Rosalind Coad soprano Anna Harvey mezzo soprano Bradley Smith tenor Adam Green baritone Cambridge University Musical Society Chorus Faust Chamber Orchestra Mark Austin conductor Come and Sing St John Passion with CUMS Chorus Saturday 30 April 2016 – 10:30am. Great St Mary’s, Cambridge. Cambridge University Musical Society Chorus Mark Austin conductor www.cums.org.uk/events/event/on/2016/04/30 Elgar The Dream of Gerontius Saturday 11 June 2016 – 7:30pm. Saffron Hall, Saffron Walden. Jennifer Johnston mezzo soprano Andrew Kennedy tenor Ashley Riches bass Cambridge University Musical Society Chorus Cambridge University Musical Society Symphony Orchestra Stephen Cleobury conductor www.cums.org.uk/whats-on/concerts Classicism according to Cherubino Sunday 25 September 2016 – 4:00pm. Kings Place Hall One, London. Prokofiev Symphony no. 1 ‘Classical’ Mozart Oboe Concerto Mozart Le nozze di Figaro ‘Non so più’; ‘Voi che sapete’ Rossini Il barbiere di Sivigilia ‘Una voce poco fa’ Schubert Symphony no. 3 Katie Bray mezzo soprano Faust Chamber Orchestra Mark Austin conductor www.faustchamberorchestra.org Forthcoming Concerts Faust Chamber Orchestra and Cambridge University Musical Society Chorus
Transcript
Rosalind Coad soprano
Anna Harvey mezzo soprano
Bradley Smith tenor
Adam Green baritone
Cambridge University Musical Society Chorus
Faust Chamber Orchestra
Mark Austin conductor
Come and Sing St John Passion with CUMS ChorusSaturday 30 April 2016 – 10:30am. Great St Mary’s, Cambridge.Cambridge University Musical Society ChorusMark Austin conductor
www.cums.org.uk/events/event/on/2016/04/30
Elgar The Dream of GerontiusSaturday 11 June 2016 – 7:30pm. Saffron Hall, Saffron Walden.Jennifer Johnston mezzo soprano Andrew Kennedy tenor Ashley Riches bass Cambridge University Musical Society Chorus Cambridge University Musical Society Symphony Orchestra Stephen Cleobury conductor
www.cums.org.uk/whats-on/concerts
Classicism according to CherubinoSunday 25 September 2016 – 4:00pm. Kings Place Hall One, London.Prokofiev Symphony no. 1 ‘Classical’ Mozart Oboe Concerto
Mozart Le nozze di Figaro ‘Non so più’; ‘Voi che sapete’ Rossini Il barbiere di Sivigilia ‘Una voce poco fa’ Schubert Symphony no. 3Katie Bray mezzo sopranoFaust Chamber OrchestraMark Austin conductor
www.faustchamberorchestra.org
Forthcoming Concerts Faust Chamber Orchestra and Cambridge University Musical Society Chorus
1. Ouvertüre2. Soli (SB) e Coro Preis und Ehre ihm3. Recitativo (TB) Steige herauf4. Solo (T) e Coro Heilig, heilig5. Recitativo (ST) Und siehe, ein Lamm, das war verwundet6. Solo (S) e Coro Das Lamm, das erwürget ist7. Recitativo (T) e Coro Und alle Kreatur/ Betet an8. Recitativo (AT) Und siehe, eine große Schar9. Soli (SATB) e Coro Heil dem Erbarmer
Interval
10. Sinfonia11. Recitativo (B) So spricht der Herr12. Duetto (ST) Sei mir nicht schrecklich in der Not13. Coro So ihr mich von ganzem Herzen suchet14. Recitativo (T) Die Stunde des Gerichts15. Coro Gefallen ist Babylon16. Soli (SATB) e Coro Selig sind die Toten17. Recitativo (SA) Sieh, einen neuen Himmel18. Recitativo (T) e Quartetto Und siehe, ich komme bald19. Soli (SATB) e Coro Groß und wunderbarlich sind deine Werke
Rosalind Coad soprano Anna Harvey mezzo sopranoBradley Smith tenorAdam Green baritone
Faust Chamber OrchestraCambridge University Musical Society Chorus
Mark Austin conductor
Friday 4 March 2016 Jerwood Hall, LSO St Luke’s, London – 7.30pmSunday 6 March 2016 West Road Concert Hall, Cambridge – 7:30pm
TONIGHT’S PERFORMANCE
Spohr – The Last Judgement
Jerwood Hall, LSO St Luke’s, UBS & LSO Music Education Centre, 161 Old Street, London EC1V 9NGIn accordance with the requirements of Islington Council persons shall not be permitted to stand or sit in any gangway. The taking of photographs and the use of recording equipment are strictly forbidden without formal consent from LSO St Luke’s. Please make sure that digital watch alarms and mobile phones are switched off during the performance. LSO St Luke’s is a no-smoking building. No eating or drinking is allowed in the auditorium. No cameras, tape recorders or other recording equipment may be taken into the hall.
