Lewisham Choral Society

In terra pax

Christmas music for choir and audience

Piano & organ: Nico de Villiers

Conductor: Dan Ludford-Thomas

Holy Trinity Church, Sloane Street

Saturday 19 December 2015

In terra pax Choir: Alleluya, a new work is come on hand Peter Wishart Angelus ad Virginem 14

th century Irish carol

arr. Willcocks A Maiden most gentle French traditional melody arr. Carter Choir and audience: Of the Father's heart begotten Piae Cantiones arr. Willcocks Choir: The Shepherds' Farewell From The Childhood of Christ

by Hector Berlioz Il est né le divin enfant French traditional carol arr. Willcocks Joys seven English traditional carol arr. Stephen Cleobury Choir and audience: Silent night Franz Gruber arr. John Cullen

Choir: Deck the hall Welsh traditional carol arr. Willcocks Wexford Carol Irish traditional carol arr. Rutter Star Carol John Rutter

INTERVAL Please join us for seasonal refreshments at the rear of the church

Choir: Make we joy David Morgan Choir and audience: Unto us is born a Son Piae Cantiones arr. Willcocks

Choir: In Terra Pax Gerald Finzi Choir and audience: O come, all ye faithful John Wade arr. Willcocks

Peace on earth and goodwill to all!

Lewisham Choral Society welcome you this year to a new venue for our annual Christmas concert: the wonderful late nineteenth century Arts and Crafts church of Holy Trinity, Sloane Street. On this occasion our theme, In Terra Pax, Peace on Earth, is reflected in traditional music from around the British Isles and across the Channel: English, Welsh, Irish and French – along with classical music from England and France – to mark this festive season. And in addition to these pieces which the choir will sing for you, we follow our own tradition by adding a number of familiar carols which we strongly encourage you to join us in singing, accompanied by descants and harmonies from the choir and directed by our Director of Music, Dan Ludford-Thomas, accompanied by his Assistant, Nico de Villiers.

In Terra Pax is also the title of the main work which the choir will sing for you tonight. Gerald Finzi wrote this piece in 1954 but sadly died only two years later, after a short illness. In 1990 I was fortunate enough to attend a music festival in Abingdon which celebrated Finzi's music and gave me the chance to sing another of his works, under the direction of Gerald's eldest son, Christopher. And another festival event allowed me to visit not only the church in Ashmansworth which contains a memorial to the composer, but also his last home in the same village. I well remember sitting on the lawn in the summer sunshine in the company of Gerald's widow Joy and next to her husband's orchard, where he had cultivated some rare varieties of apple, thus ensuring their survival for posterity.

We also celebrate tonight the life of another multi-talented man, Sir David Willcocks, who died earlier this year at the age of 95. Last

Christmas I wrote in our concert programme about the “bible” for modern-day carol singers: Carols for Choirs, a series of volumes

for which Sir David was co-editor for over 25 years. But of course he was so much more than this, having been a choral conductor, composer, arranger, organist and musical administrator. Under his guidance the choir of King's College, Cambridge and the Bach Choir rose to international pre-eminence and the broadcasts of his Festival of Nine Lessons and Carols at King's were seen and heard

by millions across the globe. He worked with many leading British composers, including Vaughan Williams, Britten, Howells and Tippett. And to add to all that, he was a war hero decorated with the Military Cross by Field Marshal Montgomery.

So it seems only right that we should sing some of Sir David's famous carol arrangements tonight. And one last celebration: we shall also perform an original carol and an arrangement by one of Sir David's collaborators in Carols for Choirs, John Rutter, to mark his 70

th birthday this year!

Alleluya, a new work is come on hand Peter Wishart (1921-84) The words of this carol come from the 15

th century Selden Carol

Book, among 8,000 books and manuscripts bequeathed to the Bodleian Library, Oxford by the jurist and scholar John Selden (1584-1654), who had represented Oxford University in Parliament for thirteen years. In 1953 the English composer Peter Wishart produced this setting of the words and dedicated it to the Birmingham Singers' Club. He had read music at Birmingham University, then moving to Paris shortly after the War to study with Nadia Boulanger. He returned to Birmingham to teach at the city's School of Music, later becoming Professor of Music at Reading University in 1977.

Alleluya! A new work is come on hand Through might and grace of Godè's son To save the lost of ev'ry land. For, now is free that erst was bound, We may well sing Alleluya! Now is fulfillèd the prophecy Of David and of Jeremy And also of Isaiah. Sing we therefore both loud and high, Alleluya! Alleluya, this sweetè song Out of a green branch it sprung; God send us the life that lasteth long! Now joy and bliss be him among That thus can sing Alleluya!

