Ensemble Polymnia

Psalmuspresents

HungaricusA rare programme of Hungarian classics

Sarah Bisley | Conductor David Hamilton | Tenor Myles Hartley | Organ

Raymond Hawthorne | Narrator

with The Aorangi Singers

and The Junior Choristers

of Holy Trinity Cathedral

5pm Sunday 7 June 2015Q Theatre, 305 Queen St, Auckland

Tickets from $28 are available at Q Theatre Box Office on (09) 309 9771,at www.qtheatre.co.nz, or at the door

Concert under the auspices of the International Kodaly Society

BARTÓK, Béla (1881-1945) Romanian Folk Dances (1915) (arr. for small orchestra by the composer in 1917)

I. Jocul cu bâtă (Stick Dance) II. Brâul (Sash Dance) III. Pe loc (In One Spot) IV. Buciumeana (Dance from Bucsum) V. Poarga Românească (Romanian Polka) VI. Aprózó / Mărunțel (Fast Dance) John Thomson, Solo Violin

The Román Népi Táncok were originally written as a suite for the piano, entitled “Romanian Folk Dances from Hungary”. The name was changed by Bartok after the tragic Treaty of Trianon of 1920, when Hungary lost 70% of her lands - including Transylvania, ceded to Romania. The suite is based on seven Romanian Transylvanian tunes, which were originally played on a fiddle or shepherd’s flute – and the solo violin is naturally a main feature of the work, along with the piccolo. It is a reflection of gypsy, Romanian, Hungarian and Polish cultures meeting in a joyful melting pot of sound, even influenced by Middle Eastern music.

LISZT, Ferenc (1811-1886) Hungarian Rhapsody No. 5 in E minor Héroïde-elégiaque (arr. for orchestra by the composer and Franz Doppler) Dedicated to Comtesse Sidonie Reviczky Cameron Stuart, Solo ‘Cello This melancholic and passionate Rhapsody is the fifth in a set of 19 Hungarian Rhapsodies by Liszt, also originally

composed for the piano. It is very different in structure and character from the other Rhapsodies, not moving into a fast section but remaining brooding and intense. Hence the tempo marking Lento con duolo, and the subtitle given by Liszt, Héroïde-elégiaque. We hope you will enjoy the luscious harmonies and the very beautiful ‘cello solos.

SZŐNYI Erzsėbet (b. 1924) Concerto per Organo e Orchestra (1958) New Zealand Première Allegro moderato - Andante – Allegro moderato Myles Hartley, Organ soloist In this evening’s concert, Erzsébet Szőnyi is the only living Hungarian composer represented, and a very real link to Zoltán Kodály. Professor Szőnyi, living on Buda hill, is now 91 years old – and was a student, then colleague and

friend of Kodály and his first wife Emma. Following training at Hungary’s most prestigious institutes under such teachers as Ernő Szegedi, Leó Weiner, János Viski and Kodály (for studies in folk music) from 1943-1947, she went on to study in Paris with Nadia Boulanger and Olivier Messiaen; at a very young age she became a Professor at the Liszt Academy in Budapest, and was entrusted by Kodály with great responsibilities. She is an exceptional human being, teacher and mentor of numerous renowned Hungarian musicians and music educators. It says a lot that most of them remain in close contact with their Professor, Erzsi néni (Aunt Elisabeth) - as does our conductor. Her complex and large-scale creative career is marked by successes and awards: Professor Szőnyi is a member of the Hungarian Academy of Arts, and was awarded the Erkel-prize (1959), Bartók Béla–Pásztory Ditta-prize (1995), the Apáczai Csere János-prize (1993), the Order of Merit of the Hungarian Republic Commander's Cross (1992), Outstanding Artist (2000) and the Pro Renovanda Culturae Hungariae Kodály Prize (2001). Erzsébet Szőnyi’s ars poetica as a composer – in her own words – was defined by the conscious searching and caring for a relationship with the public. Her compositions encompass the genres of symphony, concerto, chamber music, art song and oratorio, as well as numerous stage works including eight operas. Tonight’s Concerto per Organo e Orchestra was one work which brought her international success as a composer. It is most probably influenced by the French organ concertos of the first half of the twentieth century, and presents a palette of rhythmic and harmonic colour and life within the frame of the classic Italian concerto form.

