5 TWICKENHAM

CHORAL SOCIETY

All Saints Church, Kingston Saturday 4 July 2015

Soprano: Mary Bevan

Alto: Roderick Morris Tenor: Nathan Vale

Brandenburg Baroque Sinfonia

conducted by Christopher Herrick

ISRAEL IN

EGYPT

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THE FRAMING COMPANY

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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

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

publicity@twickenhamchoral.org.uk

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

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 (1685-1759)

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.

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-to-

the-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

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.

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

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-in-

the-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

Bass Trumpet Ellen O'Dell Jan Zahourek Neil Brough

Sarah Moffat Russell Gilmour

Ben Samson Oboe

Geoff Coates Trombone

Violin 2

Tristan Cox Stephanie Dyer

Elly Harrison Tom Lees Katarina Dordevec Bassoon Andy Lester

Mike Brain

Viola

Haley Pullen Timps Clare Barwick

Tim Evans

Oakki Lau

Organ Continuo

Cello

Freddie Brown Gabrielle Amherst

Sarah Westley

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)

Programme design by Diana Wilson

visit the choir web-site at www.twickenhamchoral.org.uk

or Christopher Herrick’s web-site at www.christopherherrick.org