Angelus ad virginem 14

th century Irish carol

arranged by Sir David Willcocks (1919-2015)

Angelus ad Virginem (or in its original English title Gabriel, From Heven King, Was To The Maide Sende) was a popular medieval carol, whose text is a poetic version of the Hail Mary and the Annunciation to the Virgin Mary. Probably Franciscan in origin, it was brought to Britain by French friars in the 13

th century. It appears in Geoffrey

Chaucer's Miller's Tale, where the scholar Nicholas sings it in Latin to the accompaniment of his psaltery:

And over all there lay a psaltery Whereon he made an evening's melody, Playing so sweetly that the chamber rang; And Angelus ad virginem he sang; And after that he warbled the King's Note: Often in good voice was his merry throat.

The tune arranged by David Willcocks is believed to be from Ireland and date from the 14

th century.

Angelus ad virginem Subintrans in conclave. Virginis formidinem Demulcens, inquit, "Ave ! Ave, regina virginum, Coeli terraeque Dominum Concipies et paries intacta, Salutem hominum ; Tu porta coeli facta Medella criminum". Quomodo conciperem, quae virum non cognovi? Qualiter infringerem, quae firma mente vovi? "Spiritus sancti gratia Perficiet haec omnia; Ne timeas, sed gaudeas, Secura, quod castimonia Manebit in te pura Dei potentia." Ad haec virgo nobilis Respondens inquit ei; "Ancilla sum humilis Omnipotentis Dei. Tibi coelesti nuntio, Tanta secreti conscio, Consentiens et cupiens Videre factum quod audio, Parata sum parere Dei consilio". Eia Mater Domini, Quae pacem reddidisti Angelis et homini, Cum Christum genuisti; Tuum exora filium Ut se nobis propitium Exhibeat, et deleat peccata; Praestans auxilium Vita frui beta Post hoc exilium.

Gabriel to Mary came, And entered at her dwelling, With his salutation glad, Her maiden fears dispelling ”All hail, thou queen of virgins bright! God, Lord of earth and heaven's height, Thy very Son, shall soon be born in pureness, The Saviour of mankind. Thou art the gate of heaven bright, The sinners' healer kind.” “How could I a mother be That am to man a stranger? How should I my strong resolve, My solemn vows endanger?” “Pow'r from the Holy Ghost on high Shall bring to pass this mystery. Then have no fear: Be of good cheer, Believing that still thy chastity In God's Almighty keeping Shall all unsullied be.” Then to him the maid replied, With noble mien supernal “Lo! the humble handmaid I Of God the Lord eternal With thee, bright messenger of heav'n, By whom this wondrous news is giv'n, I well agree and long to see Fulfilled Thy gracious prophecy. As God my Lord doth will it, So be it unto me!” Hail! Thou Mother of the Lord, Who bring'st of gifts the rarest, Peace to angels and to men When Christ the Lord thou barest! Do thou, we pray, entreat thy Son For us our long'd redemption Himself to win and from our sin Release us; His succour for to give That, when we hence are taken, We too in heav'n may live.

A Maiden most gentle French traditional melody arranged by Andrew Carter (1939-) The original melody of this carol is that of a very traditional Marian hymn from the French Pyrenees, associated with the shrine of Lourdes. But it also has connections with the English shrine of Walsingham, and the lyrics originate this side of the Channel, being a paraphrase of words by the 8

th century monk,

author and scholar, the Venerable Bede. The contemporary English composer Andrew Carter made this arrangement and added its organ accompaniment. Carter dedicated the carol to the sisters of St Mary's Convent in York, a city with which he has had a long association from singing at the Minster to directing the music at a local grammar school and founding and directing the Chapter House Choir. Along with many of his numerous carol settings, A Maiden most gentle has been included in the annual broadcast of the Festival of Nine Lessons and Carols from King's College, Cambridge. A maiden most gentle and tender we sing; Of Mary the mother of Jesus our King. Ave Maria. How bless'd is the birth of her heavenly child, Who came to redeem us in Mary so mild. Ave Maria. The Archangel Gabriel foretold by his call The Lord of Creation, and Saviour of all. Ave Maria. Three kings came to worship with gifts rich and rare, And marvelled in awe at the babe in her care. Ave Maria. Rejoice and be glad at this Christmas we pray; Sing praise to the Saviour, sing endless ‘Ave’. Ave Maria.

