Saturday 7 July 2018 at 7.30pm

Conductor: Colin Stevens

Chiltern Orchestral SocietyLeader: Janet Hicks

Magnificat

Gloria

Mass in C

Soloists

Soprano: Alice CribbinContralto: Ciara Hendrick

Tenor: Thomas KellyBass: Ben McKee

ALICE GRIBBIN (SOPRANO); SinceSeptember 2017 Alice Gribbin has been amember of the BBC Singers, with whomshe performs a hugely varied programmeof music ranging from Birtwistle and Mvulato Brummel and Bach. Solos with the BBCSingers have included Handel under thebaton of Sofi Jeannin, Bach with PeterDijkstra and John Tavener with PeterPhillips.

Other duties have included radiointerviews, education projects and even anappearance on the BBC Breakfast sofa!Elsewhere, Alice has performed as asoloist for Goldsmiths Choral Union onnumerous occasions, performing in theQueen Elizabeth Hall, St John's, SmithSquare and Cadogan Hall, as well as forchoral societies and choirs through GreatBritain, Germany and with the Paulist BoyChoristers of California.

Alice grew up in Hertfordshire and studiedsinging and piano at the Junior RoyalAcademy of Music before going on to readmusic at The Queen's College, Oxford,where she was a choral scholar.

She has been performing choral music atthe highest level for 18 years, and hasappeared with most of Britain's leadingensembles, including The MonteverdiChoir, The Tallis Scholars, The Sixteen,

The Orchestra of the Age ofEnlightenment, Tenebrae, I Fagiolini, TheAcademy of Ancient Music, The GabrieliConsort, Britten Sinfonia, London Voices,La Nuova Musica and Ex Cathedra.

Alice lives in Butlers Cross near Wendoverwith her husband and two children, and isthrilled to be performing so close to home!

CIARA HENDRICK (CONTRALTO); Oneof the Rising Stars for the Orchestra of theAge of Enlightenment in 2018/19, Ciara’srecent engagements include Ino inHandel’s Semele with the Orchestra of theAge of Enlightenment and Christophe

Rousset at the Royal Festival Hall,Fortuna/Valetto, The Coronation ofPoppea, Opera North; Rosmilda, Elpidia(Handel), Halle Handel Festival;Messaggiera, Orfeo (Monteverdi) IFagiolini; St John Passion, Britten Sinfonia,

Barbican; and Daniel, Susanna (Handel)with Laurence Cummings for the GöttingenHandel Festival.

Recording credits include Bach’sChristmas Oratorio with the DunedinConsort, the role of Venus in thegramophone award winning world premierrecording of Pepusch’s opera, Venus andAdonis, Daniel in Handel’s Susanna withLaurence Cummings and the GöttingenHandel Festival Orchestra, Juno in DanielPurcell’s The Judgement of Paris withSpiritato and the title track of Oscarnominated film Incendies with the LSO.

Engagements during the 2018/19 seasoninclude Palmira in Handel’s Ormisda, HalleHandel Festival, Haydn’s Nelson Mass andBach’s St Matthew Passion with John Buttwith the Orchestra of the Age ofEnlightenment, reprising the role of Venus

in Pepusch’s Venus and Adonis in Malta, arecording of cantatas by Pepusch and aseries of collaboration with the renownedviolinist Rachel Podger featuring works byBach, Caccini and Jacquet de la Guerre.

TOM KELLY (TENOR) began singing asa chorister in St. Paul’s Cathedral Choir atthe age of seven and hasn’t stopped yet!After reading Music at ManchesterUniversity and a lay clerkship underEdward Higginbottom at New CollegeOxford, Tom chose to pursue an ensemble

singing career. He is a member of StileAntico and the Fieri Consort and singsfrequently with other choirs and consortsincluding the BBC Singers, GabrieliConsort, Monteverdi Choir, The TallisScholars, Marian Consort, The Sixteen,Tenebrae, Polyphony, The DunedinConsort and Collegium Vocale Gent.