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Louis Spohr THE LAST JUDGEMENT
COMPOSER PROFILE
Louis Spohr (1784–1859)
THE LAST JUDGEMENT
Programme notes
The Last Judgement was not Spohr’s first oratorio; in 1812 he had composed another oratorio on the Last Judgement, Das jüngste Gericht, but he had quickly decided that it was unsatisfactory both from the point of view of the text and the musical style of the solo numbers, and it remained in manuscript. More than a decade later, however, he recognised that the time was ripe for him to succeed in this genre, and when Friedrich Rochlitz, founding editor of the leading German music journal of the time, the Leipzig Allgemeine musikalische Zeitung, unexpectedly wrote to him in July 1825 to offer the text of Die letzten Dinge, taken from the Book of Revelation, he seized upon the idea.
Rochlitz informed Spohr that if he chose not to set the text he would not offer it to anyone else, commenting: ‘I know of no one, apart from you, who could effectively enter into the idea so sympathetically and bring to its execution everything that is necessary.’ Although Spohr was enthusiastic, he was concerned that the text was too short. In response, Rochlitz pointed out that Spohr could lengthen the work by including a lengthy overture, a substantial introduction to Part 2, and other orchestral sections. He asserted that orchestral music was capable of ‘allowing the depiction of those innermost feelings that are beyond words,’ adding: ‘you, who along with Beethoven are without a doubt the greatest master of this genre, will assuredly produce the most excellent effects with it.’ Convinced by Rochlitz’s suggestions, and also his willingness to
provide text for a few extra numbers, Spohr began composing the oratorio in October 1825 and finished it in time to perform it with his choral society in Kassel on Good Friday 1826.
Spohr’s treatment of the work distinguishes it significantly from other contemporaneous oratorios. He abandoned the traditional practice of writing a succession of separate solo and choral numbers in favour of a more through-composed series of ‘scenes’, similar to the procedure he had used in his most recent opera Der Berggeist (1824). He also employed his highly individual chromatic harmonic idiom, his considerable melodic gifts, and his masterly command of orchestration to enhance the oratorio’s expressive and dramatic impact. These features were a potent factor in the work’s success. At the Lower-Rhine Musical Festival in May 1826 it made such a powerful impression that the festival was prolonged to include a second performance, in aid of the Greek War of Independence; and in England, where it was first performed at the 1830 Norwich Festival as The Last Judgement, it was hailed as ‘one of the greatest musical productions of the age [...] in which is embodied every passion, sentiment and feeling’ (Harmonicon, 1830, p. 466). It became Spohr’s most enduring masterpiece and continued to be performed long after most of his once admired music had been forgotten. In recent years, along with the finest of his other compositions in all the major genres of his time, this oratorio has justly emerged from a century of neglect.
Spohr was at the height of his powers when he wrote The Last Judgement (Die letzten Dinge) in 1825. His European fame as a virtuoso violinist had been established during the first two decades of the century, but by 1822, when he took up the position of Kapellmeister in Kassel, where he was to remain for the rest of his life, he had also acquired a reputation as one of the greatest composers of the day. The success of his first nine violin concertos had been paralleled by two symphonies (1811 and 1820), three successful operas, Faust (1813), Zemire und Azor (1818-19) and, most triumphantly, Jessonda (1822), as well as a large quantity of admired chamber music and Lieder. During the next thirty-five years of his life he was to write another two oratorios, four operas, eight symphonies (including one for double orchestra), several concertos (including one for string quartet and orchestra), as well as many more lieder and chamber works (including his four innovative double string quartets and a string sextet that foreshadowed Brahms’).
Erster Teil
Nr. 1. Ouvertüre
Nr. 2 Soli (SB) e CoroPreis und Ehre ihm, der da ist, der da war und der da kommt! Preis und Ehre ihm, dem Erstling der Erstandnen, dem Beherrscher der Könige der Erde. Ihm, der uns geliebet und durch sein Blut gereinigt hat,
Preis, Ehre und Ruhm!
Siehe, er kommt in den Wolken, und ihn wird sehen jegliches Auge, und wehklagen werden die Geschlechter der Erde.
Fürchte dich nicht: Ich bin’s, der Erste und Letzte und der Lebendige. Ich war tot, und siehe, ich bin lebendig in alle Ewigkeit und habe die Schlüssel der Hölle des Todes.
Preis und Ehre ihm ...