PLEASE STAND AND JOIN US IN SINGING: Of the Father's heart begotten Melody from Piae Cantiones arranged by Sir David Willcocks (1919-2015) The words and music of this piece are of mixed and very ancient extraction. The original Latin words were penned by the 4

th century Spanish-born lawyer and state official

Aurelius Clemens Prudentius, who turned to Christian poetry late in life. Twelve of his longer poems were grouped together as the Cathemerinon or Hymns of Prudentius, from the ninth of which the piece we sing now was drawn. The Victorian classics teacher Robert Furley Davis translated several of these hymns, including this. As for the music, the original melody – the 11

th century plainsong Divinum Mysterium –

first appeared in print among the Piae Cantiones (Pious songs) of 1582 compiled by Jaakko Suomalainen, the Rector of the cathedral school in Turku, Finland.

Of the Father’s heart begotten

Ere the world from chaos rose, He is Alpha: from that Fountain, All that is and hath been flows; He is Omega, of all things Yet to come the mystic Close, Evermore and evermore.

By his word was all created; He commanded and ’twas done; Earth and sky and boundless ocean, Universe of three in one, All that sees the moon’s soft radiance, All that breathes beneath the sun, Evermore and evermore.

He assumed this mortal body, Frail and feeble, doomed to die, That the race from dust created Might not perish utterly, Which the dreadful Law had sentenced In the depths of hell to lie, Evermore and evermore.

Sing, ye heights of heav'n, his praises; Angels and archangels, sing! Wheresoe’er ye be, ye faithful, Let your joyous anthems ring, Ev'ry tongue his name confessing, Countless voices answering, Evermore and evermore.

The Shepherds' Farewell Hector Berlioz (1803-69) This is probably the most famous movement from the oratorio The Childhood of Christ, which Hector Berlioz wrote in 1854 and 1855, a setting of his own words in which the shepherds say farewell to baby Jesus as he leaves Bethlehem for Egypt with his parents. In 1850 Berlioz had composed an organ piece for a friend – also entitled The Shepherds' Farewell – and then turned it into a choral piece. To confound his critics, the composer had it performed as the work of an imaginary 17

th century composer

named Ducré. Many who had previously expressed contempt for Berlioz's music were full of praise, with one lady going so far as to proclaim: “Berlioz would never be able to write a tune as simple and charming as this little piece by old Ducré". The true composer added more movements to make up a work entitled The Flight to Egypt, the success of which led him to expand the work further until he had produced the new oratorio The Childhood of Christ. Tonight we sing The Shepherds' Farewell from the oratorio in the translation by Paul England.

Thou must leave thy lowly dwelling,

The humble crib, the stable bare.

Babe, all mortal babes excelling,

Content our earthly lot to share.

Loving father, loving mother,

Shelter thee with tender care!

Blessed Jesus, we implore thee

With humble love and holy fear.

In the land that lies before thee,

Forget not us who linger here!

May the shepherd’s lowly calling,

Ever to thy heart be dear!

Blest are ye beyond all measure,

Thou happy father, mother mild!

Guard ye well your heav’nly treasure,

The Prince of Peace, the Holy Child!

God go with you, God protect you,

Guide you safely through the wild!

Il est né, le divin enfant French traditional carol arranged by Sir David Willcocks (1919-2015)

Il est né, le divin Enfant is a traditional French Christmas carol, the melody of which was first published in 1862 by Jean-Romary Grosjean, organist of the Cathedral of Saint-Dié-des-Vosges in the east of France, in a collection of carols entitled "Airs des Noëls lorrains". In his volume, Grosjean described this melody as an old hunting tune. It was another thirteen years before the lyrics of the carol were to appear in print, in a collection of “ancient carols” with piano accompaniment, brought together by Dom Georges Legeay, a Benedictine monk and organist at the French Abbey of Solesmes in western France. The English translation shown below was by Sir David Willcocks. Il est né, le divin enfant, Jouez hautbois, résonnez musettes; Il est né, le divin enfant; Chantons tous son avènement ! Depuis plus de quatre mille ans, Nous le promettaient les prophètes; Depuis plus de quatre mille ans, Nous attendions cet heureux temps. Ah ! qu'il est beau, qu'il est charmant, Que ses grâces sont parfaites ! Ah ! qu'il est beau, qu'il est charmant, Qu'il est doux, ce divin enfant ! Une étable est son logement, Un peu de paille est sa couchette, Une étable est son logement, Pour un Dieu quel abaissement ! O Jésus , roi tout puissant ! Si petit enfant que vous êtes, O Jésus, roi tout puissant ! Régnez sur nous entièrement !

