18 December 2010 at 7.30 pm

Conductor: Colin Stevens

Chiltern Orchestral SocietyLeader: Janet Hicks

SOLOISTS

Amy Moore (Soprano)Tim Travers-Brown (Countertenor)

Rob Johnston (Tenor)Julian Empett (Bass-Baritone)

Magnificat

Messe de MinuitTe Deum

TIM TRAVERS-BROWN (COUNTERTENOR);Tim won an Exhibition Scholarship to studyat the Royal Academy of Music and is a BAHons graduate of Colchester InstituteSchool of Music. He is now a Professor ofVocal Studies at Trinity College of Music,London and works with many of theforemost early music groups, orchestrasand conductors. Concert engagementsinclude Bach’s Christmas Oratorio in TelAviv (Israel Chamber Orchestra/Kraemer),Purcell’s Ode for St. Cecilia in Aldeburghand Poland (McCreesh), Bernstein’sChichester Psalms (The Bach Choir/DavidHill), Bach’s St Matthew Passion (Sir JohnEliot Gardiner at Cadogan Hall) and St

John Passion in Porto (The Sixteen/HarryChristophers), Handel’s Belshazzar(Hannover Hofkapelle), and JudasMaccabeus (The London Handel FestivalOrchestra/Laurence Cummings).

In opera, he has played the title role inGluck’s Orfeo (with Peter Holman andEmily van Evera), ‘Didymus’ (Handel’sTheodora at Dartington InternationalSummer School), cover of ‘Creonte’ inSteffani’s Niobe and ‘The Spirit’ in Purcell’sDido and Aeneas at The Royal OperaHouse, ‘Mopsa’ and ensemble inproductions of Purcell’s Fairy Queen andKing Arthur (Armonico Touring Opera).

AMY MOORE (SOPRANO); Amy isestablishing herself as one of the UK’smost promising young sopranos. Formerlya choral scholar at Royal HollowayCollege, University of London, shecompleted postgraduate studies at TrinityCollege of Music, London, where shestudied with Sophie Grimmer.

Amy is in demand as a soloist, particularlyin Baroque repertoire. Recentengagements include Handel’s Messiahwith the Bochum Symphoniker (Germany),a concert of Purcell ‘Odes’ at St John’s,Smith Square (London), Galan’s Requiemwith Tenebrae Choir, Handel’s Messiahwith The Hanover Band, a BBC broadcastof Purcell Anthems and a performance ofDido and Aeneas (Belinda/SecondWoman) at the Beaune Festival with TheGabrieli Consort. She also specialises incontemporary music, with recent soloappearances in a performance and radiobroadcast of Poppe’s Interzone with

EXAUDI and Ensemble Intercontemporainin Paris, and Jonathan Cole’s AssassinHair with the London ContemporaryOrchestra. Other solo highlights include anRTÉ live radio broadcast of Faure’sRequiem with the RTÉ SymphonyOrchestra in Dublin, and the Britishpremiere of Hermann Suter’s Le Laudi inCambridge.

Amy is also in demand in consort work,performing and recording regularly with theleading UK and European professionalensembles, including Tenebrae, The TallisScholars, EXAUDI, The Gabrieli Consort,Early Opera Company, Orchestra of theAge of Enlightenment, The EnglishConcert, BBC Singers, Polyphony,Gallicantus, and La Grande Chapelle. Shesings with The Royal Opera Extra Chorus,recently performing Dido and Aeneas andAcis and Galatea, in collaboration with theRoyal Ballet, at Covent Garden. Shestudies with Nicholas Powell.

In the revival of performances with periodinstruments, particularly those of HenryPurcell and his contemporaries, he hasperformed with the late lutenist RobertSpencer and The Musicke Companye(Tour for The National Federation of MusicSocieties and concerts at The WigmoreHall) and regularly with the scholar PeterHolman, in works from Lully’s Le BourgeoisGentilhomme to Schütz’s ResurrectionStory, Vivaldi Nisi Dominus, Handel’sEsther and William Boyce’s Lament overDavid and Jonathan.

