11 July, 2015: Jazz on a Summer Evening (including Will Todd: Mass in Blue)
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SATURDAY <str<strong>on</strong>g>11</str<strong>on</strong>g> JULY <str<strong>on</strong>g>2015</str<strong>on</strong>g><br />
JAZZ ON A<br />
SUMMER<br />
EVENING<br />
WILL TODD: MASS IN BLUE<br />
AND CLASSICS FROM THE<br />
GREAT AMERICAN SONGBOOK<br />
PROGRAMME: £2<br />
CADOGAN HALL,<br />
5 SLOANE TERRACE,<br />
LONDON SW1X 9DQ
WELCOME TO CADOGAN HALL<br />
In the <strong>in</strong>terests of your comfort and safety, please note the follow<strong>in</strong>g:<br />
• Latecomers will <strong>on</strong>ly be admitted to the auditorium dur<strong>in</strong>g a suitable<br />
pause <strong>in</strong> the performance.<br />
• Cadogan Hall is a totally n<strong>on</strong>-smok<strong>in</strong>g build<strong>in</strong>g.<br />
• Glasses, bottles and food are not allowed <strong>in</strong> the auditorium.<br />
• Photography, and the use of any video or audio record<strong>in</strong>g equipment,<br />
is forbidden.<br />
• Mobiles, Pagers & Watches: please ensure that you switch off your mobile<br />
ph<strong>on</strong>e and pager, and deactivate any digital alarm <strong>on</strong> your watch before the<br />
performance beg<strong>in</strong>s.<br />
• First Aid: Please ask a Steward if you require assistance.<br />
Thank you for your co-operati<strong>on</strong>. We hope you enjoy the performance.<br />
Programme note © Ralph Woodward<br />
Programme designed by Stephen Rickett and edited by Eleanor Cowie<br />
L<strong>on</strong>d<strong>on</strong> C<strong>on</strong>cert Choir - A company limited by guarantee, <strong>in</strong>corporated <strong>in</strong> England<br />
with registered number 3220578 and registered charity number 1057242<br />
Registered Office 7 Ildersly Grove, Dulwich, L<strong>on</strong>d<strong>on</strong> SE21 8EU
JAZZ ON A<br />
SUMMER EVENING<br />
Saturday <str<strong>on</strong>g>11</str<strong>on</strong>g> <str<strong>on</strong>g>July</str<strong>on</strong>g> <str<strong>on</strong>g>2015</str<strong>on</strong>g><br />
<strong>Will</strong> <strong>Todd</strong>: <strong>Mass</strong> <strong>in</strong> <strong>Blue</strong><br />
and arrangements of classics from the<br />
Great American S<strong>on</strong>gbook<br />
L<strong>on</strong>d<strong>on</strong> C<strong>on</strong>cert Choir<br />
N<strong>in</strong>a Bennet soprano<br />
James Arben saxoph<strong>on</strong>e<br />
Stephen Street bass<br />
Daniel Priest drums<br />
Mark Forkgen director/piano<br />
There will be an INTERVAL of 20 m<strong>in</strong>utes after the <strong>Mass</strong>
<strong>Will</strong> <strong>Todd</strong> (b. 1970)<br />
<strong>Mass</strong> <strong>in</strong> <strong>Blue</strong>, Op. 28 (2003)<br />
for soprano solo, SATB chorus,<br />
and piano, bass, drum kit and saxoph<strong>on</strong>e<br />
Written <strong>in</strong> resp<strong>on</strong>se to a commissi<strong>on</strong> by David Temple<br />
and Hertfordshire Chorus <strong>in</strong> 2003, and orig<strong>in</strong>ally<br />
premiered under the title <str<strong>on</strong>g>Jazz</str<strong>on</strong>g> <strong>Mass</strong>, the <strong>Mass</strong> <strong>in</strong><br />
<strong>Blue</strong> is a brilliant blend of driv<strong>in</strong>g jazz grooves<br />
and clear, str<strong>on</strong>g, choral writ<strong>in</strong>g aga<strong>in</strong>st which the<br />
solo piano and solo soprano voice weave and blend <strong>in</strong> a delightful aural<br />
tapestry. The work reflects not <strong>on</strong>ly the composer’s love of jazz music and his<br />
admirati<strong>on</strong> of jazz performers, but also his own experience as an improviser.<br />
It also allows <strong>Todd</strong> to make use of his extensive choral skills which he deploys<br />
so effectively <strong>in</strong> works such as the oratorios The Burn<strong>in</strong>g Road (Op 10) and<br />
Sa<strong>in</strong>t Cuthbert (Op 7) or the chorus writ<strong>in</strong>g of his opera The Blackened Man.<br />
It is a c<strong>on</strong>fident work by a composer who understands and resp<strong>on</strong>ds to the<br />
jazz idiom, mak<strong>in</strong>g free use of the 12-bar blues sequence (which has been<br />
fundamental <strong>in</strong> the development of jazz music) as well as more complex<br />
harm<strong>on</strong>ic processes. The work exists <strong>in</strong> two versi<strong>on</strong>s and t<strong>on</strong>ight’s performance<br />
is the small jazz ensemble versi<strong>on</strong>.<br />
1. Kyrie<br />
The Kyrie opens with an energetic cadenza for the trio secti<strong>on</strong> which builds <strong>in</strong>to<br />
the first set tempo of the work. Over this, the first vocal entry is heard, a bluesy<br />
theme rem<strong>in</strong>iscent of negro spirituals and therefore apt for the text Kyrie Eleis<strong>on</strong><br />
(Lord have mercy). Gradually other l<strong>in</strong>es jo<strong>in</strong> the <strong>in</strong>itial melody until the full choir<br />
is s<strong>in</strong>g<strong>in</strong>g. On a move to the sub-dom<strong>in</strong>ant B flat the choir ecstatically bursts forth<br />
with Christe Eleis<strong>on</strong> and as this music subsides we hear the soprano enter <strong>on</strong> a<br />
soulful melody with a str<strong>on</strong>g improvised feel, which builds over the return of the<br />
orig<strong>in</strong>al key of F m<strong>in</strong>or. The music of the Kyrie Eleis<strong>on</strong> is repeated with the soloist<br />
<strong>in</strong>terwoven around the vocal l<strong>in</strong>es <strong>in</strong> a virtuosic display. The movement slows and<br />
closes <strong>on</strong> a thrill<strong>in</strong>g F m<strong>in</strong>or <str<strong>on</strong>g>11</str<strong>on</strong>g> chord.<br />
Kyrie eleis<strong>on</strong>.<br />
Christe eleis<strong>on</strong>.<br />
Kyrie eleis<strong>on</strong>.<br />
Lord, have mercy up<strong>on</strong> us.<br />
Christ, have mercy up<strong>on</strong> us.<br />
Lord, have mercy up<strong>on</strong> us.