He is born the divine Christ child, Sound forth the oboes with pipes replying; He is born the divine Christ child, Sing we praise to the infant mild. More than four thousand years on earth, Seers his advent were prophesying; More than four thousand years on earth, Man awaited this joyous birth. O what beauty and charm are thine, Heav'nly grace to our hearts supplying; O what beauty and charm are thine, O what sweetness thou Child divine! In a manger thou deignst to be, Straw the bed whereon thou art lying; In a manger thou deignst to be, For a God, what humility! Jesu, King, whom we bow before, Yet an infant all power denying; Jesu, King, whom we bow before, Rule our hearts now and evermore.

Joys seven English traditional carol arranged by Stephen Cleobury (1948-) "The Seven Joys of Mary" is a traditional carol about Mary's happiness at moments in the life of Jesus, probably inspired by the frequent references to the Seven Joys of the Virgin in the devotional literature and art of medieval Europe. Though not traditionally associated with Christmas, it has become so in more recent times. Stephen Cleobury was organ scholar at St John's College, Cambridge and sub-organist of Westminster Abbey before becoming Master of Music at Westminster Cathedral in 1979. He was also the President of the Royal College of Organists from 1990 to 1992. In 1982 he took up the position of Director of Music for the Choir of King's College, Cambridge, where he also teaches music. He was conductor of Cambridge University Musical Society from 1983 to 2009. He was also Chief Conductor of the BBC Singers from 1995 to 2007, and has been Conductor Laureate since 2007. The first good joy that Mary had, It was the joy of one; To see the blessed Jesus Christ When he was first her son: When he was first her son, good man; And blessed may he be, Both Father, Son, and Holy Ghost, To all eternity. The next good joy our Mary had, It was the joy of two; To see her own son, Jesus Christ To make the lame to go:

To make the lame to go, good man, And blessed may he be, Both Father, Son, and Holy Ghost, To all eternity. The next good joy our Mary had, It was the joy of three; To see her own son, Jesus Christ To make the blind to see: To make the blind to see, good man, And blessed may he be, Both Father, Son, and Holy Ghost, To all eternity.

The next good joy our Mary had, It was the joy of four; To see her own son, Jesus Christ To read the bible o'er: To read the bible o'er, good man, And blessed may he be, Both Father, Son, and Holy Ghost, To all eternity. The next good joy our Mary had, It was the joy of five; To see her own son, Jesus Christ To bring the dead alive: To bring the dead alive, good man, And blessed may he be, Both Father, Son, and Holy Ghost, To all eternity. The next good joy our Mary had, It was the joy of six; To see her own son, Jesus Christ Upon the crucifix: Upon the crucifix, good man, And blessed may he be, Both Father, Son, and Holy Ghost, To all eternity. The next good joy our Mary had, It was the joy of sev'n; To see her own son, Jesus Christ To wear the crown of heav'n: To wear the crown of heav'n, good man, And blessed may he be, Both Father, Son, and Holy Ghost, To all eternity.

PLEASE STAND AND JOIN US IN SINGING: Silent night Franz Gruber (1787-1863) arranged by John Cullen

Many legends have built up over the years as to the origin of this carol but it is thought that the likeliest story is that on Christmas Eve 1818 Josef Mohr (1792-1848), an assistant priest in a village near Salzburg, Austria, was desperate for a carol which could be sung at Midnight Mass that evening, as was the tradition. So he set off to walk three kilometres to the home of his friend the schoolteacher and organist Franz Gruber, armed with a poem which Mohr had written two years previously. The carol was written and sung by the two friends with Mohr playing his guitar as accompaniment and the choir singing the refrain. The rest is history…and the work has become a national treasure in Austria, where it may not be performed before Christmas Eve. From humble beginnings in a small Austrian village, Silent Night has become a favourite throughout the world in many and varied arrangements.This particular one is by John Cullen, former Director of Music at Tonbridge School and conductor of the Tonbridge Philharmonic Society.

Silent night, holy night, All is calm, all is bright Round yon virgin mother & child. Holy infant so tender and mild, Sleep in heavenly peace, Sleep in heavenly peace. Silent night, holy night, Shepherds first saw the sight: Glories stream from heaven afar, Heav'nly hosts sing Alleluia: Christ, the Saviour is born, Christ, the Saviour is born! Silent night, holy night, Son of God, love's pure light; Radiance beams from thy holy face, With the dawn of redeeming grace, Jesus, Lord, at thy birth, Jesus, Lord, at thy birth.

Deck the hall Welsh traditional carol arranged by Sir David Willcocks (1919-2015) The melody of 'Deck the Hall' is from a Welsh winter carol 'Nos Galan' (the title means New Year's Eve) dating back to the sixteenth century although not published until 1794. Both Haydn and Mozart adapted the Welsh tune in their works. The new English lyrics were however not written until 1862, by the Scottish musician, lyricist and artist Thomas Oliphant (1799-1873). Oliphant's lyrics were not a translation of the Welsh but an original work, although he did retain the Welsh 'Fa la la…' refrain which may originate from medieval ballads. Oliphant also wrote words for a chorale by Prince Albert which was sung at the wedding of the then Prince of Wales in 1863.