Ich weiß nun dein Tun: Du hast Böses nicht ertragen und geduldet um meines Namens willen. Aber deine erste Liebe hast du verlassen und bist gefallen von deiner Höhe. So ändre deinen Sinn und tu die ersten Werke! Sei getreu bis in den Tod, so will ich dir die Krone des Lebens geben.
Preis und Ehre ihm ...
Nr. 3 Recitativo (TB)Steige herauf, ich will dir zeigen, was geschehen soll!
Und siehe, ein Thron stand im Himmel, und auf dem Thron ruht einer! Und ein Regenbogen war um den Thron, und im Kreis auf Thronen vierundzwanzig Älteste, mit weißen Kleidern angetan, auf ihren Häuptern goldne Kronen. Und von dem Throne gingen aus Blitze und Donner,
und Stimmen riefen Tag und Nacht:
Nr. 4 Solo (T) e CoroHeilig, heilig, heilig ist Gott der Herr, der Allmächtige, der da war und der da ist und der da kommt!
Nr. 5 Recitativo (ST)Und siehe, ein Lamm, das war verwundet.
Weine nicht! Siehe, es hat überwunden der Löwe, der da ist vom Geschlecht Juda!
Und die Ältesten fielen nieder vor dem Lamm und hatten Harfen und goldne Schalen voll Rauchwerks und sangen ein neues Lied:
Nr. 6 Solo (S) e CoroDas Lamm, das erwürget ist, ist würdig zu nehmen Kraft und Reichtum und Weisheit und Hoheit und Preis und Ehre!
Nr. 7 Recitativo (T) e CoroUnd alle Kreatur, die im Himmel ist und auf Erden und unter der Erde und im Meer, rief aus und sprach: Betet an!
Lob und Preis und Gewalt ihm, der auf dem Stuhle thront und dem erwürgten Lamm!
Part One
Nr. 1. Ouvertüre
Praise his awful name, Who was, and is, and is to come: praise to him who giveth immortality: all glory and majesty surround His throne. Worship and adore him!
Praise! Glory to God!
Mighty he cometh to judgement: for He shall judge the world in righteousness, and he shall judge his people with His truth.
Fear thou not, O man! for thy Redeemer liveth. He that died is risen, and He shall live to all eternity; and He shall reign, and shall conquer all his enemies.
Praise his awful name …
“I know thy works, and thy labour, and thy patience; for My sake thou has endured affliction. Yet thy first and chiefest duty thou hast forsaken; and thou art fallen from thy high estate. Repent! and return to thy first work. Be thou faithful unto death, and I will give thee a crown of life.”
Praise his awful name …
“Come up hither, and I will show thee what shall be hereafter.”
And lo! a throne was set in heaven and on the throne One stood. And a rainbow was round about the throne; and the Elders knelt before the throne, clad in white raiment: and on their heads were crowns of gold: and from the throne came thunderings and lightnings,
and voices crying day and night:
“Holy, holy, holy, Lord God Almighty! Who wast, and Who art, and art to come!”
Behold, the Lamb that was slain!
Weep no more; behold, He that died is risen, and hath conquered Death and Hell.
And the Elders fell down before the Lamb, with their harps, and golden urns burning odours, singing this song of praise:
“All glory to the Lamb that died, exalted now at God’s right hand, in blessing and wisdom and honour and praise for ever.”
And every creature that is in heaven, and on the earth, and under the earth, and in the sea, cried aloud and said:
“Blessing, honour, glory and power be unto Him that sitteth upon the throne, and unto the Lamb for ever.”
Composer Profile and Programme Notes by Professor Clive Brown, MA (Cantab.), MA, DPhil (Oxon.), Professor of Applied Musicology at University of Leeds. His publications include: ‘Louis Spohr: A Critical Biography’ (Cambridge, 1984) and ‘Classical and Romantic Performing Practice 1750-1900’ (Oxford, 1999).
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Louis Spohr THE LAST JUDGEMENT Louis Spohr THE LAST JUDGEMENT
Nr. 8 Recitativo (AT)Und siehe, eine große Schar aus allen Heiden und Völkern und Sprachen traten zu dem Thron und dem Lamme. Sie waren angetan mit weißen Kleidern und trugen Palmen in den Händen. Sie fielen nieder auf ihr Angesicht und beteten an.
Diese sind gekommen aus großer Trübsal und haben ihre Kleider weiß gemacht und hell im Blute des Lammes. Darum sind sie vor Gottes Thron und dienen ihm Tag und Nacht.Und das Lamm wird sie leiten zu Quellen lebendigen Wassers, und Gott wird trocknen alle Tränen von ihren Augen.
Nr. 9 Soli (SATB) e CoroHeil, dem Erbarmer Heil!Er selbst wird trocknen alle Tränen von ihren Augen. Kein Leid ist mehr noch Schmerz noch Klage.Der Herr ist unser Gott, und wir sind sein. Ja, wir sind sein.
