Barnt Green Choral SocietyPresents

An Evening of Baroque Music

7.30 p.m. Saturday 12th March 2016,St Andrew’s Church, Sandhill’s Road,Barnt Green. £1

Notice to patrons.Every effort has been made to ensure the details given in this programme are correct, however, neither the publisher,nor Barnt Green Choral Society, its officers or members can be held responsible for any loss, damage , injury orinconvenience caused either by the materials used in or errors of information in this publication, howsoever caused..

Cover Artwork © Margaret Maybee 2016Design, layout and D.T.P. © Barnt Green Choral Society 2016.

Proudly Presentfor your entertainment and edification

Comprising of

An Evening of Baroque Music

Magnificat by Señor Giovanni Battista Draghi (Pergolesi).

Alto Giove by Señor Niccolò Porpora

Thou Knowest Lord by Mr. Henry Purcell

Kantate 106 (Actus Tragicus) by Herr Johann Sebastian Bach

Zadok the Priest by Mr. George Frederic Handel

withMiss Jessica Friend (Soprano)

Mrs. Dorothy Wilson-Longfils (Alto)Mr. Dale Harris (Tenor)

Mr. David Coulson (Bass)

Barnt Green Choral SocietyUnder the direction of their Musical Director

Mr Steven Cowperthwaite

Soloists

Miss Jessica Friend (Soprano)Jessica Friend, 23, from the Cotswolds, studied as a Vocal andOperatic Student at Birmingham Conservatoire under the tutelageof Anne Dawson, where she achieved a high 2:1 Bachelor of MusicHonours Degree. At the Conservatoire, Jessica played a number ofroles, including Sister Osmina in Puccini’s ‘Suor Angelica’, Madre inStradella’s Oratorio ‘San Giovanni Battista’ and Fran in the World

Premiere of ‘Ava’s Wedding’ by Michael Wolters to name but a few. In Jessica’s final year she made the final of the John Ireland Prize, StuartCameron French Song Prize and as her final piece Jessica produced, directedand performed in an evening of Vaughan Williams Opera Scenes, which receiveda fantastic review and write up by John Francis from the RVWS. Since graduating in September 2015, under the tutelage of Theresa Goble,Jessica has toured with the Stage and Production House on an 8 week theatretour of the South-West of England, is a visiting singing tutor at the John MasefieldSchool in Ledbury and sings in the Cotswolds’ leading vintage trio ‘The D-DayDolls’.

Mrs. Dorothy Wilson-Longfils (Alto)Dorothy’s earliest musical recollection was of her Dad andGranddad playing violin duets and violin and piano duets whenshe visited her grandparents in Co. Durham. Her maternalgrandparents met when they both sang in a “concert party” duringthe First World War and her Great grandparents were band leadersand orchestral players. Later she appreciated sitting on the stairs,

after she was supposed to be in bed, listening to her parents playing piano duets. A common interest in music brought them together as it did Dorothy and herhusband Graham Longfils, a violinist this evening. They met at University - andthey’ve been playing and singing duets ever since. She has played the piano andviolin since the age of 9 and swapped the violin for the viola when she and Grahammoved to Cofton Hackett, 30 years ago, and found violists were in short supply. As a singer Dorothy often performs as a soloist with Worcestershire ensemblesand does a lot of vocal coaching with young, and not so young, voices. Grahamoften writes and arranges songs for her to sing with ensembles and she’s also madea few arrangements herself. Their daughters are also musicians, all three playingviolin, piano and singing, and each playing another orchestral instrument. Theyhope the music bug will carry on to successive generations. In her day job for the last 26 years, as Artistic Director and Chief Executive ofmac birmingham (Midlands Arts Centre) Dorothy is also engaged in music andhelping make the arts accessible to everyone.