Interval (20 minutes)

KODÁLY Zoltán (1882-1967) Poems read in English before each work Ėnek Szent István Királyhoz for mixed chorus (Hymn to St. Stephen the King,1938) Este for mixed chorus (Evening,1904) Reading of Psalm 55 Raymond Hawthorne, Narrator

Psalmus Hungaricus for Tenor solo, mixed chorus, children’s chorus orchestra and organ, Op. 13 (1923), dedicated to the audience of Budapest Text based on the 55th Psalm of David, adapted by Mihály Vég of Kecskemét. David Hamilton, Tenor So much needs to be said about Zoltán Kodály: composer, ethnomusicologist, pedagogue, linguist and philosopher, known internationally as the creator of a system of music education based on singing the songs of one’s native country, known as the “Kodaly Method”. Interestingly enough, Kodaly was born in Kecskemét, also the birth village of the 16th century poet and priest Mihály Vég, who provided the extraordinary poem for Psalmus Hungaricus, based on Psalm 55. Also of note is that Kodaly chose a sacred psalm-poem for a secular occasion, namely to celebrate the 50th anniversary of the unification of Buda and Pest, to form the modern Hungarian capital. A fascinating synthesis of Eastern and Western music, the work is first and foremost a profound and moving expression of the Hungarian nation, with a turbulent and tormented history over more than 2000 years. Beyond this, and with a piercing kind of modern clarity, drawing on medieval, modal and folk harmonies traditions, it is universally relevant to all peoples and nations torn by strife, occupation, treachery and sheer hunger. However, as a great work of art, probably what speaks through the most strongly is the compassion towards the oppressed on the part of its creators, and the final message of redemption.

PSALMUS HUNGARICUS TEXT

CHORUS Mikoron Dávid nagy búsultában, When King David in his great sorrow, Baráti miatt volna bánatban, By reason of his friends, in sore affliction, Panaszolkodván nagy haragjában Lamenting in his great anger, Ilyen könyörgést kezde ő magában: Thus he began his supplication: TENOR Istenem Uram, kérlek tégedet, My God and Lord, I beseech of thee, Fordítsad reám szent szemeidet, Turn thy holy eyes to me, Nagy szükségemben ne hagy engemet; Do not desert me in my great need; Mert megemészti nagy bánat szívemet. Terrible grief overcomes my heart. Csak sívok, rívok nagy nyavalyámban, I can only lament in such misery, Elfogyatkoztam gondolatimban, I have wasted away in my thoughts, Megkeseredtem nagy búsultomban, I have become bitter in my great sorrow, Ellenségemre való haragomban. I am angry with my enemies. Hogyha énnékem szárnyam lett volna, If only I had but wings Mint az galamb, elröpültem volna, Like a dove, I would have flown away, Hogyha az Isten engedte volna, If God had allowed me, Innét én régen elfutottam volna. I would have fled from here long ago. Akarok inkább pusztában laknom, I would rather live on the puszta, * Vadon erdőben széjjelbujdosnom, Or hide deep in the forest, Hogynem mint azok között lakoznom, Than live with those Kik igazságot nem hagynak szólanom. Who would not let me speak the truth. CHORUS Mikoron Dávid, etc.