Tom studies with Raymond Connell andwill begin studying for a Master of ArtsDegree in Vocal Performance at the RoyalAcademy of Music this September. Heenjoys performing everything from theEvangelist of Bach’s Passions and otherlarge oratorio works such as Elijah andThe Creation around the UK, to lieder andmusical theatre in sub-Saharan Africa. Hehas performed a range of opera withensembles such as The English Concertand The Early Opera Company, fromPurcell’s Dido and Aeneas andCharpentier’s Actéon to groundbreakingstaged performances of Handel’s Messiah

at the Bristol Old Vic. A stand-out highlighthas been a chamber opera ofMonteverdi’s music for Spitalfields Music,staged for 0-2 year olds in a speciallycommissioned opera, toured around east

London. Tom enjoys bouldering, writingmusic and playing for amateur footballteam Weavers Fields Wanderers in hisspare time

BEN MCKEE (BASS); Ben began hiscareer as a chorister at King’s College,

Cambridge, was a music scholar at TheKing’s School, Canterbury and then studiedmusic at the University of Manchester. Benlives in London, developing a reputation asboth a bass-baritone and a talentedprofessional photographer. As a singer, heappears regularly in concert with FieriConsort and Siglo de Oro, in addition toregular work with many other establishedchoirs such as Stile Antico, The BBCSingers, The Gabrieli Consort andTenebrae. Ben is active on the continent aswell, singing frequently with groups such asTheatre of Voices, Ars Nova Copenhagen,Chamber Choir Ireland, and Coro Casa daMusica in Porto. As a soloist, Ben performsfrequently in oratorio in London and furtherafield, most recently appearing as a soloistfor Theatre of Voices at the Gaida Festivalin Vilnius.

Pergolesi’s real, or birth, name was Draghi,but he was commonly given the nickname"Pergolesi", indicating, in Italian, a residentof Pergola, the birthplace of his ancestors.He studied music in Jesi under a localmusician, Francesco Santini, before goingto Naples in 1725, where he studiedunder Gaetano Greco and FrancescoFeo among others. On leaving theconservatory in 1731, he won somerenown by performing the oratorio in twoparts La fenice sul rogo, o vero La morte diSan Giuseppe, and the dramma sacro inthree acts, Li prodigi della divina grazianella conversione e morte di san Guglielmoduca d’Aquitania.

Pergolesi was one of the most importantearly composers of opera buffa . His operaseria, Il prigionier superbo, contained thetwo-act buffa intermezzo, La servapadrona, which became a very popularwork in its own right. When it wasperformed in Paris in 1752, it prompted theso-called Querelle des Bouffons ("quarrelof the comic actors") between supportersof serious French opera by the likesof Jean-Baptiste Lully and Jean-PhilippeRameau and supporters of new Italiancomic opera. Pergolesi was held up as amodel of the Italian style during thisquarrel, which divided Paris's musicalcommunity for two years.

Among Pergolesi's other operatic worksare his first opera La Salustia, Lo frate'nnamorato, L'Olimpiade and Il Flaminio.All his operas were premiered in Naples,apart from L'Olimpiade, which was firstgiven in Rome.

Pergolesi also wrote sacred music,including a Mass in F, and three SalveRegina settings.

It is his Stabat Mater, however, which is his

best-known sacred work. It wascommissioned by the Confraternita deiCavalieri di San Luigi di Palazzo, whichpresented an annual Good Friday

meditation in honour of the Virgin Mary.Pergolesi's work replaced one composedby Alessandro Scarlatti only nine yearsbefore, but which was already perceived as"old-fashioned," so rapidly had publictastes changed. The Lenten Hymnby the priest Edmund Vaughan is mostcommonly set to a tune adapted byPergolesi. He also wrote a number ofsecular instrumental works, includingworks for solo violin. A considerablenumber of instrumental and sacred worksonce attributed to Pergolesi have sincebeen shown to be misattributed. Forinstance, much of Stravinsky's balletPulcinella, which ostensibly reworks piecesby Pergolesi, is actually based on works byother composers, especially DomenicoGallo.

1. Magnificat (Chorus)Magnificat anima mea Dominum,et exultavit spiritus meus in Deo salutarimeo.Quia respexit humilitatem ancilaeMagnificat anima mea Dominum,Ecce enim ex hoc beatam me dicentomnes generationes.Magnificat anima mea Dominum,Et sanctum nomen ejus

My soul doth magnify the Lord AlmightyMy spirit also doth glorify my SaviourFor He regarded the lowliness of Hishandmaiden.My soul doth magnify the Lord AlmightyFor behold from this day forth allgenerationsShall call Me blessed.

