Saturday 9 April 2011

Conductor: Colin Stevens

Chiltern Orchestral SocietyLeader: Janet Hicks

SOLOISTS

Andrea Gray (Soprano)Rachel Lloyd (Contralto)

Mark Chaudy (Tenor)Michael Lessiter (Bass)

Vespers K339Requiem K626

ANDREA GRAY (SOPRANO); Andrea studied singing at the Royal College of Music.She then pursued a career as a freelance singer, performing with professional choirs,including the Academy of Ancient Music, the Finzi Singers, the London Handel FestivalChoir, the Ambrosian Opera Chorus and European Voices. As a soloist, she hasappeared with choral societies around the country, most notably the Bath, Leicester andCheltenham Bach choirs.

Andrea now lives and works in Tring and teaches singing at Tring Park School for thePerforming Arts. She is also involved with music locally and has appeared as a soloistwith Tring Choral Society, the Aeolian Singers and the Vale Gilbert and Sullivan Societyon several occasions.

Andrea last sang with us in 2009, when she was one of the soloists in Dvorak’s StabatMater.

RACHAEL LLOYD (CONTRALTO); Rachael is continuing to enjoy success in the UKand is establishing herself as an artist in Europe. Recent highlights include Dido inPurcell's Dido and Aeneas for Theater Thuringen in Gera, Germany; Mrs Anderssen inSondheim's A Little Night Music at Paris' Chatelet Theatre alongside Leslie Caron;Maddalena in Rigoletto for Iford Arts; a concert of Trois Poemes de Stephane Mallarmeby Ravel with the London Philharmonic Orchestra and Rossini's Stabat Mater with theUlster Symphony Orchestra. Recently, Rachael has also sung the roles of Cornelia inDavid McVicar's production of Giulio Cesare for Glyndebourne Festival Opera and MegPage in Glyndebourne Touring Opera's production of Verdi's Falstaff. Future plansinclude further shows of Dido and Aeneas in Gera and Rachael's Royal Opera Housedebut as Kate Pinkerton in Puccini's Madame Butterfly.

MARK CHAUNDY (TENOR) studied with Neil Mackie and Ryland Davies at the RoyalCollege of Music; he now studies with Joy Mammen and Dennis O’Neill. He has beensupported by The Countess of Munster and The Arts Council of Wales, as well as aSusan Chilcott Scholarship, Samling Scholarship, and Tanglewood Fellowship. Hereached the finals of the Young Welsh Singers Competition twice and has won theNational Federation of Music Societies Award.

Concert collaborations include appearances with Peter Schreier, David Wilson-Johnson, Cleo Laine, the London Mozart Players, the CBSO and Northern Sinfonia.

Concert repertoire includes Haydn’s The Seasons, Handel’s Samson, Rossini’s StabatMater and Petite Messe Solennelle, Kodaly’s Psalmus Hungaricus and Tippett’s TheTempest Suite.

Operatic roles include Bajazet in Handel’s Tameriano (Cambridge Handel OperaGroup), First Trojan Man in Idomeneo and Guiseppe in La Traviata (Glyndebourne onTour). As Associate Artist with Welsh National Opera, he understudied the roles ofLenski in Eugene Onegin, The Duke in Rigoletto, Kudrjas in Kát’a Kabanová, DonOttavio in Don Giovanni and Giove in Monteverdi's Il ritorno d’Ulisse in patria, and sangRoderigo in Otello in the WNO Millenium opening gala conducted by Carlo Rizzi.

Recent highlights include Brubeck’s La Fiesta de la Posada (Barbican), Alvarez inOffenbach’s Barbe-Bleue and Courier in La Fanciulla del West (Grange Park Opera),Egeo in Cavalli’s Giasone (Early Opera Company), Pedrolino in Mozart’s Jewel Box andRomeo in Benda’s Romeo and Juliet (Bampton Classical Opera), Kudrjash (cover) in Káa Kabanová (Opera North), Don José in Carmen (Opera Project) and Berlioz’s Te Deum(Birmingham Symphony Hall).

