saturday 21 november 2015 manchester camerata · · 2018-01-15saturday 21 november 2015...

Saturday 21 November 2015

Manchester Camerata

Leeds Philharmonic Chorus

LICS Programme 21.10.15.indd 1 18/11/2015 08:57

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Welcome to Leeds Town Hall


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MozartSplendente te, Deus

MozartSymphony No 40

Interval of twenty minutes

MozartRequiem

Tonight’s concert ends at approximately

9.40pm

Tonight’s pre-concert talk will be given by Catherine Tackley

Grant Llewellynconductor

Rebecca Evanssoprano

Catherine Wyn-Rogersmezzo soprano

John Daszaktenor

Stephan Logesbass

Manchester Camerata



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4 © 2015 Simon Lindley

WolfgangAmadeusMozart1756 – 1791

Splendente Te, Deus

Splendente Te, Deus O God, when Thou appearest in brightnessdiscussa tristis est nox; all grim darkness is dispelled;iam plebis devote canentis now there is one voiceuna est vox: of Thy people, singing faithfully;

Exaudi precantes, Hear Thou our prayers,Qui solus omnipotens es; Thou who art alone omnipotent,pugnanti est certa, with Thine aid there isopitulante te, spes. sure hope for one in battle.

En! Feri hostes Lo! savage enemies, tartarei postes, the gates of hell,infestant nos: molest us;

Arena stamus, We stand in the arenaatque pugnamus; and do battle;adjuta nos. do Thou aid and help us.

Da juventuti, Grant to the youngut fida virtuti, to be faithful to their virtueimmunis sit! and unharmed!

Quae virulentis May they flourish and be productive,non pressa ventis, unassailed byflorens fructifera sit. destructive winds.

Tu viris lumen, Be Thou to mankindgratumque sis numen, a light,et fortis vis! a welcome power and strong force.

Tu doctor pusillis, Be Thou an instructor to the youngTuisque pupilis and to Thy followersServator et tutor sis. their Saviour and protector.

Like Haydn’s Insanae et vanae curae, Mozart’s Motet No 1 (Splendente Te, Deus) is an adaptation to Latin words devised by its composer from an earlier operatic or oratorio original.

Mozart adapted three magnificent choruses from his not very successful incidental music to Thamos, King of Egypt, of which Splendente Te has enjoyed, and continues to enjoy, by far the greatest degree of popularity, particularly since its publication in 1991 on behalf of the Church Music Society by the Royal School of Church Music. The work has been subsequently available on the Oxford University Press imprint.

It is generally thought that Thamos was probably composed between 1776 and 1779.

The chorus’s main theme is interspersed with deftly scored duo figuration shared between four solo voices. Overall, the moods range from prayerful supplication – “Hear our prayers” (Exaudi precantes, precantes exaudi) to the exultant, rapturous and highly dramatic mood of praise and exultation evident from the opening bars that recur throughout the work as a kind of motto theme with rondo-type episodic interludes involving the solo singers. The Motet is especially appropriate for the Feast of the Transfiguration (August 6) or for Epiphanytide in early/mid January. The origin of the text is unknown.

London-based organist Vincent Novello, founder of the music publisher that still bears his name, brought Splendente te and the other two Motets from Thamos back to England after his famous Mozart Pilgrimage travels to Europe in 1829 with, at first, Latin texts and later free English versions. Samuel Wesley arranged the piece as an organ duet and, later, the celebrated concert organist, WT Best, produced a version for organ solo.


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5© 2015 Simon Lindley


Symphony No 40 in G minor, K5501788

Allegro moltoAndanteAllegretto (Menuetto and Trio)Allegro assai (Finale)

The instrumentation dispenses with the normal trumpets and drums. The role of the oboes is diminished in the second and third movements – sections of the work in which the clarinets are afforded specific sonorities in episodic material, a characteristic continued into the finale.

The opening Allegro molto unfolds, alla breve – two beats to the bar, by means of its sighing initial theme by the violins in octaves set against an almost continuo-like accompaniment for lower strings. The tutti winds preface the completion of this motto and an arpeggiated fanfare leads to the chromatic and antiphonal second subject, shared between woodwind and strings. There are startling key changes and bold rhetoric: the beginning of the development – a section involving only the first subject material – presents the movement’s initial theme in the distant key of F sharp minor. Much use of the fanfare sub-motif occurs in the recapitulation, and the movement concludes with a brief coda on the greatly-developed opening material.

Intensity

Despite the major tonality of the slow movement, its intensity produces a restlessness increased in effect by being continued over, as it were, from the symphony’s initial Allegro molto. The use of the flattened sub-mediant key is more prophetic of romanticism than characteristically classical, and sonata form is again employed – with a lengthy development. The strength of accent, and rhythmic syncopation occasionally shifting between the marked 6/8 and its implied 3/4 groupings is a further feature. The sustained eloquence of the chromatic, and pathos-laden, final section is maintained to the very last cadence.

The bustling tension of the strident minuet contrasts with the exquisite trio, whose tonic major key provides the only real tonal brightness in an otherwise darker expressive texture of the symphony. The gentle, almost rustic, lilt is in relief to the expansive minuet with its rather care-worn and dolorous air and subdued conclusion.

Contrast

Contrast is again evident between the two main subjects of the finale – the first boldly rhetorical, the second more lyrical. Both are chromatic, and the key changes are dramatically achieved – nowhere more so than at the start of the extraordinarily daring development. The appearance of the superb second subject in the recapitulation is in the home key – its descending chromatics and taut melodic line enhanced by subtle changes of harmony and texture.

Each of Mozart’s final three symphonies has very special characteristics of its own. Of the three, it may be said that the 40th is the most personal.

Contrast is again evident between the

two main subjects of the finale – the first boldly rhetorical, the second more lyrical


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In Flanders Fields 2015


Considerable interest attaches itself to the ailing genius’s failure to complete the score. Generations previous to our own have been quite content to give the Requiem in the form completed for Mozart’s widow by Franz Xavier Süssmayer.

Commissioned by Count Franz von Walsegg (described by Alec Robertson as ’minor nobleman, and an even more minor composer, in the habit of passing off works by other hands as his own’) the Requiem was left unfinished at the time of Mozart’s death, his widow naturally seeking to avoid submitting an incomplete score with a possible loss of income as a result.

