Saturday 6th October

All Saints with Holy Trinity,Loughborough

Registered Charity no 1036937

Soloists:Maureen Brathwaite

Catherine GriffithsSimon Lumby

Orchestra da Camera

Organist:Richard Dunster-Sigtermans

Conductor:Nicholas Scott-Burt

TONIGHT’S PROGRAMME

EDWARD ELGAR 1856-1934Serenade for Strings, opus 20

I) Allegro piacevoleII) LarghettoIII) Allegretto

GABRIEL FAURE 1845-1924Requiem

I) Introit-Kyrie

II) Offertoire

III) Sanctus

IV) Pie Jesu

V) Agnus Dei

Requiem aeternam dona eis Domine et lux perpetualuceat eis. Te decet hymnus, Deus in Sion et tibireddetur votum in Jerusalem. Exaudi orationemmeam, ad te omnis caro veniet.Rest eternal give them, Lord, and let light alwaysshine on them. It is right to praise you, God, in Zion.and to you will be made a vow in Jerusalem. Hear myprayer, to you all flesh will come.

Kyrie eleison, Christe eleison, Kyrie eleison.Lord have mercy, Christ have mercy, lord have mercy.

O Domine, Jesu Christe, Rex Gloriae, libera animasdefunctorum de poenis inferni et de profundo lacu. ODomine, Jesu Christe, Rex Gloriae, libera animasdefunctorum de ore leonis ne absorbeat Tartarus necadant in obscurum. Hostias et preces tibi Domine,laudis offerimus. Tu suscipe pro animabus illis quarum hodie memoriam facimus. Fac eas,Domine, de morte transire ad vitam quam olimAbrahae promisisti et semini eius.

O Lord, Jesus Christ, king of glory deliver the soulsof the dead from the punishment of hell and the deeppit. O Lord Jesus Christ, king of glory, deliver thesouls of the dead from the mouth of the lion, so theyare not swallowed by hell and do not fall intodarkness. Sacrifices and prayers to you, lord, withpraise we offer, receive them for those souls whomtoday we remember. Make them, Lord, from death tocross over to life as once you promised to Abrahamand to his seed.

Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth,pleni sunt coeli et terra gloria tua. Hosanna in excelsis.Holy, holy, holy, Lord God of hosts, full are theheavens and earth with your glory. Hosanna in thehighest.

Pie Jesu, Domine, dona eis requiem, sempiternamrequiem.Merciful Lord Jesus, give them rest, eternal rest.

Agnus Dei, qui tollis peccata mundi, dona eis requiem.Lux aeterna luceat eis, Domine, cum sanctis tuis inaeternum, quia pius es. Requiem aeternam dona eisDomine, et lux perpetua luceat eis.

VI) Libera Me

VII) In Paradisum

Interval(during which wine and juice will be served)

NICHOLAS SCOTT-BURT b1962Magnificat - 3 solo movements

!) Esurientes II) Quia respexit III) Quia fecit mihi magna

Passion DancesI) De ProfundisII) HosannaIII) CrucifixusIV) Alleluia

JOHN RUTTER b1945Feel the Spirit

I) Joshua fit the Battle of JerichoII) Steal AwayIII) I got a RobeIV) Sometimes I feel like a motherless childV) Every time I feel the spiritVI) Deep RiverVII) When the saints go marching in

Lamb of God, who take away the sins of the world,give them rest. Let light eternal shine on them,Lord, with your saints for eternity for you aremerciful. Give them eternal rest, Lord, and let lightalways shine on them.