MICHAEL LESSITER (BASS); Michael studied music and drama at the City ofLeicester College of Education. Since his debut with the D’Oyly Carte Opera company,he has performed and recorded a wide spectrum of music. Now a member of the RoyalOpera House chorus, where he has undertaken some small roles, he has previouslyappeared with Opera North, Wexford Festival Opera, Dublin Grand Opera Society, KentOpera and Opera della Luna. European engagements have included Lyons Opera,Bordeaux Opera, Netherlands Opera, Nationale Reisopera and the Holland Festival. InParis, he performed the role of Shabernack in Ligeti’s Le Grand Macabre, which wassubsequently recorded.

He has a wide oratorio repertoire and, in the early music field, has worked with theGabrieli Consort and Players at the Covent Garden and La Chaise Dieu Festivals andin Venice at the Scuola di San Rocco. His West End credits include Pirates of Penzanceat the Theatre Royal Drury Lane and Starlight Express at the Apollo Victoria. Michaelhas recently given a number of recitals in London with the violinist Keith Gurry and thepianist Philip Norman, exploring rare repertoire for that combination. The BBC Promsseason in 2010 saw Michael as a member of the Maida Vale singers in the sell-outRodgers and Hammerstein Prom which has been televised twice. In a step-out role hesang in a selection from South Pacific and amused listeners with that bottom D in 'ThereIs Nothing Like a Dame'.

Mozart composed the Vespers, K339,in 1780 and the work is scored forbassoon, two trumpets, threetrombones, timpani, organ, strings(without violas) and chorus. InMozart’s time, it was common for theVespers to include non-liturgicalmusic such as arias or choruses onspiritual themes and instrumentalmusic (except for dances) in additionto the usual Vespers texts and thosespecific to the time of year. The textsof K339 (Psalms 109, 110, 111, 112,116 and the Magnificat, each endingwith the Doxology) follow the Romanrite practised at Salzburg’s cathedralrather than the Benedictine rite of itsother large church, St. Peter’s. Theprecise occasion for the work isunknown, but there was a greatdemand for such music. Thecathedral’s liturgical calendarincluded 21 major feasts that would

have been preceded the night beforeby a solemn Vespers performed withorchestra, customarily with thearchbishop himself presiding. Onsuch occasions the two balconiesclosest to the cathedral’s altar heldthe Kapellmeister, solo singers, adouble bass, three trombones, abassoon and an organ on one side,with the strings led by theKonzertmeister on the other side.Trumpets and timpani stood on theother two balconies, while the choirwas down below in the chancel.Antiphons were probably sung by asmall group of priests between thepsalm movements, which explainswhy Mozart didn’t worry about settingadjacent movements in related keys.The opening of the Confitebor isbased on the traditional Gregorianchant melody for that text.

I. Dixit Dominus

Dixit Dominus Domino meo: sede adextris meis, donec ponam inimicos tuosscabellum pedum tuorum. Virgam virtutistuae emittet Dominus ex Sion, dominarein medio inimicorum tuorum. Tecumprincipium in die virtutis tuae insplendoribus sanctorum, ex utero anteluciferum genui te. Juravit Dominus et nonpoenitebit eum: Tu es sacerdos inaeternum secundum ordinemMelchisedech.

Dominus a dextris tuis confregit in die iraesuae reges. Judicabit in nationibus,implebit ruinas, conquassabit capita interra multorum. De torrente in via bibet,propterea exaltabit caput.Gloria Patri et Filio et Spiritui Sancto. Sicuterat in principio, et nunc, et semper, et insaecula saeculorum. Amen.(The Lord said to my Lord: sit at myright  hand, until I make your enemies astool for your feet.The Lord sends the rod of your strengthout of Zion, to rule in the midst of

your enemies. Your troops are with you inthe day of your strength, in the splendoursof the saints; from the womb have Ibrought you forth before the morning star.The Lord has sworn and will notrepent; you are a priest forever accordingto the order of Melchizedek.The Lord at your right hand has brokenkings in the day of His wrath. He will judgeamong the nations, and fill them withruination; He will shatter the heads ofmany in the land. He drinks of the torrenton the way; therefore will He lift up Hishead. Glory be to the Father, and to theSon, and to the Holy Ghost, as it was inthe beginning, is now, and ever will be,forever and ever. Amen.)

