Mozart Symphony No.40Haydn ‘Paukenmesse’Missa in Tempore Belli: Mass in time of War

New Hall Winchester CollegeSunday March 24th at 7.30pmRetiring collection for Key Changes Music Therapy

Winchester Music Club

New Hall Winchester CollegeSunday 24th April at 7.30pm

Mozart Symphony No.40Haydn ‘Paukenmesse’Missa in Tempore Belli:Mass in time of War

Eleanor Gregory sopranoCatherine Backhouse mezzo soprano Richard Dowling tenorChristopher Foster bassBrian Howells leaderNicholas Wilks conductor

Winchester Music Club and Orchestra

Retiring collection for Key Changes Music Therapy

Please ensure that your mobile phone is switched off for the duration of the concert.The use of any kind of recording, photographic or video equipment is strictly prohibited.

WelcomeWinchester Music Club welcomes you all to this evening’s concert of works by Franz Joseph Haydn and Wolfgang Amadeus Mozart. It will make a delightful contrast with Britten’s War Requiem which the Club performed so memorably in the Cathedral last November.

Under the very inspiring and capable leadership of our Director, Nicholas Wilks, the Club has over the past ten years enjoyed performing a musical mixture of both challenging works and of well-loved classics.

Winchester Music Club, which was founded here in Winchester College nearly 90 years ago, welcomes applications for membership from enthusiastic singers, so if you would like to join our Club, please refer to the information to be found in this programme.

I’d also like to draw your attention to the Key Changes charity which has done so much to extend the healing power of music to all. Please give generously when you leave tonight.

I wish you all a most enjoyable evening.

Christopher Green Chairman

Welcome to this evening’s concert, which pairs two masterpieces composed only eight years apart.

Mozart’s justly popular Symphony No.40 in G minor is one of his most intense and dramatic works. It was written in 1788 as a tribute to Haydn, whose Paris symphonies he deeply admired. The symphony is remarkable for its darkness of mood. Only the slow movement brings some degree of respite from its edgy, brooding and restless spirit. By 1796 Vienna was a very different place. Mozart had been dead for five years, and war with France was imminent.

Last November’s performance of Britten’s War Requiem emphasised the devastating legacy of two world wars. Haydn’s Paukenmesse (Mass in time of War), on the other hand, is about the fear and uncertainty which war brings. Few composers have captured its sheer terror as vividly as Haydn does here, but his greatest achievement is in depicting human beings clinging to religious faith as we progress from the relative serenity of the opening Kyrie to the desperation of the Agnus Dei.

While the personal and musical relationship between Haydn and Mozart was one of profound respect, the pupil-teacher relationship between Haydn and his iconoclastic pupil Beethoven was much more problematic – as we shall hear in next November’s performance of Beethoven’s Symphony No.9.

Niicholas Wilks Conductor

About Key ChangesKey Changes music therapists work with people of all ages who have communication and emotional needs. The benefits of music therapy include self-confidence and improved quality of life. In 2010 – 2012, Key Changes was involved in a research project assessing the benefits of music therapy with young people, from severely disadvantaged backgrounds, who were at risk of social and educational exclusion. Hampshire County Council’s Education Inclusion Service has endorsed our input in this area.

Teachers made several positive observations at the music therapy project’s review meeting, including: “If he hadn’t have come to music therapy, he wouldn’t have stayed in school”“L. is now on role at mainstream...from no self-esteem, high anxiety and aggression. A changed boy.” “M. used to cling to Mum, now arrives independently in a taxi and is studying for GCSEs” Now the research has come to an end, the missing link to providing further therapy - particularly in these times of cuts to government funded services - is funding.

Martin’s links to Key ChangesOver the years, Martin supported Winchester-based Key Changes, and its predecessor, Hampshire MusicSpace, with characteristic energy and ideas. Initially this was through special fundraising jazz events. Famous names were often brought in, such as Scott Stroman, Andy Sheppard and Gwyneth Herbert, thrilling both the supporting Youth Jazz groups and the audience alike. These names helped put ‘bums on seats’ and the events were win/win; everyone leaving feeling uplifted and having made discoveries while raising essential funds for the charity.

