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Click here to view the concert programme - Somerset Chamber Choir

Saturday 29 July 2006WELLS CATHEDRALWELCOMEfrom the trustees of Somerset Chamber ChoirThank you for coming to support our annual concert in this wonderful cathedral - we hope you have an enjoyable evening.The coming year is set to be a busy and exciting one for the choir. After many years of singing just two concerts per annum, we haveadded a third concert to our schedule. This year, on 1 October, we look forward very much to singing in the beautiful parish church inMartock, where we will give a concert of choruses from favourite oratorios – something for everyone to enjoy!In addition to our regular schedule, we are also very pleased that some of our choir members will be singing with children from morethan 50 Somerset schools in the second performance of Waters of Time, in the Colston Hall, Bristol, on 23 September - this is asubstantial work by Ronald Corp, given its successful first performance to a packed Wells Cathedral audience earlier this year. We arevery happy to be able to support such a worthwhile enterprise.We very much hope we shall see many of you again at one or more of these events, and also at our concert in Kings’ College,Taunton, on 25 February next year – another venue that always invokes a very special atmosphere. You will find more details about allour concerts on the back cover of this programme.We should like to take this opportunity to thank the many members of our Friends Scheme which gives indispensable support to thechoir – you will find full details of the scheme later in this programme and we hope that those of you who are not yet members willconsider becoming Friends in the future.We look forward to seeing you again soon.ProgrammeArvo Pärt: Which was the son of...Benjamin Britten: A Wedding Anthem (Amo Ergo Sum)Katherine Manley soprano Joe Roche tenor Christopher Stokes organJames MacMillan: Seinte Mari moder mildeKatherine Manley soprano Louise Mott mezzo-soprano Joe Roche tenor Christopher Stokes organArvo Pärt: Littlemore TractusChristopher Stokes organINTERVAL (10 MINUTES)The audience are requested not to leave the cathedral during the interval and to return to their seats when the bell is soundedGioacchino Rossini: Petite Messe SolennelleKatherine Manley soprano Louise Mott mezzo-soprano Joe Roche tenor Keel Watson bassPhilip Moore & Andrew West pianos Christopher Stokes harmoniumThe right is reserved, without incurring liability, to substitute artists and to vary the programme for reasons beyond our control, although these details are correct at the time of going to print. Please notethat photography (with or without flash) and/or recording of any sort during the performance is forbidden without the express prior written consent of the Dean and Chapter.


ProgrammeIntroduction by Graham CaldbeckFour striking modern choral classics - by Benjamin Britten, James MacMillan & Arvo Pärt - provide a fascinating contrast tothe main work in our programme, Rossini’s extraordinary (and misleadingly entitled) Petite Messe Solennelle. The distinctivestyles of all four composers are intended not only to contrast with each other, but also are placed in a context that mayencourage us to discover common conceptual and musical threads. In different ways, all of the works to be performed blendelements of the sacred and secular, and each attempts to break new ground stylistically. Thus, the five very different works,brought together to create a vivid and unusual programme, also have a number of far from arbitrary connections.Rossini blurred the boundaries of sacred and secular music, exploring new sounds and textures and experimenting with thestructural balance between the use of chorus and soloists. Specifically, he delighted in oscillating between grand publicstatements by the chorus and more intimate, salon-like solos. Britten’s substantial work for choir, soloists and organ similarlyseems to belong as much to the concert hall as to a church service and also seeks to balance the music’s public face with moreintimate and personal reflections. James MacMillan also explores aspects of the sacred and the profane, expressed in the 13 th -century text, and balances the smaller scale with the grand statement in what must surely be one of the most striking andmusically adventurous responses to a King’s College, Cambridge Carol Service commission ever. The two works by thecontemporary Estonian composer, Arvo Pärt, in turn reflect his openness to a wide variety of musical influences in creatinghis own distinctively contemporary reinvention of choral writing and ‘meditations in sound’.All the works to be performed can be described as ‘religious’, in the sense of being Christian. However, in what has beendescribed as our ‘post-Christian’ society, I hope that, whatever our individual beliefs, each of us may find things in the musicto reflect upon. As a stimulus, here are two very different but equally thought-provoking statements to ponder:• • •On the power and value of listening to musicTo listen seriously to music and to perform it are among our most potent ways of learning what it is to live with and beforeGod, learning a service that is a perfect freedom…In this ‘obedience’ of listening and following, we are stretched anddeepened, physically challenged as performers, imaginatively as listeners. The time we have renounced, given up, isgiven back to us as a time in which we have become more human, more real, even when we can’t say what we havelearned, only that we have changed.Dr. Rowan Williams Archbishop of CanterburyTaken from a sermon written for the Three Choirs Festival and quoted by James MacMillan in an article on the role of music in our ‘post-religious’ times,published in The Guardian on Saturday July 19, 2003• • •An agnostic playwright’s view of God in artI see God in us or with us, if I see God at all, as shreds and particles and rumours... why we sing and dance and act, whywe paint, why we love, why we make art...Dennis Potter• • •


A general introduction to the life & works of Arvo PärtPärt was born in Paide in Soviet-occupied Lutheran Estonia in 1934. After study with Heino Elle at the music conservatory in Tallinn, hebecame recording manager at the Estnik recording studio there. Besides a substantial output of choral and instrumental music for churchand concert hall, he has also composed much music for the theatre and written scores for over fifty films. In 1980 he moved to Vienna and,two years later, to Berlin, where he still lives and works. Interestingly Pärt has, until recently, made little use of the musical traditions of hishome country and once made the significant statement that his musical education is Western, while his spiritual education is Eastern.However, recently there are definite signs of a much greater sympathy with the West in general and with Britain in particular, where henow lives part of the year in his second home near Colchester.Before 1968 his initial output as a composer was of ‘serial’ compositions (a technique for composing music using all twelve notes within an octave sothat each note of a freely-composed pattern or ‘row’ sounds before any note repeats). During a transitional phase that lasted until 1976, Pärt joinedthe Russian Orthodox Church and composed a number of tonal works, including his Third Symphony. From 1976 Pärt undertook a periodof intense study of medieval music that heralded a new tonal phase that he describes as his tintinnabuli style. The way in which a bellcontinues to ring long after the note has been struck is closely related to the effect of this, hence the composer’s use of a term which isderived from the onomatopoeic word tintinnabulum, meaning ‘small, tinkling bell’. This style draws upon the scale and the triad, two of themost fundamental aspects of tonal music, but often avoids the traditional sense of tension and release produced by modulation. The result iswhat Paul Hillier has described as ‘a kind of steady-state