Mr. Dale Harris (Tenor)

Mr. David Coulson (Bass)David hails from Kidderminster. Here he sang in various churchand school choirs, but his love of performing was confirmed whenhe joined the local operatic society as one of the children in theSound of Music. On leaving school he gained a place at the GuildhallSchool of Music and Drama in London where he studied underRudolph Piernay. Here his musical repertoire was broadenedconsiderably and opportunities also arose for small parts in opera at

a number of London Theatres. However, he decided that making a living inmusic was rather precarious and so he joined the Metropolitan Police. By takingpart in their choir he was able to sing as a soloist at many of the great Londonvenues including The Royal Festival Hall, St Paul's Cathedral and WestminsterAbbey. Transferring to West Mercia Constabulary in 1988, he soon joined theHereford Police Choir and continued his singing in earnest. Now retired fromthe force he has performed solo work elsewhere and counts a number of highpoints including taking the baritone part in ‘Carmina Burana’ in Cambridge,Fauré’s ‘Requiem’ in Southwark Cathedral and the Bach Cantata ‘Ich habe genug’in Walsall. His particular favourite, however, is to make people smile by singingthe songs of Michael Flanders and Donald Swann, and more recently those ofRichard Stilgoe and Peter Skellern.

As a graduate from Birmingham Conservatoire in 2012 Dale Harrisis now working as a Freelance Travelling Musician. Studying underTenor Justin Lavender at Music College Dale was a choral scholarat the City of Birmingham Symphony Chorus for three years as a1st tenor, performing with them in excellent venues such as the

Symphony Hall and the Royal Albert Hall and abroad. Shortly after graduating Dale quickly found work as a Singer, including a runat the Royal Shakespeare Company and a successful audition and participationin the Philharmonia Chorus' Professional Singers Scheme. As a soloist, Dale sings regularly in Oratorio and Opera including performancesof Handel's Messiah & Britten's War Requiem, and also in Opera, featuring asGaston in Verdi's La Traviata, Malcolm in Verdi's Macbeth and Pong in Puccini'sTurandot. Last year, Dale took part in another run of shows at the RSC, featuring fromMay – September 2015 in The Merchant of Venice in Stratford-upon-Avon.Upcoming engagements include work as a soloist around the Midlands in variousOratorio and recording sessions with the RSC.

Barnt Green Choral Society

The Orchestra

CelloOlivia Goodborn

Tom McMahon

ViolaLily Marks

Janet ThomasJudith Wilson

Simon CharlesRobin DanielsSimon EdwardsJohn FeltonRoger FlinnChris HackneyLen KedgeBrian JonesEddie LearJack MarshJohn O’DellChris PageMike RogersJonathan TremlBrian Williams

Valerie AdamsSarah Cowan-StrongEileen FeltonAmanda GearKaren HarveyPhilippa HarveyLynda ListerJune LuckockJo MinersCynthia NewtonMysie RaineJane ShirleySue SkidmoreFrances TaftMary ThomasWendy TricklebankAngela VaughanSusan Wright

BassesIrene BarclayPauline BartonGill BradshawFiona BrownMargaret CatenAmanda DaunceyJenny EdwardsLouise ElliotHazel FlinnJulie FlowerLesley GregoryJulie JohnsonPam JonesMaggie KellyBetty LearMargaret MaybeeEdna NealeMary Page

Rosemary ParkerMargaret ParryElizabeth RogersJane SaundersDiane ScrivensCarrie WiklundAlyson WilliamsRoss WrightAileen Winwood

Contraltos

Michael DavenportRob FieldsonKevin WardAlbert Whurr

Tenors

ViolinsNaomi Shiomo-Bunting

Graham LongfilsPeter MitchellCathy MoseleyAnita Porter

Fiona SwadlingSarah Vernon

BassSimon Smith

ContinuoAlastair Moseley

TrumpetMichael Bates

OboeJenny Woods

RecorderRuth Henley

Pippa Trueman

Sopranos

Programme

Alto Giove - PorporaAlto Voice and Orchestra

Thou Knowest, Lord - PurcellFrom the Burial Service

Chorus

Kantate Nr. 106 (Actus Tragicus) - BachFor Solo Voices, Mixed Voices and Orchestra

SonatinaAllegro

AndanteAdagio assai

LentoVivace

AndanteCoro

Magnificat - Pergolesi/DuranteFor Solo Voices, Mixed Chorus and Orchestra

Magnificat - My Soul Doth Magnify God.Chorus

Et Misericordia - And His Mercy Is Upon Them.Soprano and contralto soli and chorus.