2. Gloria<br />
The Gloria is set up with a str<strong>on</strong>g ‘lat<strong>in</strong>’ groove which punctuates the whole<br />
movement. From the moment the choir enters there is an uplift<strong>in</strong>g rhythmic drive<br />
to this sett<strong>in</strong>g. In the central secti<strong>on</strong> of the Gloria a pulsat<strong>in</strong>g 5/8 time is set up<br />
which gradually builds until a recapitulati<strong>on</strong> of the open<strong>in</strong>g material br<strong>in</strong>gs the<br />
movement to a close.<br />
Gloria <strong>in</strong> excelsis Deo,<br />
et <strong>in</strong> terra pax hom<strong>in</strong>ibus b<strong>on</strong>ae voluntatis.<br />
Laudamus te, benedicimus te,<br />
adoramus te, glorificamus te.<br />
Gratias agimus tibi<br />
propter magnam gloriam tuam.<br />
Dom<strong>in</strong>e Deus, Rex coelestis,<br />
Deus Pater omnipotens.<br />
Dom<strong>in</strong>e Fili unigenite, Jesu Christe,<br />
Dom<strong>in</strong>e Deus, Agnus Dei,<br />
Filius Patris,<br />
Qui tollis peccata mundi,<br />
miserere nobis.<br />
Qui tollis peccata mundi,<br />
suscipe deprecati<strong>on</strong>em nostram.<br />
Qui sedes ad dexteram Patris,<br />
miserere nobis.<br />
Qu<strong>on</strong>iam tu solus sanctus,<br />
tu solus Dom<strong>in</strong>us,<br />
tu solus Altissimus, Jesu Christe,<br />
cum Sancto Spiritu<br />
<strong>in</strong> gloria Dei Patris. Amen.<br />
Glory be to God <strong>on</strong> high,<br />
and <strong>on</strong> earth peace to men of good will.<br />
We praise Thee, we bless Thee,<br />
We adore Thee, we glorify Thee.<br />
We give Thee thanks<br />
for Thy great glory.<br />
O Lord God, heavenly K<strong>in</strong>g,<br />
God, the Father Almighty.<br />
O Lord the <strong>on</strong>ly-begotten S<strong>on</strong> Jesus Christ,<br />
O Lord God, Lamb of God,<br />
S<strong>on</strong> of the Father,<br />
Who takest away the s<strong>in</strong>s of the world,<br />
have mercy up<strong>on</strong> us;<br />
Who takest away the s<strong>in</strong>s of the world,<br />
receive our prayer.<br />
Who sittest at the right hand of the Father,<br />
have mercy up<strong>on</strong> us.<br />
For Thou <strong>on</strong>ly art holy,<br />
Thou <strong>on</strong>ly art the Lord,<br />
Thou <strong>on</strong>ly art most high, O Jesus Christ,<br />
with the Holy Spirit,<br />
<strong>in</strong> the glory of God the Father. Amen..<br />
3. Credo<br />
The Credo features the soprano <strong>in</strong> a colourful 12-bar blues <strong>in</strong> 12/8 time. There is<br />
a str<strong>on</strong>g gospel feel with the choir repeat<strong>in</strong>g l<strong>in</strong>es from the soloist and humm<strong>in</strong>g<br />
soft back<strong>in</strong>g harm<strong>on</strong>y. Aga<strong>in</strong> <strong>in</strong> three secti<strong>on</strong>s, the first blues part gives way to a<br />
more sombre secti<strong>on</strong> at the Crucifixus and after Et sepultus est (and was buried) a<br />
piano solo leads the band <strong>in</strong>to a blaz<strong>in</strong>g depicti<strong>on</strong> of the moment of resurrecti<strong>on</strong>.<br />
The Et resurrexit is set with a scorch<strong>in</strong>g up-tempo sw<strong>in</strong>g which eventually cuts back<br />
<strong>in</strong>to the 12/8 as the movement builds to a thrill<strong>in</strong>g climax.