tonality’ in which the constant sound of an unchanging triad, real or implied, ispresent almost continuously.Pärt frequently creates music as a ‘sounding icon’ - sounds which produce the effect of timelessness (or of a continual present) and whichare designed to facilitate meditation and contemplative reflection in the listener. In doing this he has clearly been influenced by hisexperience of Gregorian chant. Drones, step-wise movement and an avoidance of traditional key progression, all combine to produce a senseof stillness, tranquillity and stability in his music. Beautiful sounds are framed by, and placed within, the context of silence. In much of Pärt’swork there is an ever-present sense of mysticism and clear vision of eternity. Any musical movement occurs within an essential stasis,producing the aural equivalent of the visual delight experienced in looking at a gently moving mobile or perhaps a flag in a light breeze.Such an approach has been described as ‘minimalist’, although Pärt’s music is far from the style of Philip Glass, Steve Reich, John Adams orLouis Andriessen for example. In his book The music of Arvo Pärt (OUP 1997) Paul Hillier has reflected tellingly on the influence of earlymusic on Pärt:The influence of early music is not a superficial imitation or borrowing, still less an escape from modernity, but represents a reconnection with ourcollective musical unconscious, and is thus as much a way forward as a way back.James MacMillan writes:The music of Tavener and Pärt is like a vision of heaven from beginning to end and that’s why it’s so beautiful.Meurig Bowen (Head of Programming of Aldeburgh Productions), in a programme note on the composer’s choral works, writes:It is ultimately Pärt’s finest achievement that he can deliver intense, direct, sometimes sensual emotion with the barest and simplest of materials -perhaps analogous to the Norman and early Gothic church architecture for which he exhibits such an affinity. Stone and glass; structure and space;eloquence through simplicity.Arvo Pärt (b1935): Which was the son of...Pärt was commissioned to write a work for the youth choir Voices of Europe, which met in 2000 in Reykjavik,Iceland, to celebrate its status as European Capital of Culture that year. The choir comprised ten singers,between the ages of 18 and 23, drawn from each of the previous nine Cultural Capitals and Pärt decided to set atext in English, a language understood by the majority of those taking part. His reasons for setting St. Luke’sGenealogy of Jesus were many – he had visited Iceland before and had noted only that the highly educatedpopulation were particularly interested in European literature but also that there were a large number ofwriters within the population. The deeply rooted Icelandic tradition of passing on names from one generationto another was also a factor, as was his desire to place this biblical ‘story of civilisation’ before the young peopleinvolved in the project. The result is a most unusual work, much more than merely a setting of a fabulous list ofancient Jewish names, but rather a work serving to highlight a compelling biblical truth.Pärt cleverly avoids the obvious pitfalls of setting a list - monotony, formlessness, rhythmic predictability, and soon. Particular hallmarks of the composer’s harmonic processes are his delight in blending elements of twosimple chords together to form a new one, rather in the manner of one image being superimposed on anotherin photography, or perhaps in an early 20 th century collage, and a re-cycling of the familiar Baroque ‘cycle of fifths’ in a manner that createsan entirely fresh effect.The work opens with all the urgency of a French Baroque ouverture (complete with jagged rhythms and imperfect cadence before thesucceeding faster section). The following section alludes to folk music and the vocal style of spiritual settings (upper voices answering thebass entries and powerfully edgy periods of silence). Suddenly, the music moves into triple compound time (9/8) and becomes hypnoticallylilting, the swirling chordal shapes that appear simultaneously in any two voice parts being punctuated by fragments in two others. Richlyscored ‘Barber Shop’ passages for male voices and full-blooded ‘Gospel-style’ simple harmonies in 4/4 time build to a climactic stretto beforethe music unwinds towards the ultimate, fundamental truth – ‘which was the son of Adam, which was the son of…God.’. A triumphant,final Amen, mixing minor and major keys in the manner typical of the composer (and of this work), provides a definitive musical full stopboth to the mighty genealogical line and to this remarkable composition.


Arvo Pärt Benjamin Britten (1916-76)Which was the son of...And Jesus himself began to be about thirty years of age,being (as was supposed) the son of Joseph, which was the son of Heli,which was the son of Matthat, which was the son of Levi,which was the son of Melchi, which was the son of Janna,which was the son of Joseph,which was the son of Mattathias, which was the son of Amos,which was the son of Naum, which was the son of Esli,which was the son of Nagge,which was the son of Maath, which was the son of Mattathias,which was the son of Semei, which was the son of Joseph,which was the son of Juda,which was the son of Joanna, which was the son of Rhesa,which was the son of Zorobabel, which was the son of Salathiel,which was the son of Neri,which was the son of Melchi, which was the son of Addi,which was the son of Cosam, which was the son of Elmodam,which was the son of Er,which was the son of Jose, which was the son of Eliezer,which was the son of Jorim, which was the son of Matthat,which was the son of Levi,which was the son of Simeon, which was the son of Juda,which was the son of Joseph, which was the son of Jonan,which was the son of Eliakim,which was the son of Melea, which was the son of Menan,which was the son of Mattatha, which was the son of Nathan,which was the son of David,which was the son of Jesse, which was the son of Obed,which was the son of Booz, which was the son of Salmon,which was the son of Naasson,which was the son of Aminadab, which was the son of Aram,which was the son of Esrom, which was the son of Phares,which was the son of Juda,which was the son of Jacob, which was the son of Isaac,which was the son of Abraham, which was the son of Thara,which was the son of Nachor,which was the son of Saruch, which was the son of Ragau,which was the son of Phalec, which was the son of Heber,which was the son of Sala,which was the son of Cainan, which was the son of Arphaxad,which was the son of Sem, which was the son of Noe,which was the son of Lamech,A Wedding Anthem (Amo Ergo Sum)On 29 September 1949 two greatfriends of Britten, the Earl ofHarewood and Marion Stein,married at St Mark’s, NorthAudley Street in London. Tocelebrate the union, Brittencomposed a choral anthem withorgan accompaniment to wordsspecially written by RonaldDuncan, Britten’s librettist forhis opera The Rape of Lucretia,which appeared three yearsearlier. The soloists in the firstperformance were Joan Crossand Britten’s lifelong companion, Peter Pears.This fine anthem is one of the least heard of all Britten’soccasional pieces and its neglect perhaps may be attributed toits very special nature which makes it less suitable for inclusionwithin the traditional liturgy. The music is optimistic intone. Its bright B major, supported by bubbling runs on theorgan, which provide a kind of refrain, gives way to a sopranosolo that, changing to F major, expounds upon the simile of thepurity and beauty of the rose. The tenor sings an aria based onanother simile, that of the endlessly flowing river of love andmutual joy, and the two combine in a duet to the words:Love has made them oneAmo Ergo Sum!And by its mysteryEach is no less but more.The chorus enters singing loudly, alternating with the soloistssinging more gently, until all the forces combine in a mood ofquiet celebration, with soft roulades in the organ and thesoloists playing with the inversion of the opening ‘Ave Maria’motive (now used for the word ‘Amen’) over the choir’s slowmovingharmonies. The closing two-chord ‘Amen’ finallyrelaxes onto the tonic chord after typically Brittenesque‘foreign notes’ (sung by the soloists) disturb the harmonicequilibrium of the penultimate chord, tantalisingly delayingthe music’s eventual magical resolution.A manuscript copy of the anthem was one of three objects (theothers being contemporary coins and the day’s Times) buried ina time capsule beneath the foundation stone of the RoyalFestival Hall, at the time being built to be ready for the Festivalof Britain in 1951 which the Government had planned as acelebration of the country’s emergence from the war and itsaftermath.which was the son of Mathusala, which was the son of Enoch,which was the son of Jared, which was the son of Maleleel,which was the son of Cainan,which was the son of Enos, which was the son of Seth,which was the son of Adam, which was the son of God.Amen.St. Luke 3, 23-28