Other highlights include Bach’s Cantatas inJapan with Bach Collegium Japan, JohnBlow’s Ode on the death of Henry Purcellwith Michael Chance at ‘Stour Music’,Handel’s Birthday Ode for Queen Annewith The London Handel FestivalOrchestra, Bach’s Actus Tragicus withDunedin Consort (Scotland Tour),Monteverdi’s Vespers with the BarokkSolistene in Norway and Bach’s Cantataswith Martin Feinstein. He has given recitalswith lutenists David Miller (InternationalEarly Music Network Exhibition and

Patrimonio Nacionale, Spain), JamesAkers (Handel House Museum), JacobHeringman (BBC Radio 3 ‘Early MusicShow’), and with the pianist Jeremy Filsell(London).

Recordings include Handel’s Messiah forBBC Radio 2 and scenes from Handel’sTamerlano with Rolando Villazon for ZDF,discs of Bach’s Cantatas with ‘BachColleigum Japan’ for BIS, ‘Handel andCompany’ with the Musicke Companye forIntim Musik and three with the Parley ofInstruments for Hyperion. He recentlyreleased his debut solo CD with SignumRecords. Entitled, ‘The Frostbound Wood’it is a compilation of twentieth-centuryBritish songs accompanied by the pianistJeremy Filsell.

Future engagements include a EuropeanTour of Purcell’s Fairy Queen with TheNew London Consort and Handel’sAgrippina with Cambridge Handel OperaGroup. His web site is to be found atwww.timtraversbrown.com

ROBERT JOHNSTON (TENOR); Robertstudied singing at The Royal Academy ofMusic, where he gained LRAM’s in bothteaching and performing, as well as aGRSM. In 1995 he was awarded anARAM. He now combines being a full timemember of the BBC Singers, with a busysolo career both at home and abroad.

At home he has sung the Messiah at theRAH under Sir David Willcocks, CarminaBurana at the Barbican and made his

debut at the Three Choirs Festival in 1996as the Evangelist in Bach’s St MatthewPassion under Joshua Rifkin. In recentseasons abroad he has sung The Dreamof Gerontius in Cape Town; The Kingdomin the Teatro Colon, Buenos Aires; TheCreation in Sri Lanka; Samson, TheMessiah and St Nicolas in Holland;Handel’s Ode to St Cecilia in Padova, Italy;Elijah in Norway; Haydn’s Nelson Mass inParma, Italy, and Judas Maccabaeus withthe MDR orchestra in Leipzig.

JULIAN EMPETT (BARITONE); is agraduate of King's College London. Hestudied singing with the British baritoneDavid Wilson-Johnson at his 'Ferrandou'Summer school in the Dordogne andprivately at his London studio, and with theHusler exponent Peter Harrison.

He was also a student of the MayerLismann Opera Workshop at ROH CoventGarden, and of Morley Opera.

In 2002 he made his Proms solo début withThe English Concert under Trevor Pinnock,taking the role of the High Priest in Bach'sSt. Matthew Passion. As an oratorio soloisthe has also appeared at the Barbican Hall,the Wigmore Hall, the Queen ElizabethHall, the Cadogan Hall and St. John'sSmith Square.

Other notable recent performances haveincluded Elgar's Dream of Gerontius forEton & Windsor Choral Society, Verdi'sRequiem in St. George's RC CathedralSouthwark, Vaughan Williams's A SeaSymphony in Tewkesbury Abbey, Haydn'sCreation in Peterborough Cathedral, thetitle role of Mendelssohn's Elijah in Ely andNorwich RC Cathedrals, Beethoven'sMissa Solemnis in Cheltenham Town Halland his Choral Symphony in Cambridge'sGuildhall.

Forthcoming engagements include Fauré'sRequiem, Monteverdi's Vespers, Bach'sSt. John Passion, C P E Bach's Magnificatand Schumann's Requiem. He is currentlyworking with Ducere Clarino in a projectperforming and recording cantatas byTelemann.

Recordings include filming in Munich worksby Carl Orff for The South Bank Show,Maintop in a recording of Billy Budd forErato with Kent Nagano and the Halle,Marquis Pierre in Kurt Weill’s TheFirebrand of Florence with Sir AndrewDavis and the BBC Symphony Orchestraand a selection of carols with David Hill andThe Bach Choir on the CD Noel.