Credo <strong>in</strong> unum Deum,<br />
Patrem omnipotentem,<br />
factorem coeli et terræ,<br />
visibilium omnium et <strong>in</strong>visibilium.<br />
Et <strong>in</strong> unum Dom<strong>in</strong>um Jesum Christum,<br />
Filium Dei unigenitum;<br />
Et ex Patre natum ante omnia saecula.<br />
Deum de Deo, lumen de lum<strong>in</strong>e:<br />
Deum verum de Deo vero;<br />
Genitum, n<strong>on</strong> factum;<br />
c<strong>on</strong>substantialem Patri,<br />
per quem omnia facta sunt:<br />
Qui propter nos hom<strong>in</strong>es, et propter<br />
nostram salutem, descendit de coelis.<br />
Et <strong>in</strong>carnatus est de Spiritu Sancto<br />
ex Maria Virg<strong>in</strong>e, et homo factus est.<br />
Crucifixus etiam pro nobis,<br />
sub P<strong>on</strong>tio Pilato passus et sepultus est.<br />
Et resurrexit tertia die,<br />
secundum Scripturas.<br />
Et ascendit <strong>in</strong> coelum,<br />
sedet ad dexteram Patris.<br />
Et iterum venturus est cum gloria<br />
Judicare vivos et mortuos;<br />
cujus regni n<strong>on</strong> erit f<strong>in</strong>is.<br />
Et <strong>in</strong> Spiritum Sanctum,<br />
Dom<strong>in</strong>um et vivificantem,<br />
qui ex Patre Filioque procedit.<br />
Qui cum Patre et Filio simul adoratur<br />
et c<strong>on</strong>glorificatur;<br />
qui locutus est per Prophetas.<br />
Et <strong>in</strong> unam sanctam Catholicam<br />
et Apostolicam Ecclesiam.<br />
C<strong>on</strong>fiteor unum baptisma<br />
<strong>in</strong> remissi<strong>on</strong>em peccatorum.<br />
Et expecto resurrecti<strong>on</strong>em mortuorum,<br />
et vitam venturi sæculi. Amen.<br />
I believe <strong>in</strong> <strong>on</strong>e God,<br />
the Father Almighty,<br />
maker of heaven and earth,<br />
of all th<strong>in</strong>gs visible and <strong>in</strong>visible.<br />
And <strong>in</strong> <strong>on</strong>e Lord Jesus Christ,<br />
the <strong>on</strong>ly-begotten S<strong>on</strong> of God;<br />
born of the Father before all ages.<br />
God of God, light of light,<br />
true God of true God;<br />
begotten, not made;<br />
c<strong>on</strong>substantial with the Father,<br />
by Whom all th<strong>in</strong>gs were made:<br />
Who for us men and for our salvati<strong>on</strong>,<br />
came down from heaven.<br />
And was <strong>in</strong>carnate by the Holy Ghost of the<br />
Virg<strong>in</strong> Mary, and was made man.<br />
He was crucified also for us, suffered under<br />
P<strong>on</strong>tius Pilate and was buried.<br />
And the third day he rose aga<strong>in</strong><br />
accord<strong>in</strong>g to the Scriptures.<br />
And ascended <strong>in</strong>to heaven,<br />
and sitteth at the right hand of the Father.<br />
And He shall come aga<strong>in</strong> with glory<br />
to judge the liv<strong>in</strong>g and the dead;<br />
whose k<strong>in</strong>gdom shall have no end.<br />
And [I believe] <strong>in</strong> the Holy Spirit,<br />
the Lord and giver of life,<br />
Who proceedeth from the Father and the S<strong>on</strong>.<br />
Who, with the Father and the S<strong>on</strong> together,<br />
is adored and glorified;<br />
Who spoke by the Prophets.<br />
And [I believe] <strong>in</strong> <strong>on</strong>e holy Catholic<br />
and Apostolic Church.<br />
I c<strong>on</strong>fess <strong>on</strong>e baptism<br />
for the remissi<strong>on</strong> of s<strong>in</strong>s.<br />
And I look for the resurrecti<strong>on</strong> of the dead,<br />
and the life of the world to come. Amen.<br />
4. Sanctus<br />
Like the Gloria the Sanctus is set for the choir and band without the soloist. It is<br />
a beautiful, slow ballad which provides a welcome period of tranquillity and<br />
reflecti<strong>on</strong> after the sheer energy of the previous three movements.
Sanctus, Sanctus, Sanctus<br />
Dom<strong>in</strong>us Deus Sabaoth.<br />
Pleni sunt coeli et terra gloria tua.<br />
Hosanna <strong>in</strong> excelsis.<br />
Holy, Holy, Holy,<br />
Lord God of hosts.<br />
The heavens and the earth are full of<br />
Thy glory.<br />
Hosanna <strong>in</strong> the highest.<br />
5. Benedictus<br />
The Benedictus beg<strong>in</strong>s with solo double bass over which the choir s<strong>in</strong>gs a theme<br />
which builds up from the basses through the rest of the voices. This music is<br />
gradually <strong>in</strong>vaded by a new, more driv<strong>in</strong>g beat and the solo voice beg<strong>in</strong>s to<br />
weave <strong>in</strong>to the texture <strong>on</strong>ce aga<strong>in</strong>. This funky riff gradually takes over and the<br />
music emerges <strong>in</strong>to a powerful Hosanna secti<strong>on</strong> with a jubilant choral sound.<br />
Benedictus qui venit<br />
<strong>in</strong> nom<strong>in</strong>e Dom<strong>in</strong>i.<br />
Hosanna <strong>in</strong> excelsis.<br />
Blessed is He Who cometh<br />
<strong>in</strong> the name of the Lord.<br />
Hosanna <strong>in</strong> the highest.<br />
6. Agnus Dei<br />
The Agnus Dei grows out of the dy<strong>in</strong>g echoes of the Hosanna with a haunt<strong>in</strong>g<br />
soprano ballad accompanied by piano. This flows <strong>in</strong>to a gentle B flat m<strong>in</strong>or<br />
secti<strong>on</strong> <strong>in</strong> which <strong>in</strong>tricate choral l<strong>in</strong>es are woven over a simple, repeated chordal<br />
structure. After a big build at the ‘miserere’, this time with the chorus featured,<br />
the music returns to the open<strong>in</strong>g ballad theme, the soprano now accompanied by<br />
soft choir. This is a substantial movement and is more than beautiful – it is pa<strong>in</strong>ful,<br />
pla<strong>in</strong>tive, a cry for mercy and a prayer for peace.<br />
Agnus Dei, qui tollis peccata mundi,<br />
miserere nobis.<br />
Agnus Dei, qui tollis peccata mundi,<br />
d<strong>on</strong>a nobis pacem.<br />
Lamb of God, Who takest away the s<strong>in</strong>s<br />
of the world, have mercy up<strong>on</strong> us.<br />
Lamb of God, Who takest away the s<strong>in</strong>s<br />
of the world, grant us peace.<br />
Traditi<strong>on</strong>ally the <strong>Mass</strong> would end here, but <strong>in</strong> another dramatic master-stroke, <strong>Todd</strong><br />
leaves the altos hang<strong>in</strong>g <strong>on</strong> a soft F after the last chord of the Agnus Dei. The air of<br />
expectati<strong>on</strong> grows as the sopranos softly recapitulate the Credo theme. Gradually<br />
the music builds with the soloist enter<strong>in</strong>g and then the tenors and basses. Suddenly<br />
the driv<strong>in</strong>g 12/8 beat of the Credo is forc<strong>in</strong>g the music forward as the choir s<strong>in</strong>g<br />
Et expecto resurrecti<strong>on</strong>em (And I look for the resurrecti<strong>on</strong>) and the music comes<br />
back to the key <strong>in</strong> which the work began, F m<strong>in</strong>or.<br />
The emphatic f<strong>in</strong>al chords of the work leave the listener not <strong>in</strong> quiet c<strong>on</strong>templati<strong>on</strong><br />
but jerked forward <strong>in</strong>to praise and belief. Credo ... Amen!