2. Confitebor

Confitebor tibi Domine in toto corde meoin consilio justorum,et congregatione.Magna opera Domini, exquisita in omnesvoluntates ejus.Confessio et magnificentia opus ejus etjustitia ejus manet in saeculum saeculi.Memoriam fecit mirabilium suorum,misericors et miserator et justus, escamdedit timentibus se. Memor erit insaeculum testamenti sui. Virtutem operumsuorum annuntiabit populo suo. Ut det illishereditatem gentium. Opera manuum ejusveritas et judicium. Fidelia omnia mandataejus, confirmata in saeculum saeculi factain veritate et aequitate.Redemptionem misit Dominus populosuo, mandavit in aeternum testamentumsuum. Sanctum et terribile nomen ejus.Initium sapientiae timor Domini, intellectusbonus omnibus facientibuseum, laudatioejus manet in saeculum saeculi.Gloria Patri, et Filio, et Spiritui Sancto,Sicut erat, sicut in principio, et nunc, etsemper, et in saecula saeculorum. Amen.(I will confess the Lord with my wholeheart, in the assembly of the upright, andin the congregation.Great are the Lord's works, and soughtafter according to all His wishes. His workis affirmation and magnificence, and his

justice endures forever. He has made aremembrance of his marvellous works,being merciful, compassionate and just.He has given food to those who fear Him;He will be ever mindful of his covenant: Hewill tell his people of the power of hisworks. That He may give them theinheritance of the heathen, the works ofHis hands are truth and judgement. All Hiscommandments are reliable;  confirmedforever and ever made in truth and equity.The Lord has sent redemption to Hispeople; He has commanded His covenantfor ever.  Holy and fearful is His name. Thefear of the Lord is the beginning ofwisdom. A good understanding have allthey that do His commandments:  Hispraise endures for ever.Glory be to the Father and to the Son andto the Holy Ghost as it was in thebeginning, is now and always will be, forever and ever. Amen.)

3. Beatus Vir

Beatus vir qui timet Dominum, in mandatisejus volet nimis. Potens in terra eritsemen ejus, generatio rectorumbenedicetur. Gloria et divitiae in domoejus, et justitia ejus manet in saeculumsaeculi. Exortum est in tenebris lumenrectis, misericors et miserator et justus.Jucundus homo, qui miseretur etcommodat, disponet sermones suos injudicio. Quia in aeternum noncommovebitur.In memoria aeterna erit justus, abauditione mala non timebit. Paratum corejus sperare in Domino.Non commovebitur donec despiciatinimicos suos. Dispersit dedit pauperibus,justitia ejus manet in saeculum saeculi.Cornu ejus exaltabitur in gloria.Peccator videbit et irascetur, dentibus suisfremet et tabescet: desideriumpeccatorum peribit.Gloria Patri, et Filio, et spiritui Sancto.Sicut erat in principio, et nunc, et semper,et in saecula saeculorum. Amen.

(Blessed is the man who fears the Lordand delights exceedingly in Hiscommandments. His seed will be strongin the land; the generation of the righteouswill be blessed. In his house will be gloryand abundance; and His justice enduresfor ever and ever. A light for the righteoushas risen in the darkness; He is mercifuland compassionate and just. Agreeable isthe person who is merciful and helpful; Hearranges His words with judgement,because He will never be moved.He will be just in eternal memory, and willnot fear to hear evils; His heart is ready toput its hope in the Lord. He will not bemoved until He looks down upon hisenemies. He has distributed and donatedto the poor; His justice endures for everand ever. His horn will be exalted in glory.The sinner will see, and become enraged;He will gnash His teeth and wither away.The desires of the sinners will perish.Glory be to the Father, and to the Son andthe Holy Ghost as it was in the beginning,is now and always will be, for ever andever. Amen).

