Cambridge Philharmonic 2013-14 Season Programme

Sunday 15 December 2013 BRITTEN: Peter Grimes

Soloists: Daniel Norman (Peter Grimes), Elisabeth Meister (Ellen Orford), Mark Holland (Captain Balstrode), Yvonne Howard (Auntie), Kristy Swift (First Niece), Christina Haldane (Second Niece), Jeffrey Stewart (Bob Boles), John Molloy (Swallow), Jean Rigby (Mrs Sedley), Ted Schmitz (Rev. Horace Adams), Oliver Dunn (Ned Keene), Simon Wilding (Hobson)

Saturday 11 January 2014 Family Concert ASH: Music from The Golden Ticket MINCHIN: Music from Matilda PATTERSON: Little Red Riding Hood Presenter: Chris Jarvis

Saturday 15 March 2014 MAHLER: Symphony No. 3 Soloist: Sarah Castle (Mezzo-soprano)

Saturday 3 May 2014 HAYDN: Die Schöpfung (The Creation) Soloists: Céline Forrest (Soprano), Nicholas Scott (Tenor), Bozidar Smiljanic (Bass-baritone)

Saturday 5 July 2014 Ely Cathedral BERLIOZ: Grande Messe des Morts

Soloist: Bonaventura Bottone (Tenor) With the Cambridge and Norwich Philharmonic Choruses

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Fauré & Bach

Bach Prelude and Fugue in F minor BWV534

Fauré Cantique de Jean Racine

Bach Chaconne BWV1004

Fauré Requiem Conductor Timothy Redmond Solo violin Steve Bingham Organ Alexander Berry Soprano Emily Vine Baritone Sam Queen Cambridge Philharmonic Chorus

Saturday 9 November 2013 at 6.00pm Emmanuel United Reformed Church

Cambridge Philharmonic Society Registered Charity 243290

Cambridge Philharmonic Supporters Scheme (CPSS) The Cambridge Philharmonic is a charitable organisation and has to be fully self-supporting. Our main sources of revenue are ticket sales, membership fees and the generosity of Cambridge Philharmonic Supporters, which include businesses, trusts and individuals who share our vision, and whose support we gratefully acknowledge. The Cambridge Philharmonic Supporters Scheme (CPSS) is open to all and is intended to give music lovers an opportunity to become more closely involved with the Cambridge Philharmonic and its objectives. We cater for various levels of support and in return offer a range of benefits. These include an advance copy of our season brochure allowing preferential booking, acknowledgement on the Cambridge Philharmonic website and in newsletters, invitations to open rehearsals and the opportunity to sponsor a concert. For information on becoming a Cambridge Philharmonic Supporter please write to: friendssec@cam-phil.org.uk For information about concert sponsorship write to: chairman@cam-phil.org.uk

For their continuing support we would especially like to thank:

Patrons

Principal Benefactors

John Short and Debbie Lowther

The Pye Foundation

Benefactors David and Jackie Ball

Gillian and Edward Coe Rob and Janet Hook

Donors

Gerard and Margaret Chadwick Andy Swarbrick

Friends

Rowena Allen Richard and Ann King

Emma Mason Bill Parker

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Programme

Bach Prelude and Fugue in F minor BWV534

Fauré Cantique de Jean

Racine Bach Chaconne BWV1004 Fauré Requiem in D minor

The Cambridge Philharmonic is grateful to the Josephine Baker Trust for its support of our soloists Emily Vine and Sam Queen.

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Prelude and Fugue in F minor Johann Sebastian Bach BWV534 (1685-1750) The Prelude and Fugue in F minor BWV 534 has come down to us through a barely completed draft manuscript copy written out by Bach's last student, Johann Christian Kittel. Despite being littered with scribal errors and being relatively brief, the Prelude is written on a grand scale. It is divided into two equal halves, each starting with repeated motor-like figurations over a pedal point. The Fugue is an example of an Alla breve composition. Although the subject is simple from a rhythmic perspective, its striking diminished seventh is developed through the fugue and comes to define the tortured harmonic writing of this piece as a whole