Sublime

The majority of experts agree that Mozart was responsible for the Introit and Kyrie in their entirety, for the first five movements of the Dies Irae Sequence (beginning with the stanzas Dies irae, Tuba mirum, Rex tremendae majestatis, Recordare and Confutatis maledictis respectively), and for the two movements comprising the text of the Offertory, beginning Domine, Jesu Christe and Hostias. There is some fugal common ground in Mozart’s Requiem with the Kyrie/Cum sanctis tuis subject matter and the main them of the Chorus “And with His stripes” from Handel’s Messiah. Mozart’s own movements elsewhere contain other such derivations – the sublime, sustained theme at the outset of the Introit with its steady, relentless march of time also occurs in the Requiem of FL Gassman, while that of the Introit’s Psalm-verse Te decet hymnus is the plainchant Tonus peregrinus. It is interesting that Michael Haydn had earlier used a plainsong tone at this point;

by such means is provided a link in terms of compositional technique with the composers of the polyphonic period whose Requiem settings – especially those of Anerio and Victoria – alternated between harmony and the chant in an antiphonal manner.

The orchestral scoring is highly distinctive by virtue of the lack of the material for woodwind instruments, basset-horns and bassoons excepted – and for horns. Robertson has suggested that Mozart – by 1791 very ill indeed and certainly depressed – felt that this unusual colouring (especially that provided by the hauntingly mellifluous tones of the basset-horns) the more suitably expressed the mood of humanity preparing to meet its Maker.

The Introit unfolds adagio and piano with the sustained lines of voices and woodwind against the more animated syncopation of the strings. The soprano soloist intones the Psalm-verse Te decet hymnus against a richly fluent accompaniment which itself leads to the full choir for the second verse, followed by a repeat of the opening words of the Introit. A stupendous fugue (used again later) sets the opening prayer for mercy – Kyrie eleison.

Mozart divides the lengthy Sequence into six movements; the first of these is in animated style and includes much tension in both instrumental and vocal parts – especially notable being the illustrative trembling at Quantus tremor est futurus. The mood changes radically for Tuba mirum which succeeds Dies irae – the solo quartet and obbligato tenor trombone being accompanied by quietly pulsating strings.

Although preceded twenty years earlier by a setting of Michael Haydn’s which deserves to be better known, Mozart’s Requiem – composed in the last months and weeks of his tragically short life – is certainly the greatest of all 18th century settings of the Missa Pro Defunctis.


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Requiem, K6261791

The splendour of the text at Rex tremendae majestatis is captured by long, sustained choral lines against a powerful accompaniment from the orchestral tutti, the grandeur of the opening rhetoric giving place to the quietly prayerful Salva me, fons pietatis at the close. This in turn leads to the exquisite Recordare quartet – the effect of which is among the most powerful of all the solo writing in a work in which the four individual voices are accorded a rich treasure-store of melody. Confutatis contrasts the massive choral effects of tenors and basses and their bustling accompaniment with the litany-like supplications of the sopranos and altos, including much chromaticism; this is especially noticeable at the closing bars which lead directly to the final movement of this great hymn – beginning with the words Lacrimosa dies illa. The music here vies with Recordare in terms of its depth of pathos and spirituality.

Energetic

The energetic and fugal Quam olim Abrahae appears in the Offertory twice – after each of that portion’s two movements (Domine, Jesu Christe and Hostias); the former begins in simple harmonic style revealing only later vivid portrayal of the threatened falling of the faithful into outer darkness (Ne absorbeat eas Tartarus, ne cadant in obscurum). Hostias is of much simpler style, providing a startling contrast with the reprise of the fugue with which this two-part structure concludes.

Splendid sonorities are presented at the start of Isaiah’s hymn of the Cherubim – Sanctus, sanctus, sanctus, Dominus Deus Sabaoth. Notice the striking timpani part here. A rather perfunctory Osanna ends this movement; if the melodic material is Mozart’s, it must be certain that he would have made far more of developing the main motif. The gently serene lilt present earlier in Hostias is achieved again at Benedictus qui venit – this latter section being assigned to the four soloists. In this context the concluding Osanna sounds altogether more suitable in the key of B flat, rather than in the D major which followed Sanctus.

An urgent setting of Agnus Dei includes a reprise of the plainchant used in the first movement at Te decet hymnus, while Süssmayer repeats the music of the Kyrie fugue to the closing words of this part of the Mass for the Dead – Cum sanctis tuis in aeternum: quia pius es. Here the robust rhythms seem more emphatic by being set to a declamatory text than they had to the melismatic litany of the Kyrie. Amongst the most interesting of many musical textures here is the final ‘open’ chord, without either major or minor third.

The splendour of the text at Rex tremendae

majestatis is captured by long, sustained choral lines against a powerful accompaniment from the orchestral tutti

© 2015 Simon Lindley


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iv) Recordare, Jesu pie QuartetRecordare, Jesu pie, Recall, merciful Jesus, Quod sum causa tuae viae, that I was the reason for Thy journey;Ne me perdas illa die, do not destroy me on that day.Quaerens me, sedisti, lassus; Seeking me, Thou didst sit down weary,Redemisti crucem Thou didst redeem me,passus; having endured the Cross:Tantus labor non sit cassus. let not such great pains have been in vain.Juste Judex ultionis, Just Judge of vengeance, Donum fac remissionis give me the gift of redemptionAnte diem rationis. before the day of reckoning.Ingemisco tanquam reus, I groan as one guilty, Culpa rubet vultus meus; my face blushes with guilt;Supplicanti parce, Deus. spare the suppliant, O God.Qui Mariam absolvisti, Thou who didst absolve Mary MagdalenEt latronem exaudisti, and hear the prayer of the thiefMihi quoque spem dedisti. hast also given me hope.Preces meae non sunt dignae, My prayers are not worthy,Sed tu, bonus, fac benigne, but Thou, O good one, show mercy,Ne perenni cremer igne. lest I burn in everlasting fire.Inter oves locum praesta, Give me a place among the sheep,Et ab hoedis me sequestra, and separate me from the goats,Statuens in parte dextra. placing me on Thy right hand.

v) Confutatis maledictis ChorusConfutatis maledictis When the wicked are confoundedFlammis acribus addictis, and consigned to keen flames,Voca me cum benedictis. call me with the blessed. Oro supplex et acclinis, I pray, suppliant and kneeling,Cor contritum quasi cinis, a heart as contrite as ashes;Gere curam mei finis. take Thou my ending into Thy care.

vi) Lacrymosa ChorusLacrymosa dies illa, That day is one of weeping,Qua resurget ex favilla, on which shall rise again from the ashesJudicandus homo reus. the guilty man, to be judged.Huic ergo, parce, Deus: Therefore spare this one, O God,Pie Jesu Domine: merciful Lord Jesus:Dona eis requiem. Amen. Give them rest. Amen.