Recent performances include works byHandel and Haydn in Kampen andGroningen, Holland; the Evangelist inBach’s St Matthew Passion in St AlbansAbbey, The Dream of Gerontius in London,Messiah in Redbourn and performances ofthe rarely performed Joseph and his

Brethren by Handel, again in Holland.Robert has also recently finished filmingthe part of the Venetian Opera Singer inthe Ealing Studios feature film of DorianGray.

Robert is also the director of his owncompany, RSVP Voices, contractingsingers and choirs for film and televisionsoundtracks. Credits include Harry Potterand the Order of the Phoenix and HarryPotter and the Half-Blood Prince. RSVPVoices also provided the backing singersfor the debut album of Jarvis Cocker, alsoperforming with him live at the RoyalFestival Hall.

Julian Empett has also given several songrecitals: most significant among thesehave been Sir Arthur Somervell'sTennyson's "Maud", Vaughan Williams'sSongs of Travel and Schubert's magnumopus Winterreise.

Julian is also a Lay Vicar (Gentleman ofthe Choir) at Westminster Abbey. As wellas singing the daily services he has takenpart in numerous TV and radio broadcasts,most notably as soloist at the funeral in2002 of HM Queen Elizabeth the QueenMother, and in 2010 the service for the visitof Pope Benedict XVI.

In December 2003 he sang the baritonesolo in Vaughan Williams's Fantasia onChristmas Carols in Westminster Abbeybroadcast on Classic FM on ChristmasDay. Solos in Philip Moore's anthem The

King and the Robin, Patrick Gowers's ViriGalilaei, Kenneth Leighton's A ChristmasCaroll and William Walton's The Twelveappear on the Hyperion label.

Of the Walton, Gramophone Magazinesaid "...on magnificent form here, as is thebaritone Julian Empett who relishes hisBelshazzar's Feast-like pronouncements...It is worth buying the disc for this piecealone."

His wider singing career has included workwith The Sixteen, Tenebrae, The EnglishConcert, Collegium Musicum 90,European Voices, The King's Consort, TheChoir of the Enlightenment and the TallisScholars, taking him round Europe,Scandinavia, the USA, Japan, Hong Kongand Taiwan.

If you like what you hear (and see) tonight, and would like to be

involved - or simply would like to learn more about Tring Choral

Society, its history and present situation, we have a web site that

will provide a mine of information.

Our web site contains details of future concerts, rehearsal dates

and many other details that are sure to interest friends of our choir.

You can visit us at www.tringchoral.org.uk

And, of course, new members are always welcome -

please ring the Membership Secretary,Margaret Flanigan, on 01442 823915

Marc-Antoine Charpentier was bornin or near Paris, the son of amaster scribe. He received a verygood education, perhaps with the help ofthe Jesuits, and registered for law school inParis when he was eighteen but withdrewafter one term. He spent "two or threeyears" in Rome, probably between 1667and 1669, and studied with GiacomoCarissimi, with whom he acquired a solidknowledge of contemporary Italian musicalpractice and brought it back to France.Immediately on his return, he probablybegan working as house composerto Marie de Lorraine, Duchesse de Guise,who was known familiarly as "Mlle deGuise." For the next seventeen years,Charpentier composed a considerablequantity of vocal works for her, including asuccession of Italianate oratorios set tonon-liturgical Latin texts. Owing to Mlle deGuise's love for Italian music, and herfrequent entertaining of Italians passingthrough Paris, there was little reason forCharpentier to conceal the Italianisms hehad learned in Rome. During his years ofservice to Mlle de Guise, he alsocomposed for "Mme de Guise", Louis XIV'sfirst cousin. It was in large part owing toMlle de Guise's protection that the Guisemusicians were allowed to performCharpentier's chamber operas in defianceof the monopoly held by Jean BaptisteLully.