INTERVAL – 20 M<strong>in</strong>utes<br />
Classics from the Great American S<strong>on</strong>gbook<br />
The items will be <strong>in</strong>troduced by the choir’s Music Director, Mark Forkgen.<br />
A<strong>in</strong>’t Misbehav<strong>in</strong>’<br />
Lyrics: Andy Razaf; Music: ‘Fats’ Waller and Harry Brooks,<br />
choral arrangement by Peter Gritt<strong>on</strong><br />
I got rhythm<br />
Lyrics: Ira Gershw<strong>in</strong>; Music: George Gershw<strong>in</strong>,<br />
choral arrangement by Christopher Clapham<br />
The Man I Love<br />
Lyrics: Ira Gershw<strong>in</strong>; Music: George Gershw<strong>in</strong><br />
Every time we say goodbye<br />
Music and lyrics: Cole Porter<br />
Bey<strong>on</strong>d the Sea<br />
Lyrics: Jack Lawrence; Music: Charles Trenet,<br />
arranged by Michael Bascom<br />
<strong>Blue</strong> R<strong>on</strong>do à la Turk<br />
Dave Brubeck<br />
Over the Ra<strong>in</strong>bow<br />
from The Wizard of Oz<br />
Lyrics by Yip (E.Y.) Harburg; Music by Harold Arlen,<br />
choral arrangement by Guy Turner<br />
<strong>Summer</strong>time<br />
from Porgy and Bess<br />
Lyrics by Dubose Heyward, Dorothy Heyward and Ira Gershw<strong>in</strong>;<br />
Music by George Gershw<strong>in</strong>,<br />
choral arrangement by Roderick <strong>Will</strong>iams
Biographies<br />
Mark Forkgen Director/Piano<br />
Mark Forkgen has been Music Director of L<strong>on</strong>d<strong>on</strong> C<strong>on</strong>cert Choir s<strong>in</strong>ce 1996.<br />
He is also Music Director of Canticum chamber choir, Pr<strong>in</strong>cipal C<strong>on</strong>ductor and<br />
Artistic Advisor of Kokoro (the Bournemouth Symph<strong>on</strong>y Orchestra’s New Music<br />
Group) and Director of Music at T<strong>on</strong>bridge School. He has c<strong>on</strong>ducted major UK<br />
orchestras, <strong><strong>in</strong>clud<strong>in</strong>g</strong> the Royal Philharm<strong>on</strong>ic Orchestra, Orchestra of the Age<br />
of Enlightenment, Bournemouth Symph<strong>on</strong>y Orchestra, City of L<strong>on</strong>d<strong>on</strong> S<strong>in</strong>f<strong>on</strong>ia,<br />
English Chamber Orchestra, English Northern Philharm<strong>on</strong>ia and Manchester<br />
Camerata, appear<strong>in</strong>g at major venues, <strong><strong>in</strong>clud<strong>in</strong>g</strong> the Royal Festival Hall, the<br />
Barbican and the Royal Albert Hall.<br />
A specialist <strong>in</strong> the field of choral and c<strong>on</strong>temporary music, Mark has given the<br />
first performances of more than 100 works. He has also c<strong>on</strong>ducted stage works<br />
with the Trestle Theatre Company and Britten S<strong>in</strong>f<strong>on</strong>ia, and c<strong>on</strong>temporary opera<br />
with the Unicorn Theatre Company and an ensemble from the Philharm<strong>on</strong>ia, at the<br />
L<strong>in</strong>bury Studio, Royal Opera House, Covent Garden.<br />
Mark’s wide range of c<strong>on</strong>duct<strong>in</strong>g also <strong>in</strong>cludes performances with Deep Purple<br />
for the Henley Festival and recreat<strong>in</strong>g P<strong>in</strong>k Floyd’s Atom Heart Mother <strong>in</strong> the<br />
Chelsea Festival. He also enjoys an active life as a pianist, focus<strong>in</strong>g <strong>on</strong> 20th<br />
Century and c<strong>on</strong>temporary music. His recitals this seas<strong>on</strong> cover repertoire by<br />
Strav<strong>in</strong>sky, Debussy, Messiaen, Bartok, Sir Peter Maxwell Davies, Oliver Knussen<br />
and Thomas Adès.<br />
He has been C<strong>on</strong>ductor and Artistic Advisor for highly acclaimed festivals <strong><strong>in</strong>clud<strong>in</strong>g</strong>:<br />
Sir Peter Maxwell Davies’ 70th Birthday; Strav<strong>in</strong>sky, ‘A Festival of Britten’, ‘Music<br />
of the Americas’, ‘Brita<strong>in</strong> s<strong>in</strong>ce Britten’ and ‘East meets West’. Outside the UK<br />
he has c<strong>on</strong>ducted <strong>in</strong> Denmark, Spa<strong>in</strong>, France, Belgium, Germany, Holland, Eire,<br />
the Czech Republic and Italy (<strong><strong>in</strong>clud<strong>in</strong>g</strong> Handel’s Messiah <strong>in</strong> Sienna and Israel<br />
<strong>in</strong> Egypt at the Viterbo Early Music Festival), Bulgaria (c<strong>on</strong>certs broadcast for<br />
Nati<strong>on</strong>al TV and Radio) and H<strong>on</strong>g K<strong>on</strong>g.<br />
Last seas<strong>on</strong>’s highlights <strong>in</strong>cluded a producti<strong>on</strong> of Oh What a Lovely War, J<strong>on</strong>athan<br />
Lloyd’s score to Hitchcock’s Blackmail, performed with the film, c<strong>on</strong>certs celebrat<strong>in</strong>g<br />
Britten’s centenary and a highly acclaimed Shakespeare project. Highlights this<br />
seas<strong>on</strong> have <strong>in</strong>cluded Sir Peter Maxwell Davies’ Vesalii Ic<strong>on</strong>es with the composer,<br />
producti<strong>on</strong>s of Cabaret and The Boy Friend, and a programme <strong><strong>in</strong>clud<strong>in</strong>g</strong> three first<br />
performances at the Cheltenham Festival.