Offertoryi) Domine, Jesu Christe ChorusDomine, Jesu Christe, Rex gloriae, O Lord, Jesus Christ, King of Glory, deliverlibera animas omnium fidelium the souls of all the faithful departed fromdefunctorum de poenis inferni et the pains of hell and from the deep pit;de profundo lacu: libera eas de ore deliver them from the mouth of the lion,leonis, ne absorbeat eas Tartarus, that hell may not swallow them up, ne cadant in obscurum: and they may not fall into darkness:

Introit & Kyrie Chorus and Quartet Requiem aeternam dona eis, Domine; Eternal rest grant them, O Lordet lux perpetua luceat eis and may perpetual light shine upon them.Te decet hymnus, Deus, in Sion, A hymn, O God, becometh Thee in Sionet tibi reddetur votum in Jerusalem and a vow shall be paid to Thee in Jerusalem.Exaudi orationem meam; Hear my prayer;ad te omnis caro veniet. to Thee all flesh shall come.(Fugue):Kyrie eleison, Lord, have mercy, Christe eleison, Christ, have mercy,Kyrie eleison. Lord, have mercy.

Sequencei) Dies irae ChorusDies irae, dies illa The day of wrath, that day will Solvet saeclum in favilla, dissolve the world in ashes,Teste David cum Sibylla. as David prophesied with the Sibyl.Quantus tremor est futurus, How great a terror there will beQuando Judex est venturus, when the Judge shall come Cuncta stricte discussurus! who will thresh out everything then!

ii) Tuba mirum Quartet with trombone obbligatoTuba mirum spargens sonum The trumpet, scattering a wondrous soundPer sepulchra regionum, through the tombs of every land,Coget omnes ante thronum. will gather all before the throne.Mors stupebit et natura, Death and nature shall stand amazedCum resurget creatura, when creation rises again Judicanti responsura. to answer to the Judge. Liber scriptus proferetur, A written book will be brought forthIn quo totum continetur, which contains everythingUnde mundus judicetur for which the world shall be judged.Judex ergo cum sedebit, And so when the Judge takes his seatQuidquid latet apparebit: whatever is hidden shall be made manifest,Nil inultum remanebit. nothing shall remain unavenged.Quid sum, miser, tunc dicturus? What shall I, wretch, say?Quem patronum rogaturus, Whom shall I ask to plead for me,Cum vix justus sit securus? when scarcely the righteous shall be safe?

iii) Rex tremendae majestatis ChorusRex tremendae majestatis, King of dreadful majesty,Qui salvandos salvas gratis, who freely saves the redeemed, save me,Salva me, fons pietatis. O Fount of Pity.


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iv) Recordare, Jesu pie QuartetRecordare, Jesu pie, Recall, merciful Jesus, Quod sum causa tuae viae, that I was the reason for Thy journey;Ne me perdas illa die, do not destroy me on that day.Quaerens me, sedisti, lassus; Seeking me, Thou didst sit down weary,Redemisti crucem Thou didst redeem me,passus; having endured the Cross:Tantus labor non sit cassus. let not such great pains have been in vain.Juste Judex ultionis, Just Judge of vengeance, Donum fac remissionis give me the gift of redemptionAnte diem rationis. before the day of reckoning.Ingemisco tanquam reus, I groan as one guilty, Culpa rubet vultus meus; my face blushes with guilt;Supplicanti parce, Deus. spare the suppliant, O God.Qui Mariam absolvisti, Thou who didst absolve Mary MagdalenEt latronem exaudisti, and hear the prayer of the thiefMihi quoque spem dedisti. hast also given me hope.Preces meae non sunt dignae, My prayers are not worthy,Sed tu, bonus, fac benigne, but Thou, O good one, show mercy,Ne perenni cremer igne. lest I burn in everlasting fire.Inter oves locum praesta, Give me a place among the sheep,Et ab hoedis me sequestra, and separate me from the goats,Statuens in parte dextra. placing me on Thy right hand.

v) Confutatis maledictis ChorusConfutatis maledictis When the wicked are confoundedFlammis acribus addictis, and consigned to keen flames,Voca me cum benedictis. call me with the blessed. Oro supplex et acclinis, I pray, suppliant and kneeling,Cor contritum quasi cinis, a heart as contrite as ashes;Gere curam mei finis. take Thou my ending into Thy care.

vi) Lacrymosa ChorusLacrymosa dies illa, That day is one of weeping,Qua resurget ex favilla, on which shall rise again from the ashesJudicandus homo reus. the guilty man, to be judged.Huic ergo, parce, Deus: Therefore spare this one, O God,Pie Jesu Domine: merciful Lord Jesus:Dona eis requiem. Amen. Give them rest. Amen.

Offertoryi) Domine, Jesu Christe ChorusDomine, Jesu Christe, Rex gloriae, O Lord, Jesus Christ, King of Glory, deliverlibera animas omnium fidelium the souls of all the faithful departed fromdefunctorum de poenis inferni et the pains of hell and from the deep pit;de profundo lacu: libera eas de ore deliver them from the mouth of the lion,leonis, ne absorbeat eas Tartarus, that hell may not swallow them up, ne cadant in obscurum: and they may not fall into darkness:

QuartetSed signifer sanctus Michael But may Michael the holy standard-bearer repraesentet eas in lucem sanctam; bring them into the holy light;

(Fugue): ChorusQuam olim Abrahae promisisti Which thou didst promise of old to Abrahamet semini ejus. and his seed.

ii) Hostias ChorusHostias et preces tibi, We offer unto Thee, O Lord,Domine, laudis sacrifices and prayersofferimus; tu suscipe pro animabus illis, of praise: do Thou receive them on behalf ofquarum hodie memoriam facimus. those souls whom we commemorate today.Fac eas, Domine, de morte transire ad vitam. Grant them, O Lord, to pass from death to life,(Fugue):Quam olim Abrahae promisisti which Thou didst promise of old to Abrahamet semini ejus. and his seed.

