The Open University Choir · The Open University Choir is affiliated to the Open University Club...
8
Luigi Cherubini Requiem in C minor for mixed chorus and orchestra Bill Strang conductor Thursday 19 November 2015 at 1pm Hub Theatre Walton Hall Admission free All welcome The Open University Choir is affiliated to the Open University Club and gratefully acknowledges the financial support of the University for this concert. The Open University Choir
Transcript of The Open University Choir · The Open University Choir is affiliated to the Open University Club...
Luigi Cherubini Requiem in C minorfor mixed chorus and orchestra
Bill Strang conductor
Thursday 19 November 2015 at 1pm
Hub Theatre Walton Hall
Admission free
All welcome
The Open University Choir is affiliated to the Open University Club and gratefully acknowledges the financial support of the University for this concert
The Open University Choir
Requiem in C minor Luigi Cherubini (1760ndash1842)
1 Introitus et Kyrie
Cherubini scored the hushed opening movement for lower strings with divided violas
and occasionally divided cellos and an independent double bass line This produces a
mellow texture reminiscent of the early versions of Faureacutersquos Requiem which was
however conceived some 70 years later
Requiem aeternam dona eis Domine
et lux perpetua luceat eis
Te decet hymnus Deus in Sion
et tibi reddetur votum in Jerusalem
Exaudi orationem meam
ad te omnis caro veniet
Kyrie eleison
Christe eleison
Kyrie eleison
Grant them eternal rest O Lord
and may perpetual light shine on them
Thou O God art praised in Sion
and unto Thee shall the vow be
performed in Jerusalem
Hear my prayer
unto Thee shall all flesh come
Lord have mercy upon us
Christ have mercy upon us
Lord have mercy upon us
2 Graduale
This text is seldom set as a separate movement Cherubinirsquos short setting accompanied
only by lower strings introduces canonic imitation
Requiem aeternam dona eis Domine
et lux perpetua luceat eis
In memoria aeterna erit justus
ab auditione mala non timebit
Grant them eternal rest O Lord
and may perpetual light shine on
them
A just man will be remembered for
ever and need fear no evil from
judgment
3 Dies irae
The brass section of the orchestra has been saved for a dramatic entrance depicting the
last judgment in response to which all the strings scurry around in fearful panic
This long poem comprising 19 three-line verses has held a particular appeal for
composers with a successful background in operatic music In more familiar settings
Mozart conceived it as a sequence of six separate movements with an overall tonal
plan while in Verdirsquos even grander scheme some nine open-ended sections are unified
by a dramatic motto theme
Cherubinirsquos solution is to construct one large continuous thematically-integrated
movement The recurrent structuring device he employs for the choral parts is canon
most often led by sopranos and altos and followed by tenors and basses Deftly he
contrives to get the climactic chordal gesture lsquoTuba mirumrsquo to recur on cue for lsquoRex
tremendae majestatisrsquo while the gently falling codetta lsquosalva me fons pietatisrsquo returns
in time for lsquovoca me cum benedictusrsquo
In a contrasting middle section beginning at lsquoRecordare Jesu piersquo each verse is
assigned to a different part in turn sopranos and altos alternating with tenors then
basses as Cherubini brings Italianate lyricism to the fore in lieu of the soloists which
he had eschewed
Dies irae dies illa
Solvet saeclum in favilla
Teste David cum sibylla
Quantus tremor est futurus
Quando judex est venturus
Cuncta stricte discussurus
Tuba mira spargens sonum
Per sepulchra regionum
Coget omnes ante thronum
Mors stupebit et natura
Cum resurget creatura
Judicanti responsura
Liber scriptus proferetur
In quo totum continetur
Unde mundus judicetur
Judex ergo cum sedebit
Quidquid latet apparebit
Nil inultum remanebit
Quid sum miser tunc dicturus
Quem patronum rogaturus
Cum vix justus sit securus
Rex tremendae majestatis
Qui salvandos salvas gratis
Salva me fons pietatis
Recordare Jesu pie
Quod sum causa tuae viae
Ne me perdas illa die
Quaerens me sedisti lassus
Redemisti crucem passus
Tantus labor non sit cassus
Day of wrath that day
Will dissolve the earth in ashes
As David and the Sibyl bear witness
What dread there will be
When the judge shall come
To judge all things strictly
A trumpet spreading a wondrous sound
Through the graves of all lands
Will drive mankind before the throne
Death and Nature shall be astonished
When all creation rises again
To answer to the Judge
A book written in will be brought forth
In which is contained everything that is
Out of which the world shall be judged
When therefore the judge takes his seat
Whatever is hidden will reveal itself
Nothing will remain unavenged
What then shall I plead in my anguish
What advocate entreat to speak for me
When the just are not acquitted
King of awful majesty
Who freely savest the redeemed
Save me O fount of goodness
Remember blessed Jesus
That I am the cause of Thy pilgrimage
Do not forsake me on that day
Seeking me Thou didst sit down
weary Thou didst redeem me
suffering death on the cross Let no
such toil be in vain
Juste judex ultionis
Donum fac remissionis
Ante diem rationis
Ingemisco tanquam reus
Culpa rubet vultus meus
Supplicanti parce Deus
Qui Mariam absolvisti
Et latronem exaudisti
Mihi quoque spem dedisti
Preces meae non sunt dignae
Sed tu bonus fac benigne
Ne perenni cremer igne
Just and avenging Judge
Grant remission
Before the day of reckoning
I lament for I am guilty
And I blush for my wrongdoing
Spare a suppliant O God
Thou who didst absolve Mary
And hearken to the thief
To me also hast given hope
My prayers are not worthy
But Thou O good one in Thy mercy
Do not send me to everlasting fire
Inter oves locum praesta
Et ab hoedis me sequestra
Statuens in parte dextra
Confutatis maledictis
Flammis acribus addictis
Voca me cum benedictis
Oro supplex et acclinis
Cor contritum quasi cinis
Gere curam mei finis
Lacrymosa dies illa
Qua resurget ex favilla
Judicandus homo reus
Huic ergo parce Deus
Pie Jesu Domine
Dona eis requiem
Amen
Place me among Thy sheep
And separate me from the goats
Setting me on Thy right hand
When the cursed are all banished
And given over to the bitter flames
Summon me among the blessed
I pray in supplication on my knees
My heart contrite as the dust
Grant me grace at my departing
Day of bitter lamentation
When rises from the dust
Guilty man to be judged
Then Lord pity this Thy servant
Blessed Lord Jesus
Grant them peace
Amen
4 Offertory
Although the text for this movement is quite short it is conceived on an even larger
scale than the preceding one albeit in two halves in accordance with the text and with
tradition
Cherubinirsquos lsquoKing of gloryrsquo has a suspiciously earthly swagger in the major-key
march-time opening but mood texture and thematic material change almost with
every phrase as he brings his innate dramatic sense to bear on the text thus lsquothe pains
of hellrsquo lsquothe bottomless pitrsquo and lsquothe jaws of the lionrsquo are all graphically suggested
The mood changes completely at the prospect of lsquothe standard-bearer Michaelrsquo leading
the souls of the faithful lsquointo eternal lightrsquo (higher voices higher instruments)
The lsquoDomine Jesu Christersquo is rounded off with a substantial and vigorous fugue in
which almost every note the choir sings is based directly on three thematic elements ndash
an unusually strict example of fugal writing
Out of the triumphant climax of the fugue repeated Gs on the horns and parallel
descending thirds for the bassoons lead to the gentle prayerful lsquoHostiasrsquo in C major
Eventually the voices adopt the instrumental theme (Fac eas Domine de morte
transire ad vitam) which leads to a simple repetition only this time the harmony is
redirected to allow for a return to E flat major and a repetition of the lsquoQuam olimrsquo
fugue as is customary
O Domine Jesu Christe Rex gloriae
libera animas omnium fidelium
defunctorum de poenis inferni et de
profundo lacu
Libera eas de ore leonis
ne absorbeat eas tartarus ne cadant
in obscurum
sed signifer sanctus Michael
repraesentet eas in lucem sanctam
Quam olim Abrahae promisisti
et semini eius
Hostias et preces tibi Domine