Zweiter Teil
Nr. 10 Sinfonia
Nr. 11 Recitativo (B)So spricht der Herr: Das Ende kommt; von allen Winden der Erde kommt nun das Ende! Es kommt auch über dich. Ich will dich richten wie du verdienet hast, und will dir geben, was dir gebühret. Mein Antlitz übersieht dich nicht; mein Auge dringt in dein geheimstes lnnre! Von draußen bricht’s daher, von fernen Grenzen naht es sich. Der Gesang der Schnitter verstummt im Feld der Ernte und die Stimme der Hirten auf den Bergen. Klage tönt vom Tal herauf und aus den Klüften Wehgeschrei. Er kommt, der Tag der Schrecken kommt, sein Morgenrot bricht an. Es hat sich aufgemacht der Tyrann, die Geißel Gottes für die Völker. Auf den Gassen geht das Schwert, in den Häusern wohnt Hungersnot. Sie werfen ihr Silber heraus und achten ihr Gold als Spreu, denn es errettet sie nicht am Tage des Herrn. Ihre Seelen werden nicht davon gesättigt, für ihre Glieder macht man Ketten. Die Könige stehen gebeugt, die Fürsten klagen in Trauer, des Volkes Arme sinken matt herab, und seine Tränen fallen in Staub.
Nr. 12 Duetto (ST)Sei mir nicht schrecklich in der Not, Herr, meine Zuversicht! Ich bin allein, bleibst du mir nicht. Verlassen bin ich, stehst du nicht zu mir! Der Freund vergisst, der Bruder weicht, ich schau auf dich, o Herr, auf dich, mein einzig Teil.
And lo! a mighty host of all nations and people stood before the throne and the Lamb. Of spotless white was every garment: in every hand a palm was borne. They fell before the throne of God with holy fear.
These, who passed through heavy tribulation, have washed their robes, and made them white in the blood of the Lamb. They stand before God’s throne, and serve him day and night: and the Lamb shall lead them to fountains of living waters, and God shall wipe away all tears from their eyes.
Hail, our Redeemer! Hail!Yes, every tear and every sorrow he shall wipe away from their eyes: nor sin, nor death, nor pain, nor sorrow shall there be known. He is our God and we are his people.
Part Two
Nr. 10 Sinfonia
Thus saith the Lord: “The end is near, and all the winds of heaven proclaim its coming. Prepare to meet thy God! I will reward thee even as thy works have been, and judge thee as thou hast deserved. To Me is every action known; each secret thought is unveiled before Me.” The day of wrath is near: the Almighty shall reveal His power! The reaper’s song is silent in the field, and the shepherd’s voice on the mountain. The valleys then shall shake with fear, with dread the hills shall tremble. It comes! the day of terror comes! The awful morning dawns! Thy mighty arm, O God, is uplifted! Thou shalt shake the earth and heavens: they shall shrivel as a scroll, when Thou in wrath appearest. For men shall cast away their silver, and count their gold as dross: it shall not save in the great and awful day! Where is now the monarch’s might, where all his splendour, where the dreams of earthly greatness? The princes of the earth shall cast their crowns before Thee; and all the power of the mighty shall fail, when Thou, O Lord, shall come to judge the world.
Forsake me not in this dread hour, O God most merciful! Thou art my hope, O Lord, give ear unto my prayer! O spare thy servant and cast him not away! If thou forsake me, wither shall I flee? No friend is nigh, no arm to save, but only Thou, Almighty Lord of Hosts. In Thee, O Lord, in Thee alone I trust!
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Louis Spohr THE LAST JUDGEMENT Louis Spohr THE LAST JUDGEMENT
Nr. 13 CoroSo ihr mich von ganzem Herzen suchet, will ich mich finden lassen, spricht der Herr. Und so ihr euch redlich zu mir kehret, will ich euch sammeln von allen Örtern der Erde. Ich will euer Gott sein, und ihr sollt mein Volk sein. So spricht der Herr.
Nr. 14 Recitativo (T)Die Stunde des Gerichts, sie ist gekommen. Anbetet den, der gemacht hat Himmel und Erde!
Nr. 15 CoroGefallen ist Babylon, die Große. Sie suchen den Tod und finden ihn nicht, sie ringen nach ihm, er fliehet sie.
Die Stunde der Ernte ist da. Reif ist der Erde Saat. Das Grab gibt seine Toten, das Meer gibt seine Toten, das Siegel wird gebrochen, das Buch wird aufgetan. Sie zagen, sie beben.
Es ist geschehen.
Nr. 16 Soli (SATB) e CoroSelig sind die Toten, die in dem Herren sterben, von nun an in Ewigkeit. Sie ruhen von ihrer Arbeit, und ihre Werke folgen ihnen nach.
