haydn the creation - maynooth university...10 – haydn in 1790 joseph haydn, at 58 years of age,...
TRANSCRIPT
Haydn
THE CREATION
The Creation – 3
Sunday 8th March 2020 College Chapel
A performance given by
the Maynooth University Choral Society
with The Irish Choral Sinfonia.
Soloists: Claudia Boyle (Soprano
Andrew Gavin (Tenor)
Simon Morgan (Bass)
Director: Dr John O’Keeffe
The Department of Music
presents
Haydn
THE CREATION
4 – Haydn
Charles Russell (president 1857-80)
was anxious to bring it into existence
and early in his presidency he
campaigned for its construction. J.J.
McCarthy was awarded the design of
the chapel and the foundation stone
was laid in 1875. McCarthy was a
great admirer of Pugin and shared
Pugin’s commitment to the Gothic
styles of the fourteenth and fifteenth
centuries. McCarthy finished the
work on Pugin’s Killarney cathedral
and also worked on the cathedrals at
Monaghan and Thurles. Interestingly,
Monaghan cathedral remained
incomplete at his death and the task
went to William Hague, who was the
architect employed by Maynooth and
the then president, Robert Browne
(1885-1894) to undertake the interior
decoration of the college chapel.
It is this interior Hague decoration as
well as the spacious McCarthy design
that helps make this the architectural
jewel we see today. This is greatly
assisted by the considerable work of
restoration and lighting design which
was undertaken prior to the college’s
bicentennial in 1995. McCarthy also
designed the Senior Infirmary (1861-
1862) now the Columba Centre.
Hague was responsible for the Aula
Maxima. Both buildings are very
Maynooth College Chapel: An Anniversary Appreciation
With the building of the Pugin-designed St.
Patrick’s and St. Mary’s (including the wing which
houses Pugin Hall, the Russell Library and St.
Mary’s Oratory), the college was left without a
chapel which could house the entire seminary
community.
The Creation – 5
close to the north side of the chapel,
to left and right of the path to the
North Campus.
One major and one minor
iconographic theme can be found
in the chapel. The primary theme
is Laus Deo, the praise of God. On
the chapel’s mosaic floor (Burke of
London) is the inscription, Laudate
pueri Dominum/Psallite Deo/Psallite
quoniam rex omnis terrae Deus/
Psallite sapienter (Young men praise
the Lord, Sing praise to God, Praise
Him For God is King of all the earth,
Praise him wisely). The theme of
praise is continued in the decorative
flora and fauna, which hearkens
to the Canticle of Daniel and the
praise of God by all creation. The
flora can be seen on the finials (the
decorative ends of the stalls), on the
front of the stalls and around the
coats of arms on the panels above the
stalls. The fauna can be seen on the
Strings – the line of carving above
the Stations of the Cross. A wide
variety of animals, birds and reptiles
can be found, including a monkey,
and ostrich and an Irish Setter. The
theme of praise continues onto the
ceiling. The heavenly procession of
saints and angels are enclosed in a
circle of script, which contain the
words of the three great canticles,
which would have been sung in
the stalls below by the seminarians
– Magnificat (the hymn of Mary),
Benedictus (the song of Zechariah)
and the great hymn of praise, Te
Deum. The angels carry instruments
of the Passion and the Irish saints
representing the missionary, monastic
and pastoral traditions, among whom
can be found St. Killian, Sr. Ciaran
and Pope Celestine who sent St.
Patrick to Ireland. Like the Stations
of the Cross, these panels were
painted on to canvas and then stuck
to the walls and ceiling. The gilding
was subsequently done by another
artist, Robert Mannix, about which
the academic council complained,
thinking it too excessive.
The minor theme, if it could be called
that is the iconography linked to the
preparation and education of students
for the priesthood. The angels at the
Corbels (the stone which sticks out
from the wall between the Strings
and which supports the ceiling) carry
objects associated with the minor
and major orders of the pre-Vatican
II progression to priesthood and
beyond – keys for Porter; candle
for Acolyte; dalmatic for Deacon;
mitre for Bishop. Some of the saints
that populate the ends of the stalls
above the finials are linked with the
6 – Haydn
education of seminarians – St. Charles
Borromeo, St. Augustine, St. John
Chrysostom.
The stalls are made from American
Oak, and I have it on good authority
that it is a very difficult wood to
carve, which makes the artistry of the
carvers all the more splendid. The
firm of Connolly of Dominick Street
were employed to complete this work
after a design by Hague, which is in
the college’s Russell Library. The stalls
are divided into blocks and there
are a total of 454 individual seats,
making it the largest choir stall chapel
in the world. The stalls face each
other for the public recitation of the
Divine Office. Psalms that are prayed
during the day – morning, evening
and night prayer – are sung verse by
verse back and forth.