By late 1687, Mlle de Guise was dying and,at that time, Charpentier entered theemploy of the Jesuits. After Molière's fallingout with Lully in 1672, Charpentier hadbegun writing incidental music for thespoken theatre of Molière. It probably wasowing to pressure on Molière exertedby Mlle de Guise and by young Mme deGuisethat that the playwright took the

commission for incidental music for his playLe Malade Imaginaire awayfrom Dassoucy and gave it to Charpentier.

After Molière's death in 1673, Charpentiercontinued to write for the playwright'ssuccessors, Thomas Corneille and JeanDonneau de Visé. Play after play, he wouldcompose pieces that demanded moremusicians than the number authorized byLully's monopoly over theatrical music. In1679, Charpentier had been singled out tocompose for Louis XIV's son, the Dauphin.By early 1683, when he was awarded aroyal pension, he was being commissionedto write for court events such as theannual Corpus Christi procession. Fromlate 1687 to early 1698, Charpentier servedas maître de musique to the Jesuits. Oncehe moved to the Jesuit church at Saint-Louis, Charpentier virtually ceased writingoratorios and instead primarily wrotemusical settings of psalms and otherliturgical texts such as the Litanies ofLoreto. During his years at Saint-Louis, hisworks tended to be for large ensemblesthat included paid singers from the RoyalOpera. In addition, during these years, hesucceeded Étienne Loulié as musicteacher to Philippe, Duke of Chartres, andwas appointed maître de musique atthe Sainte-Chapelle in Paris in 1698, aroyal post he held until his death in 1704.

Virtually none of Charpentier'scompositions from 1690–1704 havesurvived, because when the maître demusique died, the royal administrationroutinely confiscated everything he hadwritten for the Chapel. Charpentier wasburied in the little walled-in cemetery justbehind the choir of the Chapel (thecemetery no longer exists).

1. KyrieKyrie eleison. Christie eleison. Kyrieeleison.(Lord have mercy. Christ have mercy.Lord have mercy.)

2. Gloria.Gloria in excelsis Deo. Et in terra paxhominibus bonae voluntatis.Laudamus te, benedicimus te, adoramuste, glorificamus te.Gratias agimus tibi propter magnamgloriam tuam.Domine Deus rex coelestis, Deus pateromnipotens.Domine fili unigenite Jesu Christe.Domine Deus, Agnus Dei, Filius Patris.Qui tolis peccata mundi, miserere nobis.Suscipe deprecationem nostrum.Qui sedes ad dexteram Patris, Misererenobis.Quoniam tu solus sanctus, tu solusDominus, tu solus altissimus Jesu Christe.Cum sancto Spiritu in Gloria Dei Patris.Amen.(Glory be to God 0n high, and on earthpeace, goodwill towards men.We praise thee, we bless thee, we worshipthee, we glorify thee.

Lord we adore thee, we bless thee, and wepraise thy glory.O Lord most Holy, thou almighty King.Father O Lord omnipotent.Honour and glory and blessing to Christour saviour Jesus Christ.Lord God almighty, lamb of God, Son ofthe Father. Thou that takest away the sinsof the world, have mercy on us, receive ourprayer.Thou that sittest at the right hand of Godthe Father, have mercy on us.For only Thou art Holy, Thou only art theLord Jesus Christ. Thou only, O Christwith the Holy Ghost, art most high in theGlory of God the Father.Amen.)

3 CredoCredo in unum Deum, Patremomnipotentem, factorem coeli et terrae,visibilium omnium et invisibilium.Et in unum Dominum Jesum Christum,Filium Dei unigenitum. Et ex Patre natumante omnia saecula. Deum de Deo, lumende lumine, Deum verum de Deo vero.Genitum, non factum, consubstantialemPatri, per quem omnia facta sunt.

Of the eleven surviving settings of the Mass by Charpentier, the one we are performingtonight, the Messe de Minuit, is without doubt one of the most popular. AlthoughCharpentier's Parisian career is quite well documented, little is known about the genesisand first performance of the Messe de Minuit. It is likely, however, that it wascommissioned by the Jesuits of the church of Saint Louis (now known as Saint Paul/SaintLouis) for whom Charpentier had been working as Maître de Musique since 1687. TheMesse de Minuit belongs to the tradition of the parody mass (a musical setting of themass, typically from the 16th century, that uses multiple voices of another pre-existingpiece of music) for which Charpentier adapted ten carols.