Sanctus ChorusSanctus, sanctus, sanctus, Holy, holy, holy, Dominus Deus Sabaoth. Lord God of Sabaoth.Pleni sunt coeli et terra gloria tua. Heaven and earth are full of Thy glory.

Osanna in excelsis! Hosanna in the highest!

Benedictus QuartetBenedictus qui venit Blessed is he that cometh in nomine Domini. in the name of the Lord.

Osanna in excelsis! Hosanna in the highest!

Agnus Dei & Communio ChorusAgnus Dei, qui tollis peccata mundi: O Lamb of God, that takest away the sins ofdona eis requiem. the world, grant them rest. Agnus Dei, qui tollis peccata mundi, O Lamb of God that takest away the sins of mundi, dona eis requiem sempiternam. the world, grant them eternal rest.

QuartetLux aeterna luceat eis Let everlasting light shine on them,Domine, cum O Lord withsanctis tuis in aeternum: quia pius es. Thy saints for ever: for Thou art merciful.

Requiem aeternam dona eis, Domine; Eternal rest grant them, 0 Lord;et lux perpetua luceat eis and may perpetual light shine upon them(Fugue)cum sanctis tuis in aeternum: with Thy saints for ever: quia pius es. for Thou art merciful.


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*Tickets: £16 – £14

Friday 29 January 2016, 7.30pm

Emma JohnsonClarinet

John LenehanPiano

Friday 11 March 2016, 7.30pm

Smetana Piano TrioFriday 15 April 2016, 7.30pm

European Union Chamber OrchestrawithBradford Cathedral Choir

28th Chamber Season in Bradford’s Beautiful Cathedral

The Venue, Leeds College of MusicSir Thomas Allen baritoneJoseph Middleton pianoCoffee and Cake ConcertEnglish song recital to include Vaughan Williams Songs of Travel, Butterworth A Shropshire Lad and Northumbrian folksongs.31st January 2016, 3.30pmBooking: Online (charges apply) at lcm.ac.uk or on 0113 222 3434 or in person at the Box Office, Leeds College of Music.

Clothworkers’ Centenary Concert Hall, University of LeedsRichard Strauss Song SeriesThe middle period, his friends and contemporariesLouise Alder sopranoJoseph Middleton pianoIn association with the Kathleen Ferrier Awards2nd December 2015, 7.30pmThis concert will be preceded by a pre-concert talk, beginning at 6.30pmBooking: Online (no surcharges) at concerts.leeds.ac.uk or on 0113 343 2584

The Howard Assembly Room, LeedsLucy Crowe sopranoJoseph Middleton pianoSongs by Purcell, Head, Ireland, Walton and Britten18th February 2016, 7.30pmBooking: operanorth.co.uk/howard-assembly-room or on 0844 848 2727

The Venue, Leeds College of MusicRoyal Academy of Music Song CircleLunchtime ConcertProgramme to include songs by Liszt and Loewe.16th December 2015, 1.05pmFREE EVENT

Leeds Lieder Festival1st – 3rd April 2016Artists to include: Roderick Williams, Elly Ameling (Guest of Honour), Iain Burnside, Katarina Karnéus, Rory Kinnear, Julius Drake, Mark Padmore, Nicky Spence, Myrthen EnsembleMore details to be announced soon.

‘...one of the most exuberant and far-reaching festivals of art-song in the UK.’ The Times

LEEDS LIEDERSEASON 2015-16

Clothworkers’ Centenary Concert Hall, University of LeedsRichard Strauss Song SeriesThe Autumn Years and the Four Last SongsKatherine Broderick sopranoJoseph Middleton piano16th March 2016, 7.30pmThis concert will be preceded by a pre-concert talk, beginning at 6.30pmBooking: Online (no surcharges) at concerts.leeds.ac.uk or on 0113 343 2584

Leeds LiederFestival Office (Room 26), Leeds Town HallThe Headrow, Leeds LS1 3ADTel: 0113 234 6956Email: [email protected]: leedslieder.org.uk

@LeedsLiederRegistered Charity Number 1105803

Founder: Jane Anthony President: Elly AmelingDirector: Joseph Middleton


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Grant Llewellyn

Born in Tenby, South Wales, Llewellyn won a Conducting Fellowship to the Tanglewood Music Center in Massachusetts in 1985 where he worked with Bernstein, Ozawa, Masur and Previn.

As Assistant Conductor of the Boston Symphony Orchestra in the early 1990s he conducted concerts at the Tanglewood Festival, the Boston Subscription Series and in the ‘Boston Pops’. Grant Llewellyn has conducted many orchestras in North America, most notably the symphonies of Atlanta, Boston, Houston, Milwaukee, Montreal, Philadelphia, St Louis and Toronto. As Music Director of the Handel and Haydn Society, America’s leading period orchestra, Llewellyn gained a reputation as a formidable interpreter of music of the Baroque and classical periods.

September 2015 saw Llewellyn embark upon his inaugural season as Music Director of the Orchestre Symphonique de Bretagne, which includes a tour to South Korea. Other positions he has held with European orchestras include Principal Conductor of the Royal Flanders Philharmonic, Principal Guest Conductor of the Stavanger Symphony Orchestra and Associate Guest Conductor with the BBC National Orchestra of Wales. Recent guest engagements include the BBC Symphony Orchestra, Helsinki Philharmonic, Northern Sinfonia, Orquestra Sinfónica do Porto Casa da Música, Royal Philharmonic Orchestra and Royal Scottish National Orchestra, amongst others. This season he appears with the Philharmonia Orchestra and tours Patagonia and South America with the BBC National Orchestra of Wales.

An accomplished opera conductor, Grant Llewellyn has appeared at the opera companies of English National Opera (The Magic Flute),

Opera North (Manon) and the Opera Theatre of Saint Louis, where his repertoire has ranged from Handel’s Radamisto to Alexander Goehr’s Arianna. He has collaborated with acclaimed Chinese director Chen Shi-Zheng in a production of Dido and Aeneas at Spoleto Festival, USA and conducted the final of the BBC Cardiff Singer of the World, one of the world’s most prestigious singing competitions. Recent opera projects include a semi-staged production of Mozart’s Marriage of Figaro with the North Carolina Symphony and last season he conducted the US premiere of Handel’s Richard the Lionheart with the Opera Theatre of Saint Louis.