Martin also provided an inspiring workshop at the Key Changes conference for music therapists: Music Therapy – the Power of Music. The aim of the workshop was to improve improvisation skills. Through his whistle-stop tour of the modes and associated harmonic ideas, Martin inspired and energised all 50 of the delegate therapists and non-therapists. Those ideas are still being used.

These practical ways were how Martin always chose to work, and through his 30 years of teaching, those fortunate enough to come into contact with him became gripped by his enthusiasm and energy (and his green DM boots!) and were moved on to new levels of confidence and skill.

Key Changes therefore felt it was fitting to suggest this charity as one to receive donations in Martin’s memory and as the link between the work of the charity and Martin’s work has always been in the area of young people. and has established a special fund in Martin’s name, the

Martin Read Fund for Young PeopleSums raised will be used both to directly benefit emotionally disadvantaged young people, and as seed funding to apply for further funds. It will become

another Martin Read legacy. The project will be reported on at: www.keychanges.org KAYAC,Winnall Valley Road,Winchester SO23 0LD 01962 842269 info@keychanges.org

Thank you for supporting Key Changes: charity number 1124102

Martin Read: music educator and composer (1959-2012)

Viennese culture, conflict and the rise of the ‘freelance’ composer

At the very end of the eighteenth century, Vienna, whilst not quite as influential as London or post-revolutionary Paris, was a burgeoning centre of culture. Rising prosperity in this city of around 250,000 meant that some 8,000 aristocrats (and the rapidly expanding bourgeoisie) fuelled demand for concerts, and also for salon music for talented amateurs.

Prestige consumption, twinned with aesthetic sensibility, were the presiding virtues. For the first time composers were able to provide music for a wide variety of ‘clients’ rather than being tied to a particular household.

But this seemingly ideal environment for ‘freelance’ composers was fragile. In the five years from 1784 to 1789 the price of bread was to double as the result of the Emperor‘s ill-fated Turkish War.

By the mid 1790s, Napoleon was becoming a threat to much of Europe. With a successful campaign in Italy behind him, he was already in Styria, a mere 100 miles from Vienna itself. Faced with the prospect of conflict, many aristocratic patrons departed hurriedly. The composers left in their wake were suddenly deprived of their daily bread, a situation made far worse by the rising prices.© Janette Lloyd 2013

Vienna in 1760

‘ Papa’ Haydn and the ‘irreplaceable’ Mozart

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It was against this background that Mozart and Haydn first met in the early 1780s. Haydn, as Prince Esterházy’s court composer (Kapellmeister), lived for much of the year far from Vienna on the remote Esterháza estate. He had at this time, however, moved to his patron’s winter quarters at Eisenstadt which were much closer to the city. He was in his early fifties and Mozart was not yet 30.

They were already familiar with each other’s work. Haydn’s quartets Op 20, written in 1772, were an inspiration to Mozart, who produced his own in 1773 (K 168). In the lively musical atmosphere in the city they played chamber music together, Haydn on one occasion is recorded as taking the first violin part whilst Mozart played the viola.

It would be incorrect to say that Haydn was the younger man’s mentor, as the latter was already well-established. But Haydn did lend Mozart his well-annotated copy of a book on counterpoint. Mozart always addressed him as ‘Papa’, a term used for an older and well-respected colleague. Of Mozart, Haydn remarked that ‘he was much my superior’, whereas Mozart had for Haydn a ‘high esteem and a regard for (his) true merit.’

It was with regret that Mozart met Haydn to bid him farewell on his departure for England in 1790. Mozart, although younger, was well travelled, and in addition to his sadness at losing such a good friend, remarked with concern ‘you speak too few languages’. ‘My language is understood all over the world’ was the sagacious reply. Some premonition made Mozart confide that they would never meet again. Haydn, being 60, took this to mean that he himself would pre-decease the younger man.

But he was to live for 17 more years. Mozart died 12 months afterwards, in 1791, at the age of 35. Haydn, having left the Esterházy patronage, became a millionaire ‘freelance’ in England, fêted by all. In Vienna the threat of war gave Mozart, deserted by his patrons, acute financial problems. Ironically, had he lived he would have followed Haydn to England. One can only speculate as to the outcome.