4. Laudate Pueri

Laudate pueri Dominum, laudate nomenDomini. Sit nomen Domini benedictum exhoc nunc et usque in saeculum. A solisortu usque ad occasum laudabile nomenDomini. Excelsus super omnes gentesDominus et super coelos gloria ejus. Quissicut Dominus Deus noster, qui in altishabitat. Et humilia respicit in coelo et interra?Suscitans a terra inopem et de stercoreerigens pauperem. Ut collocet eum cumprincipibus populi sui. Qui habitare facitsterilem in domo matrem filiorumlaetantem.Gloria Patri, et Filio, et Spiritui Sancto.Sicut erat in principio, et semper, et insaecula, saeculorum. Amen.(Praise the Lord, children; praise the nameof the Lord. May the name of the Lord beblessed, from this time onward for ever.The Lord is on high above all nations, and

His glory is over the heavens. Who is likethe Lord our God, who lives on high andregards the lowly in heaven and on earth?Raising up the destitute man from theearth, and lifting up the poor man from themuck, that He may place Him with theprinces of His people. Who makes thebarren woman to live in a  house, thehappy mother of children. Glory be to theFather and to the Son and to the HolyGhost, as it was in the beginning, is nowand always will be, for ever and ever.Amen.)

5. Laudate Dominum

Laudate Dominum omnes gentes, laudateeum omnes populi. Quoniam confirmataest super nos misericordia ejus, et veritasDomini manet in aeternum.Gloria Patri, et Filio,et Spiritui Sancto.Sicut erat in principio, et nunc, et semper,et in saecula saeculorum. Amen.(Praise the Lord, all nations; praise him, allpeoples; For His mercy is established overus, and the truth of the Lord enduresforever. Glory be to the Father and to theSon and to the Holy Ghost, as it was in thebeginning, is now and always will be, forever and ever. Amen.)

6. Magnificat

Magnificat anima mea Dominum. Etexultavit spiritus meus in Deo salutarimeo. Quia respexit humilitatem ancillaesuae, ecce enim ex hoc beatam me dicentomnes generationes.Quia fecit mihi magna qui potens est etsanctum nomen ejus. Et misericordia ejusa progenie in progenies timentibus eum.Fecit potentiam in brachio suo, dispersitsuperbos mente cordis sui.Deposuit potentes de sede et exaltavithumiles. Esurientes implevit bonis etdivites dimisit inanes. Suscepit Israelpuerum suum, recordatus misericordiaesuae. Sicut locutus est ad patres nostros,Abraham et semini ejus in saecula.

Gloria Patri, et Filio, et Spiritui Sancto.Sicut erat, in principio, et nunc, et semper,et in saecula saeculorum. Amen.(My soul magnifies the Lord, And my spirithas rejoiced in God my saviour. For Hehas regarded the lowliness of His servant:for behold, from this time forward allgenerations will call me blessed. For Hewho is mighty has done great things tome, and holy is his name. And His mercyis on those who fear Him from generationto generation. He has shown strength withHis hand; He has scattered the proud inthe imagination of their hearts. He has put

down the mighty from their seats, andraised up the lowly. He has filled thehungry with good things, and sent the richaway empty. He has protected His childIsrael, being mindful of His mercy, as Hespoke to our fathers,  Abraham and Hisseed forever.Glory be to the Father and to the Son andto the Holy Ghost as it was in thebeginning, is now and always will be, forever and ever. Amen.)

It is generally accepted amongmusicologists, musicians, composersetc that Mozart was the suprememusical genius, so the quality of hismusic is undisputed - but what aboutthe quantity?

In his all-too-short life, he turned out626 compositions (going by Köchelnumbers). It is thought that his firstpiece (K1) was composed when hewas five years old and, as he diedwhen he was thirty-five, he effectivelyhad thirty years of productive life. Inthis time he wrote forty-onesymphonies, twenty-seven pianoconcertos, twenty-two operas andnineteen piano sonatas - and this is inaddition to concertos for otherinstruments, choral and other vocalworks and many other compositions.