Alexander Berry Cantique de Jean Racine Gabriel Fauré Opus 11 (1845-1924) This delightful piece of music was written by Fauré in 1864-65 when he was just 19 years of age, and won him first prize on graduation from the Ecole Niedemayer de Paris. Cantique de Jean Racine was first performed in 1866 with accompaniment by strings and organ. The accompaniment has also been arranged for strings and harp by John Rutter. The composition has since become the unofficial companion to Fauré’s Requiem which was composed about 25 years later. Cantique has been described as having “limpid harmonies”, simple in form but none the less quite sobering. For me the piece is like the flowing waters of life, continually moving and building, flowing gently through time, with crescendos and diminuendos rising and falling as the waters map their path, until finally they find a calm and serene place to settle as the music marked ppp slows gently with a poco rall closing life’s journey.

Et de tes dons, qu’il retourne comblé – and send us forth heaped with gifts of thy grace

Nicholas Sayer

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Verbe égal au Très-Haut, notre unique espérance, Jour éternel de la terre et des cieux, De la paisible nuit nous rompons le silence: Divin Sauveur, jette sur nous les yeux!

Word equal to the Very High one, our sole hope Eternal of both the Earth and the Heavens Of this peaceful night, we break the silence Divine Saviour, cast your gaze down on us!

Répands sur nous le feu de ta grâce puissante; Que tout l'enfer fuie au son de ta voix; Dissipe le sommeil d'une âme languissante Qui la conduit à l'oubli de tes lois!

Spread on us the fire of your mighty grace So all of Hell flees upon hearing your voice Dissipate the sleep of a yearning soul Which leads us to forget your laws!

O Christ! sois favorable à ce peuple fidèle, Pour te bénir maintenant rassemblé; Reçois les chants qu'il offre à ta gloire immortelle, Et de tes dons qu'il retourne comblé.

O Christ, be favourable to these faithful people Now gathered to bless you Receive the hymns they offer to your immortal glory And may they come back fulfilled with your gifts!

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Chaconne Johann Sebastian Bach from Partita in D minor for solo violin BWV1004 (1685-1750)

In Potsdam in 1747 old Bach (as 62-year-old Johann Sebastian was then called), was cruelly challenged by Frederick II (Frederick the Great) to a public compositional challenge which the ruler (who employed old Bach’s son Carl) was sure he would fail. But Frederick was mistaken, and on returning home old Bach (a kind of eighteenth century grumpy old man, by some accounts) wrote his magisterial Musical Offering as a kind of musical riposte to the dangers and mistakes – as Bach saw it – of the Enlightenment. The story is exquisitely told in James Gaines’ Evening in the Palace of Reason, a rich tale of Europe, music, and a changing age. Bach was not, then, an Enlightenment figure. Deeply embedded in the protestant faith, almost every note he wrote was imbued with some kind of spiritual meaning or emotional significance. And some thirty years before that encounter in Potsdam he had no need to defend that position. It was in this period (1717 – 1723) that he wrote the Partita in D minor for solo violin. It is a five movement work, but it is the last movement, the Ciaccona (usually called by its French name Chaconne) which is almost certainly the best known. Perhaps this is because, as the violinist Yehudi Menuhin wrote in his autobiography An Unfinished Journey, it is “the greatest structure for solo violin that exists.” The Chaconne takes longer than the other four movements of the Partita put together (it has a playing time of around 14 minutes). Even though only one small instrument is playing, the Partita is a work of towering architecture and whether or not it was written in memory of Bach’s first wife Maria Barbara (about which theory there is considerable controversy) it has about it a soaring gravity that richly deserves Menuhin’s description. In the first four bars of the Chaconne the theme is presented with a chord progression built upon a repeated bass line, and the whole movement grows out of this in a series of variations. The Chaconne is in three parts, the middle of which is in the major key, and.... But that’s not the point, really (though it may have been for the composer - and for Steve, as he plays it). For us, the listeners, however, this is music, pure music, stripped down but somehow, nevertheless richly resonant and heart-stoppingly beautiful.