Deck the hall with boughs of holly, fa la la la la, fa la la la, ‘Tis the season to be jolly, fa la la la la, fa la la la, Fill the mead cup, drain the barrel, fa la la la, fa la la la la, Troll the ancient Christmas carol, fa la la la la, fa la la la la. See the flowing bowl before us, fa la la la la, fa la la la, Strike the harp and join the chorus, fa la la la la, fa la la la, Follow me in merry measure, fa la la la, fa la la la la, While I sing of beauty’s treasure, fa la la la la, fa la la la la. Fast away the old year passes, fa la la la la, fa la la la, Hail the new, ye lads and lasses, fa la la la la, fa la la la, Laughing, quaffing altogether, fa la la la, fa la la la la, Heedless of the wind and weather, fa la la la la, fa la la la la.

Wexford carol John Rutter (1945-)

The clue is in the name. The original Irish words of this carol (known as Carúl Loch Garman or Carúl Inis Córthaidh in Gaelic) are thought to originate from Enniscorthy in County Wexford, South East Ireland and date from at least as far back as the 12

th century. It is therefore one of the oldest surviving

European Christmas carols. It was not however until the 20

th century that its fame spread

beyond the Emerald Isle. William Grattan Flood, organist and Director of Music at Enniscorthy Cathedral, heard a local sing the words set to what is thought to be an 18

th century tune.

This Flood transcribed and succeeded in having his transcription published in the Oxford Book of Carols, edited by

Photo: © Martin Bull 2014 Ralph Vaughan Williams in 1928. Fifty years later John Rutter made this arrangement for inclusion in the third volume of Carols for Choirs.

Good people all, this Christmas time, Consider well and bear in mind What our good God for us has done, In sending his beloved Son. With Mary holy we should pray To God with love this Christmas Day; In Bethlehem upon that morn There was a blessed Messiah born. The night before that happy tide The noble Virgin and her guide Were long time seeking up and down To find a lodging in the town. But mark how all things came to pass: From ev’ry door repell’d, alas! As long foretold, their refuge all Was but an humble oxen stall. Near Bethlehem did shepherds keep Their flocks of lambs and feeding sheep; To whom God’s angels did appear Which put the shepherds in great fear. ‘Prepare and go’, the angels said, ‘To Bethlehem, be not afraid; For there you’ll find, this happy morn, A princely babe, sweet Jesus born.’ With thankful heart and joyful mind The shepherds went the babe to find, And as God’s angel had foretold, They did our Saviour Christ behold. Within a manger he was laid, And by his side the virgin maid, Attending on the Lord of life, Who came on earth to end all strife. Good people all, this Christmas time, Consider well and bear in mind What our good God for us has done, In sending his beloved Son.

Star Carol John Rutter (1945-) The year was 1971, the place the Royal Albert Hall and the occasion the Bach Choir's annual Christmas concert. As usual, children in the audience were invited onto the stage to sing with the choir for part of the evening. The choir's Director, David Willcocks, had asked John Rutter to come up with a new carol with a refrain simple enough to be learnt and sung by the children on the spot. Rutter obliged with words and music and the Star Carol was born.

Sing this night, for a boy is born in Bethlehem, Christ our Lord in a lowly manger lies; Bring your gifts, come and worship at his cradle, Hurry to Bethlehem and see the son of Mary! See his star shining bright In the sky this Christmas Night! Follow me joyfully; Hurry to Bethlehem and see the son of Mary!

Angels bright, come from heaven’s highest glory, Bear the news with its message of good cheer: ‘Sing, rejoice, for a King is come to save us, Hurry to Bethlehem and see the son of Mary!’ See, he lies in his mother’s tender keeping; Jesus Christ in her loving arms asleep. Shepherds poor, come to worship and adore him, Offer their humble gifts before the son of Mary. Let us all pay our homage at the manger, Sing his praise on this joyful Christmas Night; Christ is come, bringing promise of salvation; Hurry to Bethlehem and see the son of Mary!