If we just indulge in a little simplemathematics for a moment, we will

see that, if Mozart wrote 626compositions in thirty years, heobviously wrote a fraction undertwenty-one a year. This means thathe was turning out a new piece everytwo weeks. If you consider that we aretalking about operas, symphonies,concertos, sonatas and the like, itreally is a quite phenomenalachievement in quantity terms alone,never mind the sublime quality. Andhe did this continuously for thirty years!

That wasn’t all, of course. He wasalso a performer (performing most ofhis own pieces), teacher and familyman.

So where on earth did he find thetime? Perhaps that was part of hisgenius.

Oh yes, and he still found time to playbilliards!

If you like what you hear (and see) tonight, and would like tobe involved as a choir member, patron or helper (or perhapsyou would simply like to learn more about Tring Choral

Society), our web site will provide a mine of information.

Our web site contains details of future concerts, rehearsaldates and many other details that are sure to interest friends

of our choir.You can visit us at www.tringchoral.org.uk

As a member of the choir, you will not only have the chance tosing some of the world’s greatest music, but you will also

benefit from the choir’s healthy social life!

Our Membership Secretary will be pleased to hear from you -

Margaret Flanigan, on 01442 823915

Before discussing Mozart's Requiem,there is one important thing you must do -if you have seen either Peter Shaffer'swonderful play, Amadeus, or the filmversion of it, forget it! Although it is,undoubtedly, a superb dramatic work, it is(to coin a phrase) a little economical withthe truth, some of it relevant to one of theworks you will hear tonight. For instance,the film depicts Mozart, on his deathbed,dictating his Requiem to Salieri. This, ofcourse, did not happen. The Requiemwas, in fact, dictated by Mozart to FranzXaver Süssmayr who, ironically, had beena pupil of both Salieri and Mozart.

It is also untrue that Salieri was the 'tall,mysterious stranger' who knocked onMozart's door and asked him to write arequiem mass. Mozart had mentioned thefact that this strange character had calledon him and commissioned a requiem; theplay and film give the impression thatSalieri thought that this was the product ofMozart's deranged mind (caused by hisfragile health) so decided to impersonatethe imaginary character to try to affectMozart's mind further. The truth in thisinstance is even more fascinating. Therereally was a 'mysterious stranger' and hisidentity is known. He was a youngaristocrat, Count Walsegg, who called onMozart late at night and asked him to writethe requiem (and for quite a lot ofmoney!). Count Walsegg's young wifehad recently died and he wanted arequiem for her - but he wanted to pass itoff as his own. Apparently, he was in thehabit of doing this quite a lot; he wouldcopy out things like string quartets byother composers and then have themplayed by his own house musicians andeverybody would be under the impressionthat these pieces were by him. However,he couldn't even think of doing the same

with a requiem, so he went to Mozart. It isprobable that Mozart was very pleasedwith this commission. In the first place, itwas for a great deal of money (which

Mozart desperately needed) and,secondly, it is thought that Mozart knew ofthe count's intentions with the piece and,being a great practical joker himself, wentalong with the idea.

Unfortunately, the commission came at arather bad time. Mozart was alreadywriting La Clemenza di Tito, The MagicFlute and the Clarinet Concerto - an

This is regarded by historians asthe  most accurate survivinglikeness of Mozart, painted when thecomposer was 26 years old. It is asection of an unfinished 1782 portraitby Joseph Lange, Mozart’s brother-in-law. The splotchy texture of thecomposer's cheeks, visible in theoriginal painting on display at theMozart Museum in Salzburg, wasverified by Mozart's contemporaries.

unimaginable workload - and it couldn'thave been very easy with two youngchildren running around! The overwork,among other things, caused Mozart to sinkinto a depression and, at one point,Constanze took the Requiem from him inorder to ease the workload (and thedepression), as it was becoming clear thatMozart was beginning to think that he waswriting his own requiem.

