RossiniTHE WINKLEIGH SINGERS

Directed by Roland Smith

Donna Loomans (soprano)Emma Tonkins (mezzo)

Iain Milne (tenor)Tom Stoddart (bass)

Anita D'Attellis (piano)Andrew Daldorph (organ and harmonium)

Saturday 4th July 2009St Peter's Church, Barnstaple

ProgrammeAdmission £12.00(accompanied under 16s free)

PROGRAMME

Overture (Guillaume Tell)trancribed for organ by EdwinLemare

Villagers' Chorus (Guillaume Tell)

Prayer (Moise)

O Salutaris Hostias

Duetto buffo di due gatti

INTERVAL

Petite Messe Solennelle

Kyrie

Gloria:

Gloria in excelsis Deo

Gratias agimus tibi

Domine Deus

Qui tollis peccata mundi

Quoniam tu solus sanctus

Cum Sancto Spiritu

SHORT BREAK

Credo:

Credo in unum Deum

Crucifixus

Et resurrexit

Preludio religioso

Ritornello

Sanctus

O salutaris hostia

Agnus Dei

All the music in tonight’s programme isthe work of Gioacchino Rossini (1792-1868), except where otherwise noted…

Rossini was born in Pesaro, Italy, on29 February, 1792. His father was hornplayer and trumpeter in various smallbands and orchestras, and his mother anopera singer. Rossini too developed alove for music and the theatre. Althoughby all accounts academically lazy, hefound singing and playing music easyand was a much requested boy soprano.By his teens could play viola and horn,and had become a first-rate harpsichord-player and pianist. At 18, while at theConservatorio de Bologna, he composedhis first opera, a one-act comedy for LaFenice in Venice and within three years,following the enormous success ofTancredi (1812), and The Italian Girl inAlgiers (1813), he had won famethroughout Italy and secured aninternational reputation. In 1823 hemoved to Paris where he was appointeddirector of the Théâtre-Italien.

By the age of 37 he had written over40 operas, but, in 1829, after completingWilliam Tell, he retired, a wealthy man,to live in Italy, and with the exception ofhis other significant religious work, theStabat Mater, he effectively gave upcomposing. However, following a longdepressive illness, he returned to Parisin 1855, where his health and inspirationto compose returned. He produced whathe called his Péchés de Vieillesse (Sinsof Old Age), a collection of light-heartedpieces for piano, songs and works forsmall ensembles, which he hadperformed at private occasions, attendedby most of the important public andartistic figures in Paris at the time, whowere attracted by Rossini’s wit,hospitality and love of good food.

Peter Carey, The Royal Free Singers

OVERTURE (Guillaume Tell) (transcribedfor organ by Edwin Lemare)The nineteenth century saw a new era inorgan building. In France this was seen inthe building of splendid west-endinstruments in cathedrals and churches.In this country we also saw new organsbuilt in churches, tucked away in a cornerof the chancel as accompanyinginstruments, but in the public halls ofmajor towns and cities some magnificentinstruments were installed – a symbol ofcivic pride and prosperity – occupying thefront of the auditorium. Recitals on theseinstruments would often includetranscriptions by the likes of W. T. Best(1826-1897) and, later, Edwin Lemare(1865-1934) of orchestral works . Lemareheld a number of organist posts in thiscountry, both in churches and as civicorganist, but eventually, after manycrossings of the Atlantic to give recitaltours, settled in the USA.

RFS

VILLAGERS' CHORUS (Guillaume Tell)The opera (William Tell) is set inSwitzerland in the thirteenth century andis based on a famous play by Schiller. TheSwiss are smarting under the rule of theAustrian governor Gesler; eventually heis shot by William Tell with the second oftwo arrows (the first of which has shotthe famous apple from his son’s head) andthe Swiss gain their freedom. Quel jourserein opens the opera and sets the scene.

From notes in Opera Choruses, OUP.

Bright and serene the day is breaking;Welcome in song this morn so fair!Valley and hill soft echoes makingWhile joyful refrains fill the air

Bright and serene the day is breaking;Welcome in song this morn so fair!