Benjamin BrittenA Wedding Anthem (Amo Ergo Sum)ChoirNow let us sing gailyAve Maria!And may the Holy Virginwho was the Mother of Jesusgrant that these two childrenmay live together happilyfor Faith releases Gaietyas Marriage does true Chastity!Ave Maria!Soprano soloSee how the scarlet sunoverthrows the heavy nightand where black shadows hungthere reveals a rose,a rose so pure and white;thus did Jesus bringto the blind world of manthat faith which is their sightand Love that is their light.Tenor soloAs mountain streamsfind one anothertill they are both merged there- in a broad, peaceful riveras it flows to the seaand in itare lost forever,so those who loveseek one anotherbut when they are joined here- to Christ’s Love, oh so tenderthough their years may be briefyet through himthey love forever.Soprano & tenor duetThese two are not two;Love has made them oneamo ergo sum,and by its mysteryeach is no less but moreamo ergo sum!For to love is to beand in loving him, I love thee,amo ergo sum!Choir & soloistsPer vitam Dominispes nobis cantavit,per fidem Dominilux diem novavit,per mortem Dominimors mortem fugavit.I love, therefore I am!Through the spirit of Christhope sings in us,through Christ’s promiselight has renewed the day,through Christ’s death,death has defeated death.James MacMillan (b1959)Seinte Mari moder mildeJames MacMillan is acontemporary Scottish composerwhose Catholic faith and love ofRenaissance church music hashad a profound influence uponhis work. The carol, Seinte MariModer Milde, is a setting for choirand organ of a 13th-centurypoem in both English (albeit witha strong Scottish inflection) andLatin, discovered in a manuscriptheld in the Library of TrinityCollege, Cambridge. It wascommissioned by King’s College,Cambridge, for the Festival of Nine Lessons and Carols andfirst performed on Christmas Eve, 1995.Boldly, the poem fuses a sense of sacred devotion with a vividdescription of passionately anguished and unrequited humanlove (a not uncommon blend in mediæval poetry). These twolevels of meaning and involvement are reflected in thejuxtaposition and combination of two distinct musical planes.The first of these, associated with the English text, consists ofbold, highly decorated melodies whose ornamentation echoesScottish fiddle music. At first these are sung forte in octaves butlater are woven into a complex contrapuntal tapestry. Thesecond, associated with the Latin text, is generally chordal,slower and quieter. Near the end, however, MacMillandramatically fuses the two with exciting effect at the greatchoral shout of ‘Precantis’ (‘by prayer’) and in the finalfragmented muttering of the word ‘Infantis’ (‘of the child’),sung by two soprano soloists after the impassioned tenorstatement which separates the two.Thoughts from James MacMillan:On traditionThat river [of tradition] has to flow seamlessly from the past to thefuture, through the present, sustaining human experience, cultureand history at any given time...I have that sense of continuity fromthe deep past and I have an almost endless optimism about where it’sgoing.On the composer’s relationship with his audience, and viceversaI don’t play to the audience, but I do have an ideal listener in mind -someone who is absorbed in and fascinated in music as I am, who hasall their critical, aesthetic and spiritual antennae absolutely switchedon when they listen.Extracts from an interview with James MacMillan conducted by JulianJohnson and Catherine Sutton, held in August 1997.Amen!Ronald Duncan


James MacMillanSeinte Mari moder mildeSeinte Mari moder milde,Mater salutaris;Feirest flour of eni feldeVere nuncuparis.Thorou ihesu crist thou were wid childe;Thou bring me of my thouhtes wildePotente,That maket me to dethe teeRepente.Mi thounc is wilde as is the roLuto gratulante.Ho werchet me ful muchel woIllaque favente.Bote yef he wole wende me fro,Ic wene myn herte breket a twoFervore.Ic am ifaiht bo day ant naihtDolore.Suete levedi, flour of alle,Vere consolatrix,Thou be myn help that I ne fall,Cunctis reparatrix!Mildest quene ant best icorn,Niht ant day thou be me fornPrecantis!Yef me grace to see thi faceInfantis!Holy Mary mother mild,Mother of salvation;Fairest flower of any fieldYou are truly called.Through Jesus Christ you were with child;You cause me to have wild thoughtsPowerfully,That make me draw near to deathSuddenly.My thought is as wild as the roe deerRejoicing in the mire.It causes me great suffering,Caressing me.But if it were to go from me,I think my heart would break in twoWith passion.I am distressed both day and nightIn sorrow.Sweet Lady, flower of all,Truly our comforter,Be my help that I never fall.You who make reparation for all!Mildest queen and best chosen one,Be before me night and dayAs I pray!Give me grace to see the faceOf your child!Acknowledgement: To Dr John McGavin of Southampton University and also the ScottishMusic Information Centre in Glasgow, for his help in translating the anonymous 13thcenturypoem.Arvo PärtLittlemore TractusThe great Anglicanpriest and poet, JohnHenry Newman(1801-1890), author ofthe visionary poemThe Dream ofGerontius, set by Elgarsome ten years afterCardinal Newman’sdeath, lived in thevillage of Littlemore,near Oxford, between1840 and 1846. Tocelebrate the bicentenaryof theCardinal’s birth on 21 February 2001, the Rev.Bernhard Schünemann, Vicar of the Church of StMary the Virgin and St Nicholas, Littlemore,commissioned Arvo Pärt to set words from asermon entitled Wisdom and Innocence, preached byNewman at the church on 19 February 1843. Thefirst performance was given in the church by theChoir of St. Martin-in-the-Fields, under thedirection of Paul Stubbings.Littlemore Tractus takes the form of an Englishhymn prelude, taking its lead from GermanBaroque chorale prelude models, with the ‘hymntune’ stretched out between unhurried passages forsolo organ. These instrumental passages aresometimes quite static harmonically in the lefthand and pedals, but which maintain a consistentostinato-like movement in the right. Pärt’s musicallanguage blends aspects of a quintessentiallyEnglish choral style with medieval cadentialprogressions, a ‘minimalist’ fondness for ‘shufflingthe pack’ of notes created from very simple pitchpatterns with grand romantic key shifts atclimactic moments (the tour de force being theheart-stopping shift to E flat major at the words‘Then in his mercy may He give us a safe lodging’).At the close the organ symbolises eternal rest witha four-bar repeated ostinato that, rather like thefading semi-chorus at the conclusion of Holst’s ThePlanets, creates an impression of ‘the music of thespheres’ continuing to sing for ever, long after wehave ceased to hear it here on earth.May he support us all the day long, till the shadeslengthen, and the evening comes, and the busyworld is hushed, and the fever of life is over, andour work is done! Then in his mercy may he giveus a safe lodging, and a holy rest, and peace at thelast.Text by John Henry Newman (1801-90), Wisdom andInnocence, sermon preached on 19 February 1843 in Littlemore,Oxfordshire.