Libera me, Domine, de morte aeterna. In die illatremenda quando coeli movendi sunt et terra dumveneris judicare saeculum per ignem. T r e m e n sfactus sum ego et timeo dum discussio venerit atqueventura ira. Dies illa, dies irae, calamitatis etmiseriae, dies illa, dies magna et amara valde.Free me, Lord, from death eternal on that day ofdread when the heavens will be shaken and the earthwhile you come to judge the world with fire. I ammade to shake, and am afraid awaiting the trial andthe coming anger. That day, day of anger, ofcalamity and misery, that day, the day of great andexceeding bitterness.Requiem aeternam … (reprise of the introit)

In Paradisum deducant Angeli in tuo adventususcipiant te Martyres et perducant te in civitatemsanctam Jerusalem. Chorus Angelorum te suscipiatet cum Lazaro quondam paupere aeternam habeasrequiemInto paradise may angels draw you, on your arrival,may the martyrs receive you and lead you into theholy city Jerusalem. May the chorus of angelsreceive you, and with Lazarus, once a beggar, mayyou have eternal rest.

CONDUCTOR'S NOTES

It was in 1899 that the previously unknown Edward Elgarburst onto the world stage with his Enigma Variations.He was 42 years old, and for many years had beenstruggling to make a name for himself as a composer.He had a handful of published works to his name, andwas well respected within his own personal andprofessional circles, but beyond his nativeWorcestershire, few had heard of the man or indeed hismusic. But the creative imagination and technical skillwhich characterise his later works were ever present:seven years before Enigma he had composed theeloquent and finely wrought Serenade for Strings for theWorcester Ladies' Orchestral Class. They first performedit in private with Elgar conducting. The first publicperformance took place in Antwerp four years later.

In the introspective key of E minor, the openingmovement in 6/8 time combines jig-like rhythmicfigurations with more extended lyrical phrases, oftenslipping disarmingly into the tonic or relative major keywith a consequent brightening and warming ofcharacter. The slow movement is the most profound andpresages the Adagio of the cello concerto (amongstother later works) in its architecture and expressiveoutlook. The finale evokes the pastoral character of theold English tradition going back to the time of Purcelland beyond, but in an unmistakeably 19th centuryreinvention where melodic lines are piled upon eachother in imitative sequences and dramatic dynamiccontours. With a reprise of the first-movement themesat the very end, the work comes full circle to its gentleconclusion.

Until the mid 1980s the Requiem by Elgar's Frenchcontemporary, Gabriel Fauré, was known as a workrequiring a full symphony orchestra and choral forces tomatch. This version of the piece had held sway since itspublication and first performances in 1900, though thehistory of Fauré's Requiem dates back to 1887. Faurewas then (indeed for most of his career) organist of LaMadeleine church in Paris and much involved in theperformance and provision of church music. TheRequiem was not written for any specific occasion -Fauré said he had composed the piece "for the pleasureof it", although the death of both his parents two yearsearlier may have been a contributing factor. The earliestversion of the piece was in five movements - theOffertoire and Libera Me did not appear until 1893; andthe scoring principally for organ with a small ensembleof lower string instruments (violas, cellos, basses)lending colour and texture. This scoring may have beeninfluenced by the opening of Brahms's Ein DeutschesRequiem which requires a string section without violins- though they appear in the subsequent movements. The1893 version of Fauré's work added the two remainingmovements and expanded the ensemble to include harp,horns, and solo violin in two of the movements. The fullorchestra version may not even have been prepared by

Fauré's hand - we know it was at the request of thepublisher Hamelle that the symphonic score waswritten, to attract a greater number of performancesand to turn the piece into a concert work rather than apiece of liturgical music. Fauré inveigled his studentRoger-Ducasse into preparing the piano reduction forthe vocal scores, and it is not unlikely that he alsoprovided the full orchestration.

The Requiem is of neatly symmetrical construction,seven movements, centred on the soprano solo Pie Jesu.The second and the second-last movements (Offertoireand Libera Me) each feature the baritone solo as well asthe choir, and in the remaining choral movements (1, 3,5 and 7), the Sanctus and Agnus Dei balance each othereither side of the central point, while the D minordarkness of the opening Introit-Kyrie is contrasted bythe lucid textures and hopeful major key of the final InParadisum.