Jeremy Harmer

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Requiem in D minor Gabriel Fauré Opus 48 (1845-1924) 1. Introit et Kyrie (D minor) 2. Offertoire (B minor) 3. Sanctus (E flat major) 4. Pie Jesu (B flat major) 5. Agnus Dei et Lux Aeterna (F major) 6. Libera Me (D minor) 7. In Paradisum (D major)

Gabriel Fauré was born at Parniers, France, in 1845. For 30 years he held a series of positions connected with church music culminating with that of organist at the Parisian church of La Madeleine at the age of fifty-one. At the time he took up his work there he also became a professor of composition at the Paris Conservatory, where he was also Director, from the age of sixty to seventy-five. His compositions are numerous, logical and balanced in style. His music flows easily, yet he attains a polished finish. These are usually considered ‘classical’ qualities, but the general bent of Fauré’s mind was romantic. For a long period in the later part of his life he was looked up to with veneration by almost the whole body of his juniors amongst French composers, such as Ravel, Florent and Schmitt, many of whom were his pupils. Fauré composed his Requiem in D minor, Op. 48, perhaps the best known of his choral works, between 1887 and 1890. The work is a short one lasting 35 minutes, and was initially written for orchestra, organ, mixed chorus and soprano and baritone soloists. The composer modified the work over several years, and did produce an orchestrated version in 1901, for larger choirs to perform in concert halls. The Requiem had its first performance in the church of La Madeleine, Paris, directed by Fauré himself. Although his parents had both died and some thought it was written as a tribute to them, he said “My Requiem wasn’t written for anything – for pleasure, if I may call it that!” The Requiem bears a striking resemblance to Ein deutsches Requiem by Brahms, although Fauré chose to use the classical Latin text, rather than German. Both works have seven movements, both employ soprano and baritone soloists, and the sectioning of the work is similar. Fauré claimed that his Requiem, rather than expressing sorrow at what some viewed as a painful experience, was his own visualisation of death as a happy deliverance, an aspiration towards peace above. The Requiem, in its full orchestral version, was performed at his own funeral in 1924.

Binnie Macellari

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1. Introit et Kyrie

Requiem aeternam dona eis Domine et lux perpetua luceat eis

Grant them eternal rest, O Lord, and may perpetual light shine upon them

Te decet hymnus, Deus in Sion et tibi reddetur votum in Jerusalem.

Thou, O God, art praised in Zion, and unto Thee shall the vow be performed in Jerusalem.

Exaudi orationem meam ad te omnis caro veniet.

Hear my prayer, unto Thee shall all flesh come.

Kyrie eleison, Christe eleison Kyrie eleison.

Lord have mercy. Christ have mercy, Lord have mercy

2. Offertoire

O Domine, Jesu Christe, Rex Gloriae, libera animas defunctorum de poenis inferni et de profundo lacu. O Domine, Jesu Christe, Rex Gloriae libera animas defunctorum de ore leonis ne absorbeat eus Tartarus ne cadant in obscurum.

Lord Jesus Christ, King of glory, deliver the souls of all the faithful departed from the pains of hell and from the bottomless pit. Lord Jesus Christ, King of glory, Deliver them from the lion's mouth, nor let them fall into darkness, neither the black abyss swallow them up.

O Domine, Jesu Christe, Rex Gloriae ne cadant in obscurum.

Lord Jesus Christ, King of glory, let not the black abyss swallow them up.

Baritone solo Hostias et preces tibi Domine, laudis offerimus tu suscipe pro animabus illis quarum hodie memoriam facimus. Faceas, Domine, de morte transire ad vitam Quam olim Abrahae promisisti et semini eus.

We offer unto Thee this sacrifice of prayer and praise Receive it for those souls whom today we commemorate. Allow them, O Lord, to cross from death into the life which once Thou didst promise to Abraham and his seed.

Chorus O Domine, Jesu Christe, Rex Gloriae libera animas defunctorum de poenis inferni et de profundo lacu ne cadant in obscurum. Amen.

Lord Jesus Christ, King of glory, deliver the souls of all the faithful departed from the pains of hell and from the bottomless pit. Nor let them fall into darkness. Amen.

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3. Sanctus

Sanctus, Sanctus, Sanctus ,Dominus Deus Sabaoth Pleni sunt coeli et terra gloria tua Hosanna in excelsis.

Holy, holy, holy, Lord God of Sabaoth Heaven and earth are full of Thy glory Hosanna in the highest.