Gioachino Rossini (1792-1868):Petite Messe SolennelleRossini was born in Pesaro, Italy,on 29 February, 1792. His fatherwas horn player and trumpeterin various small bands andorchestras, and his mother anopera singer. Rossini, too,developed a love for music andthe theatre. Although by allaccounts academically lazy, hefound singing and playing musiceasy and was a much requestedboy soprano. By his teens hecould play viola and horn, andhad become a first-rateharpsichord-player and pianist.At 18, while at the Conservatorio de Bologna, he composed hisfirst opera, a one-act comedy for La Fenice in Venice andwithin three years, following the enormous success of Tancredi(1812), and The Italian Girl in Algiers (1813), he had won famethroughout Italy and secured an international reputation. In1823 he moved to Paris where he was appointed director of theThéâtre-Italien.By the age of 37 he had written over 40 operas, but in 1829,after completing William Tell, he retired, a wealthy man, to livein Italy, and with the exception of his other significant religiouswork, the Stabat Mater, he effectively gave up composing.However, following a long depressive illness, he returned toParis in 1855, where his health and inspiration to composereturned. He produced what he called his Péchés de Vieillesse(Sins of Old Age), a collection of light-hearted pieces for piano,songs and works for small ensembles, which he had performedat private occasions, attended by most of the important publicand artistic figures in Paris at the time, who were attracted byRossini’s wit, hospitality and love of good food.The Petite Messe Solennelle is the most substantial of the workswritten during these later years, and indeed it is one of themost remarkable compositions of his whole career,demonstrating his ability to write beautiful melodies (oftenfrankly operatic in character), an unfailing sense of colour anddrama, and great contrapuntal skill. Its title exemplifiesRossini’s characteristic wit, as it is of course neither petite norparticularly solemn. The music ranges from hushed intensity toboisterous high spirits, and abounds in the memorable tunesand rhythmic vitality for which Rossini became justly famous.rhythmic excitement of the Kyrie continues into the Gloria,which is followed by four extended solo movements, operaticarias in all but name. The magnificent tenor solo Domine Deusrecalls the Cujus animam from his earlier Stabat Mater. The finalsection, Cum sancto spiritu, is an extended fugue and a real tourde force of musical craftsmanship, which reflects the thoroughclassical training in harmony and counterpoint he received atthe Bologna Conservatory. In the Credo Rossini ingeniouslyuses the word ‘Credo’ as a unifying motif to which herepeatedly returns. This section of the Mass concludes withanother brilliant fugue for the chorus, to the words ‘Et vitamventuri saeculi, Amen’. The O salutaris (a hymn, not part of theProper of the Mass) provided Rossini with an opportunity toexplore the unusual harmonies he was using in the, even today,modern-sounding piano pieces among his last “Sins”. Thefinal, luminescent Agnus Dei for contralto (Rossini’s favouritevoice) and choir brings the work to a dramatic close.Rossini’s inscription in the introduction to the first version ofhis score reads:“PETITE MESSE SOLENNELLE, in four voices withaccompaniment of two pianos and harmonium (a small reedorgan) composed during my country stay at Passy. Twelvesingers of 3 sexes - men, women, and castrati - will be enoughfor its performance: that is, eight for the chorus, four for thesoloists, a total of twelve cherubim. ... Lord, rest assured, ...that(my cherubim) will sing properly and con amore your praisesand this little composition which is, alas, the last mortal sin ofmy old age.”He ended the manuscript:“Dear God, here it is finished, this poor little Mass. Have Iwritten sacred music or damned music?” You well know I wasborn to write comic opera. It contains scant learning, but allmy heart. Praise be to you, and grant me entry into Paradise.G Rossini - Passy 1863".Whatever his intent, he has left us with a unique work in thereligious repertoire.Programme note by Peter Carey,Royal Free Singers - reproduced with permissionInitially, the instrumental scoring of the Mass for two pianosand harmonium seems strange, but given its context as a salonpiece (it was first performed at the consecration of a privatechapel in March 1864 by a choir of 12 singers, including thefour soloists), such instrumentation is not unusual andalthough Rossini was later persuaded to orchestrate it, theoriginal version for voices, piano and harmonium, which isbeing performed today, is considered the more effective setting.Rhythm and modulation play an important part in the openingKyrie, for the central part of which, the Christe Eleison, Rossiniadopted a deliberately archaic style, echoing the 16th-centurychurch music of Palestrina and his contemporaries. The


Gioachino RossiniPetite Messe SolennelleKyrie - Christe - Kyrie ChorusKyrie eleison.Lord have mercy upon us.Christe eleison.Christ have mercy upon us.Kyrie eleison.Lord have mercy upon us.Gloria Soloists and chorusGloria in excelsis DeoGlory to God in the highestet in terra paxand on earth peacehominibus bonae voluntatis. to men of goodwill.Laudamus te, benedicimus te, We praise you, we bless you,adoramus te, glorificamus te. we adore you, we glorify you.Gratias Mezzo-soprano, tenor and bassGratias agimus tibiWe give thanks to youpropter magnam gloriam tuam. for your great glory.Domine Deus TenorDomine Deus, Rex caelestis, Lord God, Heavenly King,Deus Pater omnipotens. almighty God the Father.Domine Fili unigenite, O Lord, the only begotten Son,Jesu Christe,Jesus Christ,Domine Deus, Agnus Dei, Lord God, Lamb of God,Filius Patris,Son of the Father,Qui tollis Soprano and Mezzo-sopranoQui tollis peccata mundi; You take away the sins of the world;miserere nobis.have mercy on us.Qui tollis peccata mundi; You take away the sins of the world;suscipe deprecationem nostram. receive our prayer.Qui sedes ad dexteram Patris, You sit at the right hand of the Father;miserere nobis.have mercy on us.Quoniam BassQuoniam tu solus sanctus, For you alone are Holy,tu solus Dominus,you alone are