Qui propter nos homines, et propternostrum salutem descendit de coelis. Et incarnatus est de Spiritu Sancto, ex MariaVirgine, et homo factus est. Crucifixusetiam pro nobis sub Pontio Pilato passus etsepultus est.Et resurrexit tertia die secundumScripturas.Et ascendit in Coelum, sedet ad dexteramPatris.Et iterum venturus est cum Gloria judicarevivos, et mortuos cujus regni non erit finis.Et in Spiritum Sanctum Dominum etvivificantem.Qui ex Patre et Filioque procedit qui cumPatre et Filio simul adoratur etconglorificatur qui locutus est perProphetas.Et unam sanctam, catholicam etapostolicam Ecclesiam.Confiteor unum baptisma remissionempeccatorum.Et expecto resurrectionem mortuorum. Etvitam venturi saeculi. Amen.(I believe in one God, the FatherAlmighty,maker of heavon and earth and ofall things visible and invisible and begottenof His Father before all worlds.God of God, light of light, very God of veryGod, begotten, not created, who for usmen, and for our salvation, came downfrom heaven.And was incarnate of the Holy Ghost of theVirgin Mary and was made man. Was

crucified for us by Pontius Pilate, sufferedand was buried.And He rose on the third day according tothe scriptures.And He ascended into heaven, He sits atthe right hand of God the Father and He isgoing to come again with glory to judge theliving and the dead of whose kingdomthere will be no end.And in the Holy lord and life giver whospoke through the prophets.And one Holy catholic and Apostolicchurch.I confess one baptism for remission of sins.And I expect resurrection of the dead andlife to come of age.Amen.)

4. Sanctus(Sanctus Sanctus, Sanctus. Pleni suntcoeli et terra Gloria tua.Hosanna in excelsis.Benedictus qui venit in nomine Domini.(Holy,Holy, Holy, Lord God of Sabaoth.Heaven and earth are full of Thy glory.Hosannah in the highest.)

5. Agnes DeiAgnus Dei, qui tolis peccata mundimiserere nobis.(Lamb of God who takest away the sins ofthe world, have mercy upon us.)

9 April 2011Mozart; Vespers and Requiem

2 July 2011Chilcott; Requiem

Beethoven; Mass in C

Marc-Antoine Charpentier composed his Te Deum (H146) in D major (he consideredthis key as "bright and very warlike") probably between 1688 and 1698, during his stayat the Jesuit Church of Saint-Louis in Paris, where he held the position of musicaldirector. The work is written for a group of soloists, choir, and instrumental accompani-ment. Charpentier wrote six Te Deum settings, although only four of them havesurvived. It is thought that the composition would have been performed to mark thevictory celebrations and the Battle of Steinkirk in August, 1692. The Prelude to thissetting is well-known in Europe, since it is used as the theme music for the broadcastingof the European Broadcasting Union (the organization behind the Eurovision SongContest, among other things!). This theme was also used for the introduction of "TheOlympiad" films of Bud Greenspan. The Te Deum comprises a Prelude, Te Deumlaudamus, Te aeternum Patrem, Pleni sunt coeli et terra, Te per orbem terrarum, Tudevicto mortis aculeo, Te ergo quaesumus, Aeterna fac sum Sanctis tuis, Dignare,Domine and In te, Domine, speravi

The instrumental introduction, written in the form of rondo, precedes the first verse, ledby the bass soloist. The choir and other soloists join in gradually. Charpentier apparentlyintended to orchestrate the work according to the traditional interpretation of the Latintext and this results in the choir predominating in the first part, individual soloists in thesecond part and soloists and choir alternating in subsequent parts. The final verse is alarge-scale fugue written for choir, with a short trio for soloists in the middle.