When he heard of Mozart’s death, Haydn lamented the very personal loss of an ‘irreplaceable man’. © Janette Lloyd 2013

Mannheim symphonies and ‘symphonic’ masses

The composer Howard Goodall, in his recent television series on the history of music, describes the symphony as the first example of the abstract in art. This musical form appears over a century before any form of abstraction in visual art. Built on a series of ever expanding phrases, it takes the listener on an ex-ploratory journey. But as he points out, this has neither narrative nor plot nor literal meaning; it is not descriptive of anything.

The symphony proper began in Mannheim with the mid eighteenth century composer Stamitz. He enlarged previous Baroque orchestration considerably, adding a wind section. His compositions also took inspiration from Italian opera. The subsequent fast/slow/minuet plus trio/presto symphonic structure was emerging. It was Haydn, Mozart, his friend and protégé and Beethoven, his pupil, who, between them, carried this simple ‘Mannheim’ symphonic form to sublime lengths. Haydn produced some 104 symphonies. A journey through them encompasses small scale, but beautifully tuneful, works in the 1750s to the development of heightened emotion in the middle period (1760-70, conforming to the Sturm und Drang period in the literature of the time). James Webster describes the works of this period as ‘longer, more passionate, and more daring.’ His late period symphonies, 12 of which were written in London in the 1790s, take on a more popular aspect, employing folk tunes in a fluid and skilful way. His sense of humour and robust personality shine through them all.

The key schemes in Haydn’s Symphonies nos. 82-84 - in Eb major, G minor and C major were adopted by Mozart - for his Symphony no. 39 K.543, Symphony no. 40 K.550 and Symphony no. 41 K.551 (the ‘Jupiter’) respectively. These were written in just six weeks in the summer of 1788, during an intensively productive period, even for ‘an unstoppable tune writer’, as Howard Goodall describes him.

No.40 is deservedly famous and has survived many different subsequent ‘arrangements’. The Great G minor, as it is known, has a tragic and emotional intensity, despite having been written for the opening of a new casino in Vienna! Furthermore the second movement of the Symphony resembles that of Haydn’s Symphony no. 83 (‘La poule’) in many respects: E flat major, andante, piano dynamic, predominantly string scoring, repeated tonic notes to open the theme and gently accented discords.

In his six late masses, also written in the 1790s, Haydn continued to deploy the ‘symphonic’ style. Paukenmesse (Kettledrum Mass) from 1796, also known as Missa in tempore belli, or Mass in time of war, could be regarded as a ‘vocal symphony’. Each of its three main sections has the basic symphonic fast/slow/fast structure, although the first section also has a slow introduction (a characteristic of the late period symphonies.) The solo quartet contrasts with the tutti of the chorus. The orchestra, too, has its own melodies.

It must not be forgotten that these six late masses were written for liturgical performance. In explanation of the frequent light-hearted passages Haydn com-mented: ‘Whenever I think of God I laugh with joy.’ According to E. N. Green, however: Paukenmesse ‘is a world brightly in C major, but it includes every pos-sibility, including the darkest and most agitating.’

The trumpets and drums were introduced to give an idea of the steady approach of a distant enemy. This is not surprising, in view of the current threats to Vienna at the time. An edict of 1796 stated: ‘No Austrian should speak of peace until the enemy is driven back to its customary borders.’

But the last word here must go to Howard Goodall. Its accuracy can only be tested after you leave tonight:

‘If you can remember a tune, it’s probably by Mozart. If you can’t, it’s by Haydn’. © Janette Lloyd 2013

Wolfgang Amadeus MozartSymphony No.40 K550

Molto Allegro

Andante

Menuetto, Allegretto

Finale, Allegro assai

There will be one interval of fifteen minutes

A Licensed Bar is available in the Foyer

KyrieSoloists and Chorus

Kyrie eleisonChriste eleison

Kyrie eleison

GloriaSoprano, Bass Soloists and Chorus

Gloria in excelsisEt in terra pax hominibus bonae voluntatis

Laudamus teBenedicimus te

Adoramus te Glorificamus te

Gratias agimus tibi propter magnam gloriam tuamDomine Deus, Rex coelestis, Deus Pater omnipotens.

Domini Fili unigenite, Jesu Christe.Domine Deus, Agnus Dei, Filius Patris.