Deposuit Potentes - He Hath Put Down The Mighty.Chorus

Suscepit Israel - He Hath Helped Israel.Tenor and bass duet.

Sicut Locutus Est - As It Was Promised.Chorus

Sicut Erat In Principio - As It Was In The Beginning.Chorus

IntervalRefreshments will be served for your delectation.

Zadok The Priest - HandelFor Chorus and Orchestra

Zadok The Priest.And All The People Rejoiced.

God Save The King.

Gloria - VivaldiFor solo voices mixed chorus and orchestra

Gloria In Excelsis Deo - Glorify Our God On High.Chorus

Et In Terra Pax Hominibus - And On Earth Be Peace For Humankind.Chorus

Laudamus Te - We Worship Thee.Soprano Solo

Gratias Agimus Tibi - Humbly We Praise Thee And Thank Thee.Chorus

Propter Magnam Gloriam - For Thy Deathless Glory.Chorus

Domine Deus - Lord God Almighty.Soprano Solo

Domine Fili Unigenite - Only Begotten Son Of God.Chorus

Domine Deus, Agnus Dei - Oh Lord And Savior, Lamb Of God.Contralto Solo and Chorus

Qui Tollis Peccata Mundi - Thou Takest Our Sins Upon Thee.Chorus

Qui Sedes Ad Dexteram - Thou Sitteth At The Right Hand Of The Father.Contralto Solo

Quoniam Tu Solus Sanctus - Thou And Only Thou Art Holy.Chorus

Cum Sancto Spiritu - Likewise The Holy Ghost.Chorus

Programme Notes

Magnificat – Pergolesi/DuranteScholars suggest that the glorious Magnificat long attributed to Pergolesi is moreprobably the work of his tutor Francesco Durante. It is likely that Pergolesi’stragically early death from tuberculosis and the resultant disorder of his personalpapers have made the job of the musical detective even more challenging thannormal! What is certain is that Pergolesi crammed an amazing amount into sobrief a professional career. What survives for posterity, whether or not actuallyall his work, is often of great beauty of expression and sometimes of hauntingpathos. As in Vivaldi’s Gloria later in the programme, Pergolesi regains his openingmusic later in the Magnificat to obtain a neatly cyclic formal reprise. In bothMagnificat and Gloria Patri (the first and last movements of tonight’s openingwork) the ancient plainsong first tone melody for the Magnificat is deployed as acantus firmus (fixed song) passed among the voice parts.

This opening movement, at 76 bars the most extensive in the setting,incorporates the text of the canticle as far as the line And holy is His Name. Thescattering of the proud – Fecit potentiam – is introduced by a short duet forsoprano and alto (Et misericordia eius – And His mercy is on them that fear Him).Though Fecit is basically chordal in utterance, there is some bravura work for thebasses. A strongly fugal Deposuit follows – here the music is alternately gravelyacademic and gently lilting The expressive tenor and bass duet Suscepit Israel is plain and melismatic byturn. Gloria Patri is preceded by a strongly resonant Sicut locutus est. At Gloriaitself, the home key of B flat is regained and the more modern style gallant finalsection brings this superb festal setting Magnificat to a resounding conclusion.

Alto Giove - PorporaAlthough not widely known today, Nicola Porpora (born in Naples in 1686) wasa leading Italian teacher of singing and composed more than 60 operas in theelegant, lyrical Neapolitan style. He came to London as chief composer of theOpera of the Nobility, a company formed in competition to Handel’s operacompany, where he wrote Polifemo, from which this beautiful aria comes. Theventure was not a success and even the presence of his pupil, the great castratosinger Farinelli, could not save the venture from bankruptcy.

Thou Knowest Lord – Purcell. Purcell, born in 1659 (the other composers tonight were all born in 1685 or1686) left us a uniquely English form of Baroque music. He is generallyconsidered to be one of the greatest English composers; no other native-bornEnglish composer approached his fame until Edward Elgar. This short anthemcomes from his funeral music for Queen Mary.