Indeed, Mozart didn't finish the work and,as mentioned earlier, he dictated theRequiem (literally, on his deathbed) to hisfaithful pupil and friend Süssmayr,desperately trying to tell him, for instance,how the tympani should play at this bar,how the trumpets should sound in thispassage and so on. In fact, the account of

his final hours, as he was attempting to dothis, is left to us by the fourth sister of theWeber family, Sophie. She was the 'carer'of the family, and she looked after hermother and all her sisters as well aslooking after Wolfgang in his final hours.It was, in fact, in Sophie's arms thatMozart died as Constanze sat beside him.It may interest you to know that theLachrymosa from the Requiem is thepiece at which he was last heard to beworking before he sank into his final sleep,and the very last phrase he himself wrotewas the eighth bar (Judicanus homo reus).So, as you listen to this wonderful worktonight, give a thought that the achinglybeautiful Lachrymosa is the lament notonly for what the text is about but for thepassing soul, literally, of the composer.

1. Requiem Aeternam (Chorus withsoprano solo)

Requiem aeternam dona eis, Domine etlux perpetua luceat eis.Te decet hymnus, Deus in Sion, et tibireddetur votum in Jerusalem.Exaudi, orationem meam, ad Te omniscaro veniet.Requiem aeternam dona eis, Domine, etlux perpetua, luceat eis.Christe eleison, Kyrie eleison.(Grant them eternal rest, O Lord and mayperpetual light shine down upon them.Thou O God art praised in Zion, and untoThee shall the vow be performed inJerusalem. Hear my prayer, for all fleshshall come to Thee.Grant them rest and eternal peace O Lord,and perpetual light shine down upon them.Christ have mercy, Lord have mercy.)

2. Dies Irae (Chorus)

Dies irae, dies illa, solvet saeclum infavilla, teste David cum Sybilla.Quantus tremor est futurus, quando Judexest venturus, cuncta stricte discussurus.(Day of anger, day of terror, all shallcrumble into ashes, this was David’srevelation.What a trembling shall possess them,when the Judge shall come to judgement,searching all the souls before Him.)

3. Tuba Mirum (Quartet)

Tuba mirum spargens sonum, persepulchra regionum, Coget omnes antethronum.Mors stupebit et natura, cum resurgetcreatura, judicante responsura. Liberscriptus proferetur, in quo totum

continetur, unde mundus judicetur. Judexergo cum sedebit, quidquid latetapparebit, nil inultum remanebit. Quid summiser tunc dicturus , quem patronumrogaturus, cum vix Justus sit securus.(Trumpets sounding loud as thunder, callthe buried dead from slumber to the throneof God Almighty. Death shall marvel, earthshall wonder, when departed generations,rise again to answer judgement.Open lies the book before them, where allrecords have been written, when creationcomes to trial. Then the Lord shall sit injudgement, what was hidden isuncovered, naught forgotten, naughtunpunished.What shall I plead in my anguish? Whowill help me, give me counsel? When thejust are not acquitted?)

4. Rex Tremenda (Chorus)

Rex tremenda majestatis, qui salvandossalvas gratis, salva me, fons pietatis.(King omnipotent and mighty. Thou dostsave the true repentant, save Thou me, Ofount of mercy.)

5. Recordare (Quartet)

Recordare, Jesu pie. Quod sum causatuae viae, ne me perdas illa die.Quaerens me sedisti lassus, redemisticrucem passus, tantus labor non sitcassus? Juste Judex ultionis, Donum facremissionis, ante Diem rationis.Ingemisco tanquam reus. Culpa rubetvultus meus. Supplicanti parce Deus.QuiMariam absolvisti, et latronem exaudistimihi quoque spem dedisti. Preces meaenon sunt dignae, sed tu bonus facbenigne, ne pereni cremer igne. Interoves locum praesta, et ab haedis mesequestra. Statuens in parte dextra.(Ah, remember, gentle Jesus, twas for mysake Thou did suffer. On that day do notforsake me. Seeking me, Thou wastafflicted, to redeem me by Thy passion.Let such labour not be useless. Just andupright, Judge Almighty, grant me grace

for my atonement ere the day I standbefore Thee.I lament for I am guilty, and I blush for mywrong doing, I implore Thee, Saviour,spare me. Thou hast dried the tears ofMary, so shall I, too, hope for pardon. Mypetitions are unworthy, yet have mercy, donot send me to the flaming fire for ever. InThy sheepfold let me enter, do not herdme with the guilty, set me there upon Thyright hand.)