Qui tollis peccata mundi, miserere nobis.Qui tollis peccata mundi,suscipe deprecationem

nostram.Qui sedes ad dexteram Patris, miserere nobis.

Quoniam tu solus Sanctus.Tu solus Dominus.

Tu solus Altissimus, Jesu Christe.Cum sancto Spiritu in gloria Dei Patris.

Amen

CredoSoloists and Chorus

Credo in unum DeumPatrem omnipotentem, factorem coeli et terrae,

Visibilium omnium et invisibilium.Et in unum Dominum Jesum Christum,

Filium Deum unigenitum,Et ex Patre natum ante omnia saecula.

Deum de Deo, lumen de lumine,Deum verum de Deo vero,

Genitum non factum,Consubstantialem Patri, per quem omnia facta sunt.Qui propter nos homines et propter nostram salutem

Descendit de coelis.Et incarnatus est de Spiritu Sancto ex Maria Virgine

Et homo factus est. Crucifixus etiam pro nobis sub Pontio Pilato,

Passus et sepultus est.Et resurrexit tertia die, secundum Scripturas,

Et ascendit in coelum, sedet ad dexteram Patris,Et iterum venturus est cum gloria, judicare vivos et

mortuos,Cujus regni non erit finis.

Lord, have mercy Christ, have mercy Lord, have mercy

Glory to God in the HighestAnd on earth peace to men of goodwillWe praise Thee We bless TheeWe worship Thee We glorify TheeWe give thanks to Thee for Thy great gloryLord God, Heavenly King, God the Father Almighty.Lord Jesus Christ, the only begotten Son of the FatherLord God, Lamb of God, Son of the FatherWho takes away the sins of the world, have mercy on us.Who takes away the sins of the world, receive our prayer.Who sits at the right hand of the Father have mercy on usFor only Thou art Holy Thou only art The Lord.Lord Jesus Christ,Thou only art most high, With the Holy Spirit, in the glory of God the Father.Amen

I believe in One GodThe Father Almighty, Maker of heaven and earthAnd of all things visible and invisible.And in one Lord Jesus Christ The only-begotten Son of God,Begotten of His Father before all worlds,God of God, Light of Light,Very God of very God,Begotten not made,Being of one substance with the Father by whom all things were made; Who for us men and for our salvation came down from heaven.And was incarnate by the Holy Ghost of the Virgin Mary and was made man.And was crucified also for us under Pontius Pilate.He suffered and was buried.On the third day He rose again according to the Scriptures, And ascended into heaven, And sitteth on the right hand of the Fathet, And shall come again with glory to judge both the quick and the dead,Whose kingdom shall have no end.

Paukenmesse: Joseph Haydn Mass ‘In time of war’: Missa in Tempore Belli

Et in Spiritum Sanctum, Dominum et vivificantem.Qui locutus est per Prophetas.

Et unam sanctam catholicam et apostolicam Ecclesiam,Confiteor unum baptisma in remissionem peccatorum,

Et expecto resurrectionem mortuorum.Et vitam venturi saeculi.

Amen

SanctusAlto, Tenor Solists and Chorus

Sanctus, Sanctus, Dominus Deus Sabaoth.Pleni sunt coeli e--t terra gloria tua.

Osanna in excelsis

BenedictusSoprano, Alto, Tenor and Bass soloists and Chorus

Benedictus qui venit in nomine Domini.Osanna in excelsis.

Agnus DeiSoprano, Alto, Tenor and Bass soloists and Chorus

Agnus Dei qui tollis peccata mundi,Miserere nobis.

Agnus Dei qui tollis peccata mundi,Dona nobis pacem

And I believe in the Holy Ghost, the Lord and giver of life, Who spake by the Prophets.And I believe in one Catholic and Apostolic Church.I acknowledge one baptism for the remission of sins,And I look for the Resurrection of the deadAnd the life of the world to come.Amen

Holy, Holy, Lord God of Hosts.Heaven and earth are full of thy Glory.Hosanna in the Highest.

