TWICKENHAM
5
CHORAL SOCIETY
ISRAEL
IN
EGYPT
Soprano: Mary Bevan
Alto: Roderick Morris
Tenor: Nathan Vale
Brandenburg Baroque Sinfonia
conducted by Christopher Herrick
All Saints Church, Kingston
Saturday 4 July 2015
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FUTURE CONCERTS AND EVENTS
Thursday 10 September 2015, St Martin-in-the-Fields, 7pm
MOZART: Requiem
Brandenburg Sinfonia
Sunday 11 October 2015, Landmark Arts Centre, Teddington, 7.30pm
A concert as part of the Richmond Festival of Music and Drama,
celebrating the borough hosting several matches of the Rugby World Cup 2015
VIVALDI: Gloria
MOZART: Requiem
Emily Vine, Freya Jacklin, Daniel Joy, Peter Lidbetter
Brandenburg Sinfonia
Saturday 12 December 2015, All Saints Church, Kingston, 7.30pm
ROSSINI: Petite Messe Solennelle
MENDELSSOHN: Hymn of Praise (arr Iain Farrington)
Sarah Fox, Patricia Orr, Peter Auty, Jamie Hall
Iain Farrington, piano and Freddie Brown, organ
Saturday 9 April 2016, All Saints Church, Kingston, 7.30pm
PIZZETTI: Missa di Requiem
DURUFLÉ: Requiem
Saturday 9 July 2016, St John’s Smith Square, 7.30pm
ELGAR: Dream of Gerontius
Miranda Westcott, Peter Auty, David Soar
Brandenburg Sinfonia
TCS is affiliated to Making Music, which represents and
supports amateur performing and promoting societies
throughout the UK
Twickenham Choral Society is a registered charity, number 284847
The use of photographic video or audio recording equipment
during the performance is not permitted without the
prior approval of the Twickenham Choral Society.
However photos taken before or after the performance
are welcome, particularly if emailed afterwards to
[email protected]
ISRAEL IN EGYPT
HWV 54 (1739)
a sacred oratorio by George Frideric Handel
words attributed to Charles Jennens
Soprano: Mary Bevan
Alto: Roderick Morris
Tenor: Nathan Vale
Brandenburg Baroque Soloists
conducted by Christopher Herrick
Israel in Egypt, George Frideric Handel
By the time Handel settled permanently in London in
1712, he was well established as a composer of vocal
music, in particular Italian opera. It was a reputation
on which he built, securing his fame and primacy as a
composer over the next two decades in a series of
more than 20 operas. However, by about 1730, the
fickle fashion-conscious English public was beginning
to tire of opera in Italian; there was new competition
with not enough audience to support two opera
companies, while a ban on opera performances
during Lent put Handel under further financial
pressure.
But Handel was astute and found a new audience
by developing another form of dramatic musical
entertainment equally suited to his talents: the
English Oratorio. Starting with Esther in 1732, he is
credited with creating and establishing the form,
portraying the drama of great biblical stories to
Londoners in a language they could understand.
Furthermore, oratorios could be produced at less
expense (no sets or costumes were required), and
enjoyed by those who had never felt comfortable
with the aristocratic entertainment of opera.
Handel found a second career as an oratorio
composer, presenting more than 20 to London
audiences, including Israel in Egypt which was
composed immediately after Saul in October 1738.
It was premiered at the King’s Theatre, Haymarket,
on April 4, 1739.
The first performance was not well received; unlike
other oratorios, Israel in Egypt contains many more
choral movements than solo which London
audiences expected. Handel made changes for
subsequent performances, but its popularity had to
wait until after Handel’s death and the
Commemoration of Handel festival that took place at
Westminster Abbey during 1784 (mistakenly thought
to be the centennial year of the composer’s birth).
Haydn was in the audience and is said to have burst
into tears at the conclusion and remarked of Handel,
“He is the Master of us all!” Indeed, one need only
listen to the fanciful word-painting in Haydn’s
Creation to hear how deeply he had absorbed ideas
from Handel’s music. With the flourishing of choral
societies and amateur music festivals in the 19th
century, Israel in Egypt attained the level of
popularity it retains today.