laudis offerimus
Tu suscipe pro animabus illis
quarum hodie memoriam facimus
Fac eas Domine de morte
transire ad vitam
Quam olim Abrahae promisisti
et semini eius
O Lord Jesus Christ King of glory
deliver the souls of all the faithful
departed from the pains of hell and
from the bottomless pit
Deliver them from the mouth of the
lion that they may not be swallowed
up by hell and perish in its darkness
but let holy Michael Thy standard
bearer lead them into the holy light
As once Thou didst promise
to Abraham and his seed
We offer unto Thee O Lord
this sacrifice of prayer and praise
Receive it for those souls
whom today we commemorate
Grant them O Lord to pass from
death into life everlasting
As Thou didst promise of old
to Abraham and his seed
5 Sanctus
Customary too in France were compact settings of the Sanctus and Benedictus In this
case Cherubini uses it to set up and counterbalance the two gentler final movements
that follow
Santus sanctus sanctus
Dominus Deus sabaoth
Pleni sunt coeli et terra gloria tua
Hosanna in excelsis
Benedictus qui venit in nomine
Domini
Holy holy holy
Lord God of Hosts
Heaven and earth are full of Thy
glory Hosanna in the highest
Blessed is he that cometh in the name
of the Lord
6 Pie Jesu
Faureacutersquos treblesoprano solo is probably the most famous setting of this text Cherubini
also begins with soloistic elements for soprano then tenor But stranger and more
haunting are the interludes for clarinets and bassoons with their melting chromatic
harmony
Pie Jesu Domine
dona eis requiem sempiternam
Holy Jesus Lord
grant them eternal rest
7 Agnus Dei
In Cherubinirsquos setting the threefold prayer receives absolutely standard treatment each
phrase begins with an identical declamation but moves to a different key What
follows is more individual and more interesting long strings of chromatic harmony
increase tension and anxiety until the final appeal for eternal light couched in simple
bold block chords Then the tension is released slowly in a final canon which circles
mesmerically round all four vocal parts on the single note C resolving the lsquoAgnus Dei
in decrescendorsquo that Berlioz said lsquosurpasses everything that has ever been written of
the kindrsquo
Agnus Dei qui tollis peccata mundi
dona eis requiem
Agnus Dei qui tollis peccata mundi
dona eis requiem sempiternam
Lux aeterna luceat eis Domine cum
sanctis tuis in aeternum quia pius es
Requiem aeternam dona eis Domine
et lux perpetua luceat eis
Lamb of God who takest away the
sins of the world grant them rest
Lamb of God who takest away the
sins of the world grant them
everlasting rest
Let eternal rest shine upon them Lord
with your saints for ever for you are
holy Grant them eternal rest Lord and
let perpetual light shine upon them
Orchestra
Violin 1Catherine Gough (leader)
Sally Jackson Lesley Newing
David Novalbos Katharine Reedy
Violin 2 Jen Rothwell Julie Boulter
Ruth Gapp Annie Stamp
Viola Keith Hodgkinson Laurence Holden
John Wynne
Cello Jonathan Hunt Corinne Malitske
Denise Riley
Double bass Felicity Fletcher-Campbell
Steve Jones
Oboe Karen Mason David Sharp
Clarinet David Hall Christine Hunt
Bassoon Jane Fransella Tessa Holden
Horn Catherine Rose Uwe Radok
Trumpet Ian Facer Martin Mills
Trombone Pat Kenny Marshall Edwards
Paul Coveney
Percussion
Allan Jones
Conductor Bill Strang
Orchestral manager Elizabeth Camp
Rehearsal Accompanists Kevin McConway Elizabeth Camp
Kevin McConway has been rehearsal accompanist for the OU Choir for some twenty
years during which he has also featured in our performances as soloist duettist and
accompanist to solo singers on both piano and organ Today in his last concert with
the choir before he retires from the University he will return to the tenor section In all
these capacities he has enlivened and enriched our activities We wish him a long and
happy retirement
Programme produced by Gill Smith
Poster design by Mandy Forbes
Forthcoming Open University Choir concerts
Saturday 23 April 2016 730pm
St Mary and St Giles Church Stony Stratford
Inaugural concert for the restored Father Willis organ a programme of music for
choir brass organ and percussion including John Rutterrsquos Gloria motets by Anton
Bruckner and music by various composers connected with St Georgersquos Church
Edinburgh for which the organ was originally built
Thursday 23 and Friday 24 June 2016 1pmndash2pm St Michaels Church
Conducted by Dennis Pim Programme to be announced
About the choir The Open University Choir is a work-place choir with approximately 70 members
drawn largely from Open University staff and students but also including singers from
the local community The choir rehearses and usually performs at lunchtimes at the
Open University Campus Walton Hall Milton Keynes presenting three main concerts
each year If you would like to receive information about the choirrsquos activities by post
or email please contact Gill Smith at gillgksmithgmailcom
New choir members Singers wishing to take part in the Choirrsquos activities should contact the director
Bill Strang by email billpld-ukcom Regular rehearsals are held on Thursday at
lunchtime in the Church on the OU campus
Open University Choir website Further information about the choir and its activities can be found on the choirrsquos
website httpwwwopenacukwikisouchoirOU_Choir
Other music at the Open University
Wednesday 9 December 2015 1pmndash2pm Hub Theatre
Lunchtime Chamber Music Red Priest
The extraordinary virtuoso early music quartet will present a lsquoWinter Baroque
Carnivalrsquo
Friday 12 February 2015 1pmndash2pm Hub Theatre
Open University Orchestra conductor Dennis Pim
lsquoAt the Moviesrsquo a concert of film music
Admission to both these concerts is free All welcome
The Open University Choir is affiliated to the Open University Club and gratefully
acknowledges the financial support of the University for this concert
Cover image Luigi Cherubini wearing a Legion drsquoHonneur medal lithograph by Marie
Alexandre Alophe after a painting (Imp drsquoAubert amp Co Galerie de la Presse de la
Literature et des Beaux Arts c1850)
Requiem in C minor Luigi Cherubini (1760ndash1842)
1 Introitus et Kyrie
Cherubini scored the hushed opening movement for lower strings with divided violas
and occasionally divided cellos and an independent double bass line This produces a
mellow texture reminiscent of the early versions of Faureacutersquos Requiem which was
however conceived some 70 years later
Requiem aeternam dona eis Domine
et lux perpetua luceat eis
Te decet hymnus Deus in Sion
et tibi reddetur votum in Jerusalem
Exaudi orationem meam
ad te omnis caro veniet
Kyrie eleison
Christe eleison
Kyrie eleison
Grant them eternal rest O Lord
and may perpetual light shine on them
Thou O God art praised in Sion
and unto Thee shall the vow be
performed in Jerusalem
Hear my prayer
unto Thee shall all flesh come
Lord have mercy upon us
Christ have mercy upon us
Lord have mercy upon us
2 Graduale
This text is seldom set as a separate movement Cherubinirsquos short setting accompanied
only by lower strings introduces canonic imitation
Requiem aeternam dona eis Domine
et lux perpetua luceat eis
In memoria aeterna erit justus
ab auditione mala non timebit
Grant them eternal rest O Lord
and may perpetual light shine on
them
A just man will be remembered for
ever and need fear no evil from
judgment
3 Dies irae
The brass section of the orchestra has been saved for a dramatic entrance depicting the
last judgment in response to which all the strings scurry around in fearful panic
This long poem comprising 19 three-line verses has held a particular appeal for
composers with a successful background in operatic music In more familiar settings
Mozart conceived it as a sequence of six separate movements with an overall tonal
plan while in Verdirsquos even grander scheme some nine open-ended sections are unified
by a dramatic motto theme
Cherubinirsquos solution is to construct one large continuous thematically-integrated
movement The recurrent structuring device he employs for the choral parts is canon
most often led by sopranos and altos and followed by tenors and basses Deftly he
contrives to get the climactic chordal gesture lsquoTuba mirumrsquo to recur on cue for lsquoRex
tremendae majestatisrsquo while the gently falling codetta lsquosalva me fons pietatisrsquo returns