Blessed is he that cometh in the name of the LordHosanna in the Highest

Lamb of God that takest away the sins of the worldHave mercy upon usLamb of God that takest away the sins of the worldGrant us thy peace

Eleanor Gregory sopranoEleanor grew up in Oxfordshire, where she was a member of Oxfordshire Youth Music Theatre and was awarded the Frances Kitching Award for singing aged 17. She graduated with honours in Music from the University of Manchester in 2007, having been an active member of the University Chamber Choir and, as a clarinettist, the Symphony Orchestra.Based in London, Eleanor studies with Debbie Rees. As a soloist, she particularly enjoys music of the Baroque era. Repertoire has included Handel’s Messiah at Beverley Minster and Manchester Cathedral, Bach’s St John Passion and Magnificat, Monteverdi’s Vespers, and Handel’s Dixit Dominus. She has sung the role of 2nd Woman in Purcell’s Dido and Aeneas with Emma Kirkby, and Michel in Handel’s Saul at the Royal Northern College of Music where, last year, she also performed the role of Lucinda in an actor-musician production of Sondheim’s Into The Woods. More recent oratorio engagements in the UK have included Haydn’s Creation in Powys, Montgomeryshire.Eleanor’s choral experience is diverse and varied, and she sings in many of central London’s prestigious churches. She is a soprano for the BBC Radio 4 Daily Service Singers and was a soloist in collaboration with the BBC Singers, recording music for Radio 4’s People’s Passion plays at Easter last year. She performs regularly with Ex Cathedra Consort, recently in the acclaimed world premiere of Stockhausen’s opera Mittwoch aus Licht, in collaboration with Birmingham Opera Company and directed by Graham Vick.

Catherine Backhouse mezzo sopranogrew up in Edinburgh, graduated with an honours degree in music from The University of Durham and is currently on the Opera Studies course at the Guildhall School of Music & Drama studying with John Evans. She has played Cherubino in Le Nozze di Figaro, Jean in Le Portait de Manon by Massenet and Eva in Comedy on the Bridge by Martinu at Guildhall, Mezzo Actor in Judith Weir’s A Night at the Chinese Opera with British Youth Opera, Hippolyta in A Midsummer Night’s Dream in Barbican Theatre, Rossweisse in Die Walküre at the St Endellion Festival, Ino in Handel’s Semele and Sesto in Mozart’s La Clemenza di Tito for Hampstead Garden Opera, Soeur Anne in Dialogues des Carmélites by Poulenc at Guildhall and Mabel/Nurse Wallace in Unknown Doors by Iain Burnside in the Barbican Pit Theatre and Flat Pack: An Opera in IKEA by Tom AZ Lane. Her recent solo oratorio work has featured Rossini’s Petite Messe Solennelle with the South London Singers, Bach Mass in B Minor with The Rodolfus Choir, Couperin Leçon de Tenébres in St. Mary’s Cathedral Edinburgh, Mozart Mass in C Minor with Bracknell Choral Society and Handel Israel in Egypt at the St. David’s Festival Wales. Her recital work has featured Schumann Frauenliebe und Leben in St. Mary-At-Hill in London, Mahler Lieder Eines Fahrenden Gesellen and Vaughan Williams This House of Life. She has also performed with the period instrument ensembles Symphonie des Plaisirs and the Squair Mile Viol Consort. She won 2nd prize in the 2011 English Speakers and Singers Patricia Routledge Song Competition. Before focusing on solo singing and opera she spent three years touring the world as part of professional a cappella group Voces8. She also works with the BBC Singers, Polyphony, Philharmonia Voices and London Voices. Future plans include Kate in Owen Wingrave by Britten at Guildhall. Her studies are supported by the Worshipful Companies of Actuaries and Plaisterers and Sir James Caird Travelling Scholarships Trust.