All to their tasks now are awakingLet us give thanks, safe in God's care.

PRAYER (Moïse)Rossini’s French opera on the story ofMoses is based on his Italian sacreddrama Mosè in Egitto, written to beperformed at the Teatro San Carlo inNaples during Lent 1818. The Parisversion of nine years later was considerably altered, though the Prayer differsonly in its text. It is sung by the Childrenof Israel as they are trapped between theEgyptian army and the Red Sea.

From notes in Opera Choruses, OUP.

From thy celestial dwellingBeyond all earthly telling,Great Lord, our fears dispelling,Look down and hear our prayer.

Thy people's fears dispelling,Look down and hear our prayer,Great Lord, Great Lord.

Lord, through thy desert lead us,with heavenly manna feed us:We cry to thee; O heed us,And guide us safely home.

We cry to thee; O heed us,And guide us safely home.Great Lord, Great Lord.

The earth and heavn's adore thee,All nations bow before thee;Have mercy, we implore thee,And keep us safe from harm.

Have mercy, we implore thee,And keep us safe from harm.Great Lord, Great Lord.

From thy celestial dwellingBeyond all earthly telling,

Great Lord, our fears dispelling,Look down and set us free.Great Lord, O hear thy peoples plea,Great Lord.

O SALUTARIS HOSTIASBy 1857, when Rossini wrote this devoutminiature, he was in retirement, composingnow and again either for his own amusementor (as in this case) at the request of friends.The manuscript of O salutaris Hostia, dated29 November 1857, bears the inscription‘Petit souvenir offert a mon ami J. d’Ortigue’.D’Ortigue was a music critic, church musicscholar, and co-founder with BaronNiedermeyer of a journal devoted to sacredmusic, La maltrise. Rossini’s motet waspublished in the December issue of thejournal. The text (the fifth verse of Aquinas’seucharistic hymn Verbum supernum prodiens),was commonly used at the blessing of thesacrament.

From notes in EuropeanSacred Music, OUP.

DUETTO BUFFO DI DUE GATTIThis has been attributed to Rossini formany, many years, because of the musicalreferences to his opera Otello includingthe aria Ah, come mai non senti from thesecond act and the duet between thecharacters Otello and Iago.

In 1973, the Schott publishing houseissued a facsimile of an 1825 edition ofthe Cat Duet, published by Ewer &Johanning bearing the pseudonym G.Berthold, that of English composer RobertLucas Pearsall, better known for hisarrangement of In dulci jublo, and theMadrigal style part-song Lay a garland.Whoever the composer, this work has tobe, setting aside Handel’s Amen chorusin Messiah, one of the most profoundsettings ever of a single word.

RFS

PETITE MESSE SOLENNELLEThe Petite Messe Solennelle is the mostsubstantial of the works written duringthese later years, and indeed it is one ofthe most remarkable compositions of hiswhole career, demonstrating his abilityto write beautiful melodies (often franklyoperatic in character), an unfailing senseof colour and drama, and greatcontrapuntal skill. Its title exemplifiesRossini’s characteristic wit, as it is ofcourse neither petite nor particularlysolemn. The music ranges from hushedintensity to boisterous high spirits, andabounds in the memorable tunes andrhythmic vitality for which Rossinibecame justly famous.

Initially, the instrumental scoring ofthe Mass for two pianos and harmoniumseems strange, but given its context asa salon piece (it was first performed atthe consecration of a private chapel inMarch 1864 by a choir of 12 singers,including the four soloists), suchinstrumentation is not unusual andalthough Rossini was later persuaded toorchestrate it, the original version forvoices, piano and harmonium, which isbeing performed today, is consideredthe more effective setting.