Many composers have given of their finest when settingthe Requiem text to music. For myself, as a composer Ihave not (yet) set the Requiem, but have throughout mylife been fascinated by the text of the Magnificat: thesong of Mary on learning she would become the motherof Christ. The biblical passage from Luke is full of at firstexcitement, then self doubt, and consternation, andfear, before returning to a more triumphant mood asMary remembers the promises of God to Abraham. I setthe Latin text to music in 1995, and though I wouldhesitate to compare my compositional techniques withthose of Fauré, nevertheless this piece has evolvedthrough several different versions and scorings. The firstwas for upper voices and a 7-piece ensemble; there wasa later version for huge symphonic forces premiered inCoventry Cathedral in 1998; and the most recentversion, revised in fits and starts between 2013 and2018, which scored for chamber choir and chamberorchestra with 3 soloists, sits rather more comfortablyin the middle ground. Tonight we shall hear just threeof the solo movements: Esurientes (soprano), QuiaRespexit (Mezzo and Tenor duet) and Quia Fecit mihimagna (soprano).

My Passion Dances were conceived around the sametime in the late 90s, completed in their first version in2000, but thoroughly revised for this performance whichhas included the interpolation of four chorales sung bythe choir, one before each of the orchestral movements,which are based thematically upon them. Music basedon liturgical melodies is by no means a new idea, goingback to medieval polyphonic compositions, much usedby Bach amongst myriad others. In the Passion Dancesthe four movements and their preceding chorales mightbe understood as reflecting four days within the seasonof Passiontide and Easter: Ash Wednesday (thetemptation), Palm Sunday (entry into Jerusalem), GoodFriday (the crucifixion) and Easter morning (theresurrection). The four chorales are Aus Tiefer Not' (Outof the depths), All Glory, Laud and Honour, O thou whoat thy Eucharist didst pray, and The Strife is o'er. In the

third dance, Crucifixus, there is also a stark iteration ofthe Dies Irae plainsong, and the finale Alleluia containsfour well known Easter hymns - see if you can spot them!

Traditional hymns, and their use in classical music, ofcourse go back many centuries. Spirituals, such as thosesung by African-American slaves in the 18th and 19thcenturies have had a shorter history in which to exerttheir influence on western art music. One of the earliestexamples is Dvorak's reference to Swing Low SweetChariot in the New World Symphony. Sir Michael Tippettwove five spirituals into his oratorio A Child of Our Timein the same way as Bach used the chorales in his Passions.John Rutter's fine celebration of the spiritual tradition,Feel the Spirit, was the fruit of a conversation he had overtea with British mezzo-soprano Melanie Marshall whomhe had heard sing spirituals as part of a recital. They eachinvited the other to come up with a list of their favouritespirituals, and found that the choices had almost exactlyduplicated each other, giving rise to Rutter's immaculatesettings of these seven songs. Two of the choices, StealAway and Deep River, were also set by Tippett, but whereTippett's settings are at times troubled and austere,Rutter's seem always to offer hope, even in the darkermoments, and he calls upon the full range of hiscompositional technique and his (often unsung) skills asa jazz musician to bring the sequence, and our concert,to an exultant conclusion.

Dr Nicholas Scott-Burt

Tonight’s Musicians:Maureen BrathwaiteSoprano

Maureen Brathwaite, a long-standing member of the RoyalBirmingham Conservatoire VocalDepartment, was born in London

to Barbadian parents. She studied at the Guildhall Schoolof Music and Drama where she won the Capital RadioAnna Instone Memorial Award and the Ian FlemingAward which allowed her to continue her vocal studiesin Florence. A ’Soloiste de Radio France’, Maureen hasgiven recitals at the Montpellier Festival and as a soloistwith the Orchestre National de Lyon.