Richard Dowling tenor

is currently studying for a postgraduate MA at the Royal Academy of Music, and is supported by the Kohn Foundation and is the recipient of the Ian Fleming Award administered by the Musicians Benevolent Fund. He is taught by Neil Mackie and coached by Audrey Hyland and notable achievements since beginning his studies include coming runner-up in the Schumann Lieder Competition and winning the Flora Nielson Prize for song.He has been interested in singing, performing and music from a young age and took lead roles in musicals at school and in the Oxfordshire Youth Music Theatre. He studied Chemical Engineering as an undergraduate at Manchester University and went on to study for a PhD in the field of crystallisation, whilst working as a Lay Clerk at Manchester Cathedral, as a member of the BBC Daily Service Singers and as a freelance soloist. Richard has a keen interest in English song, particularly the music of Benjamin Britten, having performed Britten’s ‘Serenade’ with Chetham’s School of Music string orchestra and a recital including Britten’s Canticles 1 and 2. He has also made a recording including Vaughan Williams’ ‘Wenlock Edge’ which is available on the Herald label. On the concert platform Richard has recently appeared with the Gabrieli Consort while his operatic experience includes performances for Garsington Opera. While at the RAM he has played Pelleas in Debussy’s ‘Pelleas et Melisande’ and Durante in Leoncavallo’s ‘La Boheme’ in opera scenes and joins the prestigious opera course next season. Richard is also an experienced oratorio artist with a broad repertoire. Recent notable performances include the Evangelist in Bach’s ‘St John Passion’, Finzi’s ‘Dies Natalis’, and Janacek’s ‘Otcenas’.

Christopher Foster bass baritoneEducated at Newcastle University and the Britten-Pears School for Advanced Musical Studies, Christopher was a winner of the N.F.M.S. Young Concert Artists’ Award and a finalist in the Richard Tauber Competition at The Wigmore Hall. He was also selected to take part in Thomas Allen’s inaugural singing course at The Samlings in the Lake District. His concert work has seen him perform throughout the UK and Europe with orchestras such as the Royal Philharmonic Orchestra, BBC Symphony Orchestra and Concerto Köln under conductors such as Pierre Boulez, Sir Andrew Davis and Mark Minkowski. Highlights have included Mozart’s Requiem at the Royal Festival Hall; Vaughan Williams’ A Sea Symphony in Darmstadt and performances of Handel’s Messiah in Madrid, televised at the Teatro Monumental and what is believed to be its first performance in English in China, given in the Concert Hall of the Forbidden City, Beijing. Christopher has appeared in many festivals and in radio broadcasts in France, Belgium, Holland and at home. For BBC Radio 3, these have included two appearances in the Henry Wood Promenade Concerts, both in Bach’s St. Matthew Passion, with Joshua Rifkin and with Trevor Pinnock; Schumann’s Manfred and Stravinsky’s Le Rossignol, both at the Royal Festival Hall; and the world premiere of Britten’s The Rescue of Penelope for the Aldeburgh Festival.

In recent years, he has been increasingly in demand as a recitalist, his programmes of English song being especially well received. His operatic roles include Sam in Bernstein’s Trouble in Tahiti (Gent, Belgium), Britten’s The Traveller in Curlew River (Hampstead and Highgate Festival), Mozart’s Figaro and Count Almaviva (covered for Sir John Eliot Gardiner), Don Alfonso in Così fan tutte (Britten-Pears School), Marcello in La bohème and Arthur in Maxwell Davies’ The Lighthouse and, most recently, Kawabata in the UK premiere of Philip Glass’ Hotel of Dreams.

His recordings include Purcell’s Timon of Athens conducted by Trevor Pinnock, Bach’s Cantata No. 34 conducted by Sir John Eliot Gardiner both for Deutsche Grammophon and Hotel Waiter in Britten’s Death in Venice, conducted by Richard Hickox CBE.Later this year he will reprise the role of The Traveller (Curlew River) in a tour of the UK, under the direction of George Vass, beginning at Presteigne Festival and sing Bach’s Weinachts Oratorium in Edinburgh.