N<strong>in</strong>a Bennet Soprano<br />
N<strong>in</strong>a Bennet studied Philosophy and English at the University of East Anglia before<br />
embark<strong>in</strong>g <strong>on</strong> post-graduate study of early music performance and s<strong>in</strong>g<strong>in</strong>g at the<br />
Royal College of Music, L<strong>on</strong>d<strong>on</strong>.<br />
Recent c<strong>on</strong>cert platform work has <strong>in</strong>cluded Haydn’s Creati<strong>on</strong> and Nels<strong>on</strong> <strong>Mass</strong>,<br />
Mozart’s Cor<strong>on</strong>ati<strong>on</strong> <strong>Mass</strong>, Requiem and the C M<strong>in</strong>or <strong>Mass</strong> under Jeremy<br />
Backhouse <strong>in</strong> Guildford Cathedral. She has also performed Haydn’s Little Organ<br />
<strong>Mass</strong> and Faure’s Requiem with the City of L<strong>on</strong>d<strong>on</strong> S<strong>in</strong>f<strong>on</strong>ia, Bach’s Magnificat<br />
under Tim Brown, Bach’s B M<strong>in</strong>or <strong>Mass</strong> and M<strong>on</strong>teverdi’s Vespers with Charivari<br />
Agréable <strong>in</strong> St John’s, Smith Square, Bach’s Christmas Oratorio with Peter Schreier,<br />
also <strong>in</strong> St John’s, and Vivaldi’s Gloria with the Royal Philharm<strong>on</strong>ic Orchestra.<br />
N<strong>in</strong>a is becom<strong>in</strong>g <strong>in</strong>creas<strong>in</strong>gly <strong>in</strong> demand <strong>in</strong> c<strong>on</strong>temporary music, perform<strong>in</strong>g<br />
Birtwistle’s N<strong>in</strong>e Sett<strong>in</strong>gs of Celan with Kokoro, the Bournemouth Symph<strong>on</strong>y<br />
Orchestra’s c<strong>on</strong>temporary group, and Schoenberg’s Pierrot Lunaire with<br />
Sequenza at the Oxford Lieder Festival. She performed the European premiere<br />
of Sebastian Currier’s Vocalissimus, also with Kokoro, and last year sang <strong>in</strong> a<br />
staged performance of Birtwistle’s Yan Tan Tethera at the Barbican with the Britten<br />
S<strong>in</strong>f<strong>on</strong>ia. Equally at home <strong>in</strong> both <str<strong>on</strong>g>Jazz</str<strong>on</strong>g> and Gospel, she has previously performed<br />
with LCC <strong>in</strong> the Duke Ell<strong>in</strong>gt<strong>on</strong> Sacred C<strong>on</strong>certs <strong>in</strong> Cadogan Hall and recently<br />
performed with Ken Burt<strong>on</strong> <strong>in</strong> his piece Take Time to Change.<br />
N<strong>in</strong>a is also a versatile c<strong>on</strong>sort s<strong>in</strong>ger, regularly tour<strong>in</strong>g Europe with the Academy<br />
of Ancient Music under Richard Egarr. She performs with the BBC S<strong>in</strong>gers, Britten<br />
S<strong>in</strong>f<strong>on</strong>ia Voices, L<strong>on</strong>d<strong>on</strong> Voices and Philharm<strong>on</strong>ia Voices. She is a founder member<br />
of the relaunched Amaryllis C<strong>on</strong>sort which specialises <strong>in</strong> early secular music, and<br />
also ma<strong>in</strong>ta<strong>in</strong>s a busy recital schedule with the Silvestre Trio.<br />
James Arben Saxoph<strong>on</strong>e<br />
James is a professi<strong>on</strong>al saxoph<strong>on</strong>ist and woodw<strong>in</strong>d player doubl<strong>in</strong>g <strong>on</strong> flute,<br />
oboe, vocals, clar<strong>in</strong>et and bass clar<strong>in</strong>et. Initially taught by UK veteran saxoph<strong>on</strong>ist<br />
D<strong>on</strong> Rendell, James studied Music at Oxford University and c<strong>on</strong>t<strong>in</strong>ued to have<br />
less<strong>on</strong>s with Jean Toussa<strong>in</strong>t. He then attended the Guildhall School of Music and<br />
Drama for his Masters <strong>in</strong> performance, compositi<strong>on</strong> and arrang<strong>in</strong>g and w<strong>on</strong> an<br />
Archer’s Scholarship for two years runn<strong>in</strong>g at Tr<strong>in</strong>ity College of Music, study<strong>in</strong>g<br />
with Bobby Lamb and play<strong>in</strong>g with the Bobby Lamb Big Band.<br />
James is Musical Director for Ethiopian musician, Hollywood film composer and<br />
creator of the genre Ethio-<str<strong>on</strong>g>Jazz</str<strong>on</strong>g>, Mulatu Astatke; he is also a member of Mulatu’s<br />
band, The Steps Ahead Band and The Heliocentrics.<br />
James has performed at many major festivals <strong>in</strong> the UK, and throughout the world.<br />
He has also written for and worked with The Heliocentrics, The O Jays, Mary<br />
Wils<strong>on</strong> (The Supremes), Brazilian musician Criolo, rapper Talib Kweli, Snowboy,
producer T<strong>on</strong>y Visc<strong>on</strong>ti, Jim Stapley, Rob<strong>in</strong> J<strong>on</strong>es, Steve Waterman, NYJO, David<br />
Axelrod, The Kooks, Digby Fairweather, Tim Garland, Gene Calderazzo, Jean<br />
Toussa<strong>in</strong>t, Rufus Reid, Byr<strong>on</strong> Wallen, F<strong>in</strong>n Peters, Alexander Hawk<strong>in</strong>s, <str<strong>on</strong>g>Jazz</str<strong>on</strong>g> Franks,<br />
The Glen Miller Orchestra, Courtney P<strong>in</strong>e, The Fun Lov<strong>in</strong>’ Crim<strong>in</strong>als, F<strong>in</strong>ley Quaye,<br />