Above the stalls are the panels
containing the fourteen stations of
the Cross, St. Peter and St. Paul over
the pulpit, and the four messianic
prophets, Daniel, Isaiah, Jeremiah
and Ezekiel. These are the work of
Nathaniel Westlake (1833–1921)
and are reminiscent of the work of
the English pre-Raphaelite painters.
Westlake was also responsible for the
ceiling decoration, which is similar to
the work he undertook in St. Joseph’s
Catholic Church in Highgate.
The windows depict the life of Christ,
although a number of different
themes were suggested. Hague or
the college authorities must have
established this as the theme because
the windows were commissioned
and made as and when donors
were found. Three stained glass
companies were involved – Mayer
of Munich, Lavers and Westlake
of London and Cox Buckley of
London. Each window depicts an
event in the life of Christ, beginning
with the Immaculate Conception on
the right as one faces the sanctuary.
Each window has a pediment and
canopy (which is the indicator as to
which windows were designed at the
same time and by whom) and above
the canopy is a small roundel or
sexfoil with a story from the Hebrew
scriptures related to the story from
the life of Christ: Jesus with the
teachers in the Temple linked with
Daniel interpreting the Dreams of
Nebuchadnezzar; the Baptism in the
Jordan and Noah’s Ark; Jesus and
the widow of Nain coupled with
Elijah and the widow of Zarephath.
Each of the donors are named on
the window, including James and
The Creation – 7
Elizabeth Nelson, Cooldrinagh,
Leixlip who are buried in Glasnevin
close to the O’Connell monument.
In the apse the windows depict
the final events in the life of
Jesus, coupled with the depiction
of Pentecost. In the sexfoils are
images of the sacraments. The
central window is a portrayal of
the command of Jesus to “go out to
the whole world….” and above the
Trinity is show in a manner similar to
that of Albrecht Dürer’s work.
Above these windows, the apostles,
the prophets and the patriarchs and
below, depictions of the six principal
patrons of Ireland – St. Laurence
O’Toole protecting the people of
Dublin from the Normans; St. Brigid
and her companions in prayer; St.
Malachy greeting St. Bernard of
Clairvaux; St. Patrick preaching to
the king; St. Columbanus building at
Bobbio; and St. Colmcille heading to
Iona.
8 – Haydn
On behalf of the Music Department it is my great
pleasure to welcome you to this afternoon’s
performance of Haydn’s The Creation, which is
also part of the celebrations to mark the 225th
anniversary of Maynooth College.
Address of Welcome
Performance constitutes a
fundamental component within the
numerous activities of the Music
Department. Membership to one of
the Departmental Ensembles is part of
the experience that helps our students
to grow up as musicians, forging
friendships and memories that will
remain with them even after their
degree. The Choral Society reaches
out across Maynooth University,
St Patrick’s College and the local
community. We are incredibly proud
of their commitment to the weekly
rehearsals through the academic year.
Making music together is a way to
express our sense of humanity; it is
because of this and because of the
commitment from all parts involved
that we have the possibility to share
all together the joy of listening to
such a beautiful composition.
The concert would not be possible
without the support of several
people and institutions. I thank
the Presidents of both Maynooth
University and St Patrick’s College for
supporting today’s event.
The Creation – 9
I should also like to pay a special
tribute to Dr John O’Keeffe for his
enthusiasm and musicianship in
bringing together the energies of all
performers – the
members of the choir, the orchestra,
and the soloists.
A thank you also to the Music
and the President’s offices for the
organisation of this event.
I hope that you will enjoy listening to
the music of Haydn in the splendid
surrounding of the College Chapel.
Dr Antonio Cascelli
Head of Music Department
10 – Haydn
In 1790 Joseph Haydn, at 58 years of age,
accepted an offer from a London concert
promoter to make two extended visits to
the city between 1791 and 1795.
Programme Note The Creation
In London of the 1790s, oratorio was
the principal form in use by church
composers, and Handel, though dead
for almost forty years, still dominated
the genre through the influence of
his music. Haydn attended a series
of memorial concerts devoted to the
music of Handel in May 1791. He
was shaken by the overwhelming
power of the music and, at one point,
broke down completely, crying,
“He is the master of us all!”. As he
became further acquainted with the
music of Handel, his admiration and
respect deepened and his interest
in oratorio grew until, on his final
return to Vienna in 1795 and fired
by the inspiration of Handel, he was
anxious to try an oratorio of his own.
While in London, Haydn been given
an oratorio text which had been
prepared for Handel but never used
by him; a translation of it was now
produced by one Baron Van Swieten,
along with financial backing. Haydn
set to work towards the end of 1796,
and by April 1798 The Creation was
complete.