Nr. 17 Recitativo (SA)Sieh, einen neuen Himmel und eine neue Erde, von Gott bereitet und schön geschmückt als eine Braut.
Sieh, eine Hütte Gottes bei den Menschen, er wird bei ihnen wohnen, sie werden sein Volk sein!
Nicht Sonne mehr noch Mond: Er ist ihr Licht, und seine Herrlichkeit umleuchtet sie.
Kein Tempel steht in Gottes Stadt. Er ist ihr Tempel und das Lamm.
Nr. 18 Recitativo (T) e QuartettoUnd siehe, ich komme bald und mein Lohn mit mir, zu feben jeglichem nach seinen Werken.
Ja komm, Herr Jesu.
Nr. 19 Soli (SATB) e CoroGroß und wunderbarlich sind deine Werke, Herr, allmächtiger Gott. Gerecht und wahrhaftig sind deine Wege, du König der Heiligen.
Wer sollte dich nicht fürchten, Herr, nicht deinen Namen preisen? Du allein bist heilig. Und alle Völker der Erde werden kommen und anbeten vor dir.
Halleluja! Sein ist das Reich und die Kraft und die Herrlichkeit von Ewigkeit zu Ewigkeit.
Amen. Halleluja. Amen.
“If with your whole hearts ye humbly seek Me, I will be found of you,” saith the Lord: “and if ye return to Me sincerely, I will receive you from all the ends of the earth. I will be your Father, and ye shall be my people”: thus saith the Lord.
Jehovah now cometh to judgement! Bow down to worship Him who made the heavens and the earth.
Destroyed is Babylon the mighty! The smoke of her torment ascendeth for evermore.
The hour of judgement is come! Now is the Lord at hand! The grave gives up its dead: the sea gives up its dead: the seals are broken: the books are all unclosed: the mighty now tremble before Him!
It is ended!
Blest are the departed who in the Lord are sleeping, from henceforth for evermore: they rest from their labours, and their works follow them.
I saw a new heaven and a new earth, by God prepared and adorned as a bride.
Lo! the house of God is with men, and He will dwell among them, and they shall be his people.
Nor sun shall be, nor moon: God is their sun; there shall his Majesty unclouded rise.
No earthly house is there: God is their temple and their light.
Behold! He soon shall come, in His might arrayed, to give to every one according to his work.
“Then come, Lord Jesus!”
Great and wonderful are Thy works, O thou Almighty God! How just and true are all Thy Commandments, Jehovah, King of Saints!”
O Lord, who shall not fear Thee, Lord who shall not glorify Thee! All nations of the earth shall come and worship before Thy throne for Thou alone art holy.
Thine is the kingdom, the power, and the glory, for ever and evermore.
Alleluia! Amen!
Source: Novello’s Original Octavo Edition. German text adapted from the Bible by Friedrich Rochlitz. English translation by Edward Taylor for Novello Octavo Edition (1844).
I N T E R V A L O F 2 0 M I N U T E S
Mark Austin is a rising conductor in a new generation with a talent and passion for communication with audiences. He studied at Cambridge and the Royal Academy of Music, and has developed a reputation for brilliant musicianship and insightful interpretations, complemented by accessible spoken introductions to the music. He is founder and artistic director of Faust Chamber Orchestra. In 2016 he performs with the orchestra at LSO St Luke’s, Kings Place and West Road Concert Hall, Cambridge. Mark has worked as assistant conductor for Marin Alsop, Steuart Bedford, David Hill and the late Sir Colin Davis, with orchestras including BBC Symphony Orchestra (BBC Proms), Orchestra of the Age of Enlightenment, Bournemouth Symphony Orchestra and the Hangzhou Philharmonic in China. Guest appearances include Orchestra of St John’s, Hertford Symphony Orchestra, and Southbank Centre’s Voicelab Project. In opera, credits include Il barbiere di Siviglia (Musique Cordiale International Festival, France), Hansel and Gretel (Mercury Theatre, Colchester) and La traviata for Opera South, where he is music director. He works regularly with The Bach Choir, including on tour to China and for a recent BBC Radio broadcast.
CONDUCTOR
Mark Austin
Born in Winchester, British soprano Rosalind Coad studied at both the Royal College of Music and later at the Royal Academy of Music. At the RAM, Rosalind performed Noémie Cendrillon, Spirit Dido and Aeneas, La Bergère L’enfant et les sortilèges and Baronesa Irene La Vera Constanza. Other roles include Donna Elvira Don Giovanni and Musetta La Bohème, Hélène La Belle Hélène, Sandman Hänsel und Gretel, and Elisetta in Cimarosa’s Il Matrimonio Segreto.