An experienced concert and oratorio artist Maureen hasperformed with orchestras such as the Royal ScottishNational Orchestra, Bournemouth Symphony, RotterdamPhilharmonic, City of Birmingham Symphony Orchestraand Norddeutscher Rundfunk Orchester. Her repertoireranges from the Requiems of Mozart, Brahms and Verdito Villa Lobos Bachianas Brasileiras and Porgy and Bess(Gershwin). Maureen Brathwaite’s operaticengagements have ranged from Despina (Cosi fan tutte),Donna Elvira (Don Giovanni) for Welsh National Opera,Leila (Les Pecheurs de Perles) at Opera Holland Park toFlower maiden (Parsifal) at Théâtre du Châtelet, Paris to

Catherine GriffithsMezzo soprano

Born in York, Catherine Griffithsstudied at the Royal Northern Collegeof Music, the University ofManchester and the Guildhall Schoolof Music and Drama with JohannaPeters. Her career began with three

years as a member of the Royal Opera, after which sheleft to become a freelance principal artist working withEnglish National Opera, Welsh National Opera, EnglishTouring Opera, Opera Northern Ireland, Pavilion Opera,and Opera Theatre Company, among others. She hasperformed across the world, working in the USA andJapan, and throughout Europe.

Her operatic repertoire includes Ariodante, Ruggiero(Alcina), Arsace (Partenope), Cornelia (Giulio Cesare) andOrlando, all by Handel; Rosina (Il barbiere di Siviglia), LaCenerentola, Donna Elvira (Don Giovanni), Eboli (DonCarlos), Miss Jessel (The Turn of the Screw), Prince Orlofsky(Die Fledermaus), Marcellina and Cherubino (Le Nozze diFigaro), the Composer (Ariadne auf Naxos), Maddalena(Rigoletto), Dorabella (Così fan tutte), Niklaus (Les Contesd’Hoffmann), 2nd Rhine Maiden (Das Rheingold) andWaltraute (Die Walküre).

Equally at home on the concert platform, Catherine hassung at the major UK venues in works such as: Messiah(Handel), Requiem (Verdi), Petite Messe Solennelle andStabat Mater (Rossini), St Matthew Passion, St JohnPassion, Mass in B Minor and The Christmas Oratorio(Bach), A Child of Our Time (Tippett), The Dream ofGerontius (Elgar), Elijah (Mendelssohn), and Das Lied vonder Erde (Mahler) In the Beginning Copland, Vespers(Rachmaninov) and Sea Pictures and The Music Makers(Elgar).

She performed the UK première of Samuel Wesley’s Missadi Spiritu Sanctu with the Bristol Bach Choir andmaintained her enthusiasm for revived works with the firstcomplete modern performance of the opera The Cady ofBaghdad by Thomas Linley Junior as part of the MozartLinley Kraus Anniversary Festival.

contemporary roles and recordings such as Noliwe(Chaka) by Ekin Euba, Edna (Tobias and the Angel) and therole of Vertu in the world premiere of Les Negres forOpéra de Lyon.

In 2015 Maureen sang in the world premiere of BetweenWorlds (Tansy Davies) a joint production by EnglishNational Opera and the Barbican. During this seasonMaureen sang the world premiere of the mini-opera HiSam by Yfat Soul Zisso for Birmingham Opera Company.

An unexpected delight this year was forming part of theensemble that sang the soundtrack for the Marvel film,Black Panther.

Catherine now combines her performing career withfamily life and an ever expanding teaching practice. Sheis Head of Singing at Uppingham School where sherecently produced a fully staged Dido and Aeneas with adaring modern setting to much critical acclaim and she islooking forward to another such project in the nearfuture. Plans are afoot… She is increasingly invited to giveMasterclasses and run workshops and training days forchoral societies and educational establishments.

Simon LumbyTenor

Born in 1970, Simon waseducated at Solihull School andSolihull Sixth Form College. Hestudied organ with AndrewFletcher in Birmingham, and

singing with Robert Alderson at the Royal NorthernCollege of Music in Manchester where Simon wasstudying on the opera course.