Te Deum laudamus, te Dominumconfitemur.Te aeternum Patrem omnis terra veneratur.Tibi omnes Angeli, tibi caeli et universaepotestates.Tibi Cherubim et Seraphim incessabilivoce proclamant Sanctus.Sanctus Sanctus, Dominus Deus Sabaoth.Pleni sunt caeli et terra majestatis gloriaetuae.(We praise Thee, O Lord, we acknowledgeThee to be the Lord.All the earth doth worship Thee, the Fathereverlasting.All angels cry aloud, to Thee Cherubim andSeraphim continually do cry, Holy,Holy,Holy,Lord God of Sabaoth. Heaven andearth are full of Thy Glory.)

Te gloriosus Apostolorum chorus.Te Prophetarum laudabilis numerus.Te Martyrum candidatus laudat exercitus.Te per orbem terrarum sancta confiteturEcclesia Patrem immensae majestatis.(The glorious company of the Apostlespraise Thee. The noble army of martyrspraise Thee. The holy Church throughoutall the world doth acknowledge Thee, theFather of an infinite majesty.)

Venerandum tuum et unicum Filium.Sanctum quoque Paraclitum Spiritum.Te Rex gloriae, Christe.Tu Patris sempiternus es Filius.Tu ad liberandum suscepturus hominemnon horruisti Virginis uterum.Tu devicto mortis aculeo aperuisticredentibus regna caelorum.

Tu ad dexteram Dei sedes in Gloria Patris.Judex crederis esse venturus.Te ergo quaesumus, famulis tuis subveni,quos pretioso sanguine redemisti.(Thine honourable, true and only Son, alsothe Holy Ghost, the comforter. Thou artthe King of Glory, O Christ.Thou art the everlasting Son of the Father.When Thou lookest upon Thee to deliverman, Thou didst not abhor the Virgin’swomb when Thou hast overcome thesharpness of death.Thou didst open the Kingdom of Heaven toall believers.Thou sittest at the right hand of God, in theglory of the Father. We believe that Thoushall come to be our judge.We therefore pray Thee, help Thy servantswhom Thou hast redeemed with Thyprecious blood.)

Aeterna fac cum sanctis tuis in Glorianumerari. Salvum fac populum tuumDomine, et benedic hereditati tuae.Et rege eos , et extolle illos usque inaeternum.Per singulos dies, benedicimus te. Etlaudamus nomen tuum in saeculum, et insaeculum saeculi.Dignare Domine die isto sine peccato noscustodire.Miserere nostri Domine.Fiat misericordia tua Domine super nos,quem admodum speravimus in te Dominesperavi. Non confundar in aeternum.(Make them to be numbered with ThySaints, in glory everlasting.O Lord, save Thy people and bless Thineheritage. Govern them, and lift them upforever.Day by day, we magnify Thee, and weworship Thy name, ever world without end.Vouchsafe, O Lord, to keep us this daywithout sin. O Lord, have mercy upon us,O Lord, let Thy mercy lighten upon us, asour trust is in Thee. O Lord, in thee have Itrusted, let me never be confounded.)

May we takethis

opportunityto wish

all of ourPatrons,

supporters,helpers and,

of course, ouraudiences, an

extremelyhappy

Christmasand the best2011 you can

imagine!

Carl Philipp Emanuel Bach, whowas born in Weimar, was themost successful of all JohannSebastian’s numerous children. Al-though his early musical education (notsurprisingly, from his father) was rootedin the Baroque style, his music during hislifetime evolved into a blend of Baroqueand Classical styles – even anticipatingthe Romantic era to a degree.

For nearly thirty years, he served as courtmusician to Frederick the Great, himselfa talented amateur flautist. Carl was veryhappy there but when the Seven Years’War shifted Frederick’s attention awayfrom cultural concerns and towards, quitenaturally, more serious diplomatic andmilitary matters, he decided to take up ajob as cantor and music director in Ham-burg, where his great skill with bothwords and music earned him a high rep-utation, and he became known as ‘TheHamburg Bach’ (his brother, JC, beingknown as the 'London Bach').

Much the same can be said about CPE'smusic as is said about Mozart's inasmuchas it is necessary to clear one's mind ofany post-eighteenth-century music in or-der to appreciate fully just how immediateand modern-sounding it was, with its un-accustomed changes of key, unusualturns of melody and texture - and preg-nant pauses. Haydn and many of hiscolleagues were profoundly affected bythis music and used its devices (alongwith more unity of content and form) toestablish the Classical style.