the Lord,tu solus Altissimus,you alone are the Most High,Jesu Christe.Jesus Christ.Cum Sancto Spiritu ChorusCum sancto spirituWith the Holy Spirit,in gloria Dei Patris.in the glory of God the Father.Amen.AmenShort breakCredo Soloists and chorusCredo in unum Deum, I believe in one God,Patrem omnipotentem, the Father, the Almighty,factorem caeli et terrae, maker of heaven and earth,visibilium omnium et invisibilium. of all that is seen and unseen.Et in unum omnium Jesum Christum, I believe in one Lord, Jesus Christ,Filium Dei unigenitum, the only Son of God,et ex Patre natumeternally begotten of the Father.ante omnia saecula.before all worlds.Deum de Deo,God from God,lumen de lumine,Light from Light,Deum verum de Deo vero, true God from true God,genitum, non factum,begotten, not made,consubstantialem Patri. of one being with the Father.Per quem omnia facta sunt. Through him all things were made.Qui propter nos homines For us men,et propter nostram salutem and for our salvation,descendit de caelisHe came down from heaven;et incarntus estbecame incarnatede Spiritu Sanctoby the power of the Holy Spiritex Maria Virgineof the Virgin Maryet homo factus est.and was made man.Crucifixus SopranoCrucifixus etiam pro nobis: For our sake he was crucifiedsub Pontio Pilatounder Pontius Pilate;passus, et sepultus est. He suffered death and was buried.Et resurrexit Soloists and chorusEt resurrexit tertia die, On the third day he rose againsecundum Scripturas; in accordance with the Scriptures;et ascendit in caelum:He ascended into heavensedet ad dexteram Patris. and is seated at the right hand of the Father.Et iterum venturus est cum gloria, He will come again in gloryjudicare vivos et mortuos: to judge the living and the dead,cujus regni non erit finis. and his kingdom shall have no end.Et in spiritum Sanctum, I believe in the Holy Spirit,Dominum et vivificantem: the Lord, the giver of lifequi ex Patre,who proceeds from the FatherFilioque proceditand the Son.qui cum Patre et FilioWith the Father and the Sonadoratur et conglorificator; he is worshipped and glorified;qui locutus est per prophetas. He has spoken through the Prophets.Et unum sanctam catholicam I believe in one holy catholicet apostolicam ecclesiam. and apostolic church.Confiteor unum baptisma I acknowledge one baptismin remissionem peccatorum. for the forgiveness of sins.Et exspecto resurrectionem I look for the resurrectionmortuorumof the dead,et vitam venturi saeculi. and the life of the world to come.Amen.Amen.Preludio Religioso (Offertory) Piano and harmoniumSanctus Soloists and chorusSanctus, Sanctus, Sanctus, Holy, holy, holy,Dominus Deus Sabaoth! Lord God of Sabaoth.Pleni sunt coeli et terra gloria tua. Heaven and earth are full of Thy glory.Osanna in excelsis.Hosanna in the highest.BenedictusBlessed is Hequi venit in nomine Domini. who cometh in the name of the Lord.Osanna in excelsis.Hosanna in the highest.O salutaris hostia SopranoO salutaris hostiaO saving Victim! Opening widequae coeli pandas ostium, The gate of heaven to man below,bella premunt hostilia, Our foes press hard on every side,da robur, fer auxilium. Thine aid supply, Thy strength bestow.Agnus Dei Mezzo-soprano and chorusAgnus Dei,Lamb of God,qui tollis peccata mundi, who takest away the sins of the world,miserere nobis.Have mercy upon us.Agnus Dei,Lamb of God,qui tollis peccata mundi, who takest away the sins of the world,miserere nobis.Have mercy upon us.Agnus Dei,Lamb of God,qui tollis peccata mundi, who takest away the sins of the world,dona nobis pacem.grant us peace.


BiographiesGrahamCaldbeckconductor hasdirected theSomersetChamber Choirsince 1990 and isone of Britain’sleadingconductors ofamateur choirs,known for hiswide-rangingmusical skills, innovative programming andvital and stylish performances. He studiedmusic at Trinity College, Cambridge, wherehe was a Choral Scholar under RichardMarlow, and has sung with the CathedralChoirs of Guildford and Winchester. Heholds both the Fellowship and ChoirTraining diplomas of the Royal College ofOrganists, is a former Assistant Organist atSt. Martin-in-the-Fields and is currentlyDirector of Music at St Mary the Boltons,SW10.Between 1984 and 1999 Graham wasconductor of the Winchester-based chamberchoir, Southern Voices, which he cofoundedand rapidly established as one ofthe leading choirs in the area. Since 1996 hehas also conducted the Nonsuch Singers;recently described by The Times as ‘theacclaimed chamber choir’, their Londonconcerts are regularly highlighted by thenational press. In November Grahamcelebrates the 10th anniversary of hisappointment as Music Director of NonsuchSingers with a concert of Mozart’s Mass in CMinor and works by Britten and Stravinskyin St. John’s, Smith Square.Eighteen months ago, Graham wasappointed conductor of the MayfieldFestival Choir in E. Sussex and in May thisyear he directed the première of NeilJenkins’s new translation of Haydn’sCreation. For fifteen years Graham heldsenior positions at the Royal College ofMusic and he now pursues a freelancecareer as conductor, organist, vocal coachand teacher.He can be contacted atgraham@gcaldbeck.freeserve.co.ukSomerset Chamber ChoirFriends Scheme:All members of the Friends Schemeare invited to meet the choir inthe music room of Wells CathedralSchool, adjacent to the North side ofthe CathedralKatherineManley sopranowas born andeducated inLeicester. Shegained a BMushons at The RoyalScottish Academyof Music andDrama andgraduated fromthe BenjaminBrittenInternational Opera School at the RoyalCollege of Music with a distinction. Shecontinues to study with Lillian Watson. ASamling Foundation Scholar, Katherine hasalso been supported by a WingateScholarship, a Leicestershire CountyCouncil Award and the Ian FlemingMusicians’ Benevolent Fund Award. Heroperatic roles include Pastori inMonteverdi’s Orfeo for English NationalOpera, Emmie in Britten’s Albert Herring forNew Kent Opera, and Cuzzoni in theHandel and Hendrix project ‘Time Flows’with Streetwise Opera.On the concert platform she has workedwith the Orchestra of the Age ofEnlightenment, the London Mozart Players,the London Pro Arte Orchestra, theBrandenburg Sinfonia and thePhilharmonia Orchestra. She has performedHaydn’s Creation with Stephen Cleobury,and