Simon has performed with many of this country’s leadingsymphony orchestras - singing performances haveincluded Bach St. John Passion (for The Royal LiverpoolPhilharmonic), Handel Messiah at the Bridgewater Hall(for the Halle Orchestra) in Manchester and in SymphonyHall Birmingham with the City of Birmingham SymphonyOrchestra, Beethoven Missa Solemnis at ManchesterTown Hall, and Elgar Dream of Gerontius both with theNorthern Symphonia. Other concerts of note haveincluded Tippett A Child of our Time for ManchesterCathedral and Stainer Crucifixion for Lichfield and DerbyCathedrals and Mozart Mass in C minor for the RoyalLiverpool Philharmonic. Opera roles have included‘Narraboth’ in Salome by Richard Strauss, ‘Peter Quint’in The Turn of the Screw by Benjamin Britten and‘Ferando’ in Cosi fan tutte by Mozart.

Simon more or less retired from professional musicmaking when he was ordained to the Priesthood of theChurch of England in June 2003. He is currently servingas Parish Priest of St. Aidan’s, New Parks, in the Dioceseof Leicester, whose congregation has grown by more than400% since 2006.

His music-making since being ordained has been almostexclusively for the Church. He is now enjoying comingback to more serious music-making after a period of timeaway and recently founded ‘8ctave’ – a choir of Priestsall from the Leicester Diocese. This choir has quicklygained popular commendation locally – singing both atDiocesan events in Leicester and also further afield. Theirfirst CD was released in 2013 to great enthusiasm andtheir second in 2014 was similarly received.

Simon is also Musical Director for Viva la Musica – aLoughborough-based chamber choir that is winningpopular and critical acclaim for their performances, bothlocally and nationally.

Simon has released two solo recordings. ‘Loud Organs HisGlory Forthtell in Deep Tone’ was the first recording to bemade on the new organ that was installed in SaintAidan’s, New Parks, in 2007 and features a programmeof popular organ masterworks. ‘A Grateful Heart’ is acollection of English Song that Simon recorded withpianist Helen Davies and features works by Ivor Gurney,Michael Head and a complete recording of VaughanWilliams’ Songs of Travel. Both are being sold in aid ofthe Saint Aidan’s Hall Renovation Appeal.

Simon’s next releases include a recording of British organmusic, including the First Organ Sonata of Basil Harwood,played on the organ at Saint Aidan’s, and an album oflyrical song by composers including Haydn, Brahms andRichard Strauss.

Orchestra da CameraThe orchestra was founded in 1957 by conductor BrianPriestman (who was Director of Music at the RoyalShakespeare Theatre 1960-1963), with Kenneth Page asleader. Following the departure of Priestman to take upa conducting post in Canada at the end of 1964, the lateKenneth Page took over as Principal Conductor andArtistic Director.  Joined by harpsichordist JohnEngleheart, they developed links with most of the majorchoirs and choral societies in the Midlands.  Many ofthese organisations still employ the orchestra for theirconcerts, and we enjoy an enviable reputation forproviding a high degree of co-operation and sensitiveaccompaniment.

During its long history, Orchestra da Camera hasappeared at numerous concert venues in the Midlandsand beyond, including Birmingham Town Hall, VictoriaHall Hanley, Nottingham’s Albert Hall, Royal Concert Halland the cathedrals of Worcester, Gloucester, Hereford,Peterborough, Lincoln, St. David’s, Exeter and Coventry.In 1995 Orchestra da Camera was invited to becomeorchestra in residence at Loughborough University,having previously held similar posts at the University ofAston in Birmingham and at Warwick University.  Theorchestra has been fortunate to work with manydistinguished soloists and conductors, including BrynTerfel, Dame Felicity Lott, Nigel Kennedy, Julian Lloyd-Webber, Emma Johnson, Michael Collins, Michaela Petri,Nicholas Cleobury, Sir David Willcocks, Simon Preston,Craig Ogden, Tasmin Little, Hans Nygaard and JohnRutter.  A series of recordings are available on theMeridian label, including Schubert Symphonies, HaydnViolin Concertos, a collection of works by Englishcomposers entitled The Banks Of Green Willow and a discof works by the English composer John Jeffries.