Nicholas Wilks conductor

Nicholas Wilks has been Musical Director of Winchester Music Club since 2003, making his debut with a performance of Elgar’s The Kingdom. Now Master of Music at Winchester College, from 1996-2004 Nicholas was Musical Director of the Hampshire County Youth Orchestra. His musical education began as a Quirister at Pilgrims’ School, Winchester and continued as a music scholar at Cranleigh School. While reading English at Christ Church, Oxford, Nicholas founded and conducted the Oxford Philharmonia. He subsequently spent three years studying conducting and clarinet at the Royal Academy of Music, London, where he was supported by generous funding from the Drapers’ Company. After leaving the Academy, he specialised in working with young musicians as Musical Director of the Finchley Children’s Music Group, conducting youth orchestras in London and the Channel Islands, and as Musical Director of New Youth Opera. He has conducted in Europe, South Africa (leading the first tour by a British youth orchestra since the fall of apartheid) and Chile, and has broadcast on BBC2, 3 and 4, Classic FM and the BBC World Service. His opera credits include Eugene Onegin, Noye’s Fludde, Der Freischutz, La Belle Helene and The Bartered Bride. Nicholas conducted the premiere of Alec Roth’s Earth and Sky at the BBC Proms in 2000 with Joanna MacGregor and Ensemble Bash, and was elected an Associate of the Royal Academy of Music for professional distinction in 2001. His recordings for Somm of Britten’s Noye’s Fludde and A Ceremony of Carols was a Sunday Telegraph Critic’s Choice, and his new CD of music by Charles Davidson has recently been released by Naxos as part of the Milken Archive series of American Jewish music. Nicholas is also Musical Director of the Winchester Symphony Orchestra with whom he has embarked on a series of Brahms symphonies and concertos.

Winchester Music Club Orchestra

First ViolinsBrian Howells (ldr) David AmosTom Dutton Andy HendersonLucy Kinton Peter MarshClaire MitchellMelinda SammsRichard ShorterVince Wyre

Second violinsEmily CorbettPatricia ElkingtonBernard GreenPaul JefferyUrsula PayneJohn SargentPhilly SargentJoanna SelbornePrue Skinner ViolasSimon ClothierGill CollymoreRichard DanielTim GriffithsMargy JefferyLibby MerrimanAmanda WilsonLouise Woods CelliNicola HeinrichJane AustinSteve ClarkeAngie JanssenCatherine MitchellBeccy ReadFiona SmithAnne Stow

Double Bass Barry GlynnAdrian Osman

Flute Karen Wills Oboe Andrew KnightsVicki Small Clarinet Jane DenleyJohanna Owens

Bassoon Anna MeadowsAli Anderson

HornsPeter WidgeryJose Lluna

Trumpets David PriceMark Kesel TimpaniPaul Lovegrove

Chamber OrganJamal Sutton

Winchester Music Club Singers

SopranoElaine BiddleEmma Bracey-DavisJacky ChalcraftZa CoxJoanna CrosseUrsula GözSarah HardJean HartWinifred HubbardMary JacksonJennifer JenkinsRosaleen LittleJanette LloydElizabeth LynnGabi McKeownHilary OtterLydia ParryMiranda PasseyDeidre RussellPamela SargentChristine TargettHelen WebbSue Webb

Caroline AndrewsShirley FirthLizzie GilbertWelly GreenMandy HaasGillian HarrisFrancesca HarveyJane JessopAnn JohnsKatie MydlarzElizabeth NewportJan Royston-SmithBarbara ShawNatalie ShawBetty SpencerAlison Wood

AltoPat CarruthersIsobel EltonAngela GarrettJanet GoodmanJan Gwynne-HowellLea HolmesMaureen JacksonNicola KeeneCarol Leighton-DaviesElizabeth LoweRosemary MerchantCelia ParkesPat PearceJanet Rowland-WhiteAngela Ryde-WellerLiza SlinnJudith SmithArden TulipHenrietta Wentwoth-Stanley

Anna BennettsGeorgina BusherJill CurtisMadeleine de LorneAlison DevesonPamela JonesLucia TaylorAnn TubbsFrancine Weller

TenorGeorge CzaykowskiMichael EltonJulian HarveyJohn Parry-JonesBrian PurkissDavid ReesJim SampsonLen Tatham

Peter BodoanoWilliam GubbinsSteve HynardDavid InnesAndrew ThomsonJack Walters

BassDavid AndersonGeoffrey BennettsStuart CowanEwan DavidsonJohn HartBob JonesRobert LittleJames Martin-JonesDavid MorganBob OrmistonHugh PeersArnold RenwickBruce Ryde-WellerGuy StephensonRoy Weller

John CarpenterAndrew CarruthersJeremy DanielDavid FirthMike FreemanBob FrostIan LoweAlan MathesonPaul NewmanJohn SatchellJohn StanningIan Taylor

We are very grateful to Olly Tarney and Jamal Sutton for their good humoured help in taking sectional rehearsals

and in providing pianoaccompaniment

Orchard Close offers supported accommodation for older people in en-suite bedsits and twin room apartments. The property is set in mature gardens in rural Twyford.

