BRIDGWATER CHORAL SOCIETY

J. S. Bach

St Matthew Passion Saturday 9 May 2015 at 7.30 pm St Mary’s Church, Bridgwater

Registered charity: No 276524

President Roger Stacey

J S Bach: St Matthew Passion Conductor Iain Cooper Jesus Louis Hurst Evangelist Bo Wang Soprano Charlotte Newstead Alto Fiona Mackay Bass Stephen Whitford Continuo John Bodiley, keyboard Jane Francis, ’cello Orchestra led by Brigid Kirkland-Wilson

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J S Bach: St Matthew Passion Chorus Recitative Chorus Recitative and Chorus Chorale Recitative Recitative Aria Recitative Chorale Recitative Chorale Recitative Recitative and Chorale Aria and Chorus Recitative Recitative Chorale Recitative Aria and Chorus Chorus Recitative Chorale

Come, ye daughters Now on the first day of unleavened bread Where wilt Thou that we prepare for Thee He said, go to such a man in the city ‘Tis I, whose sin hath bound thee He answered them and said Although our eyes with tears o’erflow Jesus, Saviour, I am thine And when they had sung a hymn of praise together Receive me, my Redeemer Peter then gave him answer, and said to him Here would I stand beside thee Then cometh Jesus with them unto a garden O grief! how throbs His heavy-laden breast I would beside my Lord And He went yet farther And He came to the disciples O Father, let thy will be done And He came again and found them sleeping Behold, my Saviour is taken Have lightnings and thunders forgotten their fury? And behold, one of the disciples O man, thy heavy sin lament

Interval Aria and Chorus Recitative Recitative and Chorus Recitative and Chorus

Ah, now is my Saviour gone And they that had laid hold on Jesus And the High Priest answered And then with one accord

Chorale Recitative Chorus and Recitative Aria Chorale Recitative and Chorus Recitative Aria Recitative Chorale Recitative and Chorus Chorale Recitative Recitative Aria Recitative and Chorus Recitative Aria Recitative and Chorus Chorale Recitative Recitative Aria Recitative and Chorus Recitative Recitative and Chorus Chorale Recitative and Chorus Recitative Aria Recitative Recitative and Chorus Chorus

O Lord, who dares to smite thee? Simon Peter sat outside in the court Surely thou also art one of them Have mercy, Lord, on me Lamb of God, I fall before thee Now when the morning came And he cast the silver pieces down Give me back my Saviour Jesus therefore stood before the Governor Commit thy way to Jesus Now at that feast O wond’rous love The Governor answered To all men Jesus good hath done For love my Saviour now is dying But they all cried out the more All gracious God If my weeping and my wailing And then did the soldiers O sacred head And after they had mocked him In truth, to bear the cross Come healing cross When they were come unto a place The robbers also, which had been crucified Now from the sixth hour onward Be near me, Lord, when dying And then, behold, the veil of the temple At evening, hour of calm and rest Make thee clean from sin, my heart And Joseph took the body And now the Lord to rest is laid We bow our heads

Do join us for a glass of wine after the performance

Programme Notes

J

ohann Sebastian Bach took up his post as Cantor of St. Thomas’s Church, Leipzig in 1723 and immediately set himself the astonishing task of composing at least three complete cycles of church cantatas – astonishing because it meant providing a work lasting about twenty minutes for every Sunday and major festival for three years or more. This, he reckoned, would provide him with a sufficient repertoire for the remainder of his tenure and help him achieve his aim of ‘a well-ordered church music’. It appears likely that each cycle was to be crowned by a setting of the Passion for performance on the most important day of the liturgical year. Unsurprisingly, perhaps, the plan was not fully realised and after the first cycle production became increasingly patchy. The St. John Passion was performed in 1724 and it may well be that the St. Matthew was to have been the culmination of the second (1724-25) cycle. If so, it was not completed in time, perhaps partly because of theological disputes with the church authorities, and a revised version of the St. John had to be substituted. Scholars are now generally agreed that the St. Matthew Passion was first given on Good Friday, 1727. The Leipzig churches in the 18th century were conservative, and oratorio-style settings of the Passion only replaced the traditional simple, chant-based settings in the years immediately before Bach arrived. By 1724, however, the main Vesper service on Good Friday consisted of the Passion, an hour-long sermon and little else. Like the St. John, the St. Matthew Passion consists of the Gospel narrative delivered by the tenor Evangelist, with other soloists as Jesus and the various other characters, and the chorus as the disciples and later as the turba, or crowd.