Recent recordings include American Spectrum, a disc featuring Branford Marsalis as soloist, and piano concerti Rachmaninov No 4 and Medtner No 2 with Yevgeny Sudbin, both with the North Carolina Symphony for BIS and on the Albany label a recording of Lowell Liebermann’s orchestral works with the BBC Symphony Orchestra. 2013 saw the release of Britten’s Cello Symphony with Zuill Bailey which reached number one in the Billboard ‘Traditional Classical’ category.

Deeply committed and passionate about engaging young people with music, Llewellyn regularly leads education and outreach projects such as ‘Feel the Music’ with BBC National Orchestra of Wales and specialist events with the North Carolina Symphony. 2013 also included a large scale tour with the National Youth Orchestra of Wales, including performances in Cardiff St David’s Hall, the Berlin Konzerthaus and at the MDR Musiksommer Festival.

Grant Llewellyn lives in Cardiff with his wife Charlotte and their four children.

Music Director of the North Carolina Symphony and Orchestre Symphonique de Bretagne in France, Grant Llewellyn is renowned for his exceptional charisma, energy and easy authority in music of all styles and periods.


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Catherine Wyn-Rogers

Rebecca Evans

Rebecca Evans’ forthcoming operatic engagements include Nella Gianni Schicchi, Angelica in Handel’s Orlando and her first Marschallin Der Rosenkavalier.

Highlights

Recent highlights in her calendar have included the title role in a new production of Rodelinda at the English National Opera, Contessa Almaviva Le nozze di Figaro at Covent Garden and concert appearances with the Leipzig Gewandhausorchester and Blomstedt, the London Symphony Orchestra with Gardiner, the Hallé Orchestra with Elder and the Accademia Santa Cecilia with Pappano.

A regular guest at Covent Garden, her roles in the house have included Mimi La Bohème, Pamina Die Zauberflöte and Despina Così fan tutte. At the Bayerische Staatsoper, Munich she has sung Ginevra Ariodante, Ilia Idomeneo and Susanna Le nozze di Figaro. Elsewhere she has sung Despina at the Deutsche Staatsoper, Berlin; Ilia for the Netherlands Opera and Romilda Xerxes, Ginevra and Governess The Turn of the Screw for the English National Opera. A favourite at the Welsh National Opera, her roles there have included Mimi, Contessa Almaviva, Liu Turandot, Pamina, Ilia and Gretel Hänsel und Gretel.

She has also established a major operatic career in America where she has sung Susanna and Zerlina for the Metropolitan Opera; Susanna at Santa Fe; Pamina for the Lyric Opera of Chicago and Zerlina, Anne Trulove The Rake’s Progress and Adina L’Elisir d’Amore for the San Francisco Opera.

She has appeared at the Salzburg, Edinburgh, Tanglewood and Ravinia Festivals and she is a regular guest at the BBC Proms.A Grammy Award winning artist, she has recorded prolifically.

Rebecca Evans is patron of several charities, among them Shelter Cymru, Ty Hapus and Music in Hospitals Cymru/Wales.

Catherine Wyn-Rogers was a Foundation Scholar at the Royal College of Music, studying with Meriel St Clair and gaining several prizes including the Dame Clara Butt award. She continued her studies with Ellis Keeler and now works with Diane Forlano.

Catherine appears with the Three Choirs, Edinburgh and Aldeburgh festivals, and also at the BBC Proms. She has performed in concert with Leonard Slatkin, Bernard Haitink, Sir Andrew Davis, Sir Colin Davis, Gennady Rozhdestvensky, Sir Charles Mackerras, Sir Roger Norrington, Edward Gardner and Zubin Mehta. Her numerous recordings include Samson with Harry Christophers, The Dream of Gerontius with Vernon Handley for EMI, Mozart’s Vespers with Trevor Pinnock for DG, Peter Grimes with the London Symphony Orchestra and Sir Colin Davis, and Graham Johnson’s Complete Schubert Edition for Hyperion.

Catherine sang Erda and Waltraute in Valencia and Florence with Zubin Mehta, appeared at the Lyric Opera of Chicago as Sosostris The Midsummer Marriage, and made her debut for the Teatro alla Scala as Mrs Sedley Peter Grimes. For the English National Opera she has appeared in Madama Butterfly, War and Peace, La Gioconda, The Handmaid’s Tale, The Rape of Lucretia and Deborah Warner’s productions of the St John Passion and Messiah. She has had a close relationship with the Royal Opera House, Covent Garden, where roles have included First Norn Götterdämmerung, Erda Das Rheingold and Siegfried, Magdalene Die Meistersinger von Nürnberg, Cornelia Giulio Cesare, Sosostris The Midsummer Marriage, Genevieve Pelleas et Melisande and Auntie Peter Grimes. She sang her first Marcellina inLe nozze di Figaro for the Verbier Festival conducted by Paul McCreesh and sang Mrs Sedley in the Aldeburgh Festival production of Peter Grimes that was staged on the beach.


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Stephan Loges

John Daszak

Admired for his versatility, range and dramatic power, British tenor John Daszak made his operatic debut at English National Opera as Steva (Jenufa) after graduating from London’s Guildhall School of Music and Drama, Manchester’s Royal Northern College of Music and Italy’s Accademia d’Arte Lirica.

Now enjoying an esteemed international opera career, John Daszak made his house debut at the 2015 Bayreuther Festspiele as Loge (Das Rheingold) under Kirill Petrenko and recent seasons have seen several important role debuts: Captain Vere (Billy Budd), Grishka Kuter’na (The Legend of the Invisible City of Kitezh), Zemlinsky’s Der Zwerg, Tambour-Major (Wozzeck), Siegfried in his first Ring Cylce, and Gustav von Aschenbach (Death in Venice) at the Teatro Real, Madrid under Alejo Peréz.

Boasting an extensive repertoire, other highlights of John Daszak’s recent career include Aron (Moses & Aron), Captain Vere, Mephistopheles (Doktor Faust), Alwa (Lulu), Prince Golitsin (Khovanshchina), and Messiaen’s St François d’Assise, Boris (Katya Kabanova), and Peter Grimes. Further appearances include Jimmy (Mahagonny), Aegisth (Elektra), Male Chorus (Rape of Lucretia), Erik (Der fliegende Holländer), and Andrei Khovansky (Khovanshchina).

A popular concert performer with a repertoire ranging from Mahler’s Symphony No 8 and Janácek’s Glagolitic Mass through Beethoven’s Symphony No 9 and Verdi’s Messa da Requiem, he has collaborated with many esteemed conductors and has a discography including Tosca for Chandos Records.