The Creation – 11
The text of The Creation is a mixture
of scriptural excerpts, quotations and
adaptations from Milton’s Paradise
Lost and original verse in the style
of Milton. Rejected supposedly by
Handel, translated and rearranged by
Van Swieten and later re-translated by
him into English, this much-abused
libretto became in Haydn’s hands
the vehicle for a magnificent flow
of inspiration and creativity. At 65
years of age, he was at the height of
his creative powers; somewhat later
in life, he was to comment, “Musical
ideas pursue me to the point of
torture, I cannot get rid of them; my
imagination plays upon me as if I
were a keyboard.” The entire work is
pervaded by the sense of an unceasing
flow of invention, a broad current
whose power sweeps the listener
along as Haydn’s vision of the newly-
created earth unfolds in freshness and
vitality.
Parts I and II are concerned with the
actual work of creation. The main
characters are the archangels Raphael
(bass), Uriel (tenor) and Gabriel
(soprano); day by day, they tell the
story of creation through a series of
arias and recitatives.
Each day of creation is then rounded
off by the chorus, who, for their
part, represent the heavenly choirs
of angels praising God and rejoicing
at the beauty of each new created
thing. Part II ends with the creation of
man; by part III the work is complete,
and Adam and Eve – represented by
the soprano and bass soloists – are
the focus of the universal prayer
of worship offered by the whole of
creation to God. Just once, there
comes into the bliss of the happy
couple an omen of darkness, as Uriel
warns that they “strive at more than
granted is”; but this momentary
shadow is swept away in the joy of
the final chorus.
The entire work is a marvellously
sustained flight of the imagination
and of religious feeling. From the
orchestral Representation of Chaos,
in which one glimpses the billowing
of an elemental nothingness,
through the large arias, profuse
in musical ideas and yet perfect in
their architecture, to the sometimes
extreme simplicity of the choruses
with their pure, unaffected joy, The
Creation moves on a dizzy plane of
inspiration.
12 – Haydn
For Haydn himself, the writing of
the work was a profoundly religious
experience and, as he related after
conducting the first performance,
One moment I was cold as ice all over, the next I was on fire; more than onceI was afraid I should have a stroke.
Haydn’s Creation, summing up as it
does the joy simply of being, stands
as the masterwork of an artist whose
own innate cheerfulness was
tempered by unhappy circumstances.
In religious practice, as in all things,
Haydn exercised moderation and
respectability: in The Creation,
however, he allowed the intensity of
his vision to take substance, to remain
so that succeeding generations might
be that much the richer.
Raymond O’Donnell
The Creation – 1313 – Haydn
Joeseph Haydn (1732-1809)
THE CREATION
14 – Haydn
No. 3 Air (Uriel)Now vanish before the holy beams
The gloomy dismal shades of
ancient night
The first of days appears.
Now Chaos ends and order fair
prevails. Affrighted flee hell’s spirits
black in throngs:
Down they sink in the deep of abyss
To endless night.
ChorusDespairing cursing rage attends their
rapid fall.
A new-created world springs up at
God’s command.
The Second Day
No. 4 Recitative (Raphael)And God made the firmament, and
divided the waters which were under the
firmament from the waters which were
above the firmament: and it was so.
Now furious storms tempestuous
rage, Like chaff, by the wind impelled
are the clouds.
By sudden fire the sky is inflamed,
And awful thunders are rolling on
high. Now from the floods in steams
ascend reviving showers of rain,
The dreary, wasteful hail, the light
and flaky snow.
The CreationPart One
The First Day
No. 1 Introduction(Representation of Chaos)
No. 2Recitative (Raphael)In the beginning God created the
heaven and the earth. And the earth was
without form, and void; and darkness
was upon the face of the deep.
ChorusAnd the spirit of God moved upon the
face of the waters. And God said, Let
there be light: and there was light.
And God saw the light, that it was good:
and God divided the light from the
darkness.
The Creation – 15
No. 8 Recitative (Gabriel)And God said, Let the earth bring
forth grass, the herb yielding seed,
and the fruit-tree yielding fruit after
his kind, whose seed is in itself upon
the earth: and it was so.
No. 9 Air (Gabriel)With verdure clad the fields appear
Delightful to the ravished sense; By
flowers sweet and gay Enhanced is
the charming sight.
Here fragrant herbs their odours
shed; Here shoots the healing plant.
With copious fruit the expanded
boughs are hung;
In leafy arches twine the shady
groves; O’er lofty hills majestic forests
wave.
No. 10 Recitative (Uriel)And the heavenly host proclaimed the
third day, praising God, and saying:
No. 11 ChorusAwake the harp, the lyre awake! And
let your joyful song resound. Rejoice
in the Lord, the mighty God; For he
both heaven and earth
Has clothed in stately dress.
No. 5 Solo (Gabriel)The marv’lous work beholds amazed
The glorious hierarchy of heav’n;
And to th’ethereal vaults resound
The praise of God, and of the
second day.
ChorusAnd to th’ethereal vaults resound
The praise of God, and of the
second day.
The Third Day
No. 6 Recitative (Raphael)And God said, Let the waters under
the heavens be gathered together
to one place, and let the dry land
appear: and it was so. And God
called the dry land
Earth; and the gathering of waters
called he Seas: and God saw that it
was good.