Also in demand as a concert singer, Rosalind repertoire includes St Matthew Passion, St John Passion, Messiah, Dixit Dominus, Israel in Egypt, Samson, Requiem, Exultate Jubilate, Stabat Mater, Petite Messe Solennelle, Gloria, Creation and Nelson Mass. Other highlights include (cover) Fiordiligi Cosi fan Tutte for Garsington Opera, a role that she will perform for Scottish Opera on tour. Subsequent engagements include covers of Ginevra Ariodante and 1st Nymph in Rusalka both for Scottish Opera as well as concerts in the UK.
SOPRANO
Rosalind Coad
Sheffield-born mezzo-soprano Anna Harvey studied on the opera course at the Royal Academy of Music under Elizabeth Ritchie and Iain Ledingham, graduating with the Alumni Development Award for a singularly distinguished studentship. A graduate in Music of Jesus College, Cambridge, Anna’s engagements in the current season include La Grosse Dame Les mamelles de Tirésias (Dutch National Opera), Bradamante Alcina (Longborough Festival Opera), Cherubino Le nozze di Figaro (Longborough Opera and cover for Welsh National Opera), cover Serafin Figaro Gets a Divorce (Welsh National Opera), Handel’s Messiah at the Royal Festival Hall and the Cadogan Hall, Bach’s Mass in B Minor with the Royal Northern Sinfonia under Paul McCreesh, and Vivaldi’s La Senna Festeggiante at the Spitalfields Festival with Harry Bicket and The English Concert.
MEZZO SOPRANO
Anna Harvey
Bradley Smith has just graduated from the Royal Academy of Music Opera Course where he performed Tom Rakewell (The Rake’s Progress), the Male Chorus (The Rape of Lucretia), le Prince Charmant (Cendrillon), and Arithmétique (L’enfant et les sortilèges).
He played Tamino (Die Zauberflöte) for Longborough Opera’s Young Artists, Peter Quint (Turn of the Screw) as a Young Artist for Opera Holland Park, and he was a member of the Glyndebourne Chorus performing Rameau’s Hippolyte et Aricie.
Oratorio engagements include Bach’s Christmas Oratorio, St John and St Matthew Passions, Handel’s Messiah, Judas Maccabeus, and Athalia, Haydn’s The Creation, and Mendelssohn’s Elijah at venues including St John’s Smith Square, the Cadogan Hall, and St Martin-in-the-Fields.
Future engagements include the role of Lelio in Cesti’s Le Nozze in Sogno at the Salzburg Festival this summer.
TENOR
Bradley Smith
Adam Green studied at St John’s College, Cambridge, the Royal Academy of Music, London, and the National Opera Studio. Winner of the Song Prize at the National Mozart Competition and the Great Elm Competition he was awarded the prestigious Ian Fleming and Sybil Tutton Awards.
Operatic roles at English National Opera include Belcore (The Elixir of Love), Arbace (Idomeneo), Aeneas (Dido and Aeneas). Other roles include the title role in The Barber of Seville for Welsh National Opera, First Mate (Billy Budd) with Daniel Harding and the LSO, Retrofire (Buzz on the Moon) by Jonathan Dove for Channel 4.
His extensive concert experience includes performances of Bach’s Weihnachtsoratorium in Frankfurt under Lutz Köhler, Brahms’ Requiem, Handel’s Messiah and Fauré’s Requiem all at the Royal Albert Hall under Sir David Willcocks and with the RPO, Elgar’s Coronation Ode with the BBC Symphony Orchestra.
BARITONE
Adam Green
Guy is a graduate of the Guildhall School of Music and Drama Artist Masters Programme and completed his undergraduate degree in Music at Robinson College, Cambridge. He has appeared as chamber musician and soloist at the Wigmore Hall, St. Johns’ Smith Square and many other high profile venues throughout the UK, Europe and Asia. He has performed concerti by Mendelssohn, Tchaikovsky, Mozart, Bach and Vivaldi. As second violin of the Ruisi Quartet (winners of the Royal Philharmonic Society prize for outstanding British string ensemble), he has been privileged to work with Simon Rowland-Jones, Peter Cropper, Levon Chilingirian, Christoph Richter, James Boyd, Ferenc Rados and Rita Wagner. Guy is principal second violin of the 12 Ensemble, London’s unconducted string orchestra and a member of the award winning baroque ensemble La Serenissima.
LEADER
Guy Button
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Louis Spohr THE LAST JUDGEMENT Louis Spohr THE LAST JUDGEMENT
Photo by Raphaelle Photography
Photo by Clare Park
Faust Chamber Orchestra is extremely grateful to its generous supporters:
PROFILE
Faust Chamber Orchestra
Now in its 5th year, Faust Chamber Orchestra has emerged as the leading force making classical music fresh, comprehensible and inspirational in the concert hall. Under the artistic direction of conductor Mark Austin, it is the only orchestra which believes accessible spoken introductions and musical demonstrations deserve a place at the heart of every performance. Following work with international artists including Guy Johnston and James Baillieu, and a 4-star review from The Times, 2016 will see Faust Chamber Orchestra (formerly Faust Ensemble) perform at LSO St Luke’s and Kings Place, make a debut recording and expand its educational programme.