John Daszak’s 2015/16 concert season includes Berlioz’ Te Deum at King’s College Chapel, Cambridge under Stephen Cleobury. On the opera platform appearances include Sergei in Lady Macbeth of Mtsensk at ENO under Mark Wigglesworth and also at Opéra de Lyon under Kazushi Ono, and Albrecht von Brandenburg in a new production of Hindemith’s rarely staged Mathis der Maler at Semperoper Dresden under Simone Young.

Born in Dresden, Stephan was an early winner of the Wigmore Hall International Song Competition. He has given recitals throughout the world.

Plans this season and beyond include Golaud Pélleas et Mélisande with English Touring Opera, Bach St Matthew Passion (Christus) with The Monteverdi Choir and Sir John Eliot Gardiner on a European tour, and Father Trulove The Rake’s Progress, also on a European tour in a co-production between the opera houses of Caen, Limoges, Reims and Luxembourg.

Highlights

Recitals include a return to Wigmore Hall and a series of recitals for the Oxford Lieder Festival. Stephan has sung Bach Cantatas with Eliot Gardiner and the Passions with the Gabrieli Consort and Paul McCreesh (also recorded for DG). He made his Proms debut in 2002 in St Matthew Passion with Trevor Pinnock and has since sung it with many period and modern orchestras. He recently sang St Matthew Passion (Christus) with OAE directed by Mark Padmore; St John Passion with the Leipzig Gewandhaus Orchestra; Christmas Oratorio with the Russian National Orchestra and Vladimir Jurowski and Bach Mass in B Minor in Leipzig with The English Concert.

Opera roles have included Wolfram Tannhäuser and Papageno Die Zauberflöte, Begearss in Milhaud La mère coupable, Maximillian Candide, Macmillan Parthenogenesis, Count Figaro, Schaunard La Bohème, Mercutio Roméo et Juliette, Demitrius A Midsummer Night’s Dream, Moritz in Mernier Frühlings Erwachen and in concert Count Capriccio, Bill The Rise and Fall of the City of Mahagonny, Ottokar Der Freischütz and Argenio in Handel Imeneo. Stephan was a member of the Dresden Kreuzchor before studying at the Hochschule der Kunste, Berlin and the Guildhall School of Music and Drama in London.


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Do you love singing?Would you like a chance to1 Sing with professional conductors and orchestras?

1 Perform as part of the Leeds International Concert Season?

1 Receive musical development and training?

1 Perform large-scale choral works from a varied repertoire?

1 Sing on European tours?

For more information visit www.leedsphil.org/join

If you are interested in joining the Chorus, come and meet us at one of our rehearsals, held every Thursday evening at 7pm.

ST GEORGE’S CHURCHGreat George Street, Leeds LS1 3BR(adjacent to Leeds General Infirmary)

Free parking for rehearsals is currently available near St George's at Joseph's Well, across the footbridge over the Inner Ring Road

RachmaninovAll-Night Vigil (Vespers)

Richard Wilberforceconductor

Nicholas TrygstadPrincipal Cellist with the Hallé

RachmaninovAll-Night Vigil (aka Vespers) Op 37

BrittenThird Suite for Solo Cello

RICHARD WILBERFORCE

NICHOLAS TRYGSTAD

Tickets: £15, available on the door or from members of the choir

Saturday 20 February 2016, 8pmST ANNE’S CATHEDRAL, LEEDS


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Do you love singing?Would you like a chance to1 Sing with professional conductors and orchestras?

1 Perform as part of the Leeds International Concert Season?

1 Receive musical development and training?

1 Perform large-scale choral works from a varied repertoire?

1 Sing on European tours?

For more information visit www.leedsphil.org/join

If you are interested in joining the Chorus, come and meet us at one of our rehearsals, held every Thursday evening at 7pm.

ST GEORGE’S CHURCHGreat George Street, Leeds LS1 3BR(adjacent to Leeds General Infirmary)

Free parking for rehearsals is currently available near St George's at Joseph's Well, across the footbridge over the Inner Ring Road

RachmaninovAll-Night Vigil (Vespers)

Richard Wilberforceconductor

Nicholas TrygstadPrincipal Cellist with the Hallé

RachmaninovAll-Night Vigil (aka Vespers) Op 37

BrittenThird Suite for Solo Cello

RICHARD WILBERFORCE

NICHOLAS TRYGSTAD

Tickets: £15, available on the door or from members of the choir

Saturday 20 February 2016, 8pmST ANNE’S CATHEDRAL, LEEDS

Registered Charity No 506467

These presentations include regular appearances each year in Saturday evening concerts promoted by Leeds International Concert Season as part of a happy and very close connection extending over the past four decades. The Chorus is also integrally involved with the city’s Lord Mayor’s Carol Concerts organised each December and alternated with Leeds Festival Chorus in supporting Leeds Opera in the Park.

World-class

Established in 1870, the Chorus of Leeds Philharmonic Society regularly performs with world-class orchestras, including the BBC Philharmonic, the Hallé and Manchester Camerata. In addition to its Town Hall appearances, the Chorus has performed in other major UK concert venues such as Manchester’s Bridgewater Hall, and its biennial tours have taken in many cities throughout Northern Europe, including Prague, Vienna and Dortmund.

Last November the Phil collaborated with the Ulster Orchestra and Belfast Philharmonic to present a much acclaimed performance of Britten’s War Requiem. In December it performed Messiah in the baroque style with Florilegium, and this August it participated in a rare performance of Sullivan’s The Golden Legend at Ripon.

Distinguished past musical directors have included Sir Charles Stanford, Sir Edward Bairstow, Sir Malcolm Sargent, Sir Charles Mackerras, Sir Charles Groves and Richard Hickox. The chorus was delighted when David Hill became its Music Director in 2005, thus continuing the tradition of leadership by the most eminent

British choral conductors of the day. In the Summer of 2013, Richard Wilberforce was appointed Chorus Master and the Chorus is enjoying an exciting programme for the third season under his dynamic leadership.

The Chorus has recorded CDs of Stanford’s Stabat Mater and Te Deum (Chandos), Walton’s Gloria and Belshazzar’s Feast (Naxos) and Handel’s Messiah (CMI Records), links to which can be found on the Phil website – www.leedsphil.org/merchandise. Many of the Chorus’ concerts have been broadcast on BBC Radio 3 and more recently on Classic FM.