*the Great Hungarian Plain

TENOR Éjjel és nappal azon forgódnak, By night and by day they turn about me, Engem mi módon megfoghassanak, Seeking how they might ensnare me, Beszédem miatt vádolhassanak, How they might bear false witness against

me; Hogy fogságomon ők vígadhassanak. How they would relish my imprisonment! Egész ez város rakva haraggal, This whole city is full of rage, Egymásra való nagy bosszúsággal; Full of vengeance, each to the other; Elhíresedett az gazdasággal, It has boasted of its riches, Hozzá fogható nincsen álnoksággal. In its perfidy there is nothing of worth. Gyakorta köztük gyűlések vannak, Oftentimes there are plots,

vallnak, They smite widows and orphans, Özvegyek, árvák nagy bosszút vallnak, They smite orphans and widows, Isten szavával ők nem gondolnak On God’s word they do not ponder, Mert jószágukban felfuvalkodtanak. Being swollen with pride in their worldliness. CHORI Mikoron Dávid, etc. TENOR Keserűségem annyi nem volna, Bitterness would not have overwhelmed me, Ha ellenségtül nyavalyám volna ; Had my enemy caused me such misery; Bizony könnyebben szenvedtem volna, Yea, in truth I could have borne the suffering, Magamat attól megóhattam volna. For then I could have hidden from him. De barátomnak azkit vélek volt But my friend with whom Nagy nyájasságom kivel együtt volt I had much sweet companionship, Jó hírem nevem tisztességem volt, Thou whom I reckon'd true and faithful Fö ellenségem most látom hogy az volt. Now I see that you were my arch enemy! Keserű halál szálljon fejére, Bitter death strike his head, Ellenségemnek ítéletére. For the judgement of my enemy, Álnokságának büntetésére, To punish his treachery, Hitetlenségnek kijelentésére. To declare his unbelief.

TENOR and CHORUS Én pedig, Uram, hozzád kiáltok, But I, O Lord, proclaim thee, Reggel és délben, este könyörgök In the morning and at noon, in the evening I entreat you, Megszabadulást tetőled várok, I await thy liberation Az ellenségtől mert én igen tartok. From the enemy who oppress me. TENOR Te azért lelkem, gondolatodat, And you, my soul, in your thoughts Istenben vessed bizodalmadat. You take trust in God. Rólad elvészi minden terhedet, From you he takes every burden, És meghallgatja te könyörgésedet. And hears your prayer. CHORUS Igaz vagy Uram, ítéletedben Thou art righteous O Lord, in thy judgement A vérszopókat ő idejökben, Of the blood-suckers of our time, Te meg nem áldod szerencséjökben, Thou dost not bless them in their good

fortune, Hosszú életök nem lészen a földön. They will not live long on this earth. CHORI Az igazakat te mind megtartod, As for the righteous, thou dost preserve

them, A kegyeseket megoltalmazod. The merciful thou dost defend, A szegényeket felmagasztalod, The humble thou dost exalt, A kevélyeket alá hajigálod. The proud thou dost cast out. Ha egy kevéssé megkeseríted, If for a while thou art wrathful, Az égő tűzben elbétaszítod You hurl them into the flaming fire, Nagy hamarsággal onnétkivonszod, But suddenly you draw them forth, Nagy tisztességre ismét felemeled. And once more in honour raise them on

high.

CHORUS Szent Dávid írta az zsoltárkönyvben, Saint David wrote these words in the psalter, Ötvenötödik dícséretében, In his fifty-fifth song of praise, Melyből az hívek keserűségben, And for the faithful, bitterly grieving, Vígasztalásért szörzék így versekben. For consolation, I made it thus into a song. Hungarian-English translation © by Sarah Bisley, May 2015

Myles Hartley, Organist Myles Hartley is a freelance organist and pianist based in Hamilton, who moved from the UK in 2012. He accompanies extensively: choirs, ensembles, soloists, and for services at St. Peter’s Cathedral, Hamilton, and at St. Cuthbert’s College, Auckland.