(1685-1759)
While most of Handel’s oratorios are loosely based
on Old Testament stories, Israel in Egypt and Messiah
are the only two that are drawn directly from biblical
text with no paraphrases. Charles Jennens, Handel’s
regular collaborator, is generally thought to have
compiled this libretto. It is taken from the Book of
Exodus and a few passages from Psalms 105 and 106,
telling the story of the Israelites’ slavery in Egypt, of
Moses as their liberator, the plagues upon the
Egyptians, the crossing of the Red Sea, and finally
rejoicing. The chorus does not just comment on the
narrative but actively participates in telling the story it is the only oratorio in which the chorus itself is the
protagonist.
The oratorio is also unusual in the amount of musical
borrowing. Handel, like most composers of the day,
was no stranger to recomposing music from earlier
compositions, whether his own – he reuses his
magnificent Funeral Anthem, written the previous
autumn upon the death of Queen Caroline – or
another composer’s, here including Stradella, Kerl
and Handl. Copyright protection was virtually
unknown. However, Handel always indelibly stamped
his own personality on the revisions such that they
were unlikely to have been recognized in Handel’s
own day. It’s hard to believe, for example, that the
chorus ‘He Gave Them Hailstones’ could have been
composed to any other text, yet the source material
is a sinfonia and bass aria from Stradella’s Serenata.
Handel first presented Israel in Egypt with “several
concertos for the organ”, probably taken from Opus
4 published in 1738. These were to provide added
value to the oratorio performance as well as give
Handel the opportunity to exhibit his skill as one of
the great organist-improvisers of the day. He was
briefly cathedral organist in Halle before settling in
London. Israel in Egypt has no overture, so this
evening’s performance will be prefaced by the gently
lyrical Larghetto in F (Opus 4 number 5), which has an
easy elegance, setting the scene for the opening
recitative and chorus.
Although English was not Handel’s native language,
the composer’s ability to match the natural accents
of the text with musical rhythms was frequently
praised by his contemporaries while the plagues of
the story seem to have inspired Handel to create
some of his most colourful musical word painting.
The listener can hear the hopping of frogs, the
buzzing of flies, the pounding of fiery hail and much
more.
Handel’s music also expresses more general feelings
as, for example, the descending line in the orchestra
that begins the chorus ‘He sent a thick darkness’
contrasting with the lilting melody and
accompaniment for the pastoral setting of ‘But as for
his people’. As Mozart said, “Handel understands
effect better than any of us.” The choral
exclamations of the finale, arguably some of Handel’s
finest music, initiated by a fanfare-like solo soprano
motif, recount the safe passage of the Israelites
through the Red Sea, bringing the piece to a
resplendently grand close – ‘triumph gloriously’
indeed.
Scored for soloists, two choruses, and an orchestra
consisting of oboes, bassoons, trumpets, trombones,
timpani, strings, and organ continuo, Israel in Egypt is
a monumental work – among the most significant
choral tours de force in music. Through Handel’s skill
of storytelling in music, this oratorio speaks to
audiences today as powerfully as it did in Handel’s
own time while the infectious, galloping rhythm of
‘the horse and his rider’ will most probably linger in
the listener’s ear well after the oratorio has ended,
recalling the joy evoked by Handel’s final triumphant
anthem.
Programme note by Adrian Mumford
SINFONIA: Larghetto from Handel’s Organ Concerto op. 4, No. 5 in F major
PART ONE : EXODUS
1. Recitative (Tenor soloist)
Now there arose a new king over Egypt, which
knew not Joseph;
and he set over Israel taskmasters to afflict them
with burdens;
and they made them serve with rigour.
(Exodus 1: 8, 11, 13)
2. Double Chorus
And the children of Israel sighed by reason of the
bondage, and their cry came up unto God.
They oppressed them with burdens, and made
them serve with rigour;
and their cry came up unto God.
(Exodus 2: 23; Exodus. 1: 11,13)
3. Recitative (Tenor soloist)
Then sent He Moses, His servant, and Aaron whom
He had chosen;
these shewed His signs among them, and wonders
in the land of Ham.
He turned their waters into blood.
(Psalm 105: 26, 27, 29)
4. Chorus
They loathed to drink of the river.
He turned their waters into blood.