Cantata 106 – Bach.Bach’s cantatas are numbered in the order in which they were rediscovered andcatalogued, and Cantata No. 106 is actually one of his earliest works, writtenwhen he was 22 and the organist at Mülhausen. It is a funeral cantata (Bach didnot call it Cantata but ‘Actus Tragicus’ – tragic piece) but the person for whom itwas written is not clear—speculation is that it was one of his uncles. There are noset arias and choruses but everything is blended into a large arc. The opening Sonatina, warm and hushed and featuring the unusual scoring oftwo recorders, two viola da gambas (played tonight on viola and cello) andcontinuo, illustrates an important metaphor of the cantata, relating death to apeaceful and welcome sleep. In the first chorus the passage of time is beautifully captured on the word ‘weben’(move): endless wavering eighth note motives are passed from voice to voice,followed by the long held soprano note on ‘solange’ (so long). Indeed there issensitive word painting throughout this work. There is extensive solo writing for all four voice types in this cantata. The tenorasks for help in understanding death, making use of pleading, wide intervals.Scurrying recorders (and continuo) are the sole accompaniment to the bass’ starkwarning of impinging death. The choral fugue on the words ‘Es ist der alte Bund’ (It is the ancient law) issevere in tone. The childlike entrance of the solo soprano calling on Jesus wouldbe striking enough without the unexpected instrumental overlay of the choraletune (resigned and devotional in tone). At the end the voices and instrumentsdrop out one at a time and the soprano is left desolately alone, without evencontinuo support - a heartbreaking moment and absolutely unique in all of thecantatas. In the next section the recorders put down their instruments; the tone becomesmore contemplative as the words of Psalm 31 (sung by the alto) bring us comfortin the face of death. The cello makes a difficult climb up the scale and plays therepeated wavering half steps associated with death - effortful, but somehow lesstroubled than before. The bass, who earlier had sung the most uncompromisingtext of the piece, sings of the arrival in Paradise. After the entrance of the chorale,the bass continues ecstatically, the strings playing an antiphonal waftingaccompaniment like angel’s wings.The final chorus manages both intimacy and grandeur. The chorus entersmajestically with the chorale accompanied by instrumental off-beats, but the last

line of the chorale is set as a light, brilliant choral fugue to end the piece, with thefinal ‘Amen’ echoed by the instruments very softly - a sublime finish to a verygreat work.

Zadok the Priest – Handel.Written for the coronation of George II on October 11th 1727, this famous anthemhas been performed at every coronation since.Zadok the priest and Nathan the Prophet anointed Solomon King.And all the people rejoiced, and said:God save the King! Long live the King!May the King live for ever, Amen, Allelujah.

Gloria – VivaldiMost of Vivaldi’s responsibilities at the Ospedale della Pieta` involved teachingand the composition of instrumental music. But around 1713 and for the nextsix years – as the Ospedale’s choir master recovered from a serious illness –Vivaldi’s role expanded to include the writing of sacred works. Sometime duringthis period he composed the Gloria in D major. As was the case with so much ofVivaldi’s music, the Gloria was long unknown even to scholars. It was onlyrediscovered in the late 1920s and received its first modern performance in 1939.Typical modern performances of the Gloria include both male and female voicesin the chorus. But that wasn’t the case in Vivaldi’s time: no men, aside from priestslike Vivaldi, were allowed at the Ospedale, so all performers (even the choir’stenors and basses) would have been female. The Gloria’s joyous opening “Gloria in excelsis Deo,” featuring octave leaps andobbligato trumpet and oboe, is followed by a more meditative “Et in terra pax,”with its canonic imitation in the chorus, chromatic harmonies, and throbbingstring figures that call to mind Vivaldi’s concertos. Two sopranos are featured inthe lively, passionate “Laudamus te.” While the opening of “Gratias agimus te”is stately and homophonic in texture, when the chorus enters in the “Proptermagnam gloriam tuam” the tempo speeds and the texture becomes morecontrapuntal. Soprano and violin duet in the slow “Domine Deus, Rex coelestis.” The joyous“Domine Fili unigente,” with its four-part choral harmonies, is followed by theslow “Domine Deus, Agnus Dei,” in which a contralto soloist joins the chorus.After the short, somber “Qui tollis peccata mundi,” the contralto is once againhighlighted in the “Qui sedes ad dexteram Patris.” The “Quoniam tu solussanctus” recalls the work’s opening section, before the complex double fugue ofthe “Cum Sancto Spiritu” brings the Gloria to a sparkling conclusion.