Saravah Soul, Miss Hoodoo and the Delta Boys, The Black Jesus Experience and<br />
Joe Stilgoe. He has often played <strong>on</strong> BBC Nati<strong>on</strong>al Radio and BBC TV. West-End<br />
show experience <strong>in</strong>cludes Danc<strong>in</strong>g <strong>in</strong> the Streets (2005-2012) and Jersey Boys<br />
(<str<strong>on</strong>g>2015</str<strong>on</strong>g>). James’ compos<strong>in</strong>g credits <strong>in</strong>clude writ<strong>in</strong>g for his own band AtoZ, and<br />
arrang<strong>in</strong>g for David Axelrod, pop bands Digress and The Zarrs.<br />
Stephen Street Bass<br />
Stephen picked up the Bass Guitar at 10 years of age with a little <strong>in</strong>spirati<strong>on</strong><br />
from his brother. A local musician taught him the basics of pop and rock but<br />
unfortunately he passed away a year later, halt<strong>in</strong>g Stephen’s studies.<br />
As Stephen grew older he decided to study music as a career rather than a<br />
hobby. Follow<strong>in</strong>g A-levels at Twynham School he started learn<strong>in</strong>g the double bass<br />
with Barry Glynn and c<strong>on</strong>t<strong>in</strong>ued his <strong>in</strong>terest <strong>in</strong> bass guitar with Paul Westwood<br />
<strong>in</strong> L<strong>on</strong>d<strong>on</strong>. After a year and a half Stephen ga<strong>in</strong>ed places <strong>on</strong> jazz and classical<br />
courses at Tr<strong>in</strong>ity Laban with a full scholarship for a jo<strong>in</strong>t course of study.<br />
S<strong>in</strong>ce be<strong>in</strong>g at Tr<strong>in</strong>ity Laban Stephen has studied under Chris West but has also<br />
been regularly tutored by Le<strong>on</strong> Bosch, Neil Tarlt<strong>on</strong>, Mart<strong>in</strong> Speake, John Asht<strong>on</strong><br />
Thomas, Paul Bartholomew and Sim<strong>on</strong> Purcell. He has attended master classes with<br />
Alberto Boc<strong>in</strong>i, Stefano Scia Scia, Scott P<strong>in</strong>gle, Dan Styffe, Matthew McD<strong>on</strong>ald,<br />
Eno Senft and many of the visit<strong>in</strong>g jazz Masters. Stephen has been lucky enough<br />
to play pr<strong>in</strong>cipal positi<strong>on</strong> <strong>in</strong> orchestras <strong>on</strong> many occasi<strong>on</strong>s and represented Tr<strong>in</strong>ity<br />
Laban <strong>in</strong> Poland <strong>on</strong> the K12 exchange. He recently had the pleasure of play<strong>in</strong>g<br />
the late show at R<strong>on</strong>nie Scott’s with the Stefan Melovski Trio.<br />
Daniel Priest Drums<br />
Dan Priest studied percussi<strong>on</strong> at the Royal Northern College of Music Junior School,<br />
and was a member of the Nati<strong>on</strong>al Youth W<strong>in</strong>d Orchestra of Great Brita<strong>in</strong>, and<br />
the Nati<strong>on</strong>al Youth Orchestra. He went <strong>on</strong> to study music at Birm<strong>in</strong>gham University<br />
before mov<strong>in</strong>g to Bournemouth <strong>in</strong> 1994 to take the MA <strong>in</strong> Electro-acoustic Music<br />
for Film and Televisi<strong>on</strong>. S<strong>in</strong>ce then he has juggled freelance, professi<strong>on</strong>al play<strong>in</strong>g<br />
with a varied portfolio of teach<strong>in</strong>g and compos<strong>in</strong>g work.<br />
Dan has worked with Kokoro, the Bournemouth Symph<strong>on</strong>y Orchestra and<br />
Bournemouth S<strong>in</strong>f<strong>on</strong>ietta, Scottish Chamber Orchestra, Southern Pro Musica and<br />
many other ensembles <strong>in</strong> the South and South West of England.
L<strong>on</strong>d<strong>on</strong> C<strong>on</strong>cert Choir<br />
L<strong>on</strong>d<strong>on</strong> C<strong>on</strong>cert Choir, founded as the Brompt<strong>on</strong><br />
Choral Society <strong>in</strong> 1960, now has around 150<br />
members of a wide range of ages and is notable for<br />
its unusually broad musical repertoire. With Music<br />
Director Mark Forkgen the choir regularly appears at<br />
all the major L<strong>on</strong>d<strong>on</strong> c<strong>on</strong>cert venues and <strong>in</strong> cathedrals<br />
and churches <strong>in</strong> and around the capital, as well as<br />
visit<strong>in</strong>g dest<strong>in</strong>ati<strong>on</strong>s further afield.<br />
The most recent tour was to Italy <strong>in</strong> <str<strong>on</strong>g>July</str<strong>on</strong>g> 2014, when<br />
LCC performed Haydn’s oratorio The Seas<strong>on</strong>s with<br />
Southbank S<strong>in</strong>f<strong>on</strong>ia <strong>in</strong> the Basilica di San Francesco,<br />
Assisi. In 20<str<strong>on</strong>g>11</str<strong>on</strong>g> a performance of Verdi’s Requiem<br />
with the Augsburg Basilica Choir <strong>in</strong> the Royal<br />
Festival Hall was followed by a jo<strong>in</strong>t c<strong>on</strong>cert at the<br />
Augsburg Peace Festival.<br />
C<strong>on</strong>cert performances of operas and musicals have<br />
ranged from Gluck’s Orfeo ed Euridice and Purcell’s<br />
Dido and Aeneas to Gershw<strong>in</strong>’s Porgy and Bess and<br />
Lerner and Loewe’s My Fair Lady. LCC has also presented<br />
Duke Ell<strong>in</strong>gt<strong>on</strong>’s Sacred C<strong>on</strong>cert and Orff’s<br />