INTERVAL Please join us for seasonal refreshments at the rear of the

church

Make we joy David Morgan (1946-)

As with Alleluya, a new work is come on hand, the words of this carol come from the 15

th century Selden Carol Book

from the Bodleian Library, Oxford and date from around 1450. The musical setting however is much more recent. David Morgan wrote it between May and June 1985 and dedicated it to his son Ben who was starting to recover from a serious illness. David, a member of the Norfolk Composers Group, has lived in Norfolk since 1969, after graduating from Bangor University where he studied with Reginald Smith-Brindle, Bernard Rands and William Mathias. As well as composing, he gives concerts and

recitals as a pianist and organist. He has told me that with Make we joy he tried “to convey something of the 'dance' element within the tradition of carol writing and create a degree of drama through the choral scoring”. We in turn shall try to do it justice!

Make we joy now in this feast In quo Christus natus est. A Patre unigenitus

Through a maiden is come to us: Sing we of him and say 'Welcome, welcome, Veni redemptor gentium.' Agnoscat omne speculum: A bright star made three kingès come, For to seek with their presents Verbum supernum prodiens. A solis ortus cardine So mighty a Lord was none as he; He on our kind his peace hath set, Adam parens quod polluit.

Maria ventre concepit, The Holy Ghost was ay her with, Of her in Bethlehem y-born he is, Consors paterni luminis.

O lux beata Trinitas!

He lay between an ox and ass, And by his mother, maiden free, Gloria tibi, Domine!

PLEASE STAND AND JOIN US IN SINGING: Unto us is born a Son Melody from Piae Cantiones arranged by Sir David Willcocks (1919-2015) The original melody of this medieval carol is found in 14

th & 15

th century manuscripts but

may date from considerably earlier. As with Of the Father's heart begotten, it was published in the 15

th century Finnish song book Piae Cantiones. It then had to wait until

the early 20th century for an English translation, written by the Anglican priest George

Ratcliffe Woodward. Unto us is born a son, King of quires supernal: See on earth his life begun, Of lords the Lord eternal, of lords the Lord eternal.

Christ, from heav'n descending low, Comes on earth a stranger; Ox and ass their Owner know, Be cradled in the manger, be cradled in the manger.

This did Herod sore affray, And grievously bewilder, So he gave the word to slay, And slew the little childer, and slew the little childer.

Of his love and mercy mild This the Christmas story: O that Mary's gentle Child Might lead us up to glory, might lead us up to glory!

O and A, and A and O, Cum cantibus in choro, Let our merry organ go, Benedicamus Domino, benedicamus Domino.

In Terra Pax, Op 39 Gerald Finzi (1901-56) Christmas scene for soprano & baritone soli, chorus & ensemble

Gerald Finzi was born in 1901 in London, where he spent his early childhood. But when his father died just seven years later and the Great War began, his mother moved with her young son to Harrogate in Yorkshire. Here Gerald began his music studies but in his early twenties was drawn to the peaceful countryside of Gloucestershire to compose. Nevertheless, he soon found he needed the social and musical stimulus of the capital once more and here he was able to join a circle of similarly talented young British composers, including Vaughan Williams, Holst, Rubbra and Howard Ferguson. He also began teaching at the Royal Academy but after he married the artist Joy Black in 1933, he moved back to the countryside, to Wiltshire this time. His

reputation as a composer was growing, although World War II meant the cancellation of the premiere of his song cycle Dies Natalis at the Three Choirs Festival. Another move in 1939 brought him to what would be his last home, at Ashmansworth in Hampshire. At long last he seemed assured of success with several important commissions. However, in 1951 he was diagnosed with Hodgkin's Disease and given only a few years to live. Three years later he thought back to an episode from his younger days, when he climbed up Chosen Hill in Gloucestershire to listen to the sound of Christmas bells. So it was perhaps inevitable that he would choose to begin his Christmas scene In Terra Pax with an extract from a poem by Robert Bridges which mirrored that very scene. Bridges

had written his poem Noël: Christmas Eve, 1913 during the year when he was appointed Poet Laureate, a post he kept until his death in 1930. Finzi adds to the first few of Bridges' verses the Nativity story as recounted in St Luke's Gospel.

Soloists: Lara Ruffle Coles, soprano and Pierpaolo Finaldi, baritone A frosty Christmas Eve when the stars were shining Fared I forth alone, where westward falls the hill, And from many a village in the water'd valley Distant music reach'd me, peals of bells were aringing: The constellated sounds ran sprinkling on earth's floor As the dark vault above with stars was spangled o'er. Then sped my thoughts to keep that first Christmas of all When the shepherds watching by their folds ere the dawn, Heard music in the fields and marvelling could not tell Whether it were angels or the bright stars singing. And there were in the same country shepherds abiding in the field, keeping watch over their flock by night. And, lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them, and they were sore afraid. And the angel said unto them: Fear not: for, behold, I bring good tidings of great joy, which shall be to all people. For unto you is born this day, in the city of David a Saviour, which is Christ the Lord. And this shall be a sign unto you: Ye shall find the babe wrapped in swaddling clothes, lying in the manger. And suddenly there was with the angel a multitude of the heavenly host praising God, and saying: Glory to God in the highest, and on earth peace, good will toward men. But to me hear'd afar it was starry music Angels' song, comforting as the comfort of Christ When he spoke tenderly to His sorrowful flock: The old words came to me by the riches of time Mellow'd and transfigured as I stood on the hill Hark'ning in the aspect of th'eternal silence. And on earth peace, good will toward men.