Nicholas Scott-BurtConductor

Dr Nicholas Scott-Burt enjoys abusy and varied freelance careeras a composer, conductor,organist and pianist. He has beenMusic Director of CharnwoodVoices since 2015, and also

conducts Daventry Choral Society. He is organist andaccompanist in residence at Bablake School, Coventry,where he teaches piano (classical and jazz), organ andcomposition as well as teaching at Uppingham Schooland the Robert Smyth Academy in Market Harborough;he is a classical and jazz examiner for the AssociatedBoard of the Royal Schools of Music, and has contributedwidely as a composer and arranger to recent ABRSMpiano publications. As a composer he has written over100 works for a broad variety of media, from ‘pop songs’to symphonic scores – most recently completing A LittleJazz Piano Sonata in C, and a chamber concerto for Fluteand Harp with seven instruments.

He is married to the violinist Cathy Scott-Burt – their twosons Miles and Harry are respectively a percussionistand a cellist.

Charnwood Voices is an auditioned SATB choir ofsome 45 voices based in Charnwood, Leicestershire.Founded as Shepshed Singers in 1977, the choir hasgained a well-deserved reputation for performingneglected and unfamiliar music as well as better knownand popular pieces, both sacred and secular. The choirbecame ‘Charnwood Voices’ in 2016.

The choir mostly performs a capella, but every two yearsperforms larger works with an orchestra, such astonight’s concert. Charnwood Voices also undertakestours every other Easter, either to continental Europeor in Britain. A very successful tour to Tuscany in 2017is to be followed by a trip to Bath and Wells at Easter2019. The choir has competed in music festivals and, inaddition to its own concerts, is available for weddings,Christmas functions, and social or fund-raising events.

Tonight’s choir:Soprano: Jeni Beasley, Sue Champneys, JanetClitheroe, Christine Cooke, Ann Dale, Alison Dash, HazelFitzgibbon, Sharon Gamble, Patti Garlick, Gail Pitman-Gibson, Iris Sayer, Jackie Tripp, Liz Twitchell, JanetWilkinson, Vanessa Wright.

Alto: Glynis Booth, Chris Branford, Helen Brown,Wendy Burns, Jean Hayes, Joanna Milner, Lis Muller,Jan Nisbet, Julie O’Dowd.

Tenor: Mike Bailey, David Booth, Megan Dimitrov,Peter Finch, Bill Hing, Malcolm Steward.

Bass: Colin Butler, Noel Colley, John Owen, Wyn Parry,Alan Speight, Gerard Stevens.

If you would like to advertise in future concertprogrammes, please contact us atpublicity@charnwoodvoices.org,uk

Interested in Joining us at Charnwood Voices?We rehearse on Wednesday evenings in Belton andare always happy to hear from potential members.If you are interested in joining us and wish to findout more about our auditioning procedure, pleasecontact chairman@charnwoodvoices.org.uk

To book us for an event or concert:Contact us on 07950 715189 or e-mail us onsecretary@charnwoodvoices.org.uk; links can befound on our website.

www.charnwoodvoices.org.ukWhy not join our e-mail list?Ask a choir member tonight

Find out more and keep up to date on our website

Dates for 2019 (venues to be confirmed)

Pre-tour Concert: 7.30pm Saturday 6th April

Tour to SomersetTuesday 23�� to Saturday 27�� AprilIncludes performances in Wells Cathedral and BathAbbey.

Autumn concert: 7.30pm Saturday 12th October

Christmas concert: 7.30pm Saturday 21st December

COME AND SING 2019

Choruses fromROSSINI: Petite Messe Solonnelle

Saturday 12th January 2019at Trinity Methodist Church Centre,

Loughborough

One-day WorkshopWorkshop Leader: Nicholas Scott-Burt

Accompanist: Anthony Wilson

The format of the day will be as in previous yearsRegistration: 10am. Performance: 5.30 - 6.30pm

Cost is £15. Music provided.

This is open to all singers. Advanced booking will beessential. Visit our website