Carm<strong>in</strong>a Burana, and appeared <strong>in</strong> the Star Wars c<strong>on</strong>certs<br />
at the O2 Arena. In <str<strong>on</strong>g>July</str<strong>on</strong>g> 2012 the choir gave the<br />
L<strong>on</strong>d<strong>on</strong> premiere of Stephen McNeff’s opera-oratorio<br />
The Chalk Legend.<br />
L<strong>on</strong>d<strong>on</strong> C<strong>on</strong>cert choir celebrated its 50th anniversary<br />
<strong>in</strong> 2010 with two memorable performances of Britten’s<br />
War Requiem – at the Barbican and <strong>in</strong> Salisbury<br />
Cathedral. Am<strong>on</strong>g other large-scale choral works <strong>in</strong><br />
recent seas<strong>on</strong>s have been Beethoven’s Missa Solemnis<br />
with the English Chamber Orchestra, and Elgar’s<br />
Dream of Ger<strong>on</strong>tius and Mendelssohn’s Elijah with<br />
Southbank S<strong>in</strong>f<strong>on</strong>ia.<br />
On a smaller scale, LCC has sung rarely-heard sett<strong>in</strong>gs<br />
of the Russian Orthodox liturgy, and Ross<strong>in</strong>i’s Petite<br />
Messe Solennelle. Performances of Baroque music<br />
<strong>in</strong>clude Handel’s Messiah and Judas Maccabaeus and<br />
Bach’s St Matthew Passi<strong>on</strong> and Christmas Oratorio.<br />
The choir often gives c<strong>on</strong>certs for charity and has<br />
commissi<strong>on</strong>ed a number of new works.<br />
Mark Forkgen<br />
Music Director<br />
James L<strong>on</strong>gford<br />
Pr<strong>in</strong>cipal Accompanist<br />
------------------------------------------<br />
Fabyan Evans<br />
Chairman<br />
Barbara Whent<br />
C<strong>on</strong>cert Manager<br />
Katja Pluto<br />
Treasurer<br />
Stephen Rickett<br />
Design and<br />
Communicati<strong>on</strong>s<br />
Jennifer Greenway<br />
Membership<br />
Eleanor Cowie<br />
Publicity<br />
Sim<strong>on</strong> Livesey<br />
Company Secretary
soprano<br />
Hannah Baker<br />
Gillian Bibby<br />
Dagmar B<strong>in</strong>sted<br />
Mickey Bowden<br />
Ellie Boyd<br />
Aisl<strong>in</strong>g Caroll-Turner<br />
Alis<strong>on</strong> Carpenter<br />
Amand<strong>in</strong>e C<strong>on</strong>signy<br />
Eleanor Cowie<br />
Rachael Crook<br />
Gillian Denham<br />
Susan Deville<br />
Emma Dix<strong>on</strong><br />
Emily Dresner<br />
Rachel Duffield<br />
Serena Ede<br />
Francesca Ede<br />
Anna Field<br />
Bethany F<strong>in</strong>ch<br />
Sarah French<br />
Lisa Gardner<br />
Suzanne Gee<br />
S<strong>on</strong>ja Gray<br />
Jennifer Greenway<br />
Jennifer Hadley<br />
Emma Heath<br />
Clemence Hermann<br />
Ruth Hobbs<br />
Laura Holland<br />
Jennifer Howe<br />
Charlotte Hunt<br />
Christ<strong>in</strong>e Ingram<br />
Jane Joyce<br />
Roxana Kashani<br />
Vickie Kelly<br />
Gemma Kern<br />
Anna Kosicka<br />
Frances Lake<br />
Sarah Lew<strong>in</strong><br />
Karol<strong>in</strong>a Liedtke<br />
Susanna Lutman<br />
Laura Macara<br />
Elsa Mart<strong>in</strong>ez<br />
Jessica Metcalfe<br />
Robyn Miller<br />
Jenny Moran<br />
Adrienne Morgan<br />
Stephanie Moussadis<br />
Cather<strong>in</strong>e Parkes<br />
Margaret Perk<strong>in</strong>s<br />
Olivia Purdy<br />
Jutta Raftery<br />
Ella Salter<br />
Ines Schlenker<br />
Frances Shaw<br />
Carol<strong>in</strong>e Sheppard<br />
Imogen Small<br />
Imogen Smith<br />
Rois<strong>in</strong> Staunt<strong>on</strong><br />
Amy Thomas<br />
Teresa Tilden<br />
Natalie Tompk<strong>in</strong>s<br />
Emily Tuite<br />
Sacha Wadey<br />
Francesca Ware<strong>in</strong>g<br />
Janet Wells<br />
Bel<strong>in</strong>da Whitt<strong>in</strong>gham<br />
Julie Wils<strong>on</strong><br />
alto<br />
Heide Baumann<br />
Helen Beddall-Smith<br />
Chloe Bridgen<br />
Gesa Br<strong>in</strong>kmann<br />
Frances Cave<br />
Lucy Charman<br />
Carys Cooper<br />
Deborah Curle<br />
Georgie Day<br />
Kathleen Dormer<br />
Rebecca Foulkes<br />
Georg<strong>in</strong>a Furr<br />
Annie Gair<br />
Clare Garbett<br />
Anna Garnier<br />
Mary Glanville<br />
Ruth Grychtol<br />
Muriel Hall<br />
Penny Hatfield<br />
Andrea Hegedus<br />
Joan Herbert<br />
Sophy Holland<br />
Anu Holter<br />
Chr<strong>in</strong>a Jarvis<br />
Chris Joseph<br />
Sab<strong>in</strong>e Koellmann<br />
Joanna Kramer<br />
Katie Kumar<br />
Helene Labit<br />
Lorna Lewis<br />
Liz Lowther<br />
Norma MacMillan<br />
Bridget Maidment<br />
Adrienne Mathews<br />
Cor<strong>in</strong>na Matlis<br />
Anna Metcalf<br />
Sophy Miles<br />
Cathy Packe<br />
Judith Paters<strong>on</strong><br />
Rachel Pears<strong>on</strong><br />
Gillian Perry<br />
Katja Pluto<br />
Dubravka Polic<br />
Pamela Slatter<br />
Tabitha Strydom<br />
Kate Tranter<br />
Mary Varney<br />
Er<strong>in</strong> Vlasved<br />
Rachel Vroom<br />
Gabriel West<br />
Barbara Whent<br />
June <strong>Will</strong>iams<br />
Nathalie Wils<strong>on</strong><br />
Rosie de Saram<br />
tenor<br />
Andrew Bolan<br />
Christopher Boustred<br />
David Broad<br />
Roy Carryer<br />
Dave Dosoruth<br />
James Ede<br />
Fabyan Evans<br />
Bram Frankhuijzen<br />
Nicholas Hall<br />
Sam Hansford<br />
Richard Holmes<br />
Carolyn Knight<br />
Ian Leslie<br />
Frances Liew<br />
Ben Mart<strong>in</strong><br />
