Stabat Mater Requiem Gloria - Beverley Chamber Choir

Beverley Chamber ChoirBeverley Chamber Choir& OrchestraFriday 29 March 2013St Mary’s Church, BeverleyMusic Director: Mark PybusRutterRequiemRutterGloriaPergolesiStabat MaterTonight’s concert is supported byGood Friday - March 29th 7:30pmSt. Mary’s Church BeverleyTickets £16 - Reserved£12 - Unreserved & £5 - Studentsfrom Beverley Tourist Information01482 391672 or on the door from 6.45pmkindly supported byTEXTS WITH TRANSLATIONS

Alan Binnington - DedicationTonight’s concert is dedicated to the memory and workof former President, Music Director and Founder of theBeverley Chamber Choir Alan Binnington. Alan formedthe Beverley Chamber Choir in 1998 and led the choirfor over 11 years before retiring as Music Director in2009. He then became the Choir’s President until hisunfortunate death from cancer in January this year.Alan was a good friend to many people, including manymembers of the Chamber Choir. It is with great sadnessthat we no longer have his guiding hand and wise words.We remember Alan tonight with great fondness byperforming two of his favourite pieces the Requeim andGloria by John Rutter.AcknowledgmentsBeverley Chamber Choir would like to thank the Manager and Staff ofWaitrose Willerby for the financial and practical support they have giventhe choir as tonight’s concert sponsor.Thanks also to the Vicar, Churchwardens and staff of St Mary’s Church.The programme design is by Mervyn King.Beverley Chamber Choir is a registered charity. Charity No : 10948772

Mark Pybus - Music DirectorMark was born in Beverley and received his first musicaleducation as a chorister in the Minster choir. He went on towin both academic and organ scholarships at the Universityof Edinburgh.After holding appointments at St. Mary’s Episcopal Cathedral,Edinburgh and Paisley Abbey, Mark won a postgraduatescholarship to study in Paris with international recitalistSusan Landale. Here he won the Premier Prix d’Orgue atSuperieur level.Mark went on to become the Assistant Master of the Musicat Sheffield Cathedral where he accompanied and directedthe choirs not only for the daily services but also forbroadcasts, recitals and recordings.He has performed in many cathedrals, abbeys and churchesboth in the UK and abroad. He also performs regularly inthe USA and recently performed to critical acclaim at theInternational Messiaen Festival in Copenhagen. As a continuoplayer he has performed with several renowned groupsincluding the BT Scottish Ensemble.Mark is also well-known throughout the country as a choralclinician and has directed many events for the Royal Schoolof Church Music.He is currently Director of Music at Hymers College in Hullwhere he leads a large and thriving music department ofnational repute.3