Fortunately, he catalogued his ownworks, so much was preserved. Regret-tably though, some of the Hamburg workthat was archived in Berlin, such as his StMatthew Passion, was destroyed in thecarnage of the Second World War.

In addition to composing over one thou-sand works, CPE Bach also worked tire-lessly during his lifetime to make hisfather's music more widely known. Healso learned a lesson that is valuable toall musicians even today - that accumu-lating some savings was vital in order tolive comfortably and provide for his familyafter his death. He accomplished this bysuccessfully publishing and selling hisown music.

Carl Philip Emmanuel Bach was 35 when he wrote this wonderful Magnificat in 1749,and it was during this period in his life that his wife Johanna bore their three children(none of whom became musicians, by the way!). It is written in the key of D, using Dtrumpets to express a joyful, glorious and triumphal mood. The work both pays tributeto his father, alive at the time, and points to the Viennese Classical style. Yet where hisfather's work gives prominence to fugue and counterpoint, Carl's expresses a morelyrical style, stressing the melodic line.

1. Magnificat (Chorus)Magnificat anima mea Dominum. Etexultavit spiritus meus. In Deo salutarimeo.(My soul doth magnify the Lord and myspirit hath rejoiced in God my Saviour.)

2. Quia Respexit (Soprano Solo)Quia respexit humilitatem ancillae suae,ecce enim ex hoc beatam me dicentomnes generations.(For He hath regarded the low estate of Hishandmaiden, for behold, from henceforthall generations shall call me blessed.)

3. Quia Fecit Mihi Magna (Tenor Solo)Quia fecit mihi magna qui potens est, etsanctum nomen ejus.(For He that is mighty hath done to megreat things, and Holy is his name.)

4. Et Misericordia (Chorus)Et misericordia ejus a progenies inprogenies timentibus eum.(And His mercy is on them that fear Himfrom generation to generation.)

5.Fecit Potentiam (Bass Solo)Fecit potentiam in brachio suo, dispersitsuperbos mente cordis sui.(He has shewn strength in his arm, He hasscattered the proud in the imagination oftheir hearts.)

6. Deposuit Potentes (Duet for Tenor andAlto)Deposuit potentes de sede, et exaltavithumiles. Esurientes implevit bonis, etdivites dimisit inanes.(He hath put down the mighty from theirseats and exalted them of low degree.)

7. Suscepit Israel (Alto Solo)Suscepit Israel puerum suum, recordatusmisericordia suae. Sicut locutus est adpatres nostros, Abraham et semini ejus insecula.(He hath filled the hungry with good things,and the rich He hath sent empty away.He hath holpen His servant Israel, inremembrance of His mercy. As He spaketo our fathers, to Abraham, and to His seedfor ever.)

8. Gloria PatriGloria Patri, et Filio, et Spiritui Sancto.(Glory be to the Father, the Son and theHoly Ghost.)

9. Sicut EratSicut erat in principio, et nunc et semper etin secula seculorum. Amen(As it was in the beginning, is now and evershall be. Amen.)

SOPRANOSJill AldridgeBetilyn Alwyn-JonesCelestria BellAnnie BlackwoodGillie BlighAnne BoxJacquie CadgeGillian CarrHilary ColbertSally DussekBarbara EykelCharlie FrankumMary HaywoodZoe HillKatie HughesJeanie JennerSue JonesChristine KeenMargaret KirkbyHarriet MackinderBrigid MathersHeather NashFiona O’NeillEileen PattersonBarbara PearceSheila PulferPam RushCarol ScribbinsGill ShelveyRosemary SouthworthBrenda StapletonJenny StevensHelen StokesJenny ThallonElizabeth ThompsonJenny Watkins

ALTOSKaren BaldwinNicky BullJean BygateNorma CollinsSally CottleKate DaviesAnn DenwoodMargaret FlaniganSarah GarrettNatasha GethingMargaret GittinsJanet GravesMaggie HalseyAnn HawkesJenny HoareLorna LangDebbie LeaJane LeggGill LerigoJennifer McAllisterElizabeth MoxleyRhian NichollsEnid PowellMarilyn PryorPhyllis ReynoldsJacquie RotheroeChris SiversAnn SykesAnne WalesHeather WignallKate Winterbottom