2. Et Misericordia (Solos and Chorus)Et misericordia ejus a progenie timentibuseumFecit potentiam in brachio suoDispersit superbos mente cordis sui.

And his mercy is upon them that fear Him .The Lord hath showed the strength of Hisarm alone.He scattered the proud ones of desire’sown making.

3. Deposuit Potentes (Chorus)Deposuit potentes de sedet et exaltavithumiles.

Esurientes implevit bonis et divites dimisitinanes.

He hath put down the mighty from their seatAnd He exalted humble folkThe hungry He hath filled with good thingsHe sent away the rich ones unfilled.

4. Suscepit Israel (Tenor and Bass duet)Suscepit Israel, suscepit puerum suum,recordatus, misericordiae uae.

He hath heped Israel, hath heped Hisservant beloved, in remembrance of Hismercy.

5. Sicut Locutus Est (Chorus)Sicut locutus est ad patres nostrosAbraham et semini ejus in secula.Gloria a Patri et Filio et Spiritui Sancto.

As it was promised to our forefathersAbraham and his seed, the childrenAbrahamTo his seed forevermore.Glory be to the Father and His son and theHoly Spirit.

6. Sicut Erat in Principio (Chorus)Sicut erat in principio, et nunc, et semperEt in secula seculorum Amen.

As it was in the beginning it is now andever shall beWorld without end. Amen

“If I were not a physicist, I would probably be a musician. I often thinkin music. I live my daydreams in music. I see my life in terms ofmusic.”― Albert Einstein

ANTONIO LUCIO VIVALDI was born on 4March 1678, in Venice. His father,Giovanni Battista Vivaldi, who was aprofessional violinist, delighted in teachinghis young son to play and, through hisfather, Antonio met and learned from someof the finest musicians and composers inVenice at the time. While his violin practiceflourished, a chronic shortness of breathbarred him from mastering windinstruments.

Vivaldi sought religious training as well asmusical instruction and, at the age of 15,began studying to become a priest; he wasordained in 1703. Due to his ginger hair,Vivaldi was known locally as "il PreteRosso," or "the Red Priest." Vivaldi'scareer in the clergy was short-lived ashealth problems prevented him fromdelivering mass and drove him to abandonthe priesthood shortly after his ordination.

At the age of twenty-five, he was namedmaster of violin at the Ospedale della Pietà(Devout Hospital of Mercy) in Venice andcomposed most of his major works in thisposition over three decades. The Ospedalewas an institution where orphans receivedinstruction -- the boys in trades and thegirls in music. The most talented musiciansjoined an orchestra that played Vivaldi'scompositions, including religious choralmusic. Under Vivaldi's leadership, theorchestra gained international attentionand in 1716, he was promoted to musicdirector.

In addition to his choral music andconcertos, Vivaldi had begun, in 1715,regularly writing opera scores ; about fiftyof these scores remain. His two mostsuccessful operatic works, La ConstanzaTrionfante and Farnace, were performed inseveral revivals during Vivaldi's lifetime.

In addition to his regular employment,Vivaldi accepted a number of short-termpositions, funded by patrons, in Mantuaand Rome. It was during his term inMantua, from around 1717 to 1721, that hewrote his four-part masterpiece, The FourSeasons. He paired the pieces with foursonnets, which he may have writtenhimself.

Vivaldi's fans and patrons includedmembers of European royal families andone of his cantatas, Gloria e Imeneo, waswritten specifically for the wedding of KingLouis XV. He was also a favourite ofEmperor Charles VI, who honoured Vivaldipublicly by naming him a knight.

Vivaldi's renown as a composer andmusician in early life did not translate intolasting financial success and, eclipsed by

younger composers and more modernstyles, Vivaldi left Venice for Vienna,possibly hoping to find a position in theimperial court located there. He foundhimself without a prominent patronfollowing the death of Charles VI, however,and died in poverty in Vienna on 28 July1741. He was buried in a simple grave aftera funeral service that proceeded withoutmusic!