(Exodus 7: 18; Psalm 105: 29)
5. Aria (Alto soloist)
Their land brought forth frogs,
yea, even in their king's chambers.
(Psalm 105: 30)
He gave their cattle over to the pestilence;
blotches and blains broke forth on man and beast.
(Exodus 11: 9, 10)
6. Double Chorus
He spake the word, and there came all manner of
flies and lice in all their quarters.
He spake; and the locusts came without number,
and devoured the fruits of the ground.
(Psalm 105: 31, 34, 35)
7. Double Chorus
He gave them hailstones for rain;
fire mingled with the hail ran along upon the ground.
(Psalm 105: 32; Exodus 9: 23, 24)
8. Chorus
He sent a thick darkness over all the land,
even darkness which might be felt.
(Exodus 10: 21)
9. Chorus
He smote all the first-born of Egypt,
the chief of all their strength.
(Psalm 105: 36, 37)
10. Chorus
But as for His people, He led them forth like sheep:
He brought them out with silver and gold;
there was not one feeble person among their tribes.
(Psalm 78: 53; Psalm 105: 37)
11. Chorus
Egypt was glad when they departed,
for the fear of them fell upon them.
(Psalm 105: 38)
12. Double Chorus
He rebuked the Red Sea, and it was dried up.
13. Double Chorus
He led them through the deep as through a
wilderness.
(Psalm 106: 9)
14. Chorus
But the waters overwhelmed their enemies,
there was not one of them left.
(Psalm 106: 11)
15. Double Chorus
And Israel saw that great work that the Lord did
upon the Egyptians;
and the people feared the Lord.
16. Chorus
And believed the Lord and His servant Moses.
(Exodus 14: 31)
INTERVAL OF 20 MINUTES DURING WHICH WINE AND SOFT DRINKS WILL BE AVAILABLE
PART TWO : THE SONG OF MOSES
17. Double Chorus
Moses and the children of Israel sung this song unto
the Lord, and spake, saying:
18. Double Chorus
I will sing unto the Lord, for He hath triumphed
gloriously;
the horse and his rider hath He thrown into the sea.
(Exodus 15: 1)
19. Duet (Soprano and Alto soloists)
The Lord is my strength and my song;
He is become my salvation.
20. Double Chorus
He is my God, and I will prepare Him an habitation;
my father's God,
21. Chorus
And I will exalt Him.
(Exodus 15: 2)
22. Duet (choir Basses and Tenors)
The Lord is a man of war: Lord is His name. Pharaoh's
chariots and his host hath He cast into the sea;
his chosen captains also are drowned in the Red Sea.
(Exodus 15: 3, 4)
23. Double Chorus
The depths have covered them:
they sank into the bottom as a stone.
(Exodus 15: 5)
24. Double Chorus
Thy right hand, O Lord, is become glorious in power;
Thy right hand, O Lord, hath dashed in pieces the
enemy.
(Exodus 15: 6)
25. Double Chorus
And in the greatness of Thine excellency
Thou hast overthrown them that rose up against Thee.
26. Double Chorus
Thou sentest forth Thy wrath, which consumed them
as stubble.
(Exodus 15: 7)
27. Chorus
And with the blast of Thy nostrils the waters were
gathered together,
the floods stood upright as an heap,
and the depths were congealed in the heart of the sea.
(Exodus 15: 8)
28. Aria (Tenor soloist)
The enemy said, I will pursue, I will overtake, I will
divide the spoil;
my lust shall be satisfied upon them;
I will draw my sword, my hand shall destroy them.
(Exodus 15: 9)
29. Aria (Soprano soloist)
Thou didst blow with the wind, the sea covered
them;
they sank as lead in the mighty waters.
(Exodus 15: 10)
30. Double Chorus
Who is like unto Thee, O Lord, among the Gods?
Who is like Thee, glorious in holiness, fearful in
praises, doing wonders?
Thou stretchest out Thy right hand.
31. Double Chorus
The earth swallowed them.
(Exodus 15: 11, 12)
32. Duet (Alto and Tenor soloists)
Thou in Thy mercy hast led forth Thy people which
Thou hast redeemed;
Thou hast guided them in Thy strength unto Thy
holy habitation.