Mendelsshon’s Elijah with Sir ThomasAllen and the Southbank Sinfonia.Katherine has given live broadcasts forRadio 3 and is looking forward toperforming in Monteverdi’s Orfeo withEnglish Touring Opera.Louise Mottmezzo-sopranostudied at theRoyal College ofMusic, where shewon the LiesAskonasCompetition,before completingher training at theNational OperaStudio. Louise made her débuts at EnglishNational Opera in Alcina, for WelshNational Opera in La clemenza di Tito andwith Opera North in Der Rosenkavalier. Hermany contemporary opera performancesinclude Param Vir’s Ion, John Casken’s God’sLiar, Deidre Gribbin’s Hey Persephone! forAlmeida Opera, Robin Holloway’s Boys andGirls Come Out to Play and Mark-AnthonyTurnage’s Greek with the LondonSinfonietta. She made her BBC Proms débutin Vaughan Williams’s Serenade to Music.Louise has sung with the Northern Sinfonia,the Hallé, Ulster, Bournemouth Symphonyand Royal Philharmonic Orchestras, withBirmingham Contemporary Music Groupand the Hebrides Ensemble in suchdistinguished venues as the Royal AlbertHall, the Barbican, St John’s Smith Square,St Paul’s Cathedral, Wigmore Hall, thePurcell Room, King’s College Cambridge,York Minster and Westminster Abbey.Louise’s concert repertoire includes most ofthe standard works and such specialities asKindertotenlieder, and Turnage’s TwiceThrough the Heart. She has broadcast forRadio 3 and throughout Europe. Herrecordings include Schumann’s Scenes fromGoethe’s Faust under Philippe Herreweghefor Harmonia Mundi. Louise Mott’sforthcoming engagements include roles inPush and A Shetland Odyssey for Tête à Tête.Joe Roche tenoris a native ofClonmel, CountyTipperary andmade hisprofessionaloperatic debut in1995 with OperaIreland in Faust.He has since sungin more thaneighteen of their productions at Dublin’sGaiety Theatre, most recently playing TheCoachman in Shostakovich’s Lady Macbeth ofMtsensk and A Soldier in Turnage’s The SilverTassie. Joe’s previous engagements includeCosi fan tutte at the Aberdeen InternationalYouth Festival in 2000, shortly after touringnationwide in Die Fledermaus with Co-Opera. In June 2004 he performed the dualroles of Gaston and The Marchese in a Co-Opera production of Verdi’s La Traviata.Joe studied singing with Conor Farren atthe Abbey School of Music in Dublin, whilealso studying for a degree in psychology atTrinity College, Dublin. He currently studieswith Russell Smythe on the opera course atthe Royal College of Music, London, wherehe commenced study in September 2005.His recent engagements include Eisensteinin Die Fledermaus at the Royal College,Haydn’s Mass In Time of War, Bruckner’s TeDeum and Mozart’s Requiem.


BiographiesKeel Watsonbass-baritonestudied singingand trombone atTrinity College ofMusic and madehis Royal AlbertHall and Barbicandébuts with theconcert version ofGershwin’s Porgyand Bess, his Queen Elizabeth Hall début inMike Westbrook’s Coming Through theSlaughter, and his Royal Opera House débutas the Bosun in Britten’s Billy Budd. Sincethen, he has gone on to sing with numerousleading opera companies, including EnglishNational Opera and English Touring Opera;he has also sung Wotan in Das Rheingold atthe Covent Garden Festival. Keel hascreated a number of roles, for example TheElder in Mark-Anthony Turnage’s TheCountry of the Blind at the AldeburghFestival/ENO Contemporary Opera Studioand Parlaine in Jonathan Dove’s Palace in theSky for the ENO Baylis Programme.His concert and oratorio engagements haveincluded his début with the LondonSymphony Orchestra under Kent Naganoin Bernstein’s Whitehouse Cantata, whichwas recorded by Deutsche Grammophon,performances of Carmina Burana at theRoyal Festival Hall, A Child of our Time forthe City of Birmingham SymphonyOrchestra in Symphony Hall, and at theWorcester Three Choirs Festival and withThe Royal Liverpool PhilharmonicOrchestra.Keel has sung as a guest soloist on BBCRadio 2’s Friday Night is Music Night and isthe voice of Harasta in Geoff Dunbar’sanimated version of The Cunning LittleVixen. His recent engagements include therole of Second Armed Man in KennethBrannagh’s new film of The Magic Flute.Andrew Westpiano readEnglish at ClareCollege,Cambridge, beforegoing on to studyat the RoyalAcademy ofMusic, where heis now professorof PianoAccompanimentand Chamber Music. Described in theIndependent on Sunday in 2005 as‘technically and interpretatively the finestaccompanist in Britain’, Andrew hasdeveloped partnerships with some ofBritain’s finest singers and instrumentalists.His collaborations with singers includerecitals and recordings with Emma Bell,Alice Coote, Lesley Garrett, James Gilchrist,Catherine Bott, Christopher Purves andChristopher Maltman. He appears regularlywith tenor Mark Padmore, giving concertsat Wigmore Hall, the Frick Collection inNew York and at the South Bank’s HenzeFestival. In 2004 Andrew gave a series ofrecitals at the Aldeburgh Festival withChristopher Purves, Robert Murray andPaul Silverthorne and recorded a CD oflieder by Strauss, Marx and Bruno Walterwith Emma Bell. He returns to Aldeburghthis year to give three concerts with SusanGritton, Christopher Purves, Liwei Qin, andMark Padmore.With flautist Emily Beynon (principal of theRoyal Concertgebouw Orchestra), Andrewhas frequently been broadcast on Radio 3and has recorded the complete works forflute and piano by ‘Les Six’ for Hyperion.His piano quartet, Touchwood, released aCD of works by Chausson and Saint-Saënsin 2000, which was featured as ‘CD of theMonth’ in the Daily Telegraph. In 2002Andrew was appointed as one of theArtistic Directors of the NurembergInternational Chamber Music Festival.Philip Moorepiano was born in1976 and isoriginally from theVale of Evesham.He studied at theRoyal Academy ofMusic withHamish Milne,during which time he won many prizes. Onleaving he was awarded the MeakerFellowship, and was appointed anAssociate of the Academy in 2003.Much in demand as a chamber musician,Philip has performed throughout Europeand recorded for radio and television inBritain, Germany, The Netherlands and TheCzech Republic. He recently appeared assoloist with the Royal PhilharmonicOrchestra and has appeared with thePhilharmonia Orchestra at the RoyalFestival Hall. His chamber music concertsinclude working with