4. Pie Jesu

Soprano solo Pie Jesu, Domine, dona eis requiem dona eis requiem sempiternam requiem.

Merciful Jesus, Lord, grant them rest grant them rest, eternal rest.

5. Agnus Dei et Lux Aeterna

Agnus Dei, qui tollis peccata mundi dona eis requiem.

O Lamb of God, that takest away the sins of the world, grant them rest.

Agnus Dei, qui tollis peccata mundi dona eis requiem.

O Lamb of God, that takest away the sins of the world, grant them rest.

Agnus Dei, qui tollis peccata mundi dona eis requiem, sempiternam requiem.

O Lamb of God, that takest away the sins of the world, grant them rest, everlasting rest.

Lux aeterna luceat eis, Domine Cum sanctis tuis in aeternum, quia pius es Requiem aeternam dona eis Domine, et lux perpetua luceat eis

May eternal light shine on them, O Lord, with Thy saints for ever, because Thou are merciful. Grant them eternal rest, O Lord, and may perpetual light shine on them.

6. Libera me

Baritone solo Libera me, Domine, de morte aeterna in die illa tremenda Quando coeli movendi sunt et terra Dum veneris judicare saeculum per ignem

Deliver me, O Lord, from everlasting death on that dreadful day when the heavens and the earth shall be moved when thou shalt come to judge the world by fire

Chorus Tremens factus sum ego et timeo dum discussio venerit atque ventura ira.

I quake with fear and I tremble awaiting the day of account and the wrath to come.

Dies illa dies irae calamitatis et miseriae dies illa, dies magna et amara valde.

That day, the day of anger, of calamity, of misery, that day, the great day, and most bitter.

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Requiem aeternam dona eis Domine et lux perpetua luceat eis

Grant them eternal rest, O Lord, and may perpetual light shine upon them.

Libera me, Domine, de morte aeterna in die illa tremenda Quando coeli movendi sunt et terra Dum veneris judicare saeculum per ignem.

Deliver me, O Lord, from everlasting death on that dreadful day when the heavens and the earth shall be moved when thou shalt come to judge the world by fire.

7. In Paradisum

In Paradisum deducant Angeli in tuo adventu suscipiant te Martyres et perducant te in civitatem sanctam Jerusalem, Jerusalem .

May the angels receive them in Paradise, at thy coming may the martyrs receive thee and bring thee into the holy city Jerusalem, Jerusalem.

Chorus Angelorum te suscipit et cum Lazaro quondam paupere aeternam habeas requiem.

There may the chorus of angels receive thee, and with Lazarus, once a beggar, may thou have eternal rest.

Aeternam habeas requiem. May thou have eternal rest.

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EMILY VINE Soprano

Born in Surrey, Emily read music at the University of Bristol where she won the Sir Thomas Beecham scholarship for outstanding performance. After graduating Emily gained a place at the Royal Academy of Music, studying with Elizabeth Ritchie and Iain Ledingham, and most recently joined the Royal Academy Opera course. Emily has been highly commended in the Isabel Jay Opera Prize and was a finalist in the prestigious Richard Lewis competition. Opera roles include Barbarina and Susanna Le Nozze di Figaro (Amersham Festival Opera and University of

Bristol), Miles Turn of the Screw (with Gergely Kaposi of Hungarian State Opera in Budapest) and most recently Fido Paul Bunyan with British Youth Opera for which she was awarded the Basil A. Turner prize. She has sung opera scenes as Calisto, Clorinda La Cenerentola, Constance Dialogues des Carmélites, Giannetta L’elisir d’Amore and Lucia The Rape of Lucretia. This year, Emily will make her RAO debut as La Fée Cendrillon. Concert performances have recently included Bach’s Christmas Oratorio in Kristiansand, Norway and opera arias with Laurence Cummings for the London Handel Festival. Emily is a soloist for the flagship Royal Academy of Music/Kohn Foundation Bach Cantata series, and next year will sing the Mozart Requiem at the Royal Albert Hall with the English Festival Orchestra.