in time for lsquovoca me cum benedictusrsquo
In a contrasting middle section beginning at lsquoRecordare Jesu piersquo each verse is
assigned to a different part in turn sopranos and altos alternating with tenors then
basses as Cherubini brings Italianate lyricism to the fore in lieu of the soloists which
he had eschewed
Dies irae dies illa
Solvet saeclum in favilla
Teste David cum sibylla
Quantus tremor est futurus
Quando judex est venturus
Cuncta stricte discussurus
Tuba mira spargens sonum
Per sepulchra regionum
Coget omnes ante thronum
Mors stupebit et natura
Cum resurget creatura
Judicanti responsura
Liber scriptus proferetur
In quo totum continetur
Unde mundus judicetur
Judex ergo cum sedebit
Quidquid latet apparebit
Nil inultum remanebit
Quid sum miser tunc dicturus
Quem patronum rogaturus
Cum vix justus sit securus
Rex tremendae majestatis
Qui salvandos salvas gratis
Salva me fons pietatis
Recordare Jesu pie
Quod sum causa tuae viae
Ne me perdas illa die
Quaerens me sedisti lassus
Redemisti crucem passus
Tantus labor non sit cassus
Day of wrath that day
Will dissolve the earth in ashes
As David and the Sibyl bear witness
What dread there will be
When the judge shall come
To judge all things strictly
A trumpet spreading a wondrous sound
Through the graves of all lands
Will drive mankind before the throne
Death and Nature shall be astonished
When all creation rises again
To answer to the Judge
A book written in will be brought forth
In which is contained everything that is
Out of which the world shall be judged
When therefore the judge takes his seat
Whatever is hidden will reveal itself
Nothing will remain unavenged
What then shall I plead in my anguish
What advocate entreat to speak for me
When the just are not acquitted
King of awful majesty
Who freely savest the redeemed
Save me O fount of goodness
Remember blessed Jesus
That I am the cause of Thy pilgrimage
Do not forsake me on that day
Seeking me Thou didst sit down
weary Thou didst redeem me
suffering death on the cross Let no
such toil be in vain
Juste judex ultionis
Donum fac remissionis
Ante diem rationis
Ingemisco tanquam reus
Culpa rubet vultus meus
Supplicanti parce Deus
Qui Mariam absolvisti
Et latronem exaudisti
Mihi quoque spem dedisti
Preces meae non sunt dignae
Sed tu bonus fac benigne
Ne perenni cremer igne
Just and avenging Judge
Grant remission
Before the day of reckoning
I lament for I am guilty
And I blush for my wrongdoing
Spare a suppliant O God
Thou who didst absolve Mary
And hearken to the thief
To me also hast given hope
My prayers are not worthy
But Thou O good one in Thy mercy
Do not send me to everlasting fire
Inter oves locum praesta
Et ab hoedis me sequestra
Statuens in parte dextra
Confutatis maledictis
Flammis acribus addictis
Voca me cum benedictis
Oro supplex et acclinis
Cor contritum quasi cinis
Gere curam mei finis
Lacrymosa dies illa
Qua resurget ex favilla
Judicandus homo reus
Huic ergo parce Deus
Pie Jesu Domine
Dona eis requiem
Amen
Place me among Thy sheep
And separate me from the goats
Setting me on Thy right hand
When the cursed are all banished
And given over to the bitter flames
Summon me among the blessed
I pray in supplication on my knees
My heart contrite as the dust
Grant me grace at my departing
Day of bitter lamentation
When rises from the dust
Guilty man to be judged
Then Lord pity this Thy servant
Blessed Lord Jesus
Grant them peace
Amen
4 Offertory
Although the text for this movement is quite short it is conceived on an even larger
scale than the preceding one albeit in two halves in accordance with the text and with
tradition
Cherubinirsquos lsquoKing of gloryrsquo has a suspiciously earthly swagger in the major-key
march-time opening but mood texture and thematic material change almost with
every phrase as he brings his innate dramatic sense to bear on the text thus lsquothe pains
of hellrsquo lsquothe bottomless pitrsquo and lsquothe jaws of the lionrsquo are all graphically suggested
The mood changes completely at the prospect of lsquothe standard-bearer Michaelrsquo leading
the souls of the faithful lsquointo eternal lightrsquo (higher voices higher instruments)
The lsquoDomine Jesu Christersquo is rounded off with a substantial and vigorous fugue in
which almost every note the choir sings is based directly on three thematic elements ndash
an unusually strict example of fugal writing
Out of the triumphant climax of the fugue repeated Gs on the horns and parallel
descending thirds for the bassoons lead to the gentle prayerful lsquoHostiasrsquo in C major
Eventually the voices adopt the instrumental theme (Fac eas Domine de morte
transire ad vitam) which leads to a simple repetition only this time the harmony is
redirected to allow for a return to E flat major and a repetition of the lsquoQuam olimrsquo
fugue as is customary
O Domine Jesu Christe Rex gloriae
libera animas omnium fidelium
defunctorum de poenis inferni et de
profundo lacu
Libera eas de ore leonis
ne absorbeat eas tartarus ne cadant
in obscurum
sed signifer sanctus Michael
repraesentet eas in lucem sanctam
Quam olim Abrahae promisisti
et semini eius
Hostias et preces tibi Domine
laudis offerimus
Tu suscipe pro animabus illis
quarum hodie memoriam facimus
Fac eas Domine de morte
transire ad vitam
Quam olim Abrahae promisisti
et semini eius
O Lord Jesus Christ King of glory
deliver the souls of all the faithful
departed from the pains of hell and
from the bottomless pit
Deliver them from the mouth of the
lion that they may not be swallowed
up by hell and perish in its darkness
but let holy Michael Thy standard
bearer lead them into the holy light
As once Thou didst promise
to Abraham and his seed
We offer unto Thee O Lord
this sacrifice of prayer and praise
Receive it for those souls
whom today we commemorate
Grant them O Lord to pass from
death into life everlasting
As Thou didst promise of old
to Abraham and his seed
5 Sanctus
Customary too in France were compact settings of the Sanctus and Benedictus In this
case Cherubini uses it to set up and counterbalance the two gentler final movements
that follow
Santus sanctus sanctus
Dominus Deus sabaoth
Pleni sunt coeli et terra gloria tua
Hosanna in excelsis
Benedictus qui venit in nomine
Domini
Holy holy holy
Lord God of Hosts
Heaven and earth are full of Thy
glory Hosanna in the highest
Blessed is he that cometh in the name
of the Lord
6 Pie Jesu
Faureacutersquos treblesoprano solo is probably the most famous setting of this text Cherubini
also begins with soloistic elements for soprano then tenor But stranger and more
haunting are the interludes for clarinets and bassoons with their melting chromatic
harmony
Pie Jesu Domine
dona eis requiem sempiternam
Holy Jesus Lord
grant them eternal rest
7 Agnus Dei
In Cherubinirsquos setting the threefold prayer receives absolutely standard treatment each
phrase begins with an identical declamation but moves to a different key What
follows is more individual and more interesting long strings of chromatic harmony
increase tension and anxiety until the final appeal for eternal light couched in simple
bold block chords Then the tension is released slowly in a final canon which circles
mesmerically round all four vocal parts on the single note C resolving the lsquoAgnus Dei
in decrescendorsquo that Berlioz said lsquosurpasses everything that has ever been written of
the kindrsquo
Agnus Dei qui tollis peccata mundi
dona eis requiem
Agnus Dei qui tollis peccata mundi
dona eis requiem sempiternam
Lux aeterna luceat eis Domine cum
sanctis tuis in aeternum quia pius es
Requiem aeternam dona eis Domine
et lux perpetua luceat eis
Lamb of God who takest away the
sins of the world grant them rest
Lamb of God who takest away the
sins of the world grant them
everlasting rest
Let eternal rest shine upon them Lord
with your saints for ever for you are
holy Grant them eternal rest Lord and
let perpetual light shine upon them
Orchestra
Violin 1Catherine Gough (leader)
Sally Jackson Lesley Newing
David Novalbos Katharine Reedy
Violin 2 Jen Rothwell Julie Boulter
Ruth Gapp Annie Stamp
Viola Keith Hodgkinson Laurence Holden
John Wynne
Cello Jonathan Hunt Corinne Malitske
Denise Riley
Double bass Felicity Fletcher-Campbell
Steve Jones
Oboe Karen Mason David Sharp
Clarinet David Hall Christine Hunt