(Exodus 15: 13)
33. Double Chorus
The people shall hear, and be afraid:
sorrow shall take hold on them:
all the inhabitants of Canaan shall melt away:
by the greatness of Thy arm they shall be as still as
a stone; till Thy people pass over, O Lord,
which Thou hast purchased.
(Exodus 15: 14, 15, 16)
34. Aria (Alto soloist)
Thou shalt bring them in, and plant them in the
mountain of Thine inheritance, in the place, O Lord,
which Thou hast made for Thee to dwell in,
in the sanctuary, O Lord, which Thy hands have
established.
(Exodus 15: 17)
35. Double Chorus
The Lord shall reign for ever and ever.
(Exodus 15: 18)
36. Recitative (Tenor soloist)
For the horse of Pharaoh went in with his chariots
and with his horsemen into the sea,
and the Lord brought again the waters of the sea
upon them;
but the children of Israel went on dry land in the
midst of the sea.
(Exodus 15: 19)
37. Double Chorus
The Lord shall reign for ever and ever.
(Exodus 15: 18)
38. Recitative (Tenor soloist)
And Miriam the prophetess, the sister of
Aaron, took a timbrel in her hand;
and all the women went out after her with
timbrels and with dances.
And Miriam answered them:
(Exodus 15: 20, 21)
39. Double Chorus with Soprano soloist
Sing ye to the Lord, for He hath
triumphed gloriously;
the horse and his rider hath He
thrown into the sea.
(Exodus 15: 21)
CHRISTOPHER HERRICK has been the Conductor of Twickenham Choral Society since 1974.
He began his conducting
career while an organ scholar
at Oxford, directing the
Exonian Singers and
Orchestra, and subsequently
won a Boult Scholarship to the
Royal College of Music to
study under Sir Adrian Boult.
During his many years with
TCS he has been ambitious for
their development, working
with them to perform a huge
range of repertoire from
Renaissance music to up-tothe-minute commissioned
works alongside top-class
instrumentalists and vocal
soloists.
Many of Christopher Herrick’s
conducting appearances have
been in top London venues such as the Royal Albert
Hall (including Verdi’s Requiem with 500 singers),
Westminster Abbey (Berlioz’s Te Deum, Bach’s St
Matthew Passion and Handel’s Messiah), Westminster
Cathedral (Monteverdi’s Vespers), The Barbican Hall
(Mendelssohn’s Elijah), Wigmore Hall (Handel’s
Messiah), St John’s Smith Square (Haydn’s
Harmoniemasse and Mahler’s Veni Creator Spiritus)
and the Queen Elizabeth Hall – twenty concerts
covering the whole gamut of the choral repertoire.
He has directed a number of concerts with TCS in St
Martin-in-the-Fields, including the first London
performances of Iain Farrington's The Burning
Heavens and An Old Belief. Also, in Guildford
Cathedral, he has conducted Elgar’s Dream of
Gerontius, Britten’s War Requiem, Walton’s
Belshazzar’s Feast and Janáček’s Glagolitic Mass.
Christopher has successfully combined his work as a
conductor with his life as a busy international concert
organist. This aspect of his career was fully launched
during his ten years as an organist at Westminster
Abbey, when he gave over two hundred solo recitals
in the Abbey itself and played for countless
important occasions, including the funeral services of
Herbert Howells and William Walton.
He also played at Walton's 80th birthday concert in
Westminster Abbey when his complete church music
repertoire was performed with Simon Preston
conducting the Abbey Choir in the composer’s
presence.
Since 1984, to complement his
solo organ concerts and
concertos worldwide, he has
recorded over forty CDs for
Hyperion Records, including
Bach's complete organ works
recorded over a ten-year period
on Metzler organs in
Switzerland, fourteen Organ
Fireworks and four Organ
Dreams discs, as well as
recordings on period
instruments of the works of
Daquin, Sweelinck and a
complete Buxtehude series.
In December 2013 he made his
debut in Japan performing on
large European organs in Tokyo,
Osaka, Nagoya and Azuchi
concert halls, and, following his
Russian debut at the Mariinsky White Nights Festival
in St Petersburg in May 2013, he was invited back in
2014 to give the complete organ works of Bach in
twelve concerts at the Mariinsky Concert Hall spread
over a period from January to May that year.