Visit the website at www.leedsphil.org for further information.

Follow us on Facebook at www.facebook.com/LeedsPhil and Twitter – @leedsphil

Leeds Philharmonic Chorus has over 125 singing members who regularly perform concerts in Leeds Town Hall and other Leeds venues. Its concert repertoire is extensive and often combines traditional with more modern programming – striving for enterprise as well as excellence.

...the Chorus of Leeds Philharmonic Society

regularly performs with world-class orchestras, including the BBC Philharmonic, the Hallé and Manchester Camerata


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Friends of the Phil

Dr David Hill Music Director

Richard Wilberforce Chorus Master

Alan Horsey Accompanist

Clare Bullimore Deputy Accompanist

President:Her Majesty’s Lord-Lieutenantfor West YorkshireDr Ingrid Roscoe FSA

Honorary Vice Presidents:Dr Donald Hunt OBEDr Simon Lindley

Trustees:Secretary: Philip RatcliffeTreasurer: Andrew StratonConcerts Manager: David JacksonMembership: Jill FoalksMarketing: Penny DeanMusic Programme: Simon LindleyTours: Val MiddletonIncome Generation: David Lunn

CIO Trustees:Carolle BayleyPaul HuntRoger Shirley

Other Officers:Librarians: David Lunn and Karin HoukesHarriet TimmisRosemary O’DeaMargaret IrvingArchivist: Janet Jurica

By becoming a Friend of Leeds Philharmonic Chorus, as an individual, family, group or company, you can actively support LPC’s activities. The Chorus is a registered charity dedicated to making and promoting choral concerts of the highest artistic integrity and Friends provide a vital link between LPC and the many people who enjoy its concerts. The Friends of the Phil was established many years ago to bring together people who share a keen interest and appreciation of choral music and to support the charitable purposes of LPC.

Our membership scheme is designed for everyone with an interest in choral music and the activities of the Phil in particular.

Support is provided in a variety of ways: through volunteer work, fundraising activities, sponsorship, feedback, events organisation, subscription fees and most importantly, via enthusiasm for LPC.

If you are interested in becoming a Friend of the Phil, please contact Rosemary O’Dea at [email protected]

Mr H AllenMr M ArnoldMiss J M BarrieDr G BatcupMrs C BaylyMrs A BerryMrs J ClarkMr & Mrs J DixMiss J E GreenwoodMr & Mrs S HellewellMiss J R JuricaDr S G LindleyMiss K MalhamMr P MaudeMr & Mrs P MeadenMr & Mrs R Morrish

Secretary: Rosemary O’DeaLife-long Patrons:Patricia, Countess of Harewood;Rosemary Shrager

Sponsors:Gold Sponsor:UBSThe late Clarice Elizabeth Wilson, LegacyThe Kenneth HargreavesCharitable TrustLiz & Terry Bramall FoundationThe late John Brodwell, Legacy

Silver Sponsors:Charles Brotherton TrustDesign It

If you too would like to sponsor the Phil, please contact the Chorus’ Sponsorship Manager who will be very pleased to explore this with [email protected]

Mrs J QueenMrs A B RichardsMrs A-M RoseMiss E M ScottMrs S Scott Mrs A Sharman Mr R Shirley Miss M SprittlesMr R SpurdensMr T D StratonMiss A SuddabyMrs J M TaylorMrs B C Tempest Mr J ThrossellMrs G P Townsley


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The Chorus

SopranosMadeleine AndrewsLucy BarberKaty BarrowEmma BarryElizabeth BeattieAmy CawthorneMargaret Clark*Janet ClarkJo-Anne ClarkeRiley ColesGwen CollinCatherine CruickshankPenny DeanSusan GreenCatherine Hicks Katherine HoggKarin HoukesJenny IbanezJanet JacksonLucy JacksonGemma JaquesLynn KibbleLaura LeeRuth LeesCindy Maude*Valerie Middleton*Georgina MoranAnn PrinnHannah RobertsSuzy RounceJo Sims

Anna SpiegelGillian SwanChristine Tate*Rachael ThorpChristine WigginsRobyn WrightIsabelle Wynne

AltosJan AlexanderJudith AllenJulia BaxterSuzy BeckAnja BerndtOlivia BrabazonRita ChemoPam Clark*Rosemary ColePip CowlingBarbie DevallCelia Eastham*Jill Foalks*Harriet ForwardLynne Fox*Liz FranksLian FrenchAnn Gilliam*Christine Grant*Dionne HeavenRowena HerbertAnna HigginsMargaret Irving*Hazel JacksonGill JewellJulia JohnsonLynda Kitching

Laura KoxFrances Ledgard*Ann LewisFiona LivermoreRosemary O’Dea Benita PowrieLinda Rosen*Maureen RossChristie RuijsenaarsAmy SattinSylvia Sharpe*Isobel Shirley Christine Starmer*Penny TharrattHarriet TimmisIrene Truman

TenorsGerard AylwardStephen DoneganDavid FiguresAndrew GibsonGraeme GoodayCharles HaywardPaul HuntRudi LeavorEric Lewis*David Lunn*Eric MakJack Parkes*Philip Ratcliffe*David RobertshawMatthew SkeltonMatthew StockwellDaniel Wilcock

* Denotes 25 years’ service

BassesDavid CookArthur DaviesJohn Davies*Ian DonleyBill FisherPeter HarrisonDavid HopeDavid JacksonDavid JohnstonRobin Owen-MorleyDick PledgeMark PageDaniel PottsGeoff QueenRichard StaveleyAndrew Straton*


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Manchester Camerata

Manchester Camerata is ‘one of Europe’s best chamber orchestras’ (Musika Magazine) and a registered charity (No 503675). Founded in 1972, the orchestra is home to some of the finest musicians in the world and uses music in innovative ways to redefine what an orchestra can do. Manchester Camerata is always looking for new ways to bring audiences and participants even closer to the music. The orchestra appears in all sorts of venues, from grand concert halls to nightclubs, and collaborates with diverse artists – from classical legends such as Martha Argerich to iconic bands like New Order. Its pioneering work in the community tackles national priorities such as the ageing population, loneliness, and social inclusion. This work covers three specialist areas, including schools, health and wellbeing, and Camerata’s youth programme, and is backed by research, which demonstrates the real impact of what the organisation does.