Bassoon Jane Fransella Tessa Holden
Horn Catherine Rose Uwe Radok
Trumpet Ian Facer Martin Mills
Trombone Pat Kenny Marshall Edwards
Paul Coveney
Percussion
Allan Jones
Conductor Bill Strang
Orchestral manager Elizabeth Camp
Rehearsal Accompanists Kevin McConway Elizabeth Camp
Kevin McConway has been rehearsal accompanist for the OU Choir for some twenty
years during which he has also featured in our performances as soloist duettist and
accompanist to solo singers on both piano and organ Today in his last concert with
the choir before he retires from the University he will return to the tenor section In all
these capacities he has enlivened and enriched our activities We wish him a long and
happy retirement
Programme produced by Gill Smith
Poster design by Mandy Forbes
Forthcoming Open University Choir concerts
Saturday 23 April 2016 730pm
St Mary and St Giles Church Stony Stratford
Inaugural concert for the restored Father Willis organ a programme of music for
choir brass organ and percussion including John Rutterrsquos Gloria motets by Anton
Bruckner and music by various composers connected with St Georgersquos Church
Edinburgh for which the organ was originally built
Thursday 23 and Friday 24 June 2016 1pmndash2pm St Michaels Church
Conducted by Dennis Pim Programme to be announced
About the choir The Open University Choir is a work-place choir with approximately 70 members
drawn largely from Open University staff and students but also including singers from
the local community The choir rehearses and usually performs at lunchtimes at the
Open University Campus Walton Hall Milton Keynes presenting three main concerts
each year If you would like to receive information about the choirrsquos activities by post
or email please contact Gill Smith at gillgksmithgmailcom
New choir members Singers wishing to take part in the Choirrsquos activities should contact the director
Bill Strang by email billpld-ukcom Regular rehearsals are held on Thursday at
lunchtime in the Church on the OU campus
Open University Choir website Further information about the choir and its activities can be found on the choirrsquos
website httpwwwopenacukwikisouchoirOU_Choir
Other music at the Open University
Wednesday 9 December 2015 1pmndash2pm Hub Theatre
Lunchtime Chamber Music Red Priest
The extraordinary virtuoso early music quartet will present a lsquoWinter Baroque
Carnivalrsquo
Friday 12 February 2015 1pmndash2pm Hub Theatre
Open University Orchestra conductor Dennis Pim
lsquoAt the Moviesrsquo a concert of film music
Admission to both these concerts is free All welcome
The Open University Choir is affiliated to the Open University Club and gratefully
acknowledges the financial support of the University for this concert
Cover image Luigi Cherubini wearing a Legion drsquoHonneur medal lithograph by Marie
Alexandre Alophe after a painting (Imp drsquoAubert amp Co Galerie de la Presse de la
Literature et des Beaux Arts c1850)
most often led by sopranos and altos and followed by tenors and basses Deftly he
contrives to get the climactic chordal gesture lsquoTuba mirumrsquo to recur on cue for lsquoRex
tremendae majestatisrsquo while the gently falling codetta lsquosalva me fons pietatisrsquo returns
in time for lsquovoca me cum benedictusrsquo
In a contrasting middle section beginning at lsquoRecordare Jesu piersquo each verse is
assigned to a different part in turn sopranos and altos alternating with tenors then
basses as Cherubini brings Italianate lyricism to the fore in lieu of the soloists which
he had eschewed
Dies irae dies illa
Solvet saeclum in favilla
Teste David cum sibylla
Quantus tremor est futurus
Quando judex est venturus
Cuncta stricte discussurus
Tuba mira spargens sonum
Per sepulchra regionum
Coget omnes ante thronum
Mors stupebit et natura
Cum resurget creatura
Judicanti responsura
Liber scriptus proferetur
In quo totum continetur
Unde mundus judicetur
Judex ergo cum sedebit
Quidquid latet apparebit
Nil inultum remanebit
Quid sum miser tunc dicturus
Quem patronum rogaturus
Cum vix justus sit securus
Rex tremendae majestatis
Qui salvandos salvas gratis
Salva me fons pietatis
Recordare Jesu pie
Quod sum causa tuae viae
Ne me perdas illa die
Quaerens me sedisti lassus
Redemisti crucem passus
Tantus labor non sit cassus
Day of wrath that day
Will dissolve the earth in ashes
As David and the Sibyl bear witness
What dread there will be
When the judge shall come
To judge all things strictly
A trumpet spreading a wondrous sound
Through the graves of all lands
Will drive mankind before the throne
Death and Nature shall be astonished
When all creation rises again
To answer to the Judge
A book written in will be brought forth
In which is contained everything that is
Out of which the world shall be judged
When therefore the judge takes his seat
Whatever is hidden will reveal itself
Nothing will remain unavenged
What then shall I plead in my anguish
What advocate entreat to speak for me
When the just are not acquitted
King of awful majesty
Who freely savest the redeemed
Save me O fount of goodness
Remember blessed Jesus
That I am the cause of Thy pilgrimage
Do not forsake me on that day
Seeking me Thou didst sit down
weary Thou didst redeem me
suffering death on the cross Let no
such toil be in vain
Juste judex ultionis
Donum fac remissionis
Ante diem rationis
Ingemisco tanquam reus
Culpa rubet vultus meus
Supplicanti parce Deus
Qui Mariam absolvisti
Et latronem exaudisti
Mihi quoque spem dedisti
Preces meae non sunt dignae
Sed tu bonus fac benigne
Ne perenni cremer igne
Just and avenging Judge
Grant remission
Before the day of reckoning
I lament for I am guilty
And I blush for my wrongdoing
Spare a suppliant O God
Thou who didst absolve Mary
And hearken to the thief
To me also hast given hope
My prayers are not worthy
But Thou O good one in Thy mercy
Do not send me to everlasting fire
Inter oves locum praesta
Et ab hoedis me sequestra
Statuens in parte dextra
Confutatis maledictis
Flammis acribus addictis
Voca me cum benedictis
Oro supplex et acclinis
Cor contritum quasi cinis
Gere curam mei finis
Lacrymosa dies illa
Qua resurget ex favilla
Judicandus homo reus
Huic ergo parce Deus
Pie Jesu Domine
Dona eis requiem
Amen
Place me among Thy sheep
And separate me from the goats
Setting me on Thy right hand
When the cursed are all banished
And given over to the bitter flames
Summon me among the blessed
I pray in supplication on my knees
My heart contrite as the dust
Grant me grace at my departing
Day of bitter lamentation
When rises from the dust
Guilty man to be judged
Then Lord pity this Thy servant
Blessed Lord Jesus
Grant them peace
Amen
4 Offertory
Although the text for this movement is quite short it is conceived on an even larger
scale than the preceding one albeit in two halves in accordance with the text and with
tradition
Cherubinirsquos lsquoKing of gloryrsquo has a suspiciously earthly swagger in the major-key
march-time opening but mood texture and thematic material change almost with
every phrase as he brings his innate dramatic sense to bear on the text thus lsquothe pains
of hellrsquo lsquothe bottomless pitrsquo and lsquothe jaws of the lionrsquo are all graphically suggested
The mood changes completely at the prospect of lsquothe standard-bearer Michaelrsquo leading
the souls of the faithful lsquointo eternal lightrsquo (higher voices higher instruments)
The lsquoDomine Jesu Christersquo is rounded off with a substantial and vigorous fugue in
which almost every note the choir sings is based directly on three thematic elements ndash
an unusually strict example of fugal writing
Out of the triumphant climax of the fugue repeated Gs on the horns and parallel
descending thirds for the bassoons lead to the gentle prayerful lsquoHostiasrsquo in C major
Eventually the voices adopt the instrumental theme (Fac eas Domine de morte
transire ad vitam) which leads to a simple repetition only this time the harmony is
redirected to allow for a return to E flat major and a repetition of the lsquoQuam olimrsquo
fugue as is customary
O Domine Jesu Christe Rex gloriae
libera animas omnium fidelium
defunctorum de poenis inferni et de
profundo lacu
Libera eas de ore leonis
ne absorbeat eas tartarus ne cadant
in obscurum
sed signifer sanctus Michael
repraesentet eas in lucem sanctam
Quam olim Abrahae promisisti