The SoloistsHugh Blogg: LeaderHugh Blogg majored in peformance andcomposition at the University of Leedsobtaining a first class Bmus; (Hons) degree in2008. He went on to study with Thelma Handyat the Royal Northern College of Music wherehe recently graduated from his masters degreewith distinction. In addition to his studieshe was regularly engaged on the professionalorchestral scene. During college he enjoyedmany leadership roles, a particular highlight ofwhich was the RNCM String Ensemble thatperformed in Shanghai and Beijing as partof their China Tour. Recently he has enjoyedworking with Marcia Crayford as part of theMid Wales Chamber Orchestra MentoringScheme and playing principal of SinfoniaCymru on a number of occasions. In 2012he attended an ECMA Session in Vilnius, andthe International Academy of String Quartets,Aldeburgh, where he received intensivecoaching from the Kopelman Quartet.Christina Waldock: solo celloRequiem movement 2Christina has played as a chamber and solomusician in Europe, Russia and America, atfestivals and music clubs around the UK andon London’s South Bank. She has a fruitful duopartnership with Australian pianist Mark Knoopand has played concertos by Elgar, Dvorak,Schumann, Kabalewsky, Tchaikowsky and JohnTavener. Christina is principal cellist of the HullSinfonietta and teaches cello at the University ofHull and all around the East Riding. She has beena regular participant in Beverley Chamber Choirconcerts during the last decade, both as singerand cellist.Alasdair Hill: solo oboeRequiem movement 6Alasdair began playing the oboe at the age of11 whilst at Madras College, St Andrews. Aftergraduating from the Royal Northern College ofMusic Alasdair started a two-year postgraduatecourse at the prestigious Royal College of4Music. Since moving to the RCM, Alasdair hasenjoyed playing with the college ensemblesincluding principal oboe in opera and symphonyorchestras and has also played with ThePhilharmonia Orchestra in Buckingham Palacefor a royal reception. Alasdair plays with TheArion Ensemble (www.thearionensemble.co.uk),a wind quintet based in Manchester. Alasdair isa Leverhulme Orchestral Mentor at the RoyalCollege of Music and is also supported by theRobertson Trust.Elaine Dave: solo sopranoElaine is a singing teacher for the East RidingSchools’ Music Service, and trains their YouthChoir and newly formed Senior Choir. She wasa founder member of the Beverley ChamberChoir and a chorister at Beverley Minsterhaving on occasion sung the Allegri Misererefor both choirs. Elaine has sung amongst othersBach B minor Mass, Handel Messiah, SchubertMass in G, Vivaldi Gloria and both the Faure andRutter Requiems, as well as the Tippett – FiveNegro Spirituals from ‘A Child of Our Time’and Pergolesi Salve Regina in C Minor. Havingsung the Berlioz ‘Les Nuits D’ete’ with theScarborough Symphony Orchestra in 2011 shewill be performing this work again with pianoat the Music Recital Club later this year, as wellas a recital at Beverley Minster in June. Elainewill be performing the Gliere Concerto forColoratura Soprano and Orchestra with theSSO next year.Berenice Lewis: solo contraltoBerenice grew up in Leicester where shestudied piano and organ with Howard Gregoryand sang with Leicestershire Youth Choir.Whilst studying in York Berry became involvedin various groups as pianist, conductor, singerand vioinist and also made time to coachsingers, teach the piano and act as a regularrepetiteur for the York Musical TheatreCompany and York Opera. During her yearsin York she was organist at St. Denys’ ChurchWalmgate and subsequently at CentralMethodist Church. Berry currently holds thepost of Assistant Organist at St. Mary’s ChurchBeverley and Music Director of the YorkPhilharmonic Male Voice Choir. She teachessinging at Hymers College.

The ChoirSopranosContraltosTenorsBassesJoyce DavidsonEmma ElleringtonJudith Goodall*Janet HaytonJenny O’DonnellCara ParkinsonBronwen ProsserJanet SandersonChloe Salvidge*Gwyneth SargentRachel SawkinsDebbie RippingaleCaitriona TalbotSue WilliamsonMary CutlandCathie DanceJoan HoareBerenice Lewis*Shirley LittlefairEdwina ParkerJanet RatledgeRachael RobinsonHelen TilsedDavid BowdenKeith CartwrightDavid ElleringtonMichael ElleringtonRoger HoareIan ReidAlex SharazMichael Waltham* Ensemble singers for Gloria movement 2Peter HuntRobert LewisIan McLeanKevin OrmondPaul RippingaleThe OrchestraViolins: Hugh Blogg (Leader), Rachael England, Rachael Drury, James WoodrowViolas: Josie Goynes, Elizabeth SalvidgeCellos: Christina Waldock, Rachel GrayDouble Bass: Richard WaldockFlutes: Ian Denley, Margaret BoltonClarinets: Kim Jameson, Emily BerridgeOboe: Alasdair HillBassoon: Richard IonHorns: Garry Oglesby, Janus WadsworthTrumpets: Jonathan Thomson, Mark Addison, Tom Kwaterski, Tim BarberTrombones: Kieran Joy, David Price, Rich McveighTuba: Andy MallonTimpani: Gary StewartPercussion: Tom MerryHarp: Alice FrenchOrgan & continuo: Darius Battiwalla5