This is the second time he has performed a Bach
cycle, the first being in Alice Tully Hall during the New
York Lincoln Center Festival back in 1998.
His most recent recording for Hyperion, issued this
June, has the title ‘Power of Life’ and was recorded
on a brilliant new Swiss Metzler organ in the
beautiful World Heritage Monastery of our Lady of
Poblet near Tarragona, Spain.
MARY BEVAN is one of Britain’s top
emerging artists, receiving acclaim
from critics and audiences alike for
her outstanding performances. In
October 2014 Bevan was awarded the
UK Critics’ Circle Award for
Exceptional Young Talent in music.
In the 2015/16 season Bevan sings the
title role in Rossi’s Orfeo for the Royal
Opera House at Shakespeare’s Globe,
and Yum-Yum in The Mikado at
English National Opera. Recent
operatic engagements include
Susanna in The Marriage of Figaro at
the ENO, Music & Euridice in
Monteverdi’s L’Orfeo with ROH at the
Roundhouse, Barbarina in The Marriage of Figaro at
the ROH, and Despina in Così fan tutte.
She will also sing Papagena in The Magic Flute and
The Second Niece in Peter Grimes at the ENO,
Musetta in La bohème at the St Endellion Festival,
Servilla in La Clemenza di Tito with Classical Opera,
and David Bruce’s The Firework Maker’s Daughter
with The Opera Group, Opera North and ROH2.
Previous roles for ENO also include Barbarina, and
Rebecca in Nico Muhly’s Two Boys. On the concert
platform Bevan recently performed The Mozart
Winner of both First Prize and
Audience Prize at the 2006 London
Handel Singing Competition,
NATHAN VALE was born in
Stourbridge and attended the Royal
College of Music, where he studied
with Ryland Davies at the Benjamin
Britten International Opera School.
He was awarded an Independent
Opera Scholarship to the National
Opera Studio, where he was further
supported by English National
Opera, and the Nicholas John Trust.
He continues his studies with Tim
Evans Jones.
In concert he has performed with the Aarhus
Symphony Orchestra and Harry Christophers,
Sir Neville Marriner and the Orchestra Sinfonica
Milano, the Rai Orchestra Torino, the London
Mozart Players, the Bach Choir, Les Arts
Florissants, the Northern Sinfonia, the BBC
Scottish Symphony Orchestra, as well as regular
Requiem with the English Chamber
Orchestra, The Fauré Requiem with the
Philharmonia Orchestra, and Maxwell
Davies’ Caroline Mathilde Suite at the
BBC Proms; also Mendelssohn’s
Symphony No 2 with the City of
Birmingham Symphony Orchestra,
Stravinsky’s Pulcinella with the Prague
Philharmonia, and Handel’s Messiah
with the English Concert. A dedicated
recitalist, she has appeared at the
Oxford Lieder Festival and the
Wigmore Hall.
Bevan’s recordings feature a selection
of Ludwig Thuille songs and
Mendelssohn’s complete songs for
Champs Hill Records, Handel The Triumph of Time
and Truth and Ode for St Cecilia’s Day with Ludus
Baroque, Vaughan Williams Symphony No 3 and
Schubert’s Rosamunde with the BBC Philharmonic
Orchestra, Hadley’s Fen and Flood with the
Bournemouth Symphony Orchestra, and Handel in
the Playhouse, a selection of Handel songs with
L’Avventura London for Opella Nova Records.
Bevan trained at the Royal Academy Opera, and is
currently a Harewood Artist at ENO and an
Associate of the Royal Academy of Music.
appearances at the Sage Gateshead
with the Northern Sinfonia, most
recently appearing with Stephen
Layton and the Odense Symphony
Orchestra, and in Hereford
Cathedral and Glasgow City Halls.
His operatic engagements have
included Belfiore in La finta
giardiniera for Luxembourg Opera
and for Opera Bauge; First Armed
Man/First Priest and cover Tamino
in Mozart’s Magic Flute for ENO;
Lurcanio in Handel's Ariodante for
the Bolshoi; also Oronte in Handel's
Alcina for English Touring Opera, and The First
Prisoner in Fidelio and cover Evangelist in Bach’s St
Matthew Passion for the Glyndebourne Festival.