Audiences are drawn to Faust Chamber Orchestra’s distinctive programming which throws light on the hidden meanings of works using commentary and comparison, together with live musical illustrations and the chance for listeners to ask questions. Recent successes have included an eclectic mix of Haydn and Sally Beamish, as well as “Ways into Bach”, an exploration of dance in the music of JS Bach alongside linked works by CPE Bach and Grieg. The orchestra is committed to new music and recently gave the world premiere of Oliver Rudland’s new opera Pincher Martin at the Britten Theatre in the Royal College of Music.
Faust Chamber Orchestra’s approach to music is about ensuring its vitality now and for generations to come. The ensemble leads a wide range of educational projects, working in partnership with Chiltern Music Academy, at Chickenshed Theatre and in several primary and secondary schools. These include school workshops, side-by-side sessions and joint performances. Members of the orchestra are currently involved with a major research project at Warwick University focusing on Music of the Napoleonic Era.
First ViolinsGuy Button leaderJenna SherryNaomi RumpDouglas HarrisonEd McCullaghChristiane Eidsten Dahl
Second ViolinsJames TollSimon HowesCharlotte FairbairnLavinia Price
If you would like to support Faust Chamber Orchestra, please contact Chief Executive Maud Saint-Sardos [email protected] or visit the dedicated section on our website: www.faustchamberorchestra.org/friends--patrons.html
Platinum PatronsGordon Austin & Ruth LambertJan & Leni du PlessisJenefer FarncombeThe Earl & Countess Howe The Stevenson Family’s Charitable TrustSally YatesAnd one anonymous Platinum Patron
Gold PatronsConnie KleinerDr G J G Rees & Dr C A Rees
Silver PatronsDr & Mrs Gary BellAlice BerkeleyGareth Cadwallader & Nancy Neville His Honour Roger Connor & Mrs ConnorRichard & Louise HannahJan & Belinda Pethick Charitable FundDr J. SonnabendChristopher & Annie StephensAnd one anonymous Silver Patron
FriendsRobin & Teresa BarttelotGeorge J.D. BruceJay & Julia CartwrightPaul & Janet ChurchousePeter & Lilah ClarkeTony & Jill DavisIan & Ginny GreigRhylva HolderAlastair LandBertrand & Beatrice LavigneMr & Mrs Roger LumbyMr & Mrs Peter Constable MaxwellAlison Montague-JonesWilliam Morton & Anne FurneauxCaroline RyderJeremy & Beverley SchrireMargherita PiramiThe Very Reverend Dr Victor StockFreddie SumptionRosalind & Derek SweetingCristina TeychenneBill & Fiona Timmis
Ray & Margaret TincknellThomas & Angela WebbLynda WeissBernard & Elizabeth WhelanJeanette YeomanAnd two anonymous friends
Trusts and FoundationsRichmond Parish Lands CharityBeaconsfield Old Church School Charity
Faust Chamber Orchestra is a registered charity in England and Wales (no. 1163070)
On-Stage
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BassesGiles AgnewJohn BarberPeter De VileRaymond GaySimon GoughMel GulstonChristian HaasMartin HarveyJack KlinckConnor McCabeColin PendrillJim PollardIan RichardsonMartin RichardsonMa-H RushtonMichael Sharp Stephen Sharp Ivan ViejoNicholas WardAlan WoodwardLawrence Wragg
PROFILE
Cambridge University Musical Society Chorus
Cambridge University Musical Society (CUMS) is one of the oldest and most distinguished university music societies in the world. It offers a world-class musical education for members of the University and local residents, nurturing the great musicians of the future and providing performing opportunities for over 500 Cambridge musicians every year.
The Society has played a pivotal role in British musical life for almost 170 years. It has educated such luminaries as Sir Andrew Davis, Sir Mark Elder, Sir John Eliot Gardiner, Edward Gardner, Christopher Hogwood and Robin Ticciati, has given world or UK premieres of works by Brahms, Holloway, Lutoslawski, Maxwell Davies, Rutter, Saxton and Vaughan Williams, and has given successive generations of Cambridge musicians the experience of visiting conductors and soloists including Britten, Dvořák, Kodály, Menuhin and Tchaikovsky. Since the 1870s, CUMS has enjoyed the leadership of several of Britain’s finest musicians, including Sir Charles Villiers Stanford, Sir David Willcocks, Sir Philip Ledger, and, from 1983 to 2009, Stephen Cleobury.