Requiem: John RutterRequiem was written in 1985 in memory ofthe composer’s father. The first performancewas given in Dallas, Texas in October 1985, andwhat was conceived as a personal memorialhas gone on to become one of John Rutter’sinternationally most often-performed choralworks, both in church and concert hall.Unlike the dramatic, large-scale Requiems ofBerlioz and Verdi, Rutter’s setting belongs inthe smaller-scale, more devotional tradition ofFauré and Duruflé. The choral forces do notneed to be large, there is only one soloist, theinstrumentation is restrained, the duration lessthan forty minutes. As with Fauré and Duruflé,the Latin text of the Missa pro defunctis isnot set in its entirety, the chosen portionsbeing those which underline a theme of lightand consolation emerging out of darkness anddespair; and as with more than one twentiethcenturyRequiem, vernacular texts areinterwoven with the traditional Latin.There are two psalms associated with the riteof burial, the sombre De profundis (Psalm 130)and the serenely confident Psalm 23, each ofthese settings having an important part for asolo instrument, cello and oboe respectively.In addition, movements 5 and 7 incorporatesentences from the Anglican Burial Service, inthe incomparably magnificent English of the1662 Book of Common Prayer.The complete seven-movement work forms anarch-like structure: the first and last movementsare prayers to God the Father, movements2 and 6 are psalms, 3 and 5 are prayers toChrist the Son, and the central Sanctus is anaffirmation of divine glory.The occasion of a Requiem is one forreflection and looking back, and, like a numberof composers in their Requiem settings,Rutter pays homage to his predecessors –influences including Fauré, Mahler, Howells andGershwin can be detected, along with the useof Gregorian chant at two key points in thework – but out of these disparate elementsa synthesis emerges which has been widelyrecognized as the composer’s own.LOUISE LUEGNER© Collegium Records6

Requiem: John RutterText and translation1. Requiem aeternam dona eis, Domine: et luxperpetua luceat eis. Te decet hymnus, Deus inSion: et tibi reddetur votum in Jerusalem. Exaudiorationem meam, ad te omnis caro veniet. Kyrie,eleison! Christe, eleison! Kyrie, eleison!Grant them eternal rest, O Lord, and may lighteternal 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, havemercy!2. Out of the deep have I called unto thee,O Lord: Lord, hear my voice. O let thine earsconsider well: the voice of my complaint. If thou,Lord, wilt be extreme to mark what is doneamiss: O Lord, who may abide it? For there ismercy 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 theLord, before the morning watch, I say, before themorning watch. O Israel, trust in the Lord, forwith the Lord there is mercy: and with him isplenteous redemption. And he shall redeem Israel:from all his sins.3. Pie Jesu Domine, dona eis requiem, Pie JesuDomine, dona eis requiem, Pie Jesu Domine,dona eis requiem, sempiternam.Pious Lord Jesus, Give them rest.4. Sanctus, Sanctus, Sanctus, Dominus DeusSabaoth.Pleni sunt caeli et terra gloria tua.Hosanna in excelsis,Benedictus qui venit in nomine Domini.Hosanna in excelsis.Holy, Holy, Holy Lord, God of power and majesty.Heaven and earth are full of thy glory.Hosanna in the highest.Blessed is he who comes in the name of the Lordour God:Hossana in the highest.5. Agnus Dei, qui tollis pecatta mundi: dona eisrequiem. Man that us born of a woman hathbut a short time to live, and is full of misery. Hecometh up, and is cut down like a flower; hefleeth as it were a shadow. Agnus Dei, qui tollispeccata mundi: dona eis requiem. In the midst oflife, we are in death: of whom may we seek forsuccour? Agnus Dei, qui tollis peccata mundi: donaeis requiem.I am the resurrection and the life, saith the Lord: hethat believeth in me, though he were dead, yet shallhe live: and whosoever liveth and believeth in meshall never die.6. The Lord is my shepherd: therefore can I lacknothing. He shall feed me in a green pasture: andlead me forth beside the waters of comfort. Heshall convert my soul and bring me forth in thepaths of righteousness, for his Name’s sake. Yea,though I walk through the valley of the shadow ofdeath, I will fear no evil: for thou art with me; thyrod and thy staff comfort me. Thou shalt preparea table before me against them that trouble me:thou hast anointed my head with oil, and my cupshall be full. But thy loving-kindness and mercyshall follow me all the days of my life: and I willdwell in the house of the Lord for ever.7. I heard a voice from heaven saying unto me,Blessed are the dead who die in the Lord, forthey rest from their labours: even so saith theSpirit.Lux aeterna luceat eis Domine: Cum sanctis tuis inaeternum, quia pius es. Requiem aeternam dona eisDomine, et lux perpetua luceat eis.INTERVAL (10 minutes)7