No. 7 Air (Raphael)Rolling in foaming billows, Uplifted
roars the boist’rous sea. Mountains
and rocks now emerge: Their tops
among the clouds ascend. Through
th’open plains, outstretching wide,
In serpent error rivers flow. Softly
purling, glides on
Through silent vales the limpid
brook.
16 – Haydn
No. 14 ChorusThe heavens are telling the glory
of God, The wonder of his works
displays the firmament
Trio (Gabriel, Uriel, Raphael)Today that is coming speaks it
the day, The night that is gone, to
following night.
ChorusThe heavens are telling the glory
of God, The wonder of his works
displays the firmament.
TrioIn all the land resounds the word,
Never unperceived, ever understood.
ChorusThe heavens are telling the glory
of God, The wonder of his works
displays the firmament.
INTERVAL
The Fourth Day
No. 12 Recitative (Uriel)And God said, Let there be lights in
the firmament of heaven to divide
the day from the night, and to give
the light upon the earth; and let them
be for signs, and for seasons, and for
days, and for years. He made the
stars also.
No. 13 (Uriel)In splendour bright is rising now the
sun,
And darts his rays; a joyful happy
spouse,
A giant proud and glad
To run his measured course.
With softer beams, and milder light,
Steps on the silver moon through
silent night.
The space immense of th’ azure sky
A countless host of radiant orbs
adorns. And the sons of God
announced the fourth day,
In song divine, proclaiming thus his
pow’r:
The Creation – 17
No. 17 Recitative (Raphael)And God created great whales, and
ev’ry living creature that moveth.
And God blessed them, saying,
Be fruitful all, and multiply!
Ye winged tribes, be multiplied, And
sing on every tree!
Multiply, ye finny tribes,
And fill each wat’ry deep;
Be fruitful, grow, and multiply, And in
your God and Lord rejoice.
No. 18 Recitative (Raphael)And the angels struck their immortal
harps, and the wonders of the fifth
day sung.
No. 19 TrioGabrielMost beautiful appear, with verdure
young adorned,
The gently sloping hills; the narrow,
sinuous veins
Distill, in crystal drops, the fountain
fresh and bright.
UrielIn lofty circles play, and hover in the
air, The cheerful host of birds; and as
they flying whirl
Their glitt’ring plumes are dyed as
rainbows by the sun.
The CreationPart Two
The Fifth Day
No. 15 Recitative (Gabriel)And God said, Let the waters bring
forth abundantly the moving creature
that hath life, and fowl that may fly
above the earth in the open firmament
of heaven.
No. 16 Air (Gabriel)On mighty pens uplifted soars
The eagle aloft, and cleaves the air,
In swiftest flight, to the blazing sun.
His welcome bids to morn the merry
lark,
And cooing calls the tender dove his
mate.
From ev’ry bush and grove resound
The nightingale’s delightful notes; No
grief affected yet her breast,
Nor to a mournful tale were tun’d
Her soft enchanting lays.
18 – Haydn
No. 22 Accompanied Recitative(Raphael)Straight opening her fertile womb, The
earth obey’d the word,
And teem’d creatures numberless, In
perfect forms, and fully grown. Cheerful,
roaring, stands the tawny lion. With
sudden leap the flexible tiger appears.
The nimble stag bears up his branching
head.
With flying mane, and fiery look,
impatient neighs the noble steed;
The cattle, in herds, already seek their
food
On fields and meadows green.
And o’er the ground, as plants, are
spread
The fleecy, meek, and bleating flocks.
Unnumber’d as the sands, in swarms
arose the hosts of insects.
In long dimension creeps, with
sinuous trace, the worm.
No. 23 Air (Raphael)Now Heav’n in fullest glory shines;
Earth smiled in all her rich attire;
The room of air with fowl is filled;
The water swelled by shoals of fish;
By heavy beasts the ground is trod.
But all the work was not complete;
There wanted yet that wondrous
being, That, grateful, should God’s
power admire,
With heart and voice his goodness
praise.
RaphaelSee flashing through the deep in
thronging swarms
The fish a thousand ways around.
Upheaved from the deep, th’immense
Leviathan
Sports on the foaming wave.
Gabriel, Uriel, RaphaelHow many are thy works, O God!
Who may their number tell? Who, O
God?
Who may their numbers tell?
No. 20 Trio and ChorusThe Lord is great, and great his
might, His glory lasts for ever and for
evermore.
The Sixth Day
No. 21 Recitative (Raphael)And God said, Let the earth bring
forth the living creature after his kind,
cattle, and creeping thing, and beast
of the earth, after his kind.
The Creation – 19
No. 27 ChorusAchieved is the glorious work;
The Lord beholds it, and is pleased. In
lofty strains let us rejoice,
Our song must be the praise of God!