Musicians and scholars revived Vivaldi'smusic in the early twentieth century, duringwhich time many of the composer'sunknown works were recovered from

obscurity. Alfredo Casella, a composer andpianist, organized the Vivaldi Week revivalin 1939. The music of Vivaldi has beenperformed widely since World War II andhis composition Gloria, which you will beenjoying this evening, re-introduced to thepublic at Casella's Vivaldi Week, isparticularly famous and is performedregularly at Christmas celebrationsworldwide.

Vivaldi's work (including nearly fivehundred concertos!) has influencedsubsequent composers, including the greatJ S Bach.

1. Gloria (Chorus)Gloria in excelsis Deo.

Glory, be to God in the highest.

2. Et In Terra Pax Hominibus (Chorus)Et in terra pax hominibus, bonae voluntatis

Peace on earth, good will to all men.

3 Laudamus Te (Sopranos 1 and 2 Duet)Laudamus te, benedicimus te ,adoramuste, glorificamus te.

We praise Thee, Lord, we adore TheeLord,We glorify Thee..

4. Gratias Agimus Tibi (Chorus)Gratias agimus tibi.

Lord we adore Thee, we bless Thee.

5. Propter Magnam Gloriam (Chorus)Propter magnam gloriam,

We praise Thy glory for ever.

6. Domine Deus (Soprano solo)Domine Deus. Rex coelestis, Deus pateromnipotens.

Lord God, Thou almighty king, God ourFather omnipotent.

7. Domine Fili Unigenite (Chorus)Domine Fili unigenite , Jesu Christe.

Lord, your only begotten Son, Jesus Christ.8. Domine Deus, Agnus Dei (Contraltoand chorus).Domine Deus, agnus Dei, Filius Patris, quitollis peccata mundi.Miserere nobis.

Lord God almighty, Lamb of God, Son ofthe Father Who forgives the sins of theworld, have mercy upon us.

9. Qui Tollis Peccata Mundi (Chorus)Qui tollis peccata mundi, suscipe,deprecationem nostrum.

Who forgives the sins of the world, havemercy on us, hear our supplication.

10. Qui Sedes Ad Dexteram (ContraltoSolo)Qui sedes ad dexteram Patris, misererenobis.

Who sits at the right hand of God, havemercy on us.

11. Quoniam Tu Solus Sanctus (Chorus)Quoniam tu solus sanctus. Tu solusDominus. Tu solus altissimus, Jesu Christe.

Thou alone, O Lord art Holy. Thou alone,O Lord in the highest. Jesus Christ.

12. Cum Sancto Spiritu (Chorus)Cum Sancto Spiritu in Gloria Dei Patris,Amen

With the Holy Spirit in the Glory of God theFather. Amen.

~ Interval ~

MICHAEL HAYDN was born in 1737 in theAustrian village of Rohrau near theHungarian border. His father was MatthiasHaydn, a wheelwright who also served as"Marktrichter," an office akin to villagemayor. Haydn's mother, the former MariaKoller, had previously worked as a cook inthe palace of Count Harrach, the presidingaristocrat of Rohrau. Interestingly, neitherparent could read music. However,Matthias was an enthusiastic folk musicianwho, during the journeyman period of hiscareer, had taught himself to play the harp.Michael's early professional career pathwas paved by his older brother Joseph,

whose skilful singing had landed him aposition as a boy soprano in St Stephen'sCathedral in Vienna, under the direction ofCarl Georg Reutter. The early nineteenth-century author Albert Christoph Dies,reporting from Joseph's late-lifereminiscences, says the following:

Reutter was so captivated by Joseph'stalents that he declared to the father thateven if he had twelve sons, he would takecare of them all. The father saw himselffreed of a great burden by this offer,

consented to it, and some five years afterdedicated Joseph's brother Michael (andstill later Johann) to music. Both weretaken on as choirboys, and, to Joseph'sunending joy, both brothers were turnedover to him to be trained.

The same source indicates that Michaelwas a brighter student than Joseph, andthat (particularly when Joseph had grownenough to have trouble keeping hissoprano voice), it was Michael's singingthat was the more admired.