Stabat Mater:Giovanni Battista Pergolesi (1710-1736)2010 marked the 300th anniversary of thebirth of Pergolesi, in Jesi, Italy. His setting ofthe medieval Marian hymn Stabat Mater haswon a permanent place in the repertory. Itwas written towards the end of his life whilehe was suffering from tuberculosis, the causeof his premature death at the age of twentysixin a monastery in Pozzuoli, the Italian spamelodic talent and harmonic skill impressingmany of his contemporaries.After a solemn opening, Pergolesi emphasisesthe text with the repeated trills of the sopranoin “Cujus animam gementem” and the dramaticpauses in the alto aria “Fac, ut portem Christimortem”. His inspired and sensitive wordtown on the Bay of Naples. In the 18th centuryit became one of the most frequently printedand celebrated works, inspiring among otherarrangements, Bach’s tribute to Pergolesi in theform of a musical parody in his German settingof Psalm 51.A significant figure in the history of Italianopera, Pergolesi’s Stabat Mater is also highlydramatic in its narrative and musical style withits moving imagery of Mary grieving at the footof the cross. The score shows his abundantsettings and use of prolonged note values asin 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 modernarrangement that sets the work for two soloistsand chorus, rather than just the two soloists ofthe original.8

Stabat Mater: PergolesiText and translation1. Stabat Mater dolorosaChoir Iuxta crucem lacrimosaDum pendebat Filius.2. Cuius animam gementemSoprano Contristatam et dolentemPertransivit gladius.3. O quam tristis et afflictaChoir Fuit illa benedictaMater unigeniti!4. Quae moerebat et dolebat,Contralto Pia Mater, dum videbatNati poenas incliti.5. Quis est homo qui non fleret,Duet Matrem Christi si videretIn tanto supplicio?6. Vidit suum dulcem natumSopranoMoriendo desolatumDum emisit spiritum.7. Eja Mater, fons amorisContralto Me sentire vim dolorisFac, ut tecum lugeam.8. Fac, ut ardeat cor meumChoir In amando Christum DeumUt sibi complaceam.9. Sancta Mater, istud agas,DuetCrucifixi fige plagasCordi meo valide.Tui nati vulnerati,Tam dignati pro me pati,Poenas mecum divide.Fac me tecum, pie, flere,Crucifixo condolere,Donec ego vixero.Juxta crucem tecum stare,Et me tibi sociareIn planctu desidero.Virgo virginum praeclara,Mihi jam non sis amaraFac me tecum plangere.10. Fac, ut portem Christi mortemContralto Passionis fac consortem,Et plagas recolere.11. Fac me plagis vulnerari,DuetFac me cruce inebriari,Et cruore Filii.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 distressedwas that mother highly blessed,of the sole-begotten One!4. Christ above in torment hangs;She beneath beholds the pangsOf her dying glorious Son.5. Is there one who would not weep,Whelm’d in miseries so deepChrist’s dear Mother to behold?6. For the sins of His own nation,Saw Him hang in desolation,Till His spirit forth He sent.7. O thou Mother! fount of love!Touch my spirit from above;Make my heart with thine accord.8. Make me feel as thou hast felt;Make my soul to glow and meltWith the love of Christ our Lord.9. Holy Mother! pierce me through;In my heart each wound renewOf my Saviour crucified.Let me share with thee His pain,Who for all my sins was slain,Who for me in torments died.Let me mingle tears with thee,Mourning Him who mourn’d for me,All the days that I may live.By the cross with thee to stay,There with thee to weep and pray,Is all I ask of thee to give.Virgin of all virgins best,Listen to my fond requestLet me share thy grief divine.10. Let me, to my latest breath,In my body bear the deathOf that dying Son of thine.11. Wounded with His every wound,Steep my soul till it hath swoon’dIn His very blood away.9