No. 28 TrioGabriel and Uriel
On thee each living soul awaits;
From thee, O Lord, they seek their
food; Thou openest thy hand,
And fillest all with good.
RaphaelBut when thy face, O Lord, is hid,
With sudden terror they are struck;
Thou tak’st their breath away,
They vanish into dust.
Gabriel, Uriel, RaphaelThou sendest forth thy breath again,
And life with vigour fresh returns;
Revived earth unfolds
New strength and new delights.
No. 29 ChorusAchieved is the glorious work; Our
song let be the praise of God. Glory
to his Name for ever.
He sole on high exalted reigns.
Hallelujah!
No. 24 Recitative (Uriel)So God created Man in his own
image, in the image of God created
He him. Male and female created he
them. He breathed into his nostrils
the breath of life, and Man became a
living soul.
No. 25 Air (Uriel)In native worth and honour clad,
With beauty, courage, strength,
adorned,
Erect, with front serene, he stands
A man, the lord and king of nature
all. His large and arched brow
sublime
Of wisdom deep declares the seat!
And in his eyes with brightness shines
The soul, the breath and image of his
God.
With fondness leans upon his breast
The partner for him formed,
A woman, fair and graceful spouse.
Her softly-smiling virgin looks,
Of flowr’y spring the mirror,
Bespeak him love, and joy, and bliss.
No. 26 Recitative (Raphael)And God saw every thing that he
had made, and behold, it was very
good. And the heavenly choir, in song
divine, thus closed the sixth day.
20 – Haydn
AdamOf stars the fairest, pledge the day,
That crowns the smiling morn;
And thou bright sun, that cheer’st the
world
Thou eye and soul of all;
ChorusProclaim in your extended course
The glorious power and praise of
God.
EveAnd thou that rul’st the silent night
And all ye starry hosts,
Ev’rywhere spread wide his praise
In choral songs about.
AdamYe mighty elements, by his power
Your ceaseless changes make;
Ye dusky mists, and dewy streams,
Who rise and fall thro’ th’ air:
Eve, Adam and Chorus
Resound the praise of God our Lord.
Great is his name, and great his
might.
EveYe purling fountains, tune his praise;
And wave your tops, ye pines!
Ye plants, exhale, ye flowers, breathe
At him your balmy scent!
The CreationPart Three
No. 30 Recitative (Uriel)In rosy mantle appears
By music sweet awaked
The morning, young and fair. From
the heaven’s angelic choir Pure
harmony descends on ravish’d earth.
Behold the blissful pair,
Where hand in hand they go: their
glowing looks
Express the thanks that swell their
grateful hearts.
A louder praise of God their lips
Shall utter soon; then let our voices
ring, United with their song.
No. 31 Eve, AdamBy thee with bliss, O bounteous Lord,
Both heav’n and earth are stored.
This world so great, so wonderful.
Thy mighty hand has framed.
ChorusFor ever blessed be his pow’r! His
name be ever magnified!
The Creation – 21
EveO thou for whom I am, my help, my
shield,
My all, thy will is law to me:
So God our Lord ordains: and from
obedience
Grows my pride and happiness.
No. 33 DuetAdam
Graceful consort, at thy side
Softly fly the golden hours;
Ev’ry moment brings new rapture,
Ev’ry care is put to rest.
EveSpouse adored, at thy side Purest joys
o’erflow the heart; Life and all I am
is thine;
My reward thy love shall be.
BothThe dew-dropping morn, O how she
quickens all!
The coolness of even, O how she all
restores!
How grateful is of fruits the savour
sweet!
How pleasing is of fragrant bloom the
smell!
AdamYe that on mountains stately tread,
And ye that lowly creep;
Ye birds that sing at heaven’s gate,
And ye that swim the stream;
Eve, Adam and ChorusYe creatures all, extol the Lord! Him
celebrate, him magnify!
Eve, AdamYe valleys, hills, and shady woods,
Made vocal by our song,
From morn to eve you shall repeat
Our grateful hymns of praise.
ChorusHail! bounteous Lord! Almighty, hail!
Thy word called forth this wondrous
frame,
The heavens and earth thy power
adore; We praise thee now and
evermore.
No. 32 Recitative (Adam)Our duty we have now performed, in
offering up to God our thanks. Now
follow me, dear partner of my life.
Thy guide I’ll be; and every step pours
new delights into our breasts, shows
wonders everywhere. Then mayst
thou feel and know the high degree
of bliss the Lord allotted us, and with
devoted heart His bounty celebrate.
Come, follow me, thy guide I’ll be.
22 – Haydn
But, without thee, what is to me
The morning dew, the breath of even,
The sav’ry fruit, the fragrant bloom?
With thee is every joy enhanced,
With thee delight is ever new, With
thee is life incessant bliss, Thine, thine
it all shall be.
No. 34 Recitative (Uriel)O happy pair! and happy still might
be
If not misled by false conceit,
Ye strive at more than granted is;
And more desire to know, than know
ye should.