PLEASE STAND AND JOIN US IN SINGING:

O come, all ye faithful John Wade (c1711-1786) arranged by Sir David Willcocks (1919-2015) Another carol of which the authorship is unclear, even having been attributed to a 17

th century Portuguese king! 'Carols for Choirs'

however appears to be in no doubt that the tune and words were written by the English Roman Catholic hymn writer John Wade, under the title 'Adeste Fideles'. After the failure of Bonnie Prince Charlie's Jacobite rebellion in 1745, Wade fled to France and ended his days in exile there. But his hymn lived on in his native land as a Christmas carol. The verses we sing tonight were translated by Frederick Oakeley (1802-1880), an Anglican priest who converted to Roman Catholicism. David Willcocks wrote the descant line in his arrangement in November 1930 on a train from Liverpool Street to Cambridge, as he travelled back from leading a Bach Choir rehearsal. O come, all ye faithful, joyful and triumphant, O come ye, O come ye to Bethlehem; Come and behold Him born the King of Angels; O come, let us adore him, O come, let us adore him, O come, let us adore him, Christ the Lord.

God of God, Light of Light, Lo! He abhors not the Virgin's womb; Very God, begotten, not created: O come, let us adore him, O come, let us adore him, O come, let us adore him, Christ the Lord! See how the shepherds, summoned to His cradle, Leaving their flocks, draw nigh with lowly fear; We too will thither bend our joyful footsteps: O come, let us adore him, O come, let us adore him, O come, let us adore him, Christ the Lord!

Sing, choirs of angels, sing in exultation, Sing, all ye citizens of heav'n above; Glory to God in the highest: O come, let us adore him, O come, let us adore him, O come, let us adore him, Christ the Lord!

Introduction and programme notes © Martin Bull 2015 Concert posters and flyers © Ben Leslie 2015

Nico de Villiers – Piano

South Africa-born pianist Nico de Villiers is based in London and in demand as soloist, accompanist and coach in the UK as well as abroad. He holds degrees from the Royal Conservatoire of Scotland, University of Michigan and the Guildhall School of Music and Drama. Recent débuts include performances at the Barbican in London, the Kennedy Center in Washington, D.C., Birmingham Symphony Hall, the Mozarteum Grosser Saal in Salzburg and the Beethoven-Haus Kammermusiksaal in Bonn. Future concert engagements include recitals across the UK, the Netherlands, South Africa and China. Nico is currently undertaking his doctoral research at the Guildhall School of Music and Drama, focusing on the songs of Dutch-born American composer Richard Hageman. He is grateful for the generous support of the Guildhall School and the International

Photo: Sebastian Charlesworth Opera Awards. He has recently co-written and published the first ever biography on Hageman, who conducted at the Metropolitan Opera and scored some of the best known westerns of John Ford.

Dan Ludford-Thomas - Conductor Dan began singing as a chorister at St Matthew’s Church, Northampton, and in 1986 became ‘Choirboy of the Year’ which led to radio and television broadcasts, and concerts at many of the major venues throughout the UK. He won choral scholarships to the cathedrals at Wells and Durham, where he read music at the University. On arrival in London he continued his vocal studies with Richard Smart and Nicholas Powell and conducting with Rumon Gamba and Mark Shanahan. As a tenor, Dan has performed regularly with many major ensembles, including Chapelle du Roi, The King's Consort, The Academy of Ancient Music, Florilegium, and The Sixteen and has sung with many choral societies as a soloist. As a conductor he performs regularly in major concert venues including Birmingham Symphony Hall and The Royal Albert Hall. In 2012 he conducted over 300 singers and the Forest Philharmonic in a performance of Handel Messiah in the Royal Festival Hall and in 2014 conducted over 200 singers in a performance of Verdi Requiem in the Fairfield Halls.