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SAM QUEEN Baritone

Samuel Queen was born and educated in London. After reading English at Cambridge University, he was awarded a scholarship to study at the Royal Academy of Music. He is currently in the second year of the Royal Academy Opera course, where he is supported by the Sickle Foundation and the John Baker Opera Award. He studies with Mark Wildman and Audrey Hyland. At the Academy, Sam has won prizes for opera, Lieder,

English vocal music and English song. For RAO in 2012/13 he sang Blazes in Maxwell Davies’ The Lighthouse, Le Fauteuil in Ravel’s L’enfant et les sortilèges (BBSO/Denève) and Zaretsky/Captain in Eugene Onegin. This year he sings The King of Scotland in Ariodante and excerpts as Don Giovanni. Other appearances at the Academy include the bass solos for the Kohn Foundation Bach Cantata Series. Sam is a member of Royal Academy Song Circle, with which he appeared at the Oxford Lieder Festival 2013. In 2014 he will sing in a concert of Poulenc songs as well as making his Wigmore Hall debut singing Beethoven, Schubert and Schumann. Sam appeared as Mr Gedge in the Britten Pears Young Artist production of Albert Herring in Aldeburgh and in the world premiere of Stockhausen’s Mittwoch aus Licht with Birmingham Opera Group in 2012. His other operatic roles include Schaunard, Papageno, Guglielmo, the Count and Adonis. Sam’s concert work includes a mixture of song recitals and oratorios, including Mahler’s Kindertotenlieder, Stanford’s Songs of the Sea, Bach’s Passions and the Requiems by Fauré and Brahms. His ensemble work includes Academy of Ancient Music, Aix-en-Provence Festival/English Voices, La Nuova Musica, stile antico and Ensemble Plus Ultra. He is grateful to the Josephine Baker Trust for its continued support.

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ALEXANDER BERRY Organ

Alexander Berry took up the post of Assistant Organist to Ely Cathedral Girls’ Choir in September 2012. At Ely, he assists in the training of the girl choristers and plays for their busy schedule of services and concerts. Alexander began his musical training as a chorister at Lichfield Cathedral, before

winning scholarships to Bloxham School and King Edward VI School Stratford-upon-Avon. During his gap year he held the post of Organ Scholar at Guildford Cathedral. Alexander read for a degree in Music at Queens’ College, Cambridge, where he was Organ Scholar. During his final year at Cambridge he held the posts of Organ Scholar to King’s Voices (the mixed-voice undergraduate choir at King’s College) and Accompanist to CUMS Chorus. He is also the founding conductor of the chamber choir, The Mercian Consort, which has given concerts in the UK and on the continent, and recorded a CD of music for Lent and Passiontide, which was released earlier this year. Alexander works regularly as an organist and accompanist with ensembles such as the Cambridge Philharmonic, Prime Brass, and Cambridgeshire Choral Society, and he is also the Assistant Director of The Cathedral Chamber Choir. Recent musical ventures have included organ recitals in King’s College, Cambridge, St. Edmundsbury Cathedral and Bad Sobernheim, conducting the Mercian Consort in a performance of works by William Byrd hosted by Cambridge Early Music, singing with Ely Cathedral Choir as part of two live broadcasts on BBC Radio 3, and performing as part of the final of Gareth Malone’s The Choir: Sing While You Work, to be aired on BBC 2 this Christmas. Alexander currently studies with William Whitehead and Stephen Farr. Forthcoming events include organ recitals in Portsmouth, Ripon and Chichester Cathedrals, St Bonifatius Church, Wiesbaden and Altenberg Abbey.

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STEVE BINGHAM Violin

Steve Bingham studied violin with Emmanuel Hurwitz, Sidney Griller and the Amadeus Quartet at the Royal Academy of Music, where he won prizes for orchestral leading and string quartet playing. Whilst still a student he formed the Bingham String Quartet, an ensemble that has gained – over nearly 30 years - an enviable reputation for both classical and contemporary repertoire. Steve has appeared as guest leader with many orchestras including the BBC Scottish Symphony Orchestra, the Scottish Chamber Orchestra and English National Ballet. He has given solo recitals on three continents and his