As a continuo player, Myles has performed with Ensemble Polymnia, the Handel Consort & Quire, and Bach Musica NZ; as a soloist, he recently gave a recital in Auckland Town Hall for the Great Organ Classics Series. He is also undertaking research into the continuo motet, seventeenth-century manuscript sources and performance contexts. Before moving to New Zealand, Myles was for seven years Director of Music and Supernumerary Fellow at Oxford University’s Harris Manchester College. He is a Fellow of the Royal College of Organists, and has recorded two solo CDs at Harris Manchester, including the Organ works of John Ireland and Grayston Ives for Priory Records. Myles studied with Robert Gower and David Sanger, and was Organ Scholar at St. George’s Chapel, Windsor Castle, and Worcester College, Oxford.

David Hamilton, Tenor A tenor with a distinguished career in the fields of opera, oratorio and concert repertoire, David Hamilton is originally from Scotland, where he graduated in Singing and Flute at the Royal Scottish Academy of Music and Drama. Performances have included the tenor roles in most of the major oratorios with all the major orchestras in Australia and New Zealand; he has won critical acclaim throughout Asia and at many theatres and festivals, and was awarded the Australian Centenary Medal in 2001. David's repertoire encompasses an extraordinarily wide range, from

Handel's Messiah and Haydn's Creation to 20th century masterpieces such as Britten's War Requiem and Elgar's Dream of Gerontius. Operatic tenor roles include the title role in Britten's Albert Herring; Quint in Turn of the Screw and Male Chorus in the Rape of Lucretia; Belmonte in Mozart's Entführung aus dem Serail and Loge in Wagner's Das Rheingold. From 2007, David sang the title role in Mozart's Idomeneo in Neu Munster, Germany and the title role in Lohengrin for Saarbrucken Opera House; in the same role he understudied the great German tenor Peter Seiffert in Luxemburg. Whilst in Germany, he also sang various choral and lieder concerts including songs by Schubert, Schumann, Haydn and Beethoven (he recorded Beethoven’s Scottish Lieder for Brilliant Classics in 2008). Amongst works performed in 2011 was Beethoven’s Ninth Symphony in Panama City, in the Edinburgh Festival, Schubert’s masterpiece Die Winterreise and the tenor role in Ricci’s opera Le Prigione di Edimburgo. More recently in Berlin and Lübeck respectively, David performed Dvorak’s Die Geisterbraut with Berliner Cappella Choir, who regularly invite him back to sing, Mahler’s Das Lied von der Erde and the role of Tamino in Die Zauberflöte. David returned to live in Sydney in 2012, to work with Opera Australia. In David’s recent New Zealand engagements include Elgar’s Dream of Gerontius for Auckland Choral, Mendelssohn’s St Paul and the Evangelist in the St John’s Passion for Bach Musica NZ . In 2014 he performed Dvorak's Stabat Mater in Poland and Germany with Berlin Cappella Choir, and again last month with the Sydney Graduate Choir.

Raymond Hawthorne, Narrator Raymond Hawthorne is one of New Zealand’s most senior practitioners in the performing arts arena. His impressive CV (now spanning 59 years) commenced in 1955 when he became a member of the New Zealand Players under the direction of Richard Campion. In 1957 he was granted a New Zealand Government bursary to study at the Royal

Academy of Dramatic Art (RADA). He then pursued a career in the United Kingdom as an actor, director, singer and teacher, later returning to RADA as a tutor/director. He returned to New Zealand in 1971 and, since that time, has worked in opera and theatre and has taught acting and directing. He was Head of Major in Directing and Writing for Theatre and Screen at the School of Performing & Screen Arts (SPASA) at Unitec from the beginning of 1997. Raymond now freelances as an actor, director and tutor. Recently, he directed Fallen Angels by Noel Coward for ATC, two operas for Opera Factory – La Serva Padrona and Menotti’s The Medium – and last month a successful and much acclaimed production of Lucia di Lammermoor at the Mercury Theatre for Opera Studio and the A.C.O. In 2000 Raymond was made an Officer of the New Zealand Order of Merit (O.N.Z.M.) in the Queen’s Birthday Honours.