Current engagements include Belfiore in La finta
giardiniera for Toulon Opera, the Evangelist in
St Matthew Passion for the London Handel Society,
and Britten’s Serenade for Tenor, Horn and Strings
for the Hong Kong Festival.
Countertenor RODERICK MORRIS
graduated with a Master of Music
degree from Cambridge
University and went on to study
at the Royal Academy Opera in
London. His operatic credits
include The Shaman (cover) at
ENO, Guido Flavio, the title role in
Cavalli’s Il Giasone with Royal
Academy Opera conducted by
Jane Glover, and Cupid in Venus
and Adonis with La Nuova
Musica; also Rutilia Hasse’s Lucio
Papirio at the London Handel
Festival with Ensemble Serse,
Athamas in Semele, Satirino in La
Calisto conducted by Anthony Legge, and The
Spirit in Dido and Aeneas.
His oratorio credits include Bernstein’s Chichester
Psalms at the Barbican, Handel’s Saul with
Laurence Cummings at the Spitalfields Festival,
Bach’s St Matthew Passion with Masaaki Suzuki at
Snape Maltings, and Handel’s Messiah with Sir
John Lubbock and the Orchestra of St John’s
at Kings Place and St John’s,
Smith Square. He has appeared as
a soloist on BBC Radio 3 and last
year performed a duet recital
with Michael Chance in the
Holywell Music Room, Oxford.
He also recently performed a
concert series of Bach’s alto
cantata Vergnügte Ruh with the
orchestra Charivari Agréable.
Recent operatic engagements
include Arsace in Handel’s
Partenope conducted by Andrew
Griffiths, The Prince in The Daisy
Chain at the Tête à Tête Opera
Festival, previewed at LSO at St Luke’s, Dido and
Aeneas with Kiez Oper in Berlin, and a tour of the
staged Messiah with the Merry Opera.
Future engagements include a newly composed
opera at Snape Maltings and with Tête à Tête
Opera festival, Vivaldi’s Stabat Mater with Charivari
Agréable, and a Messiah tour of Ireland with the
Irish Baroque Orchestra.
TWICKENHAM CHORAL SOCIETY
Chris Britton, Chairman
Monica Darnbrough, Secretary
Tim Lidbetter, Treasurer
Barbara Orr, Membership Secretary
Ian Williamson, Concert Manager
Sarah Herrick, Box Office Manager
Rosemary Fulljames, Music Librarian
Ruth Parker, Publicity Officer
Jan Gow, Social Secretary
Freddie Brown, Assistant Conductor
Twickenham Choral Society (TCS for short) is a friendly thriving choir of over a hundred voices, drawing
singers of a good standard from a wide area of West London. Programmes are chosen to provide the
opportunity to sing great works from the choral repertoire, as well as to explore less familiar music spanning
the period from the Renaissance to the present day. Members are regularly canvassed for ideas and
preferences.
The choir always works with excellent professional soloists and orchestras, aiming to produce the highest
quality performance. The partnership of TCS with Brandenburg Sinfonia, Brandenburg Baroque Soloists and
Brandenburg Classical Players has for some years been a much-valued relationship. Concerts are staged at
least three times a year, usually in local West London venues but sometimes in central London (St Martin-inthe-Fields and St Johns Smith Square in the forthcoming season) as well as further afield in Britain, such as
Lichfield, Ely and Guildford Cathedrals. The choir has toured in France, the Czech Republic, Hungary, Spain,
Croatia, Mallorca, Germany, Belgium and Romania.
Recently the choir has performed a programme of French and American song that included Lauridsen’s
Madrigali; a WW1 remembrance concert comprising Scarlatti’s Stabat Mater, Vaughan Williams’ Dona Nobis
Pacem and The Burning Heavens by Iain Farrington, and a programme of motets by Bach and Knut Nystedt
(presented here and in Romania).