et semini eius
Hostias et preces tibi Domine
laudis offerimus
Tu suscipe pro animabus illis
quarum hodie memoriam facimus
Fac eas Domine de morte
transire ad vitam
Quam olim Abrahae promisisti
et semini eius
O Lord Jesus Christ King of glory
deliver the souls of all the faithful
departed from the pains of hell and
from the bottomless pit
Deliver them from the mouth of the
lion that they may not be swallowed
up by hell and perish in its darkness
but let holy Michael Thy standard
bearer lead them into the holy light
As once Thou didst promise
to Abraham and his seed
We offer unto Thee O Lord
this sacrifice of prayer and praise
Receive it for those souls
whom today we commemorate
Grant them O Lord to pass from
death into life everlasting
As Thou didst promise of old
to Abraham and his seed
5 Sanctus
Customary too in France were compact settings of the Sanctus and Benedictus In this
case Cherubini uses it to set up and counterbalance the two gentler final movements
that follow
Santus sanctus sanctus
Dominus Deus sabaoth
Pleni sunt coeli et terra gloria tua
Hosanna in excelsis
Benedictus qui venit in nomine
Domini
Holy holy holy
Lord God of Hosts
Heaven and earth are full of Thy
glory Hosanna in the highest
Blessed is he that cometh in the name
of the Lord
6 Pie Jesu
Faureacutersquos treblesoprano solo is probably the most famous setting of this text Cherubini
also begins with soloistic elements for soprano then tenor But stranger and more
haunting are the interludes for clarinets and bassoons with their melting chromatic
harmony
Pie Jesu Domine
dona eis requiem sempiternam
Holy Jesus Lord
grant them eternal rest
7 Agnus Dei
In Cherubinirsquos setting the threefold prayer receives absolutely standard treatment each
phrase begins with an identical declamation but moves to a different key What
follows is more individual and more interesting long strings of chromatic harmony
increase tension and anxiety until the final appeal for eternal light couched in simple
bold block chords Then the tension is released slowly in a final canon which circles
mesmerically round all four vocal parts on the single note C resolving the lsquoAgnus Dei
in decrescendorsquo that Berlioz said lsquosurpasses everything that has ever been written of
the kindrsquo
Agnus Dei qui tollis peccata mundi
dona eis requiem
Agnus Dei qui tollis peccata mundi
dona eis requiem sempiternam
Lux aeterna luceat eis Domine cum
sanctis tuis in aeternum quia pius es
Requiem aeternam dona eis Domine
et lux perpetua luceat eis
Lamb of God who takest away the
sins of the world grant them rest
Lamb of God who takest away the
sins of the world grant them
everlasting rest
Let eternal rest shine upon them Lord
with your saints for ever for you are
holy Grant them eternal rest Lord and
let perpetual light shine upon them
Orchestra
Violin 1Catherine Gough (leader)
Sally Jackson Lesley Newing
David Novalbos Katharine Reedy
Violin 2 Jen Rothwell Julie Boulter
Ruth Gapp Annie Stamp
Viola Keith Hodgkinson Laurence Holden
John Wynne
Cello Jonathan Hunt Corinne Malitske
Denise Riley
Double bass Felicity Fletcher-Campbell
Steve Jones
Oboe Karen Mason David Sharp
Clarinet David Hall Christine Hunt
Bassoon Jane Fransella Tessa Holden
Horn Catherine Rose Uwe Radok
Trumpet Ian Facer Martin Mills
Trombone Pat Kenny Marshall Edwards
Paul Coveney
Percussion
Allan Jones
Conductor Bill Strang
Orchestral manager Elizabeth Camp
Rehearsal Accompanists Kevin McConway Elizabeth Camp
Kevin McConway has been rehearsal accompanist for the OU Choir for some twenty
years during which he has also featured in our performances as soloist duettist and
accompanist to solo singers on both piano and organ Today in his last concert with
the choir before he retires from the University he will return to the tenor section In all
these capacities he has enlivened and enriched our activities We wish him a long and
happy retirement
Programme produced by Gill Smith
Poster design by Mandy Forbes
Forthcoming Open University Choir concerts
Saturday 23 April 2016 730pm
St Mary and St Giles Church Stony Stratford
Inaugural concert for the restored Father Willis organ a programme of music for
choir brass organ and percussion including John Rutterrsquos Gloria motets by Anton
Bruckner and music by various composers connected with St Georgersquos Church
Edinburgh for which the organ was originally built
Thursday 23 and Friday 24 June 2016 1pmndash2pm St Michaels Church
Conducted by Dennis Pim Programme to be announced
About the choir The Open University Choir is a work-place choir with approximately 70 members
drawn largely from Open University staff and students but also including singers from
the local community The choir rehearses and usually performs at lunchtimes at the
Open University Campus Walton Hall Milton Keynes presenting three main concerts
each year If you would like to receive information about the choirrsquos activities by post
or email please contact Gill Smith at gillgksmithgmailcom
New choir members Singers wishing to take part in the Choirrsquos activities should contact the director
Bill Strang by email billpld-ukcom Regular rehearsals are held on Thursday at
lunchtime in the Church on the OU campus
Open University Choir website Further information about the choir and its activities can be found on the choirrsquos
website httpwwwopenacukwikisouchoirOU_Choir
Other music at the Open University
Wednesday 9 December 2015 1pmndash2pm Hub Theatre
Lunchtime Chamber Music Red Priest
The extraordinary virtuoso early music quartet will present a lsquoWinter Baroque
Carnivalrsquo
Friday 12 February 2015 1pmndash2pm Hub Theatre
Open University Orchestra conductor Dennis Pim
lsquoAt the Moviesrsquo a concert of film music
Admission to both these concerts is free All welcome
The Open University Choir is affiliated to the Open University Club and gratefully
acknowledges the financial support of the University for this concert
Cover image Luigi Cherubini wearing a Legion drsquoHonneur medal lithograph by Marie
Alexandre Alophe after a painting (Imp drsquoAubert amp Co Galerie de la Presse de la
Literature et des Beaux Arts c1850)
Juste judex ultionis
Donum fac remissionis
Ante diem rationis
Ingemisco tanquam reus
Culpa rubet vultus meus
Supplicanti parce Deus
Qui Mariam absolvisti
Et latronem exaudisti
Mihi quoque spem dedisti
Preces meae non sunt dignae
Sed tu bonus fac benigne
Ne perenni cremer igne
Just and avenging Judge
Grant remission
Before the day of reckoning
I lament for I am guilty
And I blush for my wrongdoing
Spare a suppliant O God
Thou who didst absolve Mary
And hearken to the thief
To me also hast given hope
My prayers are not worthy
But Thou O good one in Thy mercy
Do not send me to everlasting fire
Inter oves locum praesta
Et ab hoedis me sequestra
Statuens in parte dextra
Confutatis maledictis
Flammis acribus addictis
Voca me cum benedictis
Oro supplex et acclinis
Cor contritum quasi cinis
Gere curam mei finis
Lacrymosa dies illa
Qua resurget ex favilla
Judicandus homo reus
Huic ergo parce Deus
Pie Jesu Domine
Dona eis requiem
Amen
Place me among Thy sheep
And separate me from the goats
Setting me on Thy right hand
When the cursed are all banished
And given over to the bitter flames
Summon me among the blessed
I pray in supplication on my knees
My heart contrite as the dust
Grant me grace at my departing
Day of bitter lamentation
When rises from the dust
Guilty man to be judged
Then Lord pity this Thy servant
Blessed Lord Jesus
Grant them peace
Amen
4 Offertory
Although the text for this movement is quite short it is conceived on an even larger
scale than the preceding one albeit in two halves in accordance with the text and with
tradition
Cherubinirsquos lsquoKing of gloryrsquo has a suspiciously earthly swagger in the major-key
march-time opening but mood texture and thematic material change almost with
every phrase as he brings his innate dramatic sense to bear on the text thus lsquothe pains
of hellrsquo lsquothe bottomless pitrsquo and lsquothe jaws of the lionrsquo are all graphically suggested
The mood changes completely at the prospect of lsquothe standard-bearer Michaelrsquo leading
the souls of the faithful lsquointo eternal lightrsquo (higher voices higher instruments)
The lsquoDomine Jesu Christersquo is rounded off with a substantial and vigorous fugue in