The narrative is interspersed with solo arias, choruses and hymns, or ‘chorales’. The latter were the musical lifeblood of Lutheranism and Bach harmonised their melodies with incomparable skill and expressiveness. The congregation could identify with them in spirit even if, as is now generally thought, it did not join in singing them. Setting its seal on the entire work is the melody known as the ‘Passion chorale’, which appears no fewer than five times, most notably and in a daringly chromatic harmonisation after Jesus gives up the ghost. J S Bach Bach was well read in theology, as the list of the books in his personal library shows, and not content simply to set whatever text he was offered for the arias and choruses. The St. John Passion had been criticised for not sufficiently emphasising that the Passion and death of Jesus were a sacrifice for the sins of the world. Bach would have been anxious that the St. Matthew should avoid any such criticism. He turned to a trusted collaborator, C.F. Henrici, a local poet who wrote under the name Picander, and clearly took an active role in shaping the text of the new Passion. In particular, he ensured an even distribution of arias across the whole work and insisted that almost all be preceded by a short recitative or arioso.

The St. Matthew Passion unfolds on two levels. Some of the arias and chorales maintain the drama of the story. ‘Give me back my Saviour!’, cries the bass soloist, accompanied by a furious violin obbligato, as Judas recognises the horror of what he has done. The viola da gamba accompanies the next bass aria, ‘Come, healing cross’, its jagged melodies and rhythms and strenuous chords across the strings movingly depicting Jesus staggering under the weight of his cross. Never far away, however, is a separate world of still contemplation, into which an aria or chorale may abruptly withdraw. The soprano’s ‘For love my Saviour now is dying’, with its accompaniment for flute and oboes alone, would have been made the more haunting for Bach’s congregation by the absence of the otherwise ubiquitous continuo bass-line. No sooner is it over, than we are back with the crowd shouting ‘Let him be crucified!’. Bach scored the St. Matthew Passion for some of the largest forces he ever used: two choirs, each with its own orchestra and continuo players. The calligraphy

of his manuscript score testifies to the work’s significance for him. He wrote the words of Jesus in red ink and (an important innovation) surrounded them with what has been called a ‘halo’ of string sound. Only at Jesus’ final cry of ‘My God, my God, why hast thou forsaken me?’ is it absent. The choirs also provide reflection and commentary. The mighty opening chorus looks forward to Good Friday, with crowds surging through the streets of Jersualem as Jesus carries his cross to Golgotha. ‘Tragic antiphony’, was how Albert Schweitzer described their questions and answers to each other. On this complex choral and orchestral texture Bach superimposes a choir of trebles singing the chorale ‘O Lamme Gottes unschuldig’, the Lutheran Agnus Dei (O Lamb of God, have mercy upon us). At the end of part one comes a chorus of fury at Judas’s betrayal of Jesus, then a long fantasia on the chorale ‘O Man, thy grievous sin bewail’. This movement belongs perfectly here, but had in fact been written much earlier and last used to open the revised St. John Passion. The Passion concludes with a chorus of mourning. It has the character of a solemn and stately dance. Bach’s performers were in two galleries at the west end of the church, out of sight of the congregation. The choirs were much smaller than is often the case today – perhaps only two or three singers to a part – and the Evangelist, Jesus and the other characters were drawn from them. Tantalisingly, we do not know how the first performance of the St. Matthew went or how it was received. Certainly its demands on the performers’ musicianship, technique and stamina and on the congregation’s powers of concentration must have seemed extreme. Bach readily acknowledged that his music was much more complex and intricate than anyone else’s. In most present-day performances cuts have to be made, so apologies are offered in advance to anyone whose favourite number is omitted this evening. After the opening chorus, our performance takes up the story as the disciples prepare for the last supper. A few other minor episodes in the story and a handful of arias are also cut. The eighteenth century had little use for the music of the past: after Bach’s death in 1750 the St. Matthew Passion, like his music generally, fell out of fashion. Its rise to its present pre-eminent position began when Mendelssohn revived it in 1829, the year then believed to be its centenary. Within a few decades many choirs were performing it regularly. Some gave annual performances on Good Friday, as the Bach Choir in London still does, so that for many it became again what Bach, ‘the incomprehensibly great Sebastian’, as Wagner called him, intended it to be: a central part of their Passiontide devotions. Iain Cooper

