was that mother highly blessed,
of the sole-begotten One!
4. Christ above in torment hangs;
She beneath beholds the pangs
Of her dying glorious Son.
5. Is there one who would not weep,
Whelm’d in miseries so deep
Christ’s dear Mother to behold?
6. Can the human heart refrain
From partaking in her pain,
In that Mother’s pain untold?
7. Bruis’d, derided, curs’d, defil’d,
She beheld her tender child
All with bloody scourges rent.
8. For the sins of His own nation,
Saw Him hang in desolation,
Till His spirit forth He sent.
9. O thou Mother! fount of love!
Touch my spirit from above;
Make my heart with thine accord.
10. Make me feel as thou hast felt;
Make my soul to glow and melt
With the love of Christ our Lord.
11. Holy Mother! pierce me through;
In my heart each wound renew
Of my Saviour crucified.
12. Let me share with thee His pain,
Who for all my sins was slain,
Who for me in torments died.
13. Let me mingle tears with thee,
Mourning Him who mourn’d for me,
All the days that I may live.
14. By the cross with thee to stay,
There with thee to weep and pray,
Is all I ask of thee to give.
15. Virgin of all virgins best,
Listen to my fond request
Let me share thy grief divine.
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16. Fac, ut portem Christi mortem
Passionis fac consortem,
Et plagas recolere.
17. Fac me plagis vulnerari,
Fac me cruce inebriari,
Et cruore Filii.
18. Flammis ne urar succensus
Per te, Virgo, sim defensus
In die judicii.
19. Fac me cruce custodiri
Morte Christi praemuniri
Confoveri gratia
20. Quando corpus morietur,
Fac, ut animae donetur
Paradisi gloria. Amen.
16. Let me, to my latest breath,
In my body bear the death
Of that dying Son of thine.
17. Wounded with His every wound,
Steep my soul till it hath swoon’d
In His very blood away.
18. Be to me, O Virgin, nigh,
Lest in flames I burn and die,
In His awful Judgment day.
19. Christ, when Thou shalt call me hence,
Be Thy Mother my defence,
Be Thy cross my victory.
20. While my body here decays,
May my soul Thy goodness praise,
Safe in Paradise with Thee.
Gloria: John Rutter
Text and translation
Glória in excélsis Deo
Glory be to God on high.
et in terra pax homínibus bonae voluntátis. And in earth peace towards men of good will.
Laudámus te,
We praise thee.
benedícimus te,
We bless thee
adorámus te,
We worship thee.
glorificámus te,
We glorify thee.
grátias ágimus tibi propter magnam glóriam We give thanks to thee for thy great glory.
tuam,
Dómine Deus, Rex cæléstis,
O Lord God, heavenly King
Deus Pater omnípotens.
God the Father almighty.
Dómine Fili Unigénite, Jesu Christe,
O Lord, the only-begotten Son Jesus Christ.
Dómine Deus, Agnus Dei, Fílius Patris, O Lord God, Lamb of God, Son of the Father.
qui tollis peccáta mundi, miserére nobis; Thou that takest away the sins of the world, have
mercy upon us.
qui tollis peccáta mundi, súscipe deprecatiónem Thou that takest away the sins of the world,
nostram.
receive our prayer.
Qui sedes ad déxteram Patris, miserére nobis. Thou that sittest at the right of the Father, have
mercy upon us.
Quóniam tu solus Sanctus, tu solus Dóminus, For thou only art Holy. Thou only art the Lord.
tu solus Altíssimus,
Thou only art the Most High.
Jesu Christe, cum Sancto Spíritu:
Jesus Christ, with the Holy Ghost,
in glória Dei Patris.
art Most High in the glory of God the Father.
Amen.
Amen.
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Friends of the Beverley Chamber Choir
Dr G Aub-Buscher
Mr Allan Botham
Mrs J Cartwright
Mrs M Ellerington
Mrs J Middleton
Mr T N Oates
Mr Ray Parsons
Mrs S Pickstone
Mr & Mrs P B Pocock
Professor C Ratledge
Mr & Mrs P Rhodes
Mrs S Scrowston
Mr & Mrs D A Scruton
Mr & Mrs T Wragg
Would you like to become a friend of the choir and support its
activities over the forthcoming years?
As a friend, your donation to the choir of £15 (minimum) per year will help us continue
to present concerts to the highest possible standards. In return we will make sure that
you have the opportunity to book tickets for all concerts promoted by the choir before
they go on sale to the general public and with a £2 discount. Also we are offering Friends
complimentary programmes with pre-booked tickets.
As an alternative to becoming a friend you may choose to register your details with
us. Anyone registered on our database will still enjoy the opportunity to book tickets
for all concerts before they go on sale to the general public and will also receive a
complimentary programme with pre-booked tickets.
Please contact:
Peter Hunt - Secretary
Beverley Chamber Choir,
14 The Spinney,
Swanland,
East Yorks,
HU14 3RD
Tel: 01482 634427
Email: bcc@pchunt.karoo.co.uk
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Wagner’s
200th anniversary
Hull Philharmonic Orchestra
Saturday 11 May 2013
Hull City Hall – 7.30pm
Beethoven
‘Ah! Perfido’ Scene and Aria
Symphony No 7 in A
Wagner
and
Prelude to Act 3 of Lohengrin
Good Friday Spell from Parsifal
Prelude and Liebestod from Tristan and Isolde
Conductor: Andrew Penny Solo Soprano: Sarah Rhodes
6.30: Pre-Concert talk on Wagner by Peter Rathbone (free to ticket holders)
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www.hullphilharmonic.org

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