For more information about Twickenham Choral Society visit our website, www.twickenhamchoral.org.uk, or
find us on Facebook.
soprano: Judy Britton, Carol Caporn, Sarah Cheshire, Kathryn Doley, Annette Duffy, Catherine Gash,
Jane Hansell, Melissa Hartshorn, Victoria Herrera-Nurse, Sarah Herrick, Jessica Horscroft,
Wendy Johnson, Vivien Jordan, Christabel King, Nancy Lee, Katrina Lidbetter, Margaret Lord,
Isabel Newton, Ruth Parker, Fiona Rowett, Dinah Shoults, Mary Somerville, Adrienne Tallents,
Sarah Taylor, Bronwen Thompson, Becky Thurtell, Mariann Tischner, Emily Toon,
Harriet van der Vliet, Nancy Vickers, Bessie White, Nicola Whiteside, Alison Williams,
Candy Williamson, Elizabeth Woodgyer, Gill Zettle
alto:
Carol Almand, Catherine Almond, Gillian Beauchamp, Francesca Burbidge, Debbie Chawner,
Lisa Colclough, Barbara Cook, Julia Coomes, Helen Coulson, Maggie Crisell, Anna Cunnyngham,
Monica Darnbrough, Fiona de Quidt, Mary Egan, Rosemary Fulljames, Margaret Garnham, Jan Gow,
Ann Gray, Julie Hall, Margaret Hamilton, Erica Hamnett, Evelyn Houseman, Susan Jacobs, Emma Jay,
Emily King, Catharine Larcombe, Sarah Martin, Catherine McManus, Deborah Meyer, Jane Newman,
Barbara Orr, Rachel Pickering, Lina Rodriguez-Otero, Anne Rowett, Penelope Skinner,
Anne Stephens, Elaine Thawley, Jo Underdown, Lindsey Waine, Felicity Williams
tenor:
Tony Alderton, David Amos, Chris Britton, John Dewhurst, Colin Flood, Michael Gilbert,
Andy Godfrey, Clive Hall, Bill Hartree, Martin Killick, Simon Lambourn, John Mullinar, Kit Peck,
David Underdown, Chris Waine
bass:
Robert Bell, Chris Bennett, Tony Caporn, Brian Elliott, Christopher Flook, Paul Hehir, Adrian Hunter,
Tim Lidbetter, Keith Long, Richard Metcalfe, Adrian Mumford, Pip Rowett, John Saunders,
John Tatam, Bob Vickers, David Wallis, Richard Welton, Ian Williamson.
Brandenburg Baroque Soloists is one of the
exciting new orchestras playing on period
instruments. It was originally created as an
offshoot of the highly successful Brandenburg
Sinfonia for a performance of Bach’s
Christmas Oratorio in 2004.
The orchestra is a judicious mixture of regular
Sinfonia players who play on both modern
and original instruments with some of the
finest period instrument specialists drawn
from the same pool as the Academy of
Ancient Music, the Orchestra of the Age of
Enlightenment and the Gabrieli Consort.
The repertoire of the orchestra has expanded
steadily to include the standard baroque
choral classics including Handel’s Messiah, the
Bach Passions, numerous oratorios and much
of the standard instrumental repertoire
including Vivaldi’s Four Seasons and of course
the Brandenburg Concertos.
Violin 1
Ellen O'Dell
Sarah Moffat
Ben Samson
Violin 2
Elly Harrison
Katarina Dordevec
Viola
Clare Barwick
Oakki Lau
Cello
Gabrielle Amherst
Sarah Westley
Bass
Jan Zahourek
Oboe
Geoff Coates
Tristan Cox
Bassoon
Mike Brain
Haley Pullen
Trumpet
Neil Brough
Russell Gilmour
Trombone
Stephanie Dyer
Tom Lees
Andy Lester
Timps
Tim Evans
Organ Continuo
Freddie Brown
TCS in 2015
Rehearsing at St Catherine’s School,
Twickenham (photo: Mark Goodman)
At Bran Castle, Easter (photo: Bob Phillips)
Concert at the Black Church, Brasov
(photo: Steffen Schiandt)
Back cover: rehearsing at St Josef’s
Cathedral, Bucharest (photo: Phil Taylor)
visit the choir web-site at
www.twickenhamchoral.org.uk
or Christopher Herrick’s web-site
at www.christopherherrick.org
Programme design by Diana Wilson