Ambitions by 2018

1 Perform to 500,000 people1 Collaborate with 20 of the world’s most exceptional artists1 Work with 90,000 people of all ages in the community, including 3,000 people living with dementia

Exceptional artists

The great Hungarian musician Gábor Takács-Nagy is in his fifth season as Music Director and is signed until 2019. By 2018, the orchestra will have established a new artistic partnership model with Gábor as lead partner. Working with diverse and extraordinary artists will lead the orchestra into uncharted musical territory, challenging and developing what it does, bringing opportunities to help it achieve its ambitions. The orchestra’s exceptional artists will be embedded in the city of Manchester, curating programmes for audiences across the region.

www.manchestercamerata.co.uk

The exceptionally talented violinist Adi Brett was appointed Leader in 2014. Adi plays a 1752 Guadagnini violin, kindly on loan to the orchestra by Jonathan Moulds CBE, Group Chief Operating Officer at Barclays and one of the UK’s most inspirational philanthropists.

World first research

Manchester Camerata’s work in the community is not about learning music – it’s about using music as a tool for learning life skills. Its health and wellbeing work is growing and so is the research behind it. Over the next three years, in partnership with The University of Manchester and Lancaster University, a Camerata PhD studentship aims to design a tool to measure ‘in-the-moment’ embodied experiences for people living with dementia – a world first in research.

Our supporters

Principal supporters of Manchester Camerata are Arts Council England, the Association of Greater Manchester Authorities and Manchester City Council. The orchestra has a number of generous partners and supporters, including global brands Manchester City FC and Caffè Nero, and invites new organisations and individuals to join and support its journey.

www.manchestercamerata.co.uk/supportus

Connect with us

Sign up to the enewsletter: www.manchestercamerata.co.uk/newsletter-signupTwitter: @MancCamerataFacebook: www.facebook.com/manchestercamerataYouTube: www.youtube.com/manccamerataInstagram: www.instagram.com/manchestercamerata Recordings: www.manchestercamerata.co.uk/shop


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The Orchestra

First ViolinsAdi BrettPaula SmartSarah WhittinghamSophie MatherLiz RossiRosemary Attree

Second ViolinsCaroline PetherGemma BassRebecca ThompsonAnthony BanksQian Wu

ViolasKay StephenRachel JonesNick HowsonAlex Mitchell

CellosBarbara GrunthalGraham MorrisEsther HarriotHeather Bills

Double bassesDaniel StorerDavid Burndrett

FlutesSarah Whewell

OboesRachael CleggDavid Benfield

ClarinetsDaniel Bayley Lynne Racz BassoonsAnthea WoodSarah Faulkner

HornsJonathan BarrettJohnny Harris

TrumpetsNeil FultonHelen Quayle

TrombonesTimothy ChattertonDavid Price

Bass tromboneRichard Broomhead

TimpaniJanet Fulton

OrganSimon Lindley

A Musical Partnership between the Yorkshire Philharmonic Choir and the Harrogate Choral Society

An invitation to come and sing

Beethoven’s ‘Missa Solemnis’ on Saturday 11th June 2016, 7pm

at Leeds Town Hall

Featuring...

Yorkshire Voices(Yorkshire Philharmonic Choir& Harrogate Choral Society)

Guest SoloistsManchester CamerataIf you would...

1 like to sing with a choir of over 200 voices,

1 sing one of the greatest choral works ever written,

1 perform in one of the most magnificent concert halls in Yorkshire,

1 experience the thrill of performing with a full symphony orchestra...

We would like to hear from you!

How can you become involved?:

Firstly: join the choirs for their ‘taster session’ in Leeds on February 20th 2016, at St Andrew’s Church, Street Lane, Roundhay, Leeds.

Secondly: if after the taster you wish to be involved we will ask you to:

1 Take a short musical test (at the taster session).

1 Come to 10 rehearsals in either Harrogate (Wednesday) or Wakefield (Tuesday) during Spring 2016.

1 Attend a whole day rehearsal with the full choir in Leeds on 21st May 2016.

1 Attend the dress rehearsal and performance in Leeds Town Hall on Saturday 11th June 2016.

1 You will need to pay £50 to cover all costs of being involved.

To express your interest – contact us now on: www.yorksphilchoir.co.uk or www.harrogatechoral.org.uk

Telephone 01924 890095 or 01423 530764


Please don’t forget to turn off your mobile phone.Leeds City Council reserves the right to change programmes, orchestras and artists without notice.Food and drink is not permitted within the concert-hall, nor may any cameras or recording equipment bebrought into the auditorium. It is illegal to record any part of a performance unless prior arrangementshave been made with the concert promoter.

LeedsInternational

ConcertSeason

2015/16

Forthcoming concerts

Visit www.leodis.net/discovery for an online history of Leeds, with extensive sections on both Leeds Town Hall and classical music in Leeds.

Wednesday 25 November 2015The Venue, 1.05pm-1.55pm

Peter Mooretrombone

Jonathan Warepiano

Peaslee Arrows of TimeBrahms Four Serious SongsCasterede SonatinaJongen Aria and Polonaise

The youngest ever winner of BBC Young Musician in 2008, trombonist Peter Moore studied with Philip Goodwin at Chetham’s School of Music, and with Ian Bousfield. In 2014 he was appointed co-principal trombone of the London Symphony Orchestra.Admission free

Saturday 28 November 2015Leeds Town Hall, 7.30pm

Prague Symphony OrchestraPietari InkinenconductorChloë Hanslipviolin

Smetana Má Vlast: ŠárkaBeethoven Violin ConcertoSibelius Symphony No 1Tickets: £33.50 – £12.50 (discounts available)

Wednesday 2 December 2015The Venue, 1.05pm-1.55pm

Adam Newmanviola

Alexander Karpeyevpiano

Webern Two PiecesBrahms Viola Sonata Op 120, No 1Alexander Krein Three OrnamentsHindemith Viola Sonata

Adam Newman graduated with first class honours from the Royal Academy of Music where he studied with Philip Dukes and György Pauk. Alexander Karpeyev has been a major prize-winner in international piano competitions. Admission free

Saturday 5 December 2015Leeds Town Hall, 7.30pm

Orchestra of Opera NorthRichard Farnesconductor

Lutosławski Concerto for OrchestraMahler Symphony No 1Tickets: £33.50 – £12.50 (discounts available)


saturday 21 november 2015 manchester camerata · · 2018-01-15saturday 21 november 2015...

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