Like his brother, Michael was a chorister atSt Stephen's in Vienna. Shortly after he leftthe choir-school, Michael was appointedKapellmeister at Grosswardein and later,in 1762, at Salzburg. The latter office heheld for forty-three years, during whichtime he wrote over 360 compositions forthe church and much instrumental music.He was acquainted with Mozart, who hada high opinion of his work, and was theteacher of both Weber and Diabelli.

He remained close to Joseph all of his life,and was highly regarded by his brother,who felt that Michael's religious workswere superior to his own.

It took two weeks for Michael Haydn tocompose the Requiem in C minor inDecember 1771, on the occasion of thedeath of his employer, Prince-ArchbishopSigismund Graf Schrattenbach, who wasbeloved among the people and was a greatpatron of the arts. The work was writtenunder the shadow of a personal tragedy:his only child, Aloisia Josepha, had died inJanuary 1771, before her first birthday.

Michael Haydn died in Salzburg at the ageof 68.

1. Requiem aeternam. (Solos andchorus) Requiem aeternam dona eis Domine, etlux perpetua luceat eis.Te decet hymnus, Deus in Sion, et tibiredetur votum in Jerusalem.Ex audi orationem meam, ad te omnis caroveniet.Kyrie eleison, Christe eleison.

Rest and eternal peace give them, LordOur God, and light for evermore shinedown upon them. O God, a hymn becomesThee in Sion, and vows shall be renderedto Thee in Jerusalem. Hear this mysupplication, for all flesh shall come toThee. rest and peace eternal grant them,Lord Our God and light for evermore shinedown upon. Lord have mercy Christ havemercy.

2. Dies irae (Solos and chorus)Dies irae, dies illa. Solvet seacum in favilla.Teste David cum Sibylla.Quantas tremor est futurus, quando judexest venturus.Cuncta stricte discussurus.

Day of anger, day of terror, all shallcrumble into ashes.This was David’s revelation, What atrembling shall possess them.When the judge shall come to judgement,searching all the souls before him.

Tuba mirum spargens sonum, per supulcraregionem,Coget omnes ante thronum. Mors stupebitet natura,Cum resurget creatura, judicantiresponsura.

Trumpets ring a wonderous sound, ringingthrough earth’s sepulchres,bringing all before the throne.Death is struck down, nature quakes, andall creation awakes to make answer.

Liber scriptus proferetur. In quo totumcontineturUnde mundus judicetur. Judex ergo cumsedebit,Quidquid latet apparebit. Nil iniltumremanebit.

Open lies the book before them, where allrecords have been written.When creation comes to trial, then thejudge shall sit in judgement.What was hidden is uncovered, naughtforgotten, naught unpunished.

Quid sum miser tunc dicturus?Quem patronum rogaturus?Cum vix Justus sit securus

What shall I plead in my anguish?Who will help me, give me counsel.When the just are not acquitted?

Rex tremendae majestatis,Qui salvandos salvas gratissalva fons pietatis .

King omnipotent and mighty, King ofdreadful power and gloryThou dost save the true repentant, saveThou me, O fount of mercy.

Recordare Jesu pie. Quod sum causa tuaeviae.Ne me perdas illa die. Quaerens me,sedisti lassus.Redemisti crucem passus tantus labor nonsit cassus.

Juste judex ultionis. Donum fac remissionisante diem rationis.

Ah, remember, gentle Jesus ‘twas for mysake Thou didst suffer.On that day, do not forsake me, seekingme Thou wast afflicted.To redeem me by Thy passion, let suchlabour not be useless.Just and upright judge Almighty, grant megrace for my atonement.Ere the day I stand before Thee..

Ingemisco tamquam reus, culpa rubetvultus meus.Supplicanti parce Deus. Qui Mariamabsolvistiet latronem exaudisti. Mihi quoque spemdedisti.Preces meae non sunt dignae. Sed tubonus fac benigne.Ne perenni cremer igne. Inter oves locumpraesta.Et ab haedis me sequestra, statuens inparte dextra.

I lament for I am guilty, and I blush for mywrongdoing.I implore Thee, Saviour, spare me, Thouhast dried the tears of Mary.And the robber won Thy pity, so shall I, too,hope for pardon.My petitions are unworthy, yet have mercy,do not send meTo the fires flaming for ever.Set me there upon Thy right hand Thysheepfold let me enter, do not herd me withthe guilty. Set me there upon Thy righthand.