Dan is in demand as a choral animateur, directing workshops and projects in the UK and internationally. He was at the forefront in the delivery of the national singing initiative ‘Singup’ in collaboration with Ex Cathedra with whom he enjoys a long association as part of a team delivering singing programmes and concerts. In 2012 Dan worked as a choirmaster on BBC2’s The Choir: Sing While You Work series with Lewisham and Greenwich NHS Trust Choir. He returned in 2013 to work on series 2 as Choirmaster to Citibank choir with whom he has continued as the Musical Director. Work with these choirs has led to performances at the Hammersmith Apollo and recent concerts in New York. Dan was the chorus master for the Choir of the Enlightenment, preparing them to sing Brahms Ein Deutsches Requiem with the Orchestra of the Age of Enlightenment, conducted by Marin Alsop at the 2013 BBC Proms. He returned as Chorus Master for Marin, preparing the Choir of the Enlightenment to perform Brahms Alto Rhapsody and Triumphlied at the 2015 BBC Proms.

Dan is currently Head of Singing at Dulwich College, and is a singing teacher at Eton College. He is the Musical Director of The Hackney Singers, Conductor of the Senior Choir of the National Children's Choir of Great Britain, Musical Director of Concordia Chamber Choir and the Director of Music of Lewisham Choral Society.

Lewisham Choral Society

Photo: © Marc Wood 2015

Lewisham Choral Society is one of London’s most popular community choirs, performing at local venues and major concert halls such as Southbank Centre’s Royal Festival Hall, the Cadogan Hall and the Fairfield Halls. It has provided the chorus for two shows at the Young Vic and was honoured to take part in the opening ceremony for the Paralympic Games in 2012. It is a large, lively community-based choir, with almost two hundred singers. Founded in 1950 by a group based at Lewisham’s parish

church, it grew in size and ambition, marking its transformation by a change of name to Lewisham Choral Society in the early 1980s. The Society is a member of Making Music - the National Federation of Music Societies. We are a performing choir, staging four concerts a year and taking part in other choral singing events when opportunities arise. Under the professional direction of Dan Ludford-Thomas and his deputy Nico de Villiers, the choir’s repertoire ranges from the sixteenth century to the twenty-first - Monteverdi Vespers of 1610 through to contemporary works by Will Todd and Eric Whitacre.

WOULD YOU LIKE TO JOIN US?

Lewisham Choral Society offers a warm welcome to new joiners. We are open to

singers in all voice parts, but given the need to maintain a good balance across the choir we are targeting our recruitment at tenors and basses. Although we do not audition, the choir performs to a high standard and tackles some complex pieces which require a level of experience and musical ability. Rehearsals are relatively fast-paced, so may not suit complete beginners. We rehearse on Monday evenings from 8 to 10 at St Laurence Church, 37 Bromley Road, Catford, SE6 2TS: five minutes' walk from Catford and Catford Bridge stations; buses 47, 54, 136, 171, 199 and 208 stop outside. Parking is relatively easy on nearby residential streets and there is limited parking within the church grounds. Rehearsals of Mendelssohn's Elijah for the Spring 2016 term start on Monday 4 January and continue until the concert on 19 March. We shall schedule additional rehearsals as and when necessary. Singers are welcome to join as new members on 4, 11 or 18 January.

Visit our website to sign up to our mailing list and find

out more about our future events!

www.lewishamchoralsociety.org.uk

We hope you enjoyed tonight's performance. Please send us your feedback via our website, Facebook or Twitter!

facebook.com/groups/2388024780

@lewishamchorsoc

Lewisham Choral Society – Future performances

Please visit our website for updates www.lewishamchoralsociety.org.uk

Ticket enquiries to 020 8309 0439 or website

Saturday 12 March 2016 at 7.30 pm Highfields School, Matlock, Derbyshire

and

Saturday 19 March 2016 at 7.30 pm Fairfield Halls, Park Lane, Croydon CR9 1DG

Mendelssohn – Elijah Joint concerts with The Derbyshire Singers

Saturday 9 July 2016 at 7.30 pm Holy Trinity Church, Sloane Street, SW1X 9BZ

Lili Boulanger – Vieille prière bouddhique Vierne – Messe solennelle

Britten – Deus in adjutorium meum; Rejoice in the Lamb

Lewisham Choral Society is happy to support St Mungo's Broadway

with a retiring collection. Please give generously! St Mungo's helps people recover from the issues that create homelessness

St Mungo Community Housing Association registered charity number 114908

Lewisham Choral Society would like to thank the Rector and his team at Holy Trinity for making the church available and for their

help and cooperation in preparing for the concert Photography is not permitted without the prior agreement of the Committee of Lewisham Choral Society Please ensure that your mobile, pager or digital watch is switched off.

Lewisham Choral Society acknowledges the support of the London Borough of Lewisham and is affiliated to Making Music

Lewisham Choral Society, Registered Charity Number 1040570