Flammis ne urar succensusPer te, Virgo, sim defensusIn die judicii.Fac me cruce custodiriMorte Christi praemuniriConfoveri gratia12. Quando corpus morietur,Choir Fac, ut animae doneturParadisi gloria. Amen.Be to me, O Virgin, nigh,Lest in flames I burn and die,In His awful Judgment day.Christ, when Thou shalt call me hence,Be Thy Mother my defence,Be Thy cross my victory.12. While my body here decays,May my soul Thy goodness praise,Safe in Paradise with Thee.Gloria: John RutterText and translationMany composers have set this text as an independent work. The practice of subdividingsections of the mass, such as the Gloria and the Credo, into separate movements datesfrom the time of Bach, who employed it in the B minor Mass, but it was popularized byearly 18th-century composers.Rutter based his setting on one of many Gregorian chants which utilized this text.1. Gloria in excelsis Deo Glory be to God on high.et in terra pax hominibus bonae voluntátis. And in earth peace towards men of good will.Laudamus te,We praise thee.benedicimus te,We bless theeadoramus te,We worship thee.glorificamus te,We glorify thee.gratias agimus tibi propter magnam gloriam We give thanks to thee for thy great glory.tuam,2.Domine Deus, Rex cælestis,O Lord God, heavenly KingDeus Pater omnipotens.God the Father almighty.Domine Fili Unigenite, Jesu Christe,O Lord, the only-begotten Son Jesus Christ.Domine Deus, Agnus Dei, Filius Patris, O Lord God, Lamb of God, Son of the Father.qui tollis peccata mundi, miserere nobis; Thou that takest away the sins of the world, havemercy upon us.qui tollis peccata mundi, suscipe deprecationem Thou that takest away the sins of the world,nostram.receive our prayer.Qui sedes ad dexteram Patris, miserere nobis. Thou that sittest at the right of the Father, havemercy upon us.3. Quoniam tu solus Sanctus, tu solus Dominus, For thou only art Holy. Thou only art the Lord.tu solus Altissimus,Thou only art the Most High.Jesu Christe, cum Sancto Spiritu:Jesus Christ, with the Holy Ghost,in gloria Dei Patris.art Most High in the glory of God the Father.Amen.Amen.10

Beverley Chamber ChoirSaturday 13th July 7:30pm,St. Mary’s Church BeverleyVaughan WilliamsMass in G Minor& Other Choral FavouritesSaturday 23rd November 7:30pm,Beverley MinsterJ.S.BACHMASS in B MINOR

Friends of the Beverley Chamber ChoirDr G Aub-BuscherMr Allan BothamMrs J CartwrightMrs M ElleringtonMrs J MiddletonMr T N OatesMr Ray ParsonsMrs S PickstoneMr & Mrs P B PocockProfessor C RatledgeMr & Mrs P RhodesMrs S ScrowstonMr & Mrs D A ScrutonMr & Mrs T WraggWould you like to become a friend of the choir and support itsactivities over the forthcoming years?As a friend, your donation to the choir of £15 (minimum) per year will help us continueto present concerts to the highest possible standards. In return we will make sure thatyou have the opportunity to book tickets for all concerts promoted by the choir beforethey go on sale to the general public and with a £2 discount. Also we are offeringFriends complimentary programmes with pre-booked tickets.As an alternative to becoming a friend you may choose to register your details withus. Anyone registered on our database will still enjoy the opportunity to book ticketsfor all concerts before they go on sale to the general public and will also receive acomplimentary programme with pre-booked tickets.Please contact:Peter Hunt - SecretaryBeverley Chamber Choir,14 The Spinney,Swanland,East Yorks,HU14 3RDTel: 01482 634427Email: bcc@pchunt.karoo.co.uk12

agner’s200th anniversaryHull Philharmonic OrchestraSaturday 11 May 2013Hull City Hall – 7.30pmBeethoven‘Ah! Perfido’ Scene and AriaSymphony No 7 in AWagnerandPrelude to Act 3 of LohengrinGood Friday Spell from ParsifalPrelude and Liebestod from Tristan and IsoldeConductor: Andrew Penny Solo Soprano: Sarah Rhodes6.30: Pre-Concert talk on Wagner by Peter Rathbone (free to ticket holders)14www.hullphilharmonic.org

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