which almost every note the choir sings is based directly on three thematic elements ndash
an unusually strict example of fugal writing
Out of the triumphant climax of the fugue repeated Gs on the horns and parallel
descending thirds for the bassoons lead to the gentle prayerful lsquoHostiasrsquo in C major
Eventually the voices adopt the instrumental theme (Fac eas Domine de morte
transire ad vitam) which leads to a simple repetition only this time the harmony is
redirected to allow for a return to E flat major and a repetition of the lsquoQuam olimrsquo
fugue as is customary
O Domine Jesu Christe Rex gloriae
libera animas omnium fidelium
defunctorum de poenis inferni et de
profundo lacu
Libera eas de ore leonis
ne absorbeat eas tartarus ne cadant
in obscurum
sed signifer sanctus Michael
repraesentet eas in lucem sanctam
Quam olim Abrahae promisisti
et semini eius
Hostias et preces tibi Domine
laudis offerimus
Tu suscipe pro animabus illis
quarum hodie memoriam facimus
Fac eas Domine de morte
transire ad vitam
Quam olim Abrahae promisisti
et semini eius
O Lord Jesus Christ King of glory
deliver the souls of all the faithful
departed from the pains of hell and
from the bottomless pit
Deliver them from the mouth of the
lion that they may not be swallowed
up by hell and perish in its darkness
but let holy Michael Thy standard
bearer lead them into the holy light
As once Thou didst promise
to Abraham and his seed
We offer unto Thee O Lord
this sacrifice of prayer and praise
Receive it for those souls
whom today we commemorate
Grant them O Lord to pass from
death into life everlasting
As Thou didst promise of old
to Abraham and his seed
5 Sanctus
Customary too in France were compact settings of the Sanctus and Benedictus In this
case Cherubini uses it to set up and counterbalance the two gentler final movements
that follow
Santus sanctus sanctus
Dominus Deus sabaoth
Pleni sunt coeli et terra gloria tua
Hosanna in excelsis
Benedictus qui venit in nomine
Domini
Holy holy holy
Lord God of Hosts
Heaven and earth are full of Thy
glory Hosanna in the highest
Blessed is he that cometh in the name
of the Lord
6 Pie Jesu
Faureacutersquos treblesoprano solo is probably the most famous setting of this text Cherubini
also begins with soloistic elements for soprano then tenor But stranger and more
haunting are the interludes for clarinets and bassoons with their melting chromatic
harmony
Pie Jesu Domine
dona eis requiem sempiternam
Holy Jesus Lord
grant them eternal rest
7 Agnus Dei
In Cherubinirsquos setting the threefold prayer receives absolutely standard treatment each
phrase begins with an identical declamation but moves to a different key What
follows is more individual and more interesting long strings of chromatic harmony
increase tension and anxiety until the final appeal for eternal light couched in simple
bold block chords Then the tension is released slowly in a final canon which circles
mesmerically round all four vocal parts on the single note C resolving the lsquoAgnus Dei
in decrescendorsquo that Berlioz said lsquosurpasses everything that has ever been written of
the kindrsquo
Agnus Dei qui tollis peccata mundi
dona eis requiem
Agnus Dei qui tollis peccata mundi
dona eis requiem sempiternam
Lux aeterna luceat eis Domine cum
sanctis tuis in aeternum quia pius es
Requiem aeternam dona eis Domine
et lux perpetua luceat eis
Lamb of God who takest away the
sins of the world grant them rest
Lamb of God who takest away the
sins of the world grant them
everlasting rest
Let eternal rest shine upon them Lord
with your saints for ever for you are
holy Grant them eternal rest Lord and
let perpetual light shine upon them
Orchestra
Violin 1Catherine Gough (leader)
Sally Jackson Lesley Newing
David Novalbos Katharine Reedy
Violin 2 Jen Rothwell Julie Boulter
Ruth Gapp Annie Stamp
Viola Keith Hodgkinson Laurence Holden
John Wynne
Cello Jonathan Hunt Corinne Malitske
Denise Riley
Double bass Felicity Fletcher-Campbell
Steve Jones
Oboe Karen Mason David Sharp
Clarinet David Hall Christine Hunt
Bassoon Jane Fransella Tessa Holden
Horn Catherine Rose Uwe Radok
Trumpet Ian Facer Martin Mills
Trombone Pat Kenny Marshall Edwards
Paul Coveney
Percussion
Allan Jones
Conductor Bill Strang
Orchestral manager Elizabeth Camp
Rehearsal Accompanists Kevin McConway Elizabeth Camp
Kevin McConway has been rehearsal accompanist for the OU Choir for some twenty
years during which he has also featured in our performances as soloist duettist and
accompanist to solo singers on both piano and organ Today in his last concert with
the choir before he retires from the University he will return to the tenor section In all
these capacities he has enlivened and enriched our activities We wish him a long and
happy retirement
Programme produced by Gill Smith
Poster design by Mandy Forbes
Forthcoming Open University Choir concerts
Saturday 23 April 2016 730pm
St Mary and St Giles Church Stony Stratford
Inaugural concert for the restored Father Willis organ a programme of music for
choir brass organ and percussion including John Rutterrsquos Gloria motets by Anton
Bruckner and music by various composers connected with St Georgersquos Church
Edinburgh for which the organ was originally built
Thursday 23 and Friday 24 June 2016 1pmndash2pm St Michaels Church
Conducted by Dennis Pim Programme to be announced
About the choir The Open University Choir is a work-place choir with approximately 70 members
drawn largely from Open University staff and students but also including singers from
the local community The choir rehearses and usually performs at lunchtimes at the
Open University Campus Walton Hall Milton Keynes presenting three main concerts
each year If you would like to receive information about the choirrsquos activities by post
or email please contact Gill Smith at gillgksmithgmailcom
New choir members Singers wishing to take part in the Choirrsquos activities should contact the director
Bill Strang by email billpld-ukcom Regular rehearsals are held on Thursday at
lunchtime in the Church on the OU campus
Open University Choir website Further information about the choir and its activities can be found on the choirrsquos
website httpwwwopenacukwikisouchoirOU_Choir
Other music at the Open University
Wednesday 9 December 2015 1pmndash2pm Hub Theatre
Lunchtime Chamber Music Red Priest
The extraordinary virtuoso early music quartet will present a lsquoWinter Baroque
Carnivalrsquo
Friday 12 February 2015 1pmndash2pm Hub Theatre
Open University Orchestra conductor Dennis Pim
lsquoAt the Moviesrsquo a concert of film music
Admission to both these concerts is free All welcome
The Open University Choir is affiliated to the Open University Club and gratefully
acknowledges the financial support of the University for this concert
Cover image Luigi Cherubini wearing a Legion drsquoHonneur medal lithograph by Marie
Alexandre Alophe after a painting (Imp drsquoAubert amp Co Galerie de la Presse de la
Literature et des Beaux Arts c1850)
The lsquoDomine Jesu Christersquo is rounded off with a substantial and vigorous fugue in
which almost every note the choir sings is based directly on three thematic elements ndash
an unusually strict example of fugal writing
Out of the triumphant climax of the fugue repeated Gs on the horns and parallel
descending thirds for the bassoons lead to the gentle prayerful lsquoHostiasrsquo in C major
Eventually the voices adopt the instrumental theme (Fac eas Domine de morte
transire ad vitam) which leads to a simple repetition only this time the harmony is
redirected to allow for a return to E flat major and a repetition of the lsquoQuam olimrsquo
fugue as is customary
O Domine Jesu Christe Rex gloriae
libera animas omnium fidelium
defunctorum de poenis inferni et de
profundo lacu
Libera eas de ore leonis
ne absorbeat eas tartarus ne cadant
in obscurum
sed signifer sanctus Michael
repraesentet eas in lucem sanctam
Quam olim Abrahae promisisti
et semini eius
Hostias et preces tibi Domine
laudis offerimus
Tu suscipe pro animabus illis
quarum hodie memoriam facimus
Fac eas Domine de morte
transire ad vitam
Quam olim Abrahae promisisti
et semini eius
O Lord Jesus Christ King of glory
deliver the souls of all the faithful
departed from the pains of hell and
from the bottomless pit