No. 35 ChorusSing the Lord, ye voices all,
Magnify his name thro’ all creation.
Celebrate his power and glory,
Let his name resound on high. Praise
the Lord.
Utter thanks.
Jehovah’s praise forever shall endure.
Amen.
The Creation – 2323 – Haydn
BIOGRAPHICAL NOTES
24 – Haydn
Claudia Boyle has secured her stellar
reputation on the world-wide stage as
one of the finest Irish opera singers of
her generation. Having just returned
from singing the title role in La Travi-
ata at London’s Coliseum and the role
of Adina at Oslo Opera House, she is
now looking forward to making her
main stage debut at The Royal Opera
House Covent Garden in 2020.
Claudia has won both the First Prize
and the Critics Award at The Maria
Calla Competition in Verona where
the Callas Estate presented her with
the miraculous medal once owned
and worn by the legendary singer.
This precious gift, which Maria Cal-
las brought to all of her performances
has encouraged and inspired Claudia
greatly in her career.
Claudia was chosen by esteemed
film director Mike Leigh to star in
his first ever venture for the operatic
stage as the leading heroine Mabel
in Gilbert & Sullivan’s (The Pirates
of Penzance) in London’s West End.
Claudia received particular critical
praise for her performances as Mabel
with the opera being broadcast live
in cinemas across Europe. “The real
discovery here is Claudia Boyle, who
brings tremendous presence to the
part of Mabel, and dispatches the
dizzy bel canto parodies in her arias
with impressive assurance.”
In recent seasons, important role
and house debuts have included
Konstanze (Die Entführung aus dem
Serail) for Komische Oper Berlin,
Adina (L’elisir d’amore) at Semper-
oper Dresden under Matteo Beltrami,
Leila (The Pearl Fishers) conducted
by Roland Böer for English Nation-
al Opera, Tytania (A Midsummer
Night’s Dream) conducted by James
Conlon at Teatro dell’Opera di Roma,
and Lucia (Lucia di Lammermoor)
with Danish National Opera under
Martin André. As a testament to her
linguistic strengths, Boyle made her
debut as Verdi’s Gilda (Rigoletto)
at Teatro dell’Opera di Roma under
Renato Palumbo to overwhelming
Claudia BoyleSoprano
The Creation – 25
audience and critical acclaim. She cre-
ated the role of May-Shan in Chris-
tian Jost’s opera Rote Laterne under
Alain Altinoglu for Opernhaus Zürich
and performed the role of Alice in
Barry’s Alice’s Adventures Under
Ground with the RTÉ Concert Or-
chestra conducted by Thomas Adès.
Claudia recently performed with
the New York Philharmonic at the
Metropolitan Opera’s Lincoln Centre,
singing the role of Cecily Cardew
in Barry’s The importance of Being
Earnest.
Her blossoming concert career has
taken her further afield to Tokyo,
Sao Paolo and Ankara among other
places, culminating in her perfor-
mance at the G20 summit last year.
She has appeared at the Salzburger
Festspiele in Cherubini’s Chant sur
la mort de Joseph Haydn under
Riccardo Muti, with NHK
Symphony Orchestra in Mahler’s
Symphony No.8 under Paavo Järvi,
and in Henze’s Nachtstücke und
Arien with NDR Radiophilharmonie
Hannover under Eivind Gullberg
Jensen. Claudia joined Kent Nagano
and Ensemble Modern as Dede for
the premiere performances of a new
chamber version of Bernstein’s A Qui-
et Place at Konzerthaus Berlin,
subsequently joining Nagano and
l’Orchestre symphonique de Montréal
for further performances and a CD
recording for DECCA.
26 – Haydn
Andrew completed his master’s in
music performance at the Royal
Irish Academy of Music in 2016,
achieving First Class Honours
under the tuition of Mary Brennan.
A graduate of the National
University of Ireland, Maynooth,
Andrew attained First Class
Honours in English Literatur. He
also holds an M. Phil in Children’s
Literature from Trinity College,
Dublin.
In 2016 Andrew was awarded
the PwC Wexford Festival Opera
Emerging Young Artist bursary
and is currently a member of
the Irish National Opera ABL
Aviation Studio. Operatic highlights
include Tamino and Monostatos in Die Zauberflöte, Arbace in
Idomeneo, Acis and Damon in
Acis and Galatea, Don Curzio in
Mozart’s The Marriage of Figaro, M. Vogelsang in Mozart’s Der
Schauspieldirektor, Telemachus
in Monteverdi’s The Return of
Ulysses, Ormindo in L’Ormindo, Andrés, Cochenille, Pitichinaccio and Franz in Offenbach’s The Tales
of Hoffmann, and the roles of Bob
Doran, Mr. Alleyne and O’Halleran
in the world premiere of Andrew
Synnott’s Dubliners.