Sarah Bisley, Conductor An alumna from the University of Canterbury, Sarah Bisley’s public performing life began at the Christchurch Students’ Arts Festival, where she received favourable reviews for her performance of Vivaldi’s C minor Cello Concerto and as the continuo player in Henry Purcell’s opera Dido and Aenaes. In the 1980s, she studied the ‘cello, solfège and chamber music at the Liszt Academy of Music, Budapest with László Mezõ, Melinda Kistétenyi and György Kurtág respectively.

Sarah has given ‘cello-piano recitals Europe-wide and in New Zealand, acclaimed by the late

critic Geoff Fairburn on several occasions. Her conducting début was with Mozart’s “Requiem” in Vienna,

in 1987. In the 1990s, she was the solo ‘cellist and Assistant Conductor for Mariahilfer Oper in Vienna; she received special critical mention for a 1995 performance of Britten’s “Noye’s Fludde”, which sparked a revival of Britten’s operas in Austria.

Sarah’s main teachers of conducting have been Alexander Polianichko (Mariinsky Theatre), Dominique Rouits (Ecole Normale de Paris) and Otto Werner Mueller (Curtis Institute). When in Paris she gained much in-house operatic experience at the Opéra de Massy; in St Petersburg in 2002, she was selected to conduct works by Debussy and Tchaikovsky, in concert with the State Hermitage Orchestra.

Among many popular orchestral and choral concerts in the Paris and Versailles region from the year 2000, the highlight of her activity was a “Concert Exceptionnel” in 2004 with Ensemble Polymnia, featuring the sensational modern-day première of the CPE Bach Flute concerto in D major, Wq 13.

Ensemble Polymnia was founded by Sarah in Austria in 1994; in 2014, incorporating the Aorangi Singers, the organisation become a Charitable Trust based in Auckland - performing such works as Brahms’s Symphony No.4 and Bach’s Mass in B minor. From a 2014 review: “…conductor Sarah Bisley’s string ensemble, performers full of passion and energy, and driven by a collective wisdom and an individual understanding of the works they were offering…”

Raymond Hawthorne, Narrator Raymond Hawthorne is one of New Zealand’s most senior practitioners in the performing arts arena. His impressive CV (now spanning 59 years) commenced in 1955 when he became a member of the New Zealand Players under the direction of Richard Campion. In 1957 he was granted a New Zealand Government bursary to study at the Royal

Academy of Dramatic Art (RADA). He then pursued a career in the United Kingdom as an actor, director, singer and teacher, later returning to RADA as a tutor/director. He returned to New Zealand in 1971 and, since that time, has worked in opera and theatre and has taught acting and directing. He was Head of Major in Directing and Writing for Theatre and Screen at the School of Performing & Screen Arts (SPASA) at Unitec from the beginning of 1997. Raymond now freelances as an actor, director and tutor. Recently, he directed Fallen Angels by Noel Coward for ATC, two operas for Opera Factory – La Serva Padrona and Menotti’s The Medium – and last month a successful and much acclaimed production of Lucia di Lammermoor at the Mercury Theatre for Opera Studio and the A.C.O. In 2000 Raymond was made an Officer of the New Zealand Order of Merit (O.N.Z.M.) in the Queen’s Birthday Honours.

THE AORANGI SINGERS Soprano I

Rosemarie Brown (lead), Elizabeth Mandeno, Katharine Watts, Lesley Salkeld, Dorothy Tomlinson

Soprano II

Sabrina Mathur (lead), Kayla Collingwood, Anita Nagy, Margaret Ussher, Karen Staniland

Alto I

Catherine Reaburn (lead), Rodnie Whitlock

Alto II

Harriet Crampton (lead), Heather Ridge, Elizabeth Hessell

Tenor

Richard Phillips (lead), Bryan Whitlock

Bass

Mark Covich (lead), Anthony Blaschke, George Burrell, David Wood, Michael Macmillan