concerto performances have included works by Bach, Vivaldi, Bruch, Prokofiev, Mendelssohn and Sibelius, given in venues as prestigious as St. Johns’ Smith Square and the Royal Albert Hall. In recent years Steve has developed his unique solo concerts featuring live-looped electric violin, and he also records and performs with a wide variety of bands and artists including No-Man, the progressive art-rock duo of Tim Bowness and Steven Wilson. Steve has released two solo albums, Duplicity and Ascension, and a CD of poetry and music with Jeremy Harmer entitled Touchable Dreams. 2013 has seen the release of several singles on iTunes, and a new solo CD The Persistence of Vision, featuring the unusual juxtaposition of music by J S Bach and Michael Nyman, will be out in June. Alongside these Steve has been active on his YouTube channel –youtube.com/stevebinghamviolin - publishing a wide range of music videos and vlogs. More information about Steve’s activities can also be found on his website at stevebingham.co.uk

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TIMOTHY REDMOND Conductor

Timothy Redmond conducts and presents concerts throughout Europe and has been principal conductor of the Cambridge Philharmonic since 2006. He has given concerts with the Hallé, Royal Liverpool Philharmonic and Ulster Orchestras, with the BBC Concert, Philharmonic and Symphony Orchestras, and with the Northern Sinfonia, National Youth Orchestra and

Orchestra of Opera North. He conducts concerts every season with the London Symphony Orchestra, has a long-standing association with the Manchester Camerata and is a regular guest conductor with the Royal Philharmonic Orchestra, both in the recording studio and the concert hall. He has recently guest-conducted orchestras in Bosnia, Estonia, Finland, Italy, Macedonia, Slovenia and the US and broadcasts regularly on TV and radio. Timothy Redmond is well-known as a conductor of contemporary music. Since working closely with Thomas Adès on the premiere of The Tempest at Covent Garden, he has conducted critically-acclaimed productions of Powder Her Face for the Royal Opera House and St Petersburg’s Mariinsky Theatre. In 2010 he conducted the world premiere of The Golden Ticket, Peter Ash and Donald Sturrock’s new opera based on Charlie and the Chocolate Factory, for Opera Theatre of St Louis. The following season he conducted the work’s European premiere at the Wexford Festival and gave the first performance of a new oratorio by Edward Rushton with the London Symphony Orchestra. In the opera house he has conducted productions for Opera North (Don Giovanni), English National Opera (world premiere of Will Todd’s Damned and Divine), English Touring Opera (Daughter of the Regiment, The Magic Flute, Carmen), Almeida Opera (world premiere of Raymond Yiu’s The Original Chinese Conjuror) and ROH Linbury (European premiere of Tobias Picker’s Thérèse Raquin). He has conducted at festivals in Bregenz (Austrian premiere of Richard Ayres’ The Cricket Recovers), Tenerife (Glyndebourne productions of Carmen, Gianni Schicchi and Rachmaninov’s The Miserly Knight) and Los Angeles (Barber’s A Hand of Bridge). He has also conducted opera for New York’s American Lyric Theater, at the Buxton and Aldeburgh Festivals and as a member of music staff at De Vlaamse Opera, Garsington and Glyndebourne. His recordings include Dreams with the French cellist Ophélie Gaillard and the RPO (Harmonia Mundi), discs with Natasha Marsh and Mara Carlyle for EMI, and CDs with the Northern Sinfonia and Philharmonia.

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Recent highlights have included a concert of jazz-inspired works to conclude the LSO’s 2011 Stravinsky Festival, a series of concerts with the BBC Symphony Orchestra in 2012 and the New York premiere of The Tempest, for which he assisted Thomas Adès at the Metropolitan Opera. His 2013/14 season includes debuts with the Philharmonia, Rotterdam and London Philharmonic Orchestras, a tour to China with the Royal Philharmonic Orchestra, premieres of new Finnish works with the Oulu Sinfonia and several concerts at the Barbican with the London Symphony Orchestra. Opera highlights include Peter Grimes in Cambridge and a new production of Powder Her Face for English National Opera. Timothy Redmond read music at Manchester University and studied oboe and conducting at the Royal Northern College of Music, where he held the RNCM’s Junior Fellowship in Conducting. He furthered his studies in masterclasses with George Hurst, Ilya Musin Yan Pascal Tortelier and Pierre Boulez.