Rhythm and modulation play animportant part in the opening Kyrie, forthe central part of which, the ChristeEleison, Rossini adopted a deliberatelyarchaic style, echoing the 16th centurychurch music of Palestrina and hiscontemporaries. The rhythmicexcitement of the Kyrie continues into theGloria, which is followed by fourextended solo movements, operatic ariasin all but name. The magnificent tenorsolo Domine Deus recalls the Cujus animamfrom his earlier Stabat Mater. The finalsection, Cum sancto spiritu, is an extendedfugue and a real tour de force of musical

craftsmanship, which reflects thethorough classical training in harmonyand counterpoint he received at theBologna Conservatory. In the CredoRossini ingeniously uses the word ‘credo’as a unifying motif to which herepeatedly returns. This section of theMass concludes with another brilliantfugue for the chorus, to the words ‘Etvitam venturi saeculi, Amen’. The O salutaris(a hymn, not part of the Proper of theMass) provided Rossini with anopportunity to explore the unusualharmonies he was using in the, eventoday, modern-sounding, piano piecesamong his last ”Sins”. The final,luminescent Agnus Dei for contralto(Rossini’s favourite voice) and choirbrings the work to a dramatic close.

Rossini’s inscription in the introductionto the first version of his score reads:

“PETITE MESSE SOLENNELLE, in fourvoices with accompaniment of twopianos and harmonium (a small reedorgan) composed during my countrystay at Passy. Twelve singers of 3 sexes– men, women, and castrati – will beenough for its performance: that is,eight for the chorus, four for the soloists,a total of twelve cherubim…Lord, restassured, …that (my cherubim) will singproperly and con amore your praisesand this little composition which is, alas,the last mortal sin of my old age.”He ended the manuscript:“Dear God, here it is finished, this poorlittle Mass. Have I written sacred musicor damned music?” You well know I wasborn to write comic opera. It containsscant learning, but all my heart. Praisebe to you, and grant me entry intoParadise. G Rossini – Passy 1863”.Whatever his intent, he has left us with

a unique work in the religious repertoire.Peter Carey, The Royal Free Singers

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DONNA LOOMANS – SopranoDonna is currently attending BirkbeckUniversity’s higher education course inconcert Singing. A vastly experiencedopera soloist, she has performed no lessthan seven leading Mozart roles in theU.K and across Europe, includingFiordiligi, Cosi Fan Tutte, Countess/Susanna in Marriage of Figaro, Konstanzein Die Entführung aus dem Serail, Pamina/Queen of the night in Magic Flute andDonna Anna in Don Giovanni. Otheroperatic roles include Eurydice inOrpheus in the Underworld and LadyBillows in Albert Herring, both forBedfordshire youth opera. Further plansinclude a series of Christmas concertswith the Luton-based vocal octet‘Peculi8’ and concerts in London with the‘Johnny Parry Trio.’ Donna is currentlystudying with Ameral Gunson. Futureplans include Frasquita (Carmen) forOpera Loki in France, Iris (Semele) atArdingly International Summer Schooland a tour of Europe with The JohnnyParry Trio.

EMMA TONKINS – Mezzo SopranoComing from a musical family, Emmabegan singing as a young girl in her localchurch choir in Berkshire. She continued

to sing at school gaining her Grade 8examination at the age of 16, and takingpart in many school productions.

Emma graduated from the WelshCollege of Music and Drama with aperformance diploma. She studied withJoan Carlyle and has taken part in masterclasses with Sir George Solti, Joseph Wardand Brigitte Fassbender. She continued herstudies with a Post Graduate Diplomafrom Trinity College of Music, London. Heroperatic roles include Carmen, Dorabella,Marcellina, and Pamina. Emma hasperformed as a soloist throughout the UKand Europe at such venues as DurhamCathedral, Chester Cathedral, NotreDame, Paris, Germany, Austria and St.James’ Piccadilly. More recently Emmahas been recording film sound tracks atAbbey Road studios.

Emma’s teaching commitments aredivided between a very busy privatepractice, and a school in Exeter. She livesin North Molton with her husband.

IAIN MILNE – TenorIain Milne was born in Inverurie inScotland and from a very young ageshowed promise as a singer winning manyawards as a boy soprano in the Aberdeenmusic festival. Iain then joined the St.