Stephen Rickett<br />
Tim Steer<br />
Barry Sterndale-Bennett<br />
Tim Thirlway<br />
bass<br />
Col<strong>in</strong> Allies<br />
Peter Banks<br />
Ed Brown<br />
Richard Burbury<br />
Henry Cook<br />
Bill Cook<br />
Andrew Cullen<br />
Mark Davies<br />
Chris F<strong>in</strong>ch<br />
James F<strong>in</strong>lay<br />
Richard Gillard<br />
Nigel Grieve<br />
Nigel Hartnell<br />
Mart<strong>in</strong> Harvey<br />
Graham Hick<br />
Richard Hughes<br />
Ian Juds<strong>on</strong><br />
Robert Kealey<br />
Stefan Klaazen<br />
Sim<strong>on</strong> Livesey<br />
Angus Macd<strong>on</strong>ald<br />
Alan Machacek<br />
Ian Mack<strong>in</strong>tosh<br />
Alex Morley-Smith<br />
Christopher Powell-Smith<br />
Morgan Roberts<br />
Desm<strong>on</strong>d Sandford<br />
Anth<strong>on</strong>y Sharp<br />
Ryszard Stepaniuk<br />
Rufus Stilgoe<br />
<strong>Will</strong>iam Tilden<br />
T<strong>on</strong>y Trowles<br />
Dai Whitt<strong>in</strong>gham
Support<strong>in</strong>g the Choir<br />
L<strong>on</strong>d<strong>on</strong> C<strong>on</strong>cert Choir is committed to high standards and c<strong>on</strong>stantly strives to raise<br />
the level of its performances by means of workshops and other special events. The<br />
choir is grateful for the f<strong>in</strong>ancial c<strong>on</strong>tributi<strong>on</strong> of its regular supporters <strong>in</strong> help<strong>in</strong>g to<br />
achieve these aims, and welcomes their active <strong>in</strong>volvement.<br />
LCC Supporters<br />
Sue Blyth, Deborah B<strong>on</strong>o, Sim<strong>on</strong> Cave, Br<strong>on</strong>wen Cook, Angela Cooper, Dianne Denham,<br />
Geoffrey Deville, Karen Evans, John and Judith Greenway, Jeremy Groom, Nicholas and<br />
Maureen Halt<strong>on</strong>, Tim Ingram, Miriam Kramer, Mark and Liza Loveday, Jill Marx, Janet and<br />
Michael Orr, Jennifer Powell Smith, Michael Shipley, Anth<strong>on</strong>y Smith, Sybil and Nicholas<br />
Spence, Ruth Ste<strong>in</strong>holtz, Alis<strong>on</strong> St<strong>on</strong>e, Jill Tilden, Susan Wheatley, Anth<strong>on</strong>y <strong>Will</strong>s<strong>on</strong><br />
For <strong>in</strong>formati<strong>on</strong> <strong>on</strong> help<strong>in</strong>g the choir to ma<strong>in</strong>ta<strong>in</strong> its positi<strong>on</strong> as <strong>on</strong>e of the lead<strong>in</strong>g<br />
amateur choirs <strong>in</strong> L<strong>on</strong>d<strong>on</strong> via the Supporters’ Scheme, please email:<br />
treasurer@l<strong>on</strong>d<strong>on</strong>-c<strong>on</strong>cert-choir.org.uk<br />
The choir also offers opportunities for targeted giv<strong>in</strong>g and for corporate support<br />
through sp<strong>on</strong>sorship or programme advertis<strong>in</strong>g. Enquiries should be sent to the<br />
same address.<br />
Life Friends<br />
LCC is delighted to acknowledge the <strong>in</strong>valuable c<strong>on</strong>tributi<strong>on</strong> made by the follow<strong>in</strong>g<br />
<strong>in</strong>dividuals:<br />
Peter Barley, Tim and Patricia Barnes, Anne Clayt<strong>on</strong>, Bill Cook, Mr and Mrs Michael Hunt,<br />
Mark and Liza Loveday, Sue McFadyen, Gregory and Helen Rose, Nicholas Spence<br />
Mail<strong>in</strong>g List<br />
If you would like to receive advance <strong>in</strong>formati<strong>on</strong> about our c<strong>on</strong>certs, you can jo<strong>in</strong><br />
the choir’s free mail<strong>in</strong>g list by email<strong>in</strong>g:<br />
mail<strong>in</strong>glist@l<strong>on</strong>d<strong>on</strong>-c<strong>on</strong>cert-choir.org.uk<br />
The <strong>in</strong>formati<strong>on</strong> you provide is subject to the Data Protecti<strong>on</strong> Act and as such will be used<br />
exclusively by L<strong>on</strong>d<strong>on</strong> C<strong>on</strong>cert Choir.<br />
www.l<strong>on</strong>d<strong>on</strong>-c<strong>on</strong>cert-choir.org.uk
C<strong>on</strong>ductor: Mark Forkgen<br />
<str<strong>on</strong>g>2015</str<strong>on</strong>g>–16 Seas<strong>on</strong><br />
Wednesday <str<strong>on</strong>g>11</str<strong>on</strong>g> November <str<strong>on</strong>g>2015</str<strong>on</strong>g>, 7.30pm<br />
Cadogan Hall<br />
Mozart: Requiem | Ave Verum Corpus<br />
Symph<strong>on</strong>y No. 39<br />
Saturday 28 November <str<strong>on</strong>g>2015</str<strong>on</strong>g>, 4.00pm<br />
St Mart<strong>in</strong>-<strong>in</strong>-the-Fields, Trafalgar Square, WC2<br />
Advent Carols by Candlelight<br />
Thursday 17 December and Friday 18 December <str<strong>on</strong>g>2015</str<strong>on</strong>g><br />
St Sepulchre’s Church, Holborn Viaduct, EC1<br />
Carols for Choir and Audience<br />
M<strong>on</strong>day 7 March 2016, 7.30pm<br />
St John’s, Smith Square, SW1<br />
M<strong>on</strong>teverdi: Vespers of 1610<br />
Wednesday 15 June 2016<br />
Barbican Hall, Silk Street, EC1<br />
The Jutland C<strong>on</strong>cert<br />
to <strong>in</strong>clude Vaughan <strong>Will</strong>iams: A Sea Symph<strong>on</strong>y<br />
A c<strong>on</strong>cert <strong>in</strong> aid of seafar<strong>in</strong>g charities,<br />
to commemorate the centenary of The Battle of Jutland