Words.

Magnificat anima mea Dominum.

Et exultavit spiritus meus in Deo salutari meo.

Quia respexit humilitatem ancillae suae:

ecce enim ex hoc beatam me dicent omnes generationes.

Quia fecit mihi magna qui potens est;

et sanctum nomen ejus.

Et misericordia ejus a progenie

in progenies timentibus eum.

Fecit potentiam in bracchio suo:

dispersit superbos mente cordis sui.

Deposuit potentes de sede,

et exultavit humilis.

Esurientes implevit bon is:

et divites dimisit inanes.

Suscepit Israel puerum suum,

recordatus misericordiae suae.

Sicut locutus est ad patres nostros,

Abraham et semini ejus in saecula.

Gloria Patri, et Filio, et Spiritui Sancto.

Sicut erat in principio, et nunc, et semper,

et in saecula saeculorum, Amen.

My soul magnifies the Lord.

And my spirit has rejoiced in God my savior.

For he has regarded the low estate of his handmaiden:

for behold, henceforth all generations shall call me blessed.

For he who is mighty has done great things to me;

and holy is his name.

And his mercy is on them who

fear him from generation to generation.

He has shown strength with his arm:

he has scattered the proud, even the arrogant of heart.

He has deposed the mighty from

their seats, and exalted the humble.

The hungry he has filled with good things,

and the rich he has sent empty away.

He has helped his servant Israel,

in remembrance of his mercy.

As it was spoken to our fathers,

to Abraham and his seed forever.

Glory be to the Father, and to the Son, and to the Holy Spirit.

As it was in the beginning, is now,

and ever shall be, world without end, Amen

Magnificat - Pergolesi

Alto Giove, è tua grazia, è tuo vanto

il gran dono di vita immortale

che il tuo cenno sovrano mi fa.

Ma il rendermi poi quella

già sospirata tanto

diva amorosa e bella

è un dono senza uguale, come la tua beltà.

Mighty Jove, the great gift of immortal life

that your sovereign command granted me

is your blessing and your glory.

But to give me

that beautiful, loving goddess

I so sighed for

is a gift beyond compare, as is your magnificence.

Alto Giove - Porpora

Kantate 106 - Bach

1. Sonatina

2a. Chorus

Gottes Zeit ist die allerbeste Zeit

In ihm leben, weben und sind wir, solange er will.

In ihm sterben wir zur rechten Zeit, wenn er will.

2b. Arioso (Tenor)

Ach, Herr, lehre uns bedenken, daß wir sterben

Müssen, auf daß wir klug warden

2c. Aria (Bass)

Bestelle dein Haus; denn du wirst sterben und

icht lebendig bleiben.

2d Chorus and Soprano with instrumentalchorale

Es ist der alte Bund: Mensch, du mußt sterben!

Soprano: Ja, komm, Herr Jesu, komm!

3a Aria (Alto)

In deine Hände befehl ich meinen Geist;

du hastmich erlöset, Herr, du getreuer Gott.

3b Arioso (Bass) and Chorale

Bass: Heute wirst du mit mir im Paradies sein.

Altos: Mit Fried und Freud ich fahr dahin

In Gottes Willen,

Getrost ist mir mein Herz und Sinn,

Sanft und stille.

Wie Gott mir verheißen hat:

Der Tod ist mein Schlaf geworden.

4. Chorus

Glorie, Lob, Ehr und Herrlichkeit

Sei dir, Gott Vater und Sohn bereit,

Dem heilgen Geist mit Namen!