Confutatis maledictis flammis acribusaddictis.Voca me cum benedictis. Oro supplex etacclinis, cor contritum quasi cinis. Gerecuram mei finis.

When the cursed are all banished, doomedto that devouring furnace.Summon me among the blessed, on myknees I fall before Thee.

Sorrow turns my heart to ashes, grant megrace at my departing.

Lacrimosa dies illa qua resurget ex favilla .judicandus homo reus huic ergo parceDeus.Pie Jesu. Jesu DomineDona eis requiem. Amen.

Day of bitter lamentation, when man risesup from ashesDoomed to judgement, lost and guilty,Then, Lord, pity this Thy servantBlessed Jesus, Christ our Lord, Saviourgrant them rest and peace.

3. Offertorium (Solos and chorus)Domine Jesu ChristeRex gloriae libera animas omnium fideliumdefunctorum,De poenis inferni et de profundo lacu.Libera eas de ore lionis,Ne absorbeat eas tartarus, ne candant inobscurum.Sed signifer sanctus Michael repraesenteteas in lucem sanctam.Quam olim Abrahae promisisti et seminiejus .

King of glory, free the souls of all thefaithful departed from hell and its tormentsand from the soundless chasm.Deliver them from the mouth of the lion,that they may not be swallowed up by helland perish in its darkness, but may Michaelraise his holy sign and lead them onwardinto Thy clear light of heaven, which Thoudidst promise of old to Abraham and hisseed to the last generation.

4.Hostias et Preces (Solos and Chorus)Hostias et preces tibi, Domine, laudisofferimus. Tu suscipe pro animabus illis,quarum hodie memoriam facimus, fac eas,Domine, de morte transire ad vitam.Quam olim Abrahae promisisti et seminiejus .

Sacrifice and prayers, O Lord, we offerThee.

Hear our prayers, O Lord, mingled withsongs of praise.Do Thou receive them for those soulsdeparted, whom this day herecommemorate.Grant them, O Lord to pass from death intolife everlasting, which Thou didst promiseof old to Abraham and his seed to the lastgeneration.

5. Sanctus (Chorus)Sanctus Dominus, Deus Sabaoth,pleni sunt coeli et terra Gloria tua.Hosanna in excelsis.

Holy, holy, holy, Lord God of Sabaothheaven and earth are full of echoes of Thyglory.Hosanna in the highest.

6. Benedictus (Solos and Chorus)Benedictus qui venit in nomine Domini.Hosanna in excelsis.

Blessed is he that cometh in the name ofthe Lord of Lords.Earth and heaven are full of echoes of ThygloryHosanna in the highest.

7. Agnus Dei et Communio (Solos andChorus)Agnus Dei, qui tolis peccata mundiDona eis requiem, sempiternam.Lux aeternam luceat eis.

Lamb of God who takest away the sins ofthe worldHave mercy upon us. Grant Thy servantsrest for evermore. May light perpetualshine upon them.

8. Cum Sanctis Tuis (Chorus)Cum sanctis tuis in aeternum quia pius es.

In the company of Thy saints forever, Thouart merciful.

9. Requiem Aeternam (Solos andChorus)Requiem aeternam, dona eis Domine.Et lux perpetua, luceat eis.Cum sanctis tuis in aeternum quia pius es.

Lord give us eternal peace. Light forevershine down upon themWith all Thy saints in all ages, Thou art justand good.

DID YOU KNOW?

Franz Joseph Haydn was affectionately called “Papa” Haydn bymany people and for many reasons. The title originated from hiscare for his often mischievous orchestra musicians whofrequently needed saving from trouble while in the court ofPrince Esterhazy. Mozart continued the habit and affectionatelyreferred to him as “Papa” Haydn.

Another important layer to the “Papa” Haydn nickname comesfrom his reputation as the “Father of the Symphony” and the“Father of the String Quartet”. Haydn was not the inventor of thesymphony or quartet but rather respected for perfecting them.

Our next concert

More great musicfor you to enjoy!

15 DECEMBER 2018

6 APRIL 2019

Did you know?