Conchord, the BrittenSinfonia and his own group, the OlivierEnsemble, as well as many duoperformances with establishedinstrumentalists.One half of an immensely popular pianoduo with Simon Crawford-Phillips, in 2004Philip and Simon received a Borletti-BuitoniFellowship, made their Edinburgh Festivaldebut and were appointed Steinway Artists.Regular performers on Radio 3, they madetheir Proms debut in 2001, coinciding withthe release of a CD recording of Frenchmusic for Deux-Elles, which receivedoutstanding reviews. Highlights during2005 include return visits to Wigmore Hall,Bridgewater Hall and the South Bank, alongwith their debut at the Concertgebouw inAmsterdam.ChristopherStokes organ &harmonium hasbeen Organist &Master of theChoristers ofManchesterCathedral since1996. Before that, he was Organist & Masterof Music at St Martin-in-the-Fields andDirector of Music at St. Margaret’s,Westminster Abbey. While in London, hewas professor of organ at Trinity College ofMusic for over 15 years, where he alsostudied in the early seventies. InManchester he directs the Cathedral Choirwhich, in addition to the essential Opus Dei,sings for regular television and radiobroadcasts, and has recorded a number ofCDs which have received critical acclaim.He is also one of the regular directors/organists for the Daily Service on Radio 4.As an organ soloist and piano accompanist,Christopher has performed extensively bothin the UK and abroad. In 1997 he was thefirst to record on the Marcussen organ inBridgewater Hall with the BBCPhilharmonic Orchestra, and played thereas part of the ‘Concert Plus’ series for theBBC. This year he has given concerts inGermany, where he made a live concertrecordingof a Handel organ concerto withthe German Radio Orchestra in theGewandhaus in Leipzig. His CD of Elgarand Stanford’s organ works has receivedcritical acclaim and his most recentrecording of Howells’ organ music is due forrelease before Christmas. Christopher hasperformed, broadcast and recorded, as acontinuo player, with most of Britain’sleading orchestras including the HanoverBand, the London Mozart Players, theLondon Symphony, BBC Philharmonic,Hallé and Northern Chamber Orchestras.He has also performed and recorded withthe Salzburg Bach-Chor and the GermanRadio Choir.Christopher is a Council Member of theRoyal College of Organists and Head ofOrgan Studies at Chetham’s School of Musicin Manchester.


Somerset Chamber ChoirSomerset Chamber Choirwas founded in 1984by former members ofthe Somerset YouthChoir and is firmlyestablished as one ofthe most excitingchoirs in the area. Itrecruits from among themost talented singers in the region andplaces a strong emphasis on encouragingyoung people to join its ranks. The choir isrenowned for its innovative and eclecticprogrammes of music devised by itsconductor, Graham Caldbeck, and itregularly performs with many of the UK’stop professional soloists and orchestras.Would you like tosing with us?VolunteeringBoard of TrusteesWould you like to sing with us?We are a very sociable choir andapplications for membership arealways welcome - we are perhapsunusual in not holding weeklyrehearsals, but instead run sixrehearsal weekends every year atwhich informal auditions are held.Ideally, members will have someconnection, past or present, withSomerset or its near neighbours. It isvery important that we continue torecruit members resident in theSomerset area although, as the choirrehearses mainly during holidayperiods, it is also suitable for thoseformerly based in the area but whoare now at university, or who workoutside the county and would like totake the opportunity to travel back tovisit family or friends.For further details, please talk to anymember of the choir, visit our website ore-mail the choir atrecruitment@somersetchamberchoir.org.ukWe are very grateful to the largenumber of volunteers who assistus with numerous aspects of thechoir’s administration. If youwould like to volunteer to helpus in any way, please leave amessage on our Box Officevoicemail on 01275 349010 andwe will contact you.Fran Aggleton (co-opted)Nick BowditchGraham Caldbeck conductorJanice CollinsBecky EldertonKeith Hunt treasurerAnthony Leigh chairAdrian Male vice-presidentRobert TuckerLin WinstonSpreading the word!If you enjoy tonight’s concert, please tellothers about the choir and encouragethem to come to our concerts! GoldPatrons and Benefactors are able topurchase discounted tickets for theirguests.


Friends - your choir needs you!Friends of The ChoirWhether you are a ‘regular’, or if this is the first time you have attendedone of our concerts, we sincerely hope you have enjoyed your evening.If so, we would love you to get more involved with the Choir by joiningour Friends Scheme. We offer five categories of membership, eachoffering you different benefits as follows.Benefits of MembershipAll members receive:• Free mailing of advancepublicity• Name credit in concertprogrammes• Invitation for you and yourguests to post-concert drinkswith the choir• Twice-yearly newsletterMembers also receive thefollowing extra benefits:Friends• Bronze priority booking forconcertsJoint Friends• Bronze priority booking for concerts• Joint name credit for you and yourspouse or partner in concertprogrammesPatrons• Silver priority booking for concerts• Joint membership at no extra charge• Invitation for you and your guests to aspecial event• One free programme with concertticketsGold Patrons• Gold priority booking for concerts• Joint membership at no extra charge• Invitation for you and your gueststo a special event• Two free programmes with concerttickets• No credit card booking fees• 10% discount on tickets purchasedfor your non-member guests(max discount £4 King’s Collegeconcerts, £6 Wells concerts)Benefactors• Platinum priority booking forconcerts• Joint membership at no extra charge• Invitation for you and your guests toa special event• Free concert programmes for you andall your guests• No credit card booking fees• 25% discount on tickets purchasedfor your non-member guests(max discount £8 King’s Collegeconcerts, £12 Wells concerts)• Opportunity for you and your gueststo meet performers & conductorimmediately after concerts(subject to availability)• Annual letter from conductorPlease