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Andrews Cathedral Choir, Aberdeen as achorister, becoming a Tenor Choral Scholarat only fourteen.

In 2002 he moved to Norwich to studyat the University of East Anglia and to takeup the post of Tenor Choral Scholar atNorwich Cathedral. Iain has sinceobtained a BA degree in Music and wasawarded the Britten-Pears, Imogen Holstand Roy Walden Scholarships foroutstanding performance.

He also studied at UEA with BaritoneGeoff Davidson and performed sololunchtime recitals at the Assembly Housein Norwich.

Iain currently trains with NicholasPowell and sings as a Vicar Choral inWells Cathedral taking part in recordings,broadcasts and tours overseas with a soloappearance on their most recentHyperion recording of music by KennethLeighton.

Iain’s soloist repertoire is expanding allof the time with recent appearancesincluding Handel’s Messiah, Haydn’sNelson Mass, Maunder’s Olivet to Calvary,Stainer’s Crucifixion, Mozart’s Requiem,Rossinni’s Petite Messe Solennelle, Puccini’sMesse Di Gloria and Bach’s St MatthewPassion, to name but a few, with localchoirs and choral societies.

TOM STODDART – BassTom has recently graduated withHonours from Trinity College of Music,where he studied with Peter Knapp,Ameral Gunson and Mary Hill. Anexperienced oratorio soloist, Tom hasrecently performed Mozart Requiem at StMartin in the Fields, Nelson Mass(Haydn), Petite Messe Solennelle (Rossini),Mass of the Children (Rutter), The Passionof the Christ (Handel), Israel in Egypt(Handel), Duruflè Requiem for TrianonMusic Group and Christus in the St JohnPassion (Bach) at the Royal Naval Chapel.He has also featured as The Sailor (Dido& Aeneas – Purcell) with The GoodCompanions and undertaken the role ofAeneas for the English Sinfonietta. 2008saw Tom’s European debut as Dr Bartolo(Marriage of Figaro) for Opera Loki inFrance. He also covered the rôle ofRamphis (Aida) for Midsummer Opera inLondon.

Whilst at Trinity, Tom was a semi-finalistin the Kathleen Ferrier BursaryCompetition. Future plans include the roleof Michele (il Tabarro) for MidsummerOpera, the role of Arthur in the new opera‘Jacko’s Hour’ for Opera Engine and as theBaritone soloist for the Trafalgar nightcelebrations in Greenwich.

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ANITA D'ATTELLIS – PianoAnita read music at the University ofBirmingham, graduating with first classhonours in 1996 and winning the ArnoldGoldsborough Prize for her final solopiano recital. The University awarded herthe Barber Scholarship to continue herstudies at the Royal Academy of Music,where her principal tutors were GeoffreyPratley and Vanessa Latarche. Shecurrently studies with the renownedRussian pianist Dina Parakhina.

For the past four years, Anita has beenHead of Keyboard at Sherborne Schoolfor Girls. She has recently left this post toconcentrate on her performing career, andsplits her week between London andSomerset. In the West Country, sheperforms with Spectra Musica and is therehearsal pianist for the Wincanton ChoralSociety and the Somerset Chamber Choir.She continues teaching part-time atSherborne, as well as at Charterhouse andEton College.

As well as working as an accompanistand teacher, Anita particularly enjoys solorecitals. In recent years she has performedin many prestigious venues, includingBirmingham Symphony Hall, SnapeMaltings, the Royal Albert Hall and theRoyal Festival Hall.

ANDREW DALDORPH – organ andharmonium

A former pupil of Tiffin Boys’ School,Kingston, Andrew Daldorph graduatedwith a first class honours degree in musicfrom the University of Southampton in1993. He then took up the post of OrganScholar at Guildford Cathedral andsubsequently gained Fellowship of theRoyal College of Organists. Andrew tooklessons from some of the world’s mosteminent organists, including PeterHurford, David Hill, David Sanger and

Dame Gillian Weir, and on theharpsichord, he studied with RobertWoolley. He frequently gives recitals andhas played for services and concerts incathedrals and concert halls throughoutthe country.