Vivaldi's crop of curly redhair, inherited from his

father, prompted friends tonickname the composer 'il

Prete Rosso' - the RedPriest. His father was just

nicknamed 'Rossi' -redhead. Don't be fooledby the white hair in thepicture earlier in this

programme - the composerwas wearing a wig!

SOPRANOSCelestria BellGillie BlighJane BrownCorinna ChuteHilary ColbertMargaret CollierSally DussekElaine FlorsheimMary HaywoodKate HeathZoe HillKatie HughesSue JonesChristine KeenLucy KibbleCharlotte MackinderHarriet MackinderBrigid MathersHeather NashEileen PattersonBarbara PearceAlex RollandPam RushRosemary SouthworthHelen StokesElizabeth ThompsonJenny WatkinsJenny Watt

ALTOSKaren BaldwinRachel BaldwinChristine BassJanet BriantBeth BrimmicombeNicky BullJean BygateKathy ChantlerSue CollinsKate DaviesKatherine DouglasMargaret FlaniganVivien GabrielJane GloverJanet GravesNell GregoryJenny HoareLorna LangJane LeggRhian NichollsElizabeth NorrisMarilyn PryorHarriette PurchasChris SiversAnne WalesHeather WignallKate Winterbottom

TENORSJenny Brannock JonesCliff BrownRichard BrownJohn DeanePhilip Hayes*Andy RobertsonChris Smith*David WildeDavid WilliamsonKate WittwerMax Wittwer(*Guest singers)

BASSESRobert AllnuttMike BernsteinDavid ChaseyDave ClarkeAdrian CollinBob DaviesPaul DoughtyPeter GravesRichard GryllsTony MackinderDavid MorganRichard OnslowJohn Wignall

Violins; Frances Bigg,Akiko Coulter, DarrellDunning, Fiona Jacob,David Glenister, Ed Hewitt,Keiko Iwatsu-Thiele, DavidMoore, Roger Neighbour,Lesley Pearce, Chris Shelley

Violas; Ceri Fagg, KatieHayes, Steffi Cook, JohnSaunders

Cellos; Hilary Drinkall, MaryHarris

Bass; Sudhir Singh

Oboe; Victoria Parkins

Bassoon; CarolineCartwright

Trumpets; David Clewlow,Charlie Buchanan, Ian Lynch

Continuo; Anna Le Hair

Tympani; Richard Baron-Tait

Leader; Janet Hicks

ACKNOWLEDGEMENTSTring Choral Society thanks Beechwood Fine Foods,

Tring, for support as our ticket agents.

The piano accompanist for Tring Choral Society rehearsals is Anna Le Hair.

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

We are indebted to the leaders, partners and Explorer Scouts from Aston Clintonwho build and dismantle the staging for our concerts

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

Mr G E BullMr J BurchellMrs J CadgeMrs A CaloiaMs A CaloiaMr R FlaniganMr and Mrs R FranklinMrs S K FranklinMr and Mrs J HawkesMr M HerbautMr C W HoareMr D Long

Mrs E MarchantMr and Mrs I MartinMrs M F MerlierMr R O’ReillyMr C B J PearceMr I SlatcherMr and Mrs J StackMr J StanhopeMrs J StevensMr W StringerMr and Mrs E TapsonDr and Mrs D Thallon

Mr and Mrs W ThomasDr and Mrs K ToddMr & Mrs J K WatsonMr and Mrs M WatsonMr A Winterbottom

Life MembersMr and Mrs D BanyardMr R GryllsMr J RenalsMrs R Southworth

Why not become a Patron of Tring Choral Society?

For a minimum donation of £25, you too could become a Patron of Tring Choral Society,this annual donation entitling you to two free tickets (in any one season). You will alsoreceive an annual newsletter giving concert details in advance, and an invitation to join oursocial events.

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

Telephone; 01442 872727

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

a cheque for £.......................

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If you like what you hear (and see) tonight, andwould like to be involved - or simply would liketo learn more about Tring Choral Society, itshistory and present situation, we have a web

site that will provide a mine of information.

Our web site contains details of future concerts,rehearsal dates and many other details that are

sure to interest friends of our choir.You can visit us at

www.tringchoral.org.uk

And, of course, new members are alwayswelcome -

please ring the Membership Secretary,Margaret Collier, on 01296 660406