Notable oratorio engagements
include the Evangelist in Bach’s
St. John Passion and Christmas
Oratorio, Rossini’s Stabat
Mater, Liszt’s Coronation Mass,
Beethoven’s Symphony No. 9,
Handel’s Messiah, Mendelssohn’s
Symphony No. 2 (Lobegesang),
C.P.E. Bach’s Magnificat, Mozart’s
Requiem, Haydn’s The Creation,
Beethoven’s Mass in C and the
complete Mozart mass series of the
Dún Laoghaire Choral Society.
Andrew is delighted to perform
once again with the Maynooth
University Choral Society after
celebrating the 50th anniversary
of the society in 2019 with the
Andrew Gavin Tenor
The Creation – 27
world premiere of Martin O’Leary’s
Psalmus Invitatorius and Mozart’s
Requiem in 2019. Upcoming
engagements include the Evangelist in Bach’s St. Matthew Passion,
Pedrillo in Mozarts Die Entführung
aus dem Serail and Jupiter in
Händel’s Semele.
28 – Haydn
Simon MorganBass
Belcore in Cosi Fan Tutte, at the
National Concert Hall of Ireland;
Marcello in La Boheme with
Loughcrew Opera; Silvio in I
Pagliacci with Wonderland
Productions and with The
Everyman Palace Theatre (winner
of Best Opera Production at the
Irish Times Theatre Awards);
Aeneas in the Cork Opera House
production, and subsequent
touring production, of Dido
and Aeneas. For the Limerick
City of Culture celebrations,
Simon played the role of Noye in
Britten’s Noyes Fludde.
At Dublin’s Gate Theatre, Simon
played the role of Antony in their
acclaimed production of Stephen
Sondheim’s Sweeney Todd (also a
winner of best Opera Production
at the Irish Times Theatre Awards).
Extended highlights with Opera in
The Open, Dublin, include Danilo
in The Merry Widow, title roles
in Werther and Candide, Orestes
in Iphegenie in Tauride, Guglielmo
in Cosi Fan Tutte, Marcello in La
Boheme, High Priest and Hercules
in Alceste, Melisso in Alcina,
Silvio and Tonio in I Pagliacci,
Scarpia in Tosca and the title
role in Eugene Onegin. He has
performed with Opera Ireland
in Boris Godonov, Aida, Lady
Macbeth of Mtsensk, The Flying
Dutchman, The Silver Tassie,
and Carmen, has recorded extracts
from Martinu’s Mirandolina for
Wexford Festival Opera.
Oratorio performances in
Ireland and the UK include
Schubert and Haydn Masses,
Bach’s B Minor Mass, Christmas
Oratorio, and a number of
cantatas, Mozart’s Requiem,
Saint-Saens’ Oratorio De
Noel and the Chichester Psalms by
Bernstein.
The Creation – 29
A regular soloist with the RTE
Concert Orchestra, Simon’s first
solo album “I’ll Be Seeing You”
debuted at number one in the Irish
iTunes charts, and his latest project
“Thomas Moore Reimagined” was
album of the week on RTÉ Lyric
FM, reached number one in the
Irish Album Charts and had its
debut in the Abbey Theatre, Dublin
in 2019.
30 – Haydn
John O’Keeffe is Director of Sacred
Music at the National Seminary of
St. Patrick’s College, Maynooth,
where his duties include lecturing,
training of cantors, choir and
organists, and the preparation of
music for college liturgies. As
Maynooth University’s Director
of Choral Groups, he conducts
the University Choral Society
and oversees the activities of the
Maynooth University Chamber
Choir, Schola Gregoriana
Maynooth (a joint SPCM/MU
project) and the Maynooth
University female choir, ‘Altus’.
Prior to his appointment to
Maynooth, he was Choirmaster at St.
Mel’s Cathedral, Longford, having
already served as Organ Scholar of
Westminster Cathedral and Dublin’s
Pro-Cathedral. His organ teachers
have included Rev. Frank McNamara,
David Sanger, Ben Van Oosten and
Gerard Gillen. He holds Master’s
degrees in Organ (MU) and Chant
Performance (UL) and his doctoral
thesis The Masses of Seán and Peadar
Ó Riada: Explorations in Vernacular
Chant was recently published by
Cork University Press.
Active also as a liturgical music
composer (his Mass of Saint Mel was
commissioned in 2015 to mark the
restoration of Longford Cathedral)
and editor (the second volume of
his church music series, Feasts and
Seasons, has just been published),
he directs postgraduate and diploma
courses in liturgical music and chant
at both St. Patrick›s College and
Maynooth University. In 2018, he
was appointed Director of Music
for the Papal Mass, held in Dublin’s
Phoenix Park, to mark the visit of
Pope Francis to Ireland.