Rehearsal Pianist Jonathan Dunlop

J.S. BACH

Mass in B Minor In commemoration of WWI

November 29th, 2014

St. Mary’s-in-Holy-Trinity, Parnell, Auckland

THE JUNIOR CHORISTERS OF

HOLY TRINITY CATHEDRAL

Timothy Noon, Director Soprano I

Amelia Claridge, Isabella Finan-Jenkin, Amelia Lockley, Eleanor Pollard, Phoebe Stephenson, Nicholas Wild

Soprano II

Jorja Henricks, Lydia Herr, Tonga Ngaluafe, Sama Rowe, Jennifer Sanders, Brooklyn Toatelegese

Alto I

Elise Bailey, Isaac Chisholm, Mukai Duder-Hura, Rory Merrie, Arien Okan, Andrew Surman

Alto II

Hans Aguilar, Nathaniel Bailey, Patrick McElwee, John Packer, Masha Pavlenko, Nathaniel Stephenson

ENSEMBLE POLYMNIA Violin I

John Thomson (Concertmaster), Janne Ensor, Rosana Fea, Helen Crook, Peau Halapua, Andrew Robinson, David McNeill, Ashley Ayton

Violin II

Miyo Yoon (lead), Emily Allen, Helen Lewis, Matthew Farrant, David Kayrouz, Russell Finnemore, Mary Salisbury

Viola

Michael Vidulich (lead), Celina Reyes, Alex McDonald, Ming-Sui Kao, Neil Shepherd, Matthew Gough, Neil Palmer

‘Cello

Cameron Stuart (lead), Rachel Wells, Robin Snape, Judith Williams, Liselle Hutchinson, Alison Gentles, Hee-Yung Kim, Margaret McLean

Contrabass

Alanna Jones (lead), Madeleine Lie, Barbara Symes

“Classic & Romantic” Works by J.S. Bach, Poulenc and Brahms

October 5th 2014,

St-Matthew-in-the-City, Auckland

Flute

Agnes Harmath (lead), Mary-Kate Thomson, Janine Holden

Oboe

Felicity Hanlon (lead), Elizabeth Lewis

Clarinet

Donald Nicholls (lead), Hannah Boocock

Bassoon

Carol Wang (lead), Simon Smith

French Horn

James Morton (lead), Jill Ferrabee, Mia Camilleri, Keri Moyle

Trumpet

Matthew Verrill (lead), Michael Plunkett, Peter Mumby

Trombone

Pablo Ruiz Henao (lead), Steve Taylor, Allan Grant

Harp Organ

Yi Jin Myles Hartley

Timpani Percussion

MingHsuan Lee Michael Pomeroy

ENSEMBLE POLYMNIA is an Incorporated Charitable Trust, to which the Aorangi Singers is affiliated. If you would like to register interest in our activities, make a donation or offer any other form of

assistance, please contact us on (+64 9) 521 0087 or visit our website: www.ensemblepolymnia.com

Artistic Director Sarah Bisley Stage Manager Mandeep Masilamani Production Assistants Anthony Blaschke, Mariana Nordmark Publicity Design Sarah Harris

SPONSORS We wish to acknowledge the generous support and encouragement of Pub Charity Limited, John and Kathryn Sinclair, Tasteful Tours and a

number of anonymous donors MUSIC

For the hireage and provision of music, and permission to perform, we wish to thank Hal Leonard Australia in co-operation with Editio Musica

Budapest, and The National Library of New Zealand

ACKNOWLEDGEMENTS For their valuable assistance and co-operation we wish to thank the

Auckland Hungarian Club Inc, Holy Trinity Cathedral Auckland, Baradene College of the Sacred Heart, the St Aidan’s and Somervell Churches of Remuera, Michael Pomeroy and the New Zealand Choral Federation

Our next concert: White Night in St. Petersburg

Sunday September 27th at 5 pm, St Matthew-in-the-City cnr Hobson & Wellesley Sts, Auckland CBD

Debussy Prélude à l’Après-midi d’un Faune, Chopin Piano Concerto No.2 in F minor Tchaikovsky Symphony No.5 in E minor Rosemary Barnes, piano Book at www.eventfinder.co.nz from July 1st