6. Confutatis Maledictis (Chorus)

Confutatis maledictis, flammis acribusaddictis, voca me cum benedictis. Orosupplex et acclinis, cor contritum quasicinis, gere curam mei finis.(When the accursed have beenconfounded and given over to the bitterflames, call me with the blessed. I pray insupplication on my knees. My heartcontrite as the dust, safeguard my fate.)

7. Lachrymosa (Chorus)

Lachrymosa dies illa, qua resurget exfavilla , judicandus homo reus. Huic ergoparce, Deus,pie Jesu Domine. Dona eisrequiem. Amen.(Day of bitter lamentation, when man risesup from ashes, doomed to judgement, lostand guilty, then, Lord, pity this Thyservant. Blessed Jesus, Christ our Lord,Saviour, grant them rest and peace.Amen.)

8. Domine Jesu (Chorus with Quartet)

Domine Jesu Christe, Rex gloriae. Liberaanimas omnium fidelium defunctorum, depoenis inferni et de profundo lacu. Liberaeas de ore leonis . Ne absorbeat eastartarus, ne candant in obscurum sedsignifer sanctus Michael repraesentet, easin lucem sanctam quam olim Abrahaepromisisti et semini ejus(Lord Jesus Christ, King of Glory, deliverthe souls of all the faithful departed fromthe pains of hell and from the bottomless

pit. Deliver them from the lion’s mouth,neither let them fall into darkness nor theblack abyss swallow them up. And letSaint Michael, Thy bearer, lead them intothe Holy light which once Thou didstpromise to Abraham and his seed.)

9. Hostias (Chorus)

Hostias et preces, tibi, Domine, laudisofferimus, tu suscipe pro animabus illis,quarum hodie memoriam facimus, fac eas,Domine, de morte transire ad vitam, quamolim Abrahae promisisti et semini ejus(We offer unto Thee this sacrifice of prayerand praise. Receive it for those soulswhom today we commemorate. Allowthem, O Lord, to cross from death into lifewhich once Thou didst promise toAbraham and his seed.)

10. Sanctus (Chorus)

Sanctus, Sanctus, Sanctus, DominusDeus Sabaoth. Pleni sunt coeli et terragloria tua. Hosanna in excelsis.(Holy, Holy, Holy, Lord God of Sabaoth,earth and heaven are full of echoes to Thyglory. Hosanna in the highest. Blessed isHe that cometh in the name of the Lord of

Lords. Earth and heaven are full ofechoes praising Thy glory. Hosanna in thehighest.)

11. Benedictus (Quartet)

Benedictus qui venit in nomine Domini.Hosanna in excelsis.(Blessed is he that cometh in the name ofthe Lord. Hosanna in the highest.)

12. Agnus Dei (Chorus with SopranoSolo)

Agnus Dei, qui tolis peccata mundi, donaeis requiem...Agnus Dei qui tolis peccatamundi dona eis requiem sempiternam.Lux eterna luceat eis ,Domine cum sanctistuis in aeternam quia pius es. Requiemaeternam dona eis, Domine, et luxperpetua luceat eis, cum sanctis tuis inaeternum, quia pius es.(Lamb of God, who takest away the sins ofthe world, grant them rest. Lamb of Godwho takest away the sins of the world,grant them rest for evermore. May eternallight shine down upon them, Christ theLord, with all Thy blessed Saints forevermore, since Thou art just.)