Deliver them from the mouth of the
lion that they may not be swallowed
up by hell and perish in its darkness
but let holy Michael Thy standard
bearer lead them into the holy light
As once Thou didst promise
to Abraham and his seed
We offer unto Thee O Lord
this sacrifice of prayer and praise
Receive it for those souls
whom today we commemorate
Grant them O Lord to pass from
death into life everlasting
As Thou didst promise of old
to Abraham and his seed
5 Sanctus
Customary too in France were compact settings of the Sanctus and Benedictus In this
case Cherubini uses it to set up and counterbalance the two gentler final movements
that follow
Santus sanctus sanctus
Dominus Deus sabaoth
Pleni sunt coeli et terra gloria tua
Hosanna in excelsis
Benedictus qui venit in nomine
Domini
Holy holy holy
Lord God of Hosts
Heaven and earth are full of Thy
glory Hosanna in the highest
Blessed is he that cometh in the name
of the Lord
6 Pie Jesu
Faureacutersquos treblesoprano solo is probably the most famous setting of this text Cherubini
also begins with soloistic elements for soprano then tenor But stranger and more
haunting are the interludes for clarinets and bassoons with their melting chromatic
harmony
Pie Jesu Domine
dona eis requiem sempiternam
Holy Jesus Lord
grant them eternal rest
7 Agnus Dei
In Cherubinirsquos setting the threefold prayer receives absolutely standard treatment each
phrase begins with an identical declamation but moves to a different key What
follows is more individual and more interesting long strings of chromatic harmony
increase tension and anxiety until the final appeal for eternal light couched in simple
bold block chords Then the tension is released slowly in a final canon which circles
mesmerically round all four vocal parts on the single note C resolving the lsquoAgnus Dei
in decrescendorsquo that Berlioz said lsquosurpasses everything that has ever been written of
the kindrsquo
Agnus Dei qui tollis peccata mundi
dona eis requiem
Agnus Dei qui tollis peccata mundi
dona eis requiem sempiternam
Lux aeterna luceat eis Domine cum
sanctis tuis in aeternum quia pius es
Requiem aeternam dona eis Domine
et lux perpetua luceat eis
Lamb of God who takest away the
sins of the world grant them rest
Lamb of God who takest away the
sins of the world grant them
everlasting rest
Let eternal rest shine upon them Lord
with your saints for ever for you are
holy Grant them eternal rest Lord and
let perpetual light shine upon them
Orchestra
Violin 1Catherine Gough (leader)
Sally Jackson Lesley Newing
David Novalbos Katharine Reedy
Violin 2 Jen Rothwell Julie Boulter
Ruth Gapp Annie Stamp
Viola Keith Hodgkinson Laurence Holden
John Wynne
Cello Jonathan Hunt Corinne Malitske
Denise Riley
Double bass Felicity Fletcher-Campbell
Steve Jones
Oboe Karen Mason David Sharp
Clarinet David Hall Christine Hunt
Bassoon Jane Fransella Tessa Holden
Horn Catherine Rose Uwe Radok
Trumpet Ian Facer Martin Mills
Trombone Pat Kenny Marshall Edwards
Paul Coveney
Percussion
Allan Jones
Conductor Bill Strang
Orchestral manager Elizabeth Camp
Rehearsal Accompanists Kevin McConway Elizabeth Camp
Kevin McConway has been rehearsal accompanist for the OU Choir for some twenty
years during which he has also featured in our performances as soloist duettist and
accompanist to solo singers on both piano and organ Today in his last concert with
the choir before he retires from the University he will return to the tenor section In all
these capacities he has enlivened and enriched our activities We wish him a long and
happy retirement
Programme produced by Gill Smith
Poster design by Mandy Forbes
Forthcoming Open University Choir concerts
Saturday 23 April 2016 730pm
St Mary and St Giles Church Stony Stratford
Inaugural concert for the restored Father Willis organ a programme of music for
choir brass organ and percussion including John Rutterrsquos Gloria motets by Anton
Bruckner and music by various composers connected with St Georgersquos Church
Edinburgh for which the organ was originally built
Thursday 23 and Friday 24 June 2016 1pmndash2pm St Michaels Church
Conducted by Dennis Pim Programme to be announced
About the choir The Open University Choir is a work-place choir with approximately 70 members
drawn largely from Open University staff and students but also including singers from
the local community The choir rehearses and usually performs at lunchtimes at the
Open University Campus Walton Hall Milton Keynes presenting three main concerts
each year If you would like to receive information about the choirrsquos activities by post
or email please contact Gill Smith at gillgksmithgmailcom
New choir members Singers wishing to take part in the Choirrsquos activities should contact the director
Bill Strang by email billpld-ukcom Regular rehearsals are held on Thursday at
lunchtime in the Church on the OU campus
Open University Choir website Further information about the choir and its activities can be found on the choirrsquos
website httpwwwopenacukwikisouchoirOU_Choir
Other music at the Open University
Wednesday 9 December 2015 1pmndash2pm Hub Theatre
Lunchtime Chamber Music Red Priest
The extraordinary virtuoso early music quartet will present a lsquoWinter Baroque
Carnivalrsquo
Friday 12 February 2015 1pmndash2pm Hub Theatre
Open University Orchestra conductor Dennis Pim
lsquoAt the Moviesrsquo a concert of film music
Admission to both these concerts is free All welcome
The Open University Choir is affiliated to the Open University Club and gratefully
acknowledges the financial support of the University for this concert
Cover image Luigi Cherubini wearing a Legion drsquoHonneur medal lithograph by Marie
Alexandre Alophe after a painting (Imp drsquoAubert amp Co Galerie de la Presse de la
Literature et des Beaux Arts c1850)
5 Sanctus
Customary too in France were compact settings of the Sanctus and Benedictus In this
case Cherubini uses it to set up and counterbalance the two gentler final movements
that follow
Santus sanctus sanctus
Dominus Deus sabaoth
Pleni sunt coeli et terra gloria tua
Hosanna in excelsis
Benedictus qui venit in nomine
Domini
Holy holy holy
Lord God of Hosts
Heaven and earth are full of Thy
glory Hosanna in the highest
Blessed is he that cometh in the name
of the Lord
6 Pie Jesu
Faureacutersquos treblesoprano solo is probably the most famous setting of this text Cherubini
also begins with soloistic elements for soprano then tenor But stranger and more
haunting are the interludes for clarinets and bassoons with their melting chromatic
harmony
Pie Jesu Domine
dona eis requiem sempiternam
Holy Jesus Lord
grant them eternal rest
7 Agnus Dei
In Cherubinirsquos setting the threefold prayer receives absolutely standard treatment each
phrase begins with an identical declamation but moves to a different key What
follows is more individual and more interesting long strings of chromatic harmony
increase tension and anxiety until the final appeal for eternal light couched in simple
bold block chords Then the tension is released slowly in a final canon which circles
mesmerically round all four vocal parts on the single note C resolving the lsquoAgnus Dei
in decrescendorsquo that Berlioz said lsquosurpasses everything that has ever been written of
the kindrsquo
Agnus Dei qui tollis peccata mundi
dona eis requiem
Agnus Dei qui tollis peccata mundi
dona eis requiem sempiternam
Lux aeterna luceat eis Domine cum
sanctis tuis in aeternum quia pius es
Requiem aeternam dona eis Domine
et lux perpetua luceat eis
Lamb of God who takest away the
sins of the world grant them rest
Lamb of God who takest away the
sins of the world grant them
everlasting rest
Let eternal rest shine upon them Lord
with your saints for ever for you are
holy Grant them eternal rest Lord and
let perpetual light shine upon them
Orchestra
Violin 1Catherine Gough (leader)
Sally Jackson Lesley Newing
David Novalbos Katharine Reedy
Violin 2 Jen Rothwell Julie Boulter
Ruth Gapp Annie Stamp
Viola Keith Hodgkinson Laurence Holden
John Wynne
Cello Jonathan Hunt Corinne Malitske
Denise Riley
Double bass Felicity Fletcher-Campbell
Steve Jones
Oboe Karen Mason David Sharp
Clarinet David Hall Christine Hunt
Bassoon Jane Fransella Tessa Holden
Horn Catherine Rose Uwe Radok
Trumpet Ian Facer Martin Mills
Trombone Pat Kenny Marshall Edwards