He is the conductor of both the ExeterChamber Choir and the East Devon ChoralSociety. Recent performances includeBach’s B Minor Mass in September 2007in Exeter Cathedral, Mozart’s Requiem,Bach’s Magnificat and Orff’s CarminaBurana.

Andrew has arranged a great deal ofmusic and is commissioned regularly tocompose original pieces – mostly choralor jazz. His new work – Songs of Hope andCreation -– is a modern oratorio and hadits première in the spring 2008, receivinga standing ovation. A performance of thepiece in Exeter Cathedral is planned for31st October 2009 with his two Devon-based choirs.

Andrew teaches piano and organprivately and at Exeter School. To relax,Andrew enjoys playing jazz piano with histrio at functions across the UK and abroad.

THE WINKLEIGH SINGERSEstablished in 1984 in one of the remotestparts of Devon, the Winkleigh Singersenjoy a broad repertoire from early tocontemporary music. The choir hasrecently recorded works by John Byrt andIra-Paul Schwarz.

The choir has performed with DevonBaroque, The British Chamber Orchestra,Bartholomew String Ensemble, and NorthDevon Sinfonia. Their regular organaccompanists include Andrew Daldorphand Ian Webb-Taylor. They have a policyof encouraging talented young soloists,regularly employing students and recentgraduates from the major music colleges(including the Royal College of Music and

the Royal Academy of Music).The Winkleigh Singers have enjoyed

several tours in France, and in April 2003the choir visited Hungary as guests of VoxHungarica, performing at MatthiasChurch, Budapest, and at the Concert Hallof the Music Department of BudapestUniversity, to capacity audiences. We werepleased to welcome Vox Hungarica herein Devon in the following Septemberwhen, with them, we gave twomemorable concerts of (mostly)Hungarian music.

Workshops have been held in recentyears to which other singers and choirsare always invited. Previous workshopshave been led by, amongst others, EvelynTubb, Nigel Perrin and Mike Brewer.

Over the years the choir has givenseveral first performances, notably ColinHodgett's Season Songs (with Evelyn Tubbas the soloist) and John Lane's Maggott,Sam Richards' Midwinter Ceremonies, thesebeing commissioned by The BeafordCentre. In 1994, to celebrate TheWinkleigh Singers' tenth anniversary, acompetition was organised for youngcomposers, and the winning work by PaulHolland, At a Lunar Eclipse, was given itsfirst performance by the choir as part oftheir summer concert that year. Dr SimonStanding's Magnificat and Nunc Dimmitiswere first performed by the choir in 1998.

The Winkleigh Singers continue tosupport charity events, in recent yearstaking part in “Voices for Hospices” andthe Macmillan Cancer Relief “Celebrationof Christmas” at Castle Hill, Filleigh.

From time to time the choir hasvacancies. There is no audition, but a threeweek trial period needs to be completedfor full membership. A good standard ofsight-reading and tuning, a pleasant voicewith the ability to blend, and a positiveattitude towards creating high quality

music is required. Rehearsals areextremely enjoyable, with a social break,and take place in Winkleigh on Mondayevenings. If you are interested in joiningus, please have a word with any memberof the choir this evening, or contact usvia our website (see back page) or byphone, 01363 83515.

Plans for the remainder of this yearinclude participation in a performance ofBach’s St Matthew Passion as part of theTwo Moors Festival, and our TraditionalChristmas Concert on 19th Decemberwhich will include Vivaldi’s Gloria. We willalso again be leading the carol singing atthe Macmillan Carols on 17th Decemebr,which reverts this year to its traditionalhome at Casle Hill, Filleigh. For the springof 2010 plans are well under way for atour to northern France.