contact me by any of the ways mentioned below and I will get in touch.I very much look forward to hearing from you.LIN WINSTONFriends Scheme ManagerHOW TO BECOME A FRIENDJust e-mail Lin Winston at lin@jokanili.freeserve.co.uk, or complete and return thiscut-off form. Alternatively, you can go to www.somersetchamberchoir.org.ukwhere you will find a direct e-mail link to me.Name: ..................................................................................................................................................Address: ..............................................................................................................................................A special thank-you to all themembers of our Friends’Scheme, listed below, whohave helped us to achieve somuch. We also gratefullyacknowledge the support ofadditional members whojoined after publication ofthis programme.Honorary Life FriendMrs Dorothy TullettBenefactorsMr & Mrs M J L ArmstrongC J CuttingMrs M GreswellAdrian & Judy MaleTony PalmerMartin & Jill ParkerJill Shutt & Anthony LeighGold PatronsMr & Mrs C BestMr & Mrs D J HuntAlison PalmerMme O SabellaMs S Van RosePatronsD G BrandhuberMrs R BroadW G ButtMr W R CantelloMr & Mrs D ChapmanMrs E S ChalkMrs M J ClinchMrs A B CollinsMr & Mrs A CordyMrs M M E EgglestonLady Elizabeth GassBernard R GildersleveMr & Mrs Roy HatchG Ingram................................................................................................................................................................................................................................................................... Post Code .................................Please return form to:Lin Winston, 3 Parkland Drive, Campion Meadow, Exeter, Devon EX2 5RX


Mr & Mrs A B D LeighMr & Mrs G W MosesMrs B PepperMrs S M RossiterMrs E M SageMrs B SmallMr & Mrs B W SomersetRichard & Janet StallardMrs Janet StubbinsDr & Mrs J TuckerMr & Mrs P J WilsonJoint FriendsMr & Mrs I AndertonMr & Mrs C J BaxterMr & Mrs A F BellMr M H & Mrs S J BiggsMr & Mrs C J BlowerMr & Mrs Peter du BoulayEric & Doris BowditchMr & Mrs D BrentonMr & Mrs R J BrownMr & Mrs G N BurtonMr & Mrs K W CarterMr & Mrs M V L CollardMr & Mrs R J CullupMr & Mrs Bev DaviesMr & Mrs R G DerrickMr & Mrs J C DingleColin & Diana DobsonMr & Mrs H G DollingProfessor & Mrs R EldertonMr & Mrs M E ElliottMr & Mrs P EllisMichael & Jillian ElstoneMr & Mrs R K FarmerBarry & Jenny HibbertMichael & Pamela JacksonA & G JeffsMr & Mrs F H C JonesMr & Mrs Paul KeebleMr & Mrs H C LewisMr & Mrs P J MaleBrian & Cynthia MindelMr & Mrs M E PhillipsMr & Mrs I D PillarMr & Mrs A J PorterMr & Mrs A Pugh-ThomasLiz & Patrick RendellA & H RobertsDr & Mrs P F RoeSir John & Lady SeverneMr & Mrs R J ShearerMr & Mrs K M ShepperdMr & Mrs M S HSimmondsMr & Mrs K J SteelMr & Mrs W J TeeTrevor & Monica WillesFriendsMrs M ArmstrongMrs B ArscottMrs F AttwoodMrs R E BartonMrs P BellarsMrs W G BondMrs C BurrowsMrs D CrabtreeMrs T DanielTee DaniellsMr E J EldertonMrs K A EverettMrs S FinebergMr M J GardenerMiss A M HelyarMrs S M HobbsMrs M HowsamRev C HudsonMr L J JanasMrs A JefferyMrs S KendallMrs M E LuxtonMrs M LyonsMiss J R McQueenMrs Annabel MartinMrs Anne MitchellMrs C J MowatMiss V M NashMrs M E PennyMr G PepperMiss A PerryDr J V S PetherMrs J RaphaelMrs J M SatchwellMrs S ShaplandMrs Carole SmithMrs C TollMrs R TuckerMr W H TuckerMrs S A VidlerAngela WhiteMrs M J WilliamsAcknowledgementsWe are very grateful for thesupport we receive fromfrom our President, LadyGass, and our Vice-Presidents, Sir DavidWillcocks, Benjamin Luxon,Adrian Male and ChrisCutting.This concert takes place bykind permission of the Deanand Chapter.Programme notes werecompiled by GrahamCaldbeck; the programmebooklet was compiled andedited by Anthony Leigh,designed by Kate Davies(kate@kdgd.co.uk) andprinted by City Print MiltonKeynes.Printed music for thisconcert has been providedby Somerset PerformingArts Library and Ricordi.Somerset Chamber Choir -Registered Charity number 1003687President: Lady GassVice Presidents: Sir David WillcocksCBE, MC, Chris Cutting FRCS,FFAEM, Benjamin Luxon CBE,Adrian Male FRICSSun 6 August • Brewhouse Theatre, TauntonOrchestra WestEnd of Festival Gala Concert of Film MusicConductor - Oliver GoochPart of “WESTIVAL”, a ten day celebration of ArtsTicket reservations through Brewhouse Theatre Box Office• • •Sat 9 September • St. Mary Magdalene Church, TauntonQueen’s College, TauntonRon Tickner Memorial Trust Organ Workshopswith Stephen Bell & Ian CarsonBetween 9.30 and 11.30 depending on venue. For pianists of Grade 5and above. Priority given to those under 18.Application forms available from Nancy Beveridge 01823 288312• • •Sat 16 September • St John’s Church, WellingtonAmiciFauré Requiem and other piecesConductor - John Cole• • •Sun 1 October • All Saints Parish Church, Martock - 3pmSomerset Chamber ChoirGreat Choruses from favourite OratoriosClassics from the glorious age of Purcell through to the present day ofJohn Rutter.See www.somersetchamberchoir.org.uk for more details• • •Mon-Sat 2-7 October • Brewhouse Theatre, Taunton - 7.45pmTaunton Amateur Operatic SocietyPirates of Penzance - Broadway versionDirector - Jeremy TustinMusic Director - Mark ShelveyMatinees Thursday and Saturday at 2.30pm• • •Sat/Sun 14/15 October • Phoenix SingersA weekend of singing in the West Country• • •Sat 21 October • St. James’ Church, TauntonSomerset County Orchestra• • •Sat 21 October • St. Mary Magdalene Church, TauntonQueen’s College, TauntonRon Tickner Memorial Trust Organ Workshopswith Stephen Bell & Ian CarsonBetween 9.30 and 11.30 depending on venue. For pianists of Grade 5and above. Priority given to those under 18.Application forms available from Nancy Beveridge 01823 288312• • •Sat 28 OctoberTaunton Camerata with Sherborne Chamber ChoirRachmaninov - Vespers• • •Sat 28 October • Wellington School, WellingtonWellington Arts AssociationMusic Live - 2006All day music in partnership with Milverton Music Club. For furtherinformation call 01823-663718For the complete TAPA diary, please visit their website:www.tapa.org.ukTAPA is assisted by Taunton Deane Borough CouncilTaunton Association of Performing Arts

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