Paul Coveney
Percussion
Allan Jones
Conductor Bill Strang
Orchestral manager Elizabeth Camp
Rehearsal Accompanists Kevin McConway Elizabeth Camp
Kevin McConway has been rehearsal accompanist for the OU Choir for some twenty
years during which he has also featured in our performances as soloist duettist and
accompanist to solo singers on both piano and organ Today in his last concert with
the choir before he retires from the University he will return to the tenor section In all
these capacities he has enlivened and enriched our activities We wish him a long and
happy retirement
Programme produced by Gill Smith
Poster design by Mandy Forbes
Forthcoming Open University Choir concerts
Saturday 23 April 2016 730pm
St Mary and St Giles Church Stony Stratford
Inaugural concert for the restored Father Willis organ a programme of music for
choir brass organ and percussion including John Rutterrsquos Gloria motets by Anton
Bruckner and music by various composers connected with St Georgersquos Church
Edinburgh for which the organ was originally built
Thursday 23 and Friday 24 June 2016 1pmndash2pm St Michaels Church
Conducted by Dennis Pim Programme to be announced
About the choir The Open University Choir is a work-place choir with approximately 70 members
drawn largely from Open University staff and students but also including singers from
the local community The choir rehearses and usually performs at lunchtimes at the
Open University Campus Walton Hall Milton Keynes presenting three main concerts
each year If you would like to receive information about the choirrsquos activities by post
or email please contact Gill Smith at gillgksmithgmailcom
New choir members Singers wishing to take part in the Choirrsquos activities should contact the director
Bill Strang by email billpld-ukcom Regular rehearsals are held on Thursday at
lunchtime in the Church on the OU campus
Open University Choir website Further information about the choir and its activities can be found on the choirrsquos
website httpwwwopenacukwikisouchoirOU_Choir
Other music at the Open University
Wednesday 9 December 2015 1pmndash2pm Hub Theatre
Lunchtime Chamber Music Red Priest
The extraordinary virtuoso early music quartet will present a lsquoWinter Baroque
Carnivalrsquo
Friday 12 February 2015 1pmndash2pm Hub Theatre
Open University Orchestra conductor Dennis Pim
lsquoAt the Moviesrsquo a concert of film music
Admission to both these concerts is free All welcome
The Open University Choir is affiliated to the Open University Club and gratefully
acknowledges the financial support of the University for this concert
Cover image Luigi Cherubini wearing a Legion drsquoHonneur medal lithograph by Marie
Alexandre Alophe after a painting (Imp drsquoAubert amp Co Galerie de la Presse de la
Literature et des Beaux Arts c1850)
Orchestra
Violin 1Catherine Gough (leader)
Sally Jackson Lesley Newing
David Novalbos Katharine Reedy
Violin 2 Jen Rothwell Julie Boulter
Ruth Gapp Annie Stamp
Viola Keith Hodgkinson Laurence Holden
John Wynne
Cello Jonathan Hunt Corinne Malitske
Denise Riley
Double bass Felicity Fletcher-Campbell
Steve Jones
Oboe Karen Mason David Sharp
Clarinet David Hall Christine Hunt
Bassoon Jane Fransella Tessa Holden
Horn Catherine Rose Uwe Radok
Trumpet Ian Facer Martin Mills
Trombone Pat Kenny Marshall Edwards
Paul Coveney
Percussion
Allan Jones
Conductor Bill Strang
Orchestral manager Elizabeth Camp
Rehearsal Accompanists Kevin McConway Elizabeth Camp
Kevin McConway has been rehearsal accompanist for the OU Choir for some twenty
years during which he has also featured in our performances as soloist duettist and
accompanist to solo singers on both piano and organ Today in his last concert with
the choir before he retires from the University he will return to the tenor section In all
these capacities he has enlivened and enriched our activities We wish him a long and
happy retirement
Programme produced by Gill Smith
Poster design by Mandy Forbes
Forthcoming Open University Choir concerts
Saturday 23 April 2016 730pm
St Mary and St Giles Church Stony Stratford
Inaugural concert for the restored Father Willis organ a programme of music for
choir brass organ and percussion including John Rutterrsquos Gloria motets by Anton
Bruckner and music by various composers connected with St Georgersquos Church
Edinburgh for which the organ was originally built
Thursday 23 and Friday 24 June 2016 1pmndash2pm St Michaels Church
Conducted by Dennis Pim Programme to be announced
About the choir The Open University Choir is a work-place choir with approximately 70 members
drawn largely from Open University staff and students but also including singers from
the local community The choir rehearses and usually performs at lunchtimes at the
Open University Campus Walton Hall Milton Keynes presenting three main concerts
each year If you would like to receive information about the choirrsquos activities by post
or email please contact Gill Smith at gillgksmithgmailcom
New choir members Singers wishing to take part in the Choirrsquos activities should contact the director
Bill Strang by email billpld-ukcom Regular rehearsals are held on Thursday at
lunchtime in the Church on the OU campus
Open University Choir website Further information about the choir and its activities can be found on the choirrsquos
website httpwwwopenacukwikisouchoirOU_Choir
Other music at the Open University
Wednesday 9 December 2015 1pmndash2pm Hub Theatre
Lunchtime Chamber Music Red Priest
The extraordinary virtuoso early music quartet will present a lsquoWinter Baroque
Carnivalrsquo
Friday 12 February 2015 1pmndash2pm Hub Theatre
Open University Orchestra conductor Dennis Pim
lsquoAt the Moviesrsquo a concert of film music
Admission to both these concerts is free All welcome
The Open University Choir is affiliated to the Open University Club and gratefully
acknowledges the financial support of the University for this concert
Cover image Luigi Cherubini wearing a Legion drsquoHonneur medal lithograph by Marie
Alexandre Alophe after a painting (Imp drsquoAubert amp Co Galerie de la Presse de la
Literature et des Beaux Arts c1850)
Forthcoming Open University Choir concerts
Saturday 23 April 2016 730pm
St Mary and St Giles Church Stony Stratford
Inaugural concert for the restored Father Willis organ a programme of music for
choir brass organ and percussion including John Rutterrsquos Gloria motets by Anton
Bruckner and music by various composers connected with St Georgersquos Church
Edinburgh for which the organ was originally built
Thursday 23 and Friday 24 June 2016 1pmndash2pm St Michaels Church
Conducted by Dennis Pim Programme to be announced
About the choir The Open University Choir is a work-place choir with approximately 70 members
drawn largely from Open University staff and students but also including singers from
the local community The choir rehearses and usually performs at lunchtimes at the
Open University Campus Walton Hall Milton Keynes presenting three main concerts
each year If you would like to receive information about the choirrsquos activities by post
or email please contact Gill Smith at gillgksmithgmailcom
New choir members Singers wishing to take part in the Choirrsquos activities should contact the director
Bill Strang by email billpld-ukcom Regular rehearsals are held on Thursday at
lunchtime in the Church on the OU campus
Open University Choir website Further information about the choir and its activities can be found on the choirrsquos
website httpwwwopenacukwikisouchoirOU_Choir
Other music at the Open University
Wednesday 9 December 2015 1pmndash2pm Hub Theatre
Lunchtime Chamber Music Red Priest
The extraordinary virtuoso early music quartet will present a lsquoWinter Baroque
Carnivalrsquo
Friday 12 February 2015 1pmndash2pm Hub Theatre
Open University Orchestra conductor Dennis Pim
lsquoAt the Moviesrsquo a concert of film music
Admission to both these concerts is free All welcome
The Open University Choir is affiliated to the Open University Club and gratefully
acknowledges the financial support of the University for this concert
Cover image Luigi Cherubini wearing a Legion drsquoHonneur medal lithograph by Marie
Alexandre Alophe after a painting (Imp drsquoAubert amp Co Galerie de la Presse de la
Literature et des Beaux Arts c1850)