2 July 2011Chilcott; Requiem

Beethoven; Mass in C

17 December 2011Christmas Concert

(Programme to be announced)

SOPRANOSBetilyn Alwyn-JonesCelestria BellGillie BlighAnne BoxJacquie CadgeMargaret CollierBarbara EykelAnn GrayMary HaywoodZoe HillKatie HughesJeanie JennerSue JonesChristine KeenMargaret KirkbyHarriet MackinderBrigid MathersHeather NashFiona O’NeillEileen PattersonBarbara PearceSheila PulferPam RushCarol ScribbinsGill ShelveyRosemary SouthworthBrenda StapletonJenny StevensHelen StokesJenny ThallonElizabeth ThompsonJenny Watkins

ALTOSKaren BaldwinJanet BriantNicky BullJean BygateSally CottleKate DaviesAnn DenwoodMargaret FlaniganSarah GarrettNatasha GethingJanet GravesMaggie HalseyAnn HawkesJenny HoareSteph LafertonLorna LangDebbie LeaJane LeggGill LerigoJennifer McAllisterElizabeth MoxleyRhian NichollsEnid PowellMarilyn PryorPhyllis ReynoldsJacquie RotheroeChris SiversAnn SykesAnne WalesHeather WignallKate Winterbottom

TENORSJenny Brannock-JonesCliff BrownDavid EeleyJeanne EustaceRon FranklinJonathan HaskellRoger JuddNigel LewisSue RoperDavid Wilde

BASSESRobert AllnuttAlan ArcherDave ClarkeAdrian CollinBob DaviesPeter GravesRichard GryllsGeoff HarrisonJim HetheringtonRoger HillJohn HislamDavid LongTony MackinderRichard OnslowTim RobertsRichard TregoningJohn WatkinsGuy WilliamsNorman Wise

Violin; Ann Blake, Frances Bigg,Darrell Dunning, Marion Garrett,David Glenister, Alison Gott, EdHewitt, Fiona Jacob, LuciaMarica, David Moore, ChrisShelley,

Viola; Steffi Cook, Roger Evans,Katie Hayes, John Saunders

Cello; Hilary Drinkall, Mary Harris

Bass; Keith Leonard, SudhirSingh

Basset Horn; Esther Moors,Theresa Whiffen

Bassoon; Caroline Cartwright,Erica Tugwell

Trumpet; Jeremy Loukes, AllanRobinson

Trombone; Chris Brown, MartinGoodchild, David Taine

Timpani; Richard Baron-Tait

ACKNOWLEDGEMENTSTring Choral Society thanks the Iain Rennie Hospiceat Home shop, Tring, for support as our ticket agents.

The piano accompanist for Tring Choral Society rehearsals is Adrian Johnson.

Our thanks go to Roy Mathers for writing and compiling this programme.

Tring Choral Society is financially supported by Dacorum Borough Council throughTring Arts Trust.

We are grateful for the presence of St John Ambulancerepresentatives at this concert.

Financial assistance received from the Eastern Arts Board,administered by NFMS Eastern Region.

Leader; Janet Hicks

Mr G E BullMr J BurchellMr J H Cadge

Mr and Mrs G CaloiaMrs J Cherry

Mr and Mrs F ClarkMrs B J DarbyMr S EustaceMr R FlaniganMrs D Franklin

Mrs S K FranklinMr J Hawkes

Mr C W HoareMrs J Hollingsworth

Mr M JacksonMr K Johnson

Mrs E MarchantMr I Martin

Mrs B MatthewsMrs E Nicholls

Mr C B J PearceDr and Mrs A Pride

Mr G PulferMrs H Renals

Mr D RushMr P Scribbins

Mr J StackMr and Mrs J Stanhope

Mrs J StevensMr W Stringer

Mr and Mrs E TapsonDr D Thallon

Mr and Mrs W ThomasMr and Mrs K Todd

Mr and Mrs J K WatsonMr and Mrs M Watson

Mr A Winterbottom

Life MembersMrs J Aldridge

Mr and Mrs D BanyardMr R GryllsMr J Renals

Mrs K Woodward

Why not become a Patron of Tring Choral Society?For a minimum donation of £25, you too could become a Patron of Tring Choral Society,this annual donation entitling you to two free tickets (in any one season). You will alsoreceive an annual newsletter giving concert details in advance, and an invitation to join oursocial events.

To become a Patron, simply fill in the form below and send, with your donation, toMrs B S Mathers, 8 Old Mill Gardens, Berkhamsted, Hertfordshire HP4 2NZ

Telephone; 01442 872727

I would like to become a Patron of Tring Choral Society and enclose

a cheque for £.......................

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