All meals are provided freshly-cooked on the premises.

Opportunities to meet new people with a range of optional activities and outings.

Affordable, safe and secure accommodation in a warm and friendly atmosphere

The Abbeyfield Winchester Society Ltd at Orchard Close, Bourne Lane, Twyford

Telephone: 01962 711785

www.abbeyfield.hampshire.org.uk

The Battle of Montenotte,N Italy. Colonel Rampon defending Monte Legino for Napoleon’s forces against an Austrian corps under Count Argenteau. The French won the battle. It was was fought on 12 April 1796 (the same year as the compostion of Paukenmesse).

Cover Story

Joining Winchester Music ClubAs a SingerWe are always pleased to audition competent singers although vacanacies are limited. We’re also keen to attract younger singers; there is an under 25 subscription rate of only £25 a year.

As a FriendWinchester Music Club has a strong base of base of singers and orchestral players. But WMC also benefits from the support of non-performing, music loving members-our Friends. In addition to the knowledge that they are helping to support the artistic activity of the Club, which provides a major contribution to the programme of music available in the Winchester area, Friends receive the additional benefits of:

• Preferential booking for the WMC concerts• Complimentary programme for each concert• Regular newsletter covering WMC activities• Invitation to all WMC social events

The Friends annual subscription is currently £25. For two Friends living at the same address, the subscription is £45.

For further information please contact the Secretary:

Mrs Janette Lloyd, 6 Oliver’s Battery Gardens, Winchester, SO22 4HF

Tel 01962 851915email mrsjanettelloyd@hotmail.com www.winchestermusicclub.org.uk

As an Orchestral PlayerWinchester Music Club Orchestra is composed of a regular set of amateur string players with professionals brought in for the other sections as each work demands.The regular string players, although amateur, play at a very high standard. If you would like to considered for the string orchestra, or are a professonal non-string player and would like to be put on the players’ list, please apply for an audition by emailing our conductor, Nicholas Wilks, at npw@wincoll.ac uk

Vice PresidentsThe Dean of Winchester:The Very ReverendJames Atwell

The Headmaster ofWinchester College:Dr Ralph Townsend

The Right Worshipful,the Mayor of Winchester:Cllr Frank Pearson

ChairmanChristopher Green

SecretaryJanette Lloyd

TreasurerAndrew Carruthers

CommitteeWelly GreenRodger HakeLiz HakeGillian HarrisGabi McKeownAngela Ryde-WellerBruce Ryde-WellerBarbara ShawAlison Wood

Winchester Music Club

smilewithstyle

WINCHESTERORTHODONTIC PRACTICE

WINCHESTERFACIAL AESTHETIC CLINIC

01962 841 009www.orthodontics.co.uk

St Lawrence House | Barnes Close | Winchester | SO23 9QX

Mr Steve Larcombe B D S ( S y d ) D G D P ( U K )

Mr Richard NortonL D S R C S

Mr Karim JaafaryB D S M s c ( E n d o d o n t i c s )

St Lawrence HouseBarnes Close, St Cross

Winchester, SO23 9QX

Winchester 01962 853489

For a Consultation Without Obligation Call

Our philosophy of care, competence and continuingeducation ensures we provide up to date treatment in

all aspects of dentistry• Cosmetic dentistry • Crown & bridge work

• Implants • Root canal treatment• Anxious patients welcome • Dental hygienist

• Private parking

A Long Established Private PracticeProviding Quality Individual Care

St Lawrence HouseDental Practice

Gentle and Caring Servicesof the

Highest Standard

above: Christoph Weigel - the Imperial timpanist 1703right; Fresco depicting trumpets & kettledrums: Our Lady´s chapel in Altenmarkt, Osterhofen, Lower Bavaria, 1640

Come and Sing The MikadoWinchester College Music SchoolSaturday May 18th 2013

Autumn Concert

Nielsen Springtime on Funen

Beethoven Symphony No.9‘Choral’Winchester Cathedral

Thursday November 21st 2013Winchester Music Club and OrchestraNicholas Wilks conductorwww. winchestermusicclub.org.uk

Winchester Music Club is registered charity No.1095619