Die göttlich Kraft

Mach uns sieghaft

Durch Jesum Christum, Amen.

1. Sonatina

2a. Chorus

God's own time is the very best of times.

In him living, moving, we exist, as long as he wills.

In him shall we die at the right time, when he wills.

2b. Arioso (Tenor)

Ah, Lord, teach us to remember that our death is certain,

that we might gain wisdom

2c. Aria (Bass)

Set ready thine house; for thou shalt perish and

not continue living!

2d Chorus and Soprano with instrumentalchorale

This is the ancient law: man, thou must perish!

Soprano: Yes, come, Lord Jesus!

3a Aria (Alto)

Into thine hands now do I commit my soul;

for thou hast redeemed me, Lord, thou my faithful God.

3b Arioso (Bass) and Chorale

Bass: This day shalt thou with me in paradise be.

Altos: In peace and joy do I depart,

As God doth will it;

Consoled am I in heart and mind,

Calm and quiet.

As God me his promise gave:

My death is changed to slumber.

4. Chorus

Glory, laud, praise and majesty

To thee, God, Father, and Son, be giv'n,

The Holy Ghost, with these names!

May godly strength

Make us triumph

Through Jesus Christ, Lord, Amen.

1. Gloria in excelsis DeoGloria, gloria,

In excelsis Deo.

2. Et in terra pax hominibusEt in terra pax hominibus

Bonae voluntatis.

3. Laudamus teLaudamus te, Benedicimus te.

Adoramus te, Glorificamus te.

4. Gratias agimus tibiGratias agimus tibi.

5. Propter magnam gloriamPropter magnam gloriam tuam.

6. Domine Deus Rex caelestisDomine Deus, Rex caelestis,

Deus Pater omnipotens

7. Domine Fili UnigeniteDomine Fili Unigenite,

Jesu Christe

8. Domine Deus, Agnus DeiDomine Deus, Agnus Dei, Filius Patris.

Qui tollis peccata mundi

Miserere nobis.

9. Qui tollis peccata mundiQui tollis peccata mundi,

Suscipe deprecationem nostram.

10. Qui sedes ad dexteram PatrisQui sedes ad dexteram Patris,

Miserere nobis.

11. Quoniam tu solus SanctusQuoniam tu solus Sanctus,

Tu solus Dominus,

Tu solus altissimus

Jesu Christe.

12. Cum Sancto spirituCum Sancto spiritu,

In Gloria Dei Patris,

Amen.

1. Gloria in excelsis DeoGlory, glory,

To God in the highest.

2. Et in terra pax hominibusAnd on earth peace to the men

Of good will.

3. Laudamus teWe praise you, We bless you.

We adore you, We glorify you.

4. Gratias agimus tibiThanks we give you.

5. Propter magnam gloriamBecause of your great glory.

6. Domine Deus Rex caelestisLord God, King of Heaven,

God Father almighty.

7. Domine Fili UnigeniteLord Son only begotten,

Jesus Christ.

8. Domine Deus, Agnus DeiLord God, Lamb of God, Son of the Father.

Who takes away the sins of the world

Have mercy on us.

9. Qui tollis peccata mundiWho takes away the sins of the world

Receive our supplication.

10. Qui sedes ad dexteram PatrisWho sits at the right hand of the Father,

Have mercy on us.

11. Quoniam tu solus SanctusFor you alone are holy,

You alone are the Lord,

You alone are the highest

Jesus Christ.

12. Cum Sancto spirituWith the Holy Spirit,

In glory of God the Father,

Amen.

Gloria - Vivaldi

Barnt Green Choral Society

Summer Concert

From the American Song BookThe Parish Hall

Sandhills Road, Barnt Green

7.30p.m. Saturday 18th June 2016

Including refreshments

Tickets Wendy Tricklebank TEL: 0121 445 2344

Or any choir member.

In order to comply with fire regulations numbers will be limited.

FIRST COME FIRST SERVED.

Barnt Green Choral Society, is an affiliated member ofMaking Music (National Federation of Music Societies).