John O’Keeffe Director
The Creation – 31
Maynooth University Choral Society
Director:Dr John O’Keeffe
Assistant Director:James Murphy
Section Leaders: Soprano: James Murphy
Alto: Tsz Lun Tang
Tenor: Jeffrey Moore
Bass: James O’Malley
Accompanist:David Grealy
Founded by Father Noel Watson in
1969 and directed by Professor
Gerard Gillen from 1985 to 2007,
this choir has gained widespread
critical acclaim for its annual
performances of major choral works.
Composed of some 100 students and
staff of both universities on campus,
the choir has performed on French
Television (FR3) and on BBC and
RTE television.
In 1995, on the occasion of the
College’s bicentenary, the choir joined
forces with the National Symphony
Orchestra to perform John Buckley’s
Maynooth Te Deum at its premiere
in the National Concert Hall. Its
repertoire includes the Requiems
of Mozart, Brahms Dvorak and
Verdi, Mozart’s Great C minor Mass
(KV427), Haydn’s The Creation,
Bach’s St John Passion and Elgar’s
The Dream of Gerontius.
In 2019, to mark to mark its 50th
anniversary, the choir commissioned
and performed Psalmus Invitatorius,
a major new choral work by
composer, Martin O’Leary.
The première of the work was
recently broadcast on Lyric FM,
in addition to recordings specially
selected by Lyric from last December’s
50th anniversary Maynooth Carol
Services.
32 – Haydn
Maynooth University Choral List
SopranosMoira Bergin
Samar Abou-Jaoude
Cherise Boraski
Odharnait Bourke
Chloe Byrne
Eileen Clarke
Laura Commons
Amanda Fitzgerald
Orla Fitzgerald
Ann Guinea
Sofia Karagiorgis
Elizabeth Kelly
Rachel McLaughlin
Pauline Murphy
Cait Ni Chorcora
Lise O›Farrell
Susan O›Leary
Erin Reilly
Heather Sammon
Aisling Sammon
M. Galniela Serpi
Lacey Marie Smith
Tellez Danobeitia
Aitana
Tsz lun Tsang
Pat Watson
AltosAnne Begley
Sophie Brennan
Theresa Clarke
Aine Cody
Garance Convert
Brid Cotter
Mary Cronin
Mary Curran
Karla Doherty
Bernadette Duffy
Caitlin Duke
Timi Egbesakin
Maria Gilmartin
Roisin Gleeson
Aileen Harrington
Sophie Hayley
Emma Higgins
Orla Kearney
Gwynn Lanning
Rose Malone
Sharon McEvilly
Dervilla McKeith
Orla McStravick
Shauna Monaghan
Deirdre Moran
Patricia Mullen
Meabh Ni Lochlainn
The Creation – 33
Aoife Nic Thomais
Grace O›Shea
Lucy Parke
Orla Quinn
Gertie Ryan
Abigail Scott
Valerie Seymour
Brid Shiel
Sarah Tuite
Betty Wilson
TenorsCathal Aherne
Jim Doyle
Ian Fitzpatrick
Liam Hickey
Benoit Kufika
John Paul Luby
Eamonn McKeogh
Jeff Moore
Cathal Nolan
Eoghan Noonan
Roland Ntambang
Jose Nunes
Diarmuid O›Brien
Matthew Rice
Michael Small
Daire Turley
Ross Xanthopoulos
Basses Frank Bergin
Peadar Breslin
Dillon Corcoran
Simon Grogan
Alex Hallahan
Diarmuid Heneghan
Joe Kinahan
Joe Lane
Kevin Leavy
Paul Looney
Eoghan McGale
Adam Moriarty
Gearard O›Floinn
James O›Malley
Sean Quinn
Michael Small
Eoin Toolan
Daire Turley
Ken Whelan
34 – Haydn
Irish Choral Sinfonia
The Maynooth Sinfonia was formed
in April 2014 to complement Irish
choral performances. It comprises
some of Ireland’s finest freelance
musicians, many of whom perform
regularly with the RTE orchestras,
the Irish Chamber Orchestra, and the
Irish Baroque Orchestra. Its members
have collaborated with groups
such as the Carlow Choral Society,
Tallaght Choral society, Kilkenny
Choral Singers, the Berkshire
Choral Festival singers, and perform
regularly in their own right as
soloists or as part of specialized
ensembles all over the world.
It comprises some of Ireland’s
finest freelance musicians, many of
whom perform regularly with the
RTE orchestras, the Irish Chamber
Orchestra, and the Irish Baroque
Orchestra.
Its members have collaborated
with groups such as the Carlow
Choral Society, Tallaght Choral
society, Kilkenny Choral Singers, the
Berkshire Choral Festival singers, and
perform regularly in their own right
as soloists or as part of specialized
ensembles all over the world.
The Creation – 35
Acknowledgements
The support and co-operation
of Maynooth Campus Conference
& Accommodation is gratefully
acknowledged.
Maynooth Campus Conference
& Accommodation, Maynooth,
Co. Kildare,
Tel: 01 708 3533
Fax: 01 708 3534
www.maynoothcampus.com