TENORSJenny Brannock-JonesCliff Brown

Jeanne EustaceRon FranklinDavid GittinsJonathan HaskellPhilip HayesChristopher HodsonIan JonesRoger JuddNigel LewisPaul RichSue RoperDavid Wilde

BASSESRobert AllnuttAlan ArcherJohn BettsDave ClarkeAdrian CollinBob DaviesPeter GravesGeoff HarrisonDavid HayesJim HetheringtonRoger HillDavid LongTony MackinderTristan MackinderRichard OnslowTim RobertsRichard TregoningJohn WignallGuy WilliamsNorman WiseDavid Woollacott

Violins; Ann Blake, FrancesBigg, Darrell Dunning, MarionGarrett, David Glenister, EdHewitt, Fiona Jacob, David Moore,Lesley Pearce,Chris Shelley,Frances Stanhope,

Violas; Steffi Cook, RogerEvans, Katie Hayes, JohnSaunders

Cellos; Hilary Drinkall, Mary Harris

Basses; Keith Leonard, SudhirSingh

Flutes; David Evans, CarolineWelsh

Oboes/Cor Anglais; EmilyCockbill, Frances Slack

Clarinets; Esther Moors, TheresaWhiffen

Bassoon; Thomas Dryer-Beers

Horns; Chris Howlings, AlfRuddell

Trumpets; Jeremy Loukes, LeahLoukes, Allan Robinson

Timpani; Richard Baron-Tait

Organ: Adrian Johnson

ACKNOWLEDGEMENTSTring Choral Society thanks the Iain Rennie Hospiceat Home shop, Tring, for support as our ticket agents.

The piano accompanist for Tring Choral Society rehearsals is Adrian Johnson.

Our thanks go to Roy Mathers for writing and compiling this programme.

Tring Choral Society is financially supported by Dacorum Borough Council throughTring Arts Trust.

We are grateful for the presence of St John Ambulancerepresentatives at this concert.

Financial assistance received from the Eastern Arts Board,administered by NFMS Eastern Region.

Leader; Janet Hicks

Mr G E BullMr J BurchellMr J H Cadge

Mr and Mrs G CaloiaMrs J Cherry

Mr and Mrs F ClarkMrs B J DarbyMrs R Dean

Mr S EustaceMr R FlaniganMrs D Franklin

Mrs S K FranklinMr J Hawkes

Mr C W HoareMrs J Hollingsworth

Mr M JacksonMr K Johnson

Mr N KeenMrs E Marchant

Mr I MartinMrs B MatthewsMrs M F MerlierMrs E Nicholls

Mrs J OrrellMr C B J Pearce

Dr and Mrs A PrideMr G Pulfer

Mrs H RenalsMr D Rush

Mr P ScribbinsMr J Stack

Mr and Mrs J StanhopeMiss R Stanhope

Mrs J Stevens

Mr W StringerMr and Mrs E Tapson

Dr D ThallonMr and Mrs W Thomas

Mr and Mrs K ToddMr and Mrs J K WatsonMr and Mrs M Watson

Mr A Winterbottom

Life MembersMrs J Aldridge

Mr and Mrs D BanyardMr R GryllsMr J Renals

Mrs K Woodward

Why not become a Patron of Tring Choral Society?For a minimum donation of £25, you too could become a Patron of Tring Choral Society,this annual donation entitling you to two free tickets (in any one season). You will alsoreceive an annual newsletter giving concert details in advance, and an invitation to join oursocial events.

To become a Patron, simply fill in the form below and send, with your donation, toMrs B S Mathers, 8 Old Mill Gardens, Berkhamsted, Hertfordshire HP4 2NZ

Telephone; 01442 872727

I would like to become a Patron of Tring Choral Society and enclose

a cheque for £.......................

Name....................................................................................................

Address.................................................................................................

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Post Code................................................ Tel No.................................