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Cambridge Philharmonic Chorus Soprano 1 Cherie Ashby Vicki Bamford Jeannine Billinghurst Jane Cook Sally Farquharson Lisa Kennedy Ros Mitchell Jan Moore Caren Otto Susan Randall Mary Richards Josephine Roberts Anne Sales Pat Sartori Paddy Smith Soprano 2 Cathy Ashbee Sylvie Baird Eleanor Bell Anthea Bramford Susannah Cameron Joanne Clark Jennifer Day Susan Earnshaw Christine Halstead Maggie Hook Diana Lindsay Ursula Lyons Valerie Mahy Suzie McCave Liz Popescu Caroline Potter Vicky Potruff Amanda Price Ann Read Sheila Rushton Pip Smith Ann Taylor Helen Wingfield

Alto 1 Helen Bache Vicky Bache Helen Black Alexandra Bolton Margaret Cook Caroline Courtney Elaine Culshaw Alison Dudbridge Leonie Isaacson Penny Jones Jan Littlewood Sarah Marshall-Owen Alice Parr Alison Russell Caroline Shepherd Sarah Upjohn Alison Vinnicombe Helen Wheatley Alto 2 Kate Baker Jane Bower Elizabeth Crowe Alison Deary Tabitha Driver Jane Fenton Jane Fleming Clare Flook Stephanie Gray Hilary Jackson Susan Jourdain Anne Matthewman Sue Purseglove Gill Rogers Oda Stoevesandt Chris Strachan Claudia West Nell Whiteway

Tenor Aidan Baker Jeremy Baumberg David Collier Robert Culshaw Geoff Forster David Griffiths Jean Harding Timothy Haswell Ian McMillan Chris Price Stephen Roberts Nick Sayer Martin Scutt Michael Short Graham Wickens John Williams Bass Richard Birkett Andrew Black Neil Caplan Chris Coffin Paul Crosfield John Darlington Brain Dawson Dan Ellis Chris Fisher Lewis Jones Owen Marshall Richard Monk Harrison Sherwood Mike Warren Joel Westberg David White Rehearsal Pianist Andrew Black

Cambridge Philharmonic 2013-14 Season Programme

Sunday 15 December 2013 BRITTEN: Peter Grimes

Soloists: Daniel Norman (Peter Grimes), Elisabeth Meister (Ellen Orford), Mark Holland (Captain Balstrode), Yvonne Howard (Auntie), Kristy Swift (First Niece), Christina Haldane (Second Niece), Jeffrey Stewart (Bob Boles), John Molloy (Swallow), Jean Rigby (Mrs Sedley), Ted Schmitz (Rev. Horace Adams), Oliver Dunn (Ned Keene), Simon Wilding (Hobson)

Saturday 11 January 2014 Family Concert ASH: Music from The Golden Ticket MINCHIN: Music from Matilda PATTERSON: Little Red Riding Hood Presenter: Chris Jarvis

Saturday 15 March 2014 MAHLER: Symphony No. 3 Soloist: Sarah Castle (Mezzo-soprano)

Saturday 3 May 2014 HAYDN: Die Schöpfung (The Creation) Soloists: Céline Forrest (Soprano), Nicholas Scott (Tenor), Bozidar Smiljanic (Bass-baritone)

Saturday 5 July 2014 Ely Cathedral BERLIOZ: Grande Messe des Morts

Soloist: Bonaventura Bottone (Tenor) With the Cambridge and Norwich Philharmonic Choruses

For further information and online ticket sales, visit

www.cam-phil.org.uk

To leave feedback about our concerts and events, please email: feedback@cam-phil.org.uk

To receive news of forthcoming concerts, send a blank email to:

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Fauré & Bach

Bach Prelude and Fugue in F minor BWV534

Fauré Cantique de Jean Racine

Bach Chaconne BWV1004

Fauré Requiem Conductor Timothy Redmond Solo violin Steve Bingham Organ Alexander Berry Soprano Emily Vine Baritone Sam Queen Cambridge Philharmonic Chorus

Saturday 9 November 2013 at 6.00pm Emmanuel United Reformed Church