ROLAND SMITH – conductorRoland has been involved in singing sincethe age of seven, starting with more thantwenty years in the church choir at HolyTrinity, Cookham-on-Thames, where healso had his first taste of choir directing.During the last few years he was inBerkshire, Roland also sang with PalaceChorale in London and as a guest with LeMadrigal de Paris. On moving to Devon,he founded the Winkleigh Singers and hassung with a number of distinguishedchoirs including Schola Aquae Sulis, TheSouth West Cathedral Singers, ExeterFestival Chorus and as a guest with TheRichard Roddis Singers. He now singssecond bass in Somerset Chamber Choir.

He has attended conductingworkshops and masterclasses led by anumber of leading choral directors,including Mike Brewer, Bob Chilcott andJane Glover. During an interregnum, heconducted Exeter Festival Chorus at StJames, Picadilly, (works by Ramirez) and

Exeter Cathedral (off stage chorus inHolst Planets with the Royal PhilarmonicOrchestra). Roland is also the Directorof the wedding choir, The DevonshireCompany of Singers.

PIANOA Model ‘A’ Steinway (still in productionto this day), manufactured c.1895, whichhas been in the same family ownershipsince the end of the Second World War,following a complete refurbishment bythe makers. Up until the death of its firstpost-war owner it was regularlymaintained by Steinway and since itmoved to Devon has been looked afterby John Tipping of Morchard Bishop, whorecently overhauled the action.

HARMONIUMThere is a major difference between theharmonium, a French invention, and theAmerican Organ which is often incorrectlycalled a harmonium. Although bothinstruments rely on air passing over freevibrating reeds with the air supplyprovided by pedal power, the harmoniumblows air through the reeds, whilst theAmerican instrument sucks. Anotherfeature of the harmonium is that thereservoir bellows can be by-passed (usingthe "Expression" stop) allowing the playerto have direct control, via the pedals, overthe volume of the instrument.

Although American organs are quitecommon in this country, only a handfulof harmoniums are available for hire, allof which were found to be unavailablefor this concert. However, a search one-bay (France) provided a suitablecandidate for import. Some repair workhas been undertaken on the keyboard,bellows and pedals, but otherwise theinstrument is "as found". Made by Bressauof Angers, it is a domestic instrument and

served as such for many years in a familyhome in the Loire Valley.

ACKNOWLEDGEMENTSDiane Gilchrist, Churchwarden ofBarnstaple Parish Church.

Elizabeth Smith, loan of piano

Roland Smith, loan of harmonium

Friends of The Winkleigh Singers andother helpers at the door

John Tipping, piano technician(also jolly good at harmonium keyboardrepairs!)

Gordon Fisher, furniture restorer

Phillip S Baker Associates, Pipe OrganBuilders

Helpers with instrument removal

Devon Library Services

Glasgow Lyric Choir and the MakingMusic Music Exchange Scheme

01363 83922

Honorary Patron Richard Stilgoe OBE

SopranosCecily BlytherKaren GregoryDoreen JamesMiriam McCurdyJanine MitchellVicki RedpathTattwa-Gyani

TenorsEdwina CooperRoger DurrantDavid WhiteBrian Wilmot

AltosJane LoweLisa PincombeVal ReynoldsSarah SladeLiz Smith

BassesLes BilligIan CornwellPeter HowardJohn SmithRichard Williams

Friends of the Winkleigh SingersWe hope you have enjoyed this concert. If you did, we would like to invite youto become a Friend of the Winkleigh Singers. Friends enjoy advance notice ofchoir activities, discounts on concert tickets, opportunities to join in choir activities(for example, four of our Friends joined our tour to Hungary) and social events.To apply to become a Friend, there are forms available at all our concerts andon our web site at http://www.winkleighsingers.org.uk, or write to Mrs MargaretJury, 36 Langley View, Chulmleigh, EX1817BQ

Mrs W Baldwin Mr G Cameron Miss R N DiggleMr & Mrs D Ivory Mr A Jury Mr M Ogden (Life Friend)Mr & Mrs R Paynter, Mrs M Ramsden Mr & Mrs J S Weaver

Rev C C B Willis

For details of future Winkleigh Singers events and for on-line ticket booking,visit our web site at www.winkleighsingers.org,uk

Programme design and production