In 2009 Stephen Cleobury assumed a new role as Principal Conductor of the CUMS Chorus, and Sir Roger Norrington was appointed as Principal Guest Conductor. Martin Yates, ‘one of the most exciting and versatile British conductors of his generation’ in the words of The Times, joined the team as Principal conductor of the CUMS Symphony Orchestra; and a Great Conductors series was launched with the objective of exposing CUMS members to a succession of world-class visiting conductors.
In February 2010 CUMS entered another new phase of its development when it merged with the Cambridge University Chamber Orchestra and Cambridge University Music Club. In October 2010 the Society launched the Cambridge University Lunchtime Concerts — a new series of weekly chamber recitals at West Road Concert Hall showcasing the University’s finest musical talent. In 2011 it merged with the Cambridge University Chamber Choir, which is directed by Martin Ennis and David Lowe.
CUMS continues to provide opportunities for the University’s finest student soloists and conductors by awarding conducting scholarships and concerto prizes, and it actively encourages new music by running a composition competition and premièring at least one new work each year. Recent highlights have included Wagner’s Parsifal (Act III) conducted by Sir Mark Elder, a recording of The Epic of Everest’s original score for the British Film Institute, a concert of Haydn and Mendelssohn at Kings Place, London conducted by Sir Roger Norrington and Britten’s War Requiem in Ely Cathedral conducted by Stephen Cleobury.
In 2015, highlights for the Chorus included a joint venture in June 2015 with members of The Bach Choir in King’s Chapel for a performance of Verdi’s Requiem under the direction of David Hill and a live broadcast of Berlioz Te Deum on Radio 3 in King’s Chapel with Stephen Cleobury. The Chorus is looking forward to performing in two venues in Rome in April under the direction of Mark Austin and a performance of Elgar’s The Dream of Gerontius in June in Saffron Hall to mark Stephen Cleobury’s retirement from CUMS.
More information including details of all officers of CUMS, can be found at www.cums.org.uk
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CUMS is grateful for the support of:
CAMBRIDGE UNIVERSITY MUSICAL SOCIETY CHORUS
Supporters
Info on the Supporters’ Circle and how to become a member can be found at www.cums.org.uk
Louis Spohr THE LAST JUDGEMENT
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Principal SponsorTTP Group
SponsorsBloom DesignChurchill CollegeClare HallCUMS FundCUMS Supporters’ CircleDarwin CollegeDonald Wort FundEmmanuel CollegeGonville & Caius College Homerton CollegeJesus CollegeKing’s CollegeLucy Cavendish CollegeMurray Edwards CollegeNewnham CollegeSt Catharine’s CollegeSelwyn CollegeUniversity of Cambridge Faculty of MusicUniversity of Cambridge Societies SyndicateWest Road Concert HallWolfson College
Supporters’ Circle as of 21 January 2016:
The Britten Circle £10,000+Adrian & Jane Frostand one anonymous donor
The Vaughan Williams Circle £2,500+Monica Chambers The Stanford Circle £1,000+Sir Keith Stuart
Principal Benefactors £500+Simon FaircloughJustin LeeThe New Europe Societyand two anonymous donors Benefactors £250+Stuart FfoulkesStuart & Sibella LaingDavid MundayHowarth PennyNeil Petersenand two anonymous donors Honorary Life MemberMaggie Heywood
Donors £100+Dr Anne E AllanRichard AndrewesAngela & Rod Ashby-Johnson John & Elizabeth BallJohn Barber Frank & Genevieve BenfieldChris CoffinRobert CulshawMartin DarlingProfessor Helen DentAlan FindlayC J B FordCaroline GoulderAndrew & Rachel GraceMichael GwinnellDonald & Rachel HearnPhilip & Lesley Helliar Mr Jonathan Hellyer JonesRuth & Mike HolmesLady Jennings Jennie KingTom KohlerChristopher Lawrence Debbie Lowther & John Short John MacInnesSue MarshAndrew MorrisPaul Nicholson Val NortonMrs Gillian Perkins Adrian & Liane PowellEdward Powell
Kathryn PuffettDr Ian Randle & Dr Sharon Gibbs Judith RattenburyRuth RattenburyHugh Salimbeni Catherine SharpDr M. L. SharpPeter ShawdonRobert & Christine SkeenAndrew SoundyMrs A. SutherellVeronica & Alex SutherlandGrahame & Cilla SwanDr Patricia TateSir John Meurig ThomasJo StansfieldMary Stapleton Jo WhiteheadRuth WilliamsMark & Laurie Woolfendenand 21 anonymous donors CUMS Chorus is grateful for two particular sources of income in 2015 which are helping to fund this concert:
Roger Williamson A loyal Chorus member who died in December 2015
An Auction of Promises Organised by chorus members in March 2015
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