Iain Cooper – Conductor Iain was born in Bristol and began his musical education as a chorister, first at St. Mary Redcliffe and later at the Cathedral. He studied the organ with the late Clifford Harker at Bristol Cathedral and with Walter Hillsman at Oxford and the piano with Norman Jones in Bristol and with Robert Ferguson in Cambridge. He read Music at Keble College, Oxford where he was accompanist to the Chapel Choir and directed the Arcadian Singers, a select undergraduate chamber choir, and the Cumnor Choral Society. He also holds the degree of M.Litt of Bristol University for his thesis on the composer Gerald Finzi. Iain began his teaching career in Salisbury and then moved to Peterborough to become Director of Music at the King’s School, the Cathedral’s choir school. He spent the years from 1988 to 2001 in Cambridge, most of them as Director of Music at the Perse School. He also directed the Walmisley Singers of Cambridge and the Cambridge Youth Orchestra. In December 2001 Iain moved to Cheltenham to pursue a freelance career, examining for the Associated Board, tutoring for the Open University’s Music department and teaching the piano at Dean Close School. In 2004 he became conductor of Bridgwater Choral Society. Iain is now based in Guildford but maintains his teaching and conducting commitments in the South West.

Louis Hurst Jesus

Louis Hurst is a young bass baritone studying with Stuart MacIntyre. His studies at RNCM were made possible by the support of Michael Oglesby, the Drapers Guild and the Musician’s Benevolent Fund. His love of music began in childhood – he was raised in a musical family – and at Manchester Grammar School he sang as a treble chorister. Louis’ performances throughout the country vary from opera to solo recital work, and he has had the privilege to work with such renowned conductors as Mark Elder, Mark Shanahan, Richard Hickox, Martyn Brabbins, Stephen Wilkinson, David Hill, Clark Rundell and Nicholas Kraemer, amongst others. His opera roles have been eclectic and unusual, from a Lion to a Greek King and even God. A core part of his repertoire is English song: he has gained many favourable reviews in concert and competitions, and he works passionately to promote this cultural heritage which is in decline, alongside the poetry so central to the genre.

Lyric tenor Bo Wang graduated from the Royal Northern College of Music in 2011, gaining a distinction in solo performance and winning The John Cameron Prize for Lieder. He was supported with a full scholarship from the ABRSM. Bo gained his first degree in Musicology from Beijing Normal University. During his time there he won numerous scholarships and many national and international competitions, most notably the Fifth Singapore International Music and Dance Competition, in which he won a gold medal. Bo now studies with Ryland Davies. His opera experience includes Goro, Madama Butterfly, Thyrsis, Euridice, Don Basilio, Le Nozze di Figaro, Phoebus/Autumn/Chinese Man, The Fairy Queen, Normanno, Lucia di Lammermoor, Hermann, The Queen of Spades, Tito, La Clemenza di Tito, and Lynceus, Les Danaides. As a soloist in oratorio, Bo’s performances include Handel’s Messiah, Joshua and Israel in Egypt, Mozart’s Requiem and Coronation Mass, Rossini’s Petite Messe Solennelle and Stabat Mater, Mendelssohn’s Elijah, Puccini’s Messa di Gloria, Saint-Saens’ Oratorio de Noel, and Bach’s Christmas Oratorio and St. John Passion.

Bo Wang Evangelist

Charlotte Newstead read music at the University of Bristol, graduating with a Masters Degree with distinction in Early Music. Her busy concert schedule extends through a wide range of genres and includes all the major (and many of the minor!) oratorio works from composers such as J S Bach, Handel, Vivaldi, Pergolesi, Haydn, Mozart, Beethoven, Mendlessohn, Schubert, Brahms, Dvorak, Gounod, Elgar, Orff, Tippett and Karl Jenkins.

Charlotte Newstead Soprano

She is actively involved in promoting and performing new works by living composers and has recently given the world-premiere performance, in Brussels, of Alan Charlton’s new song cycle The Cloud. Charlotte regularly appears as a soloist with orchestras around the UK performing such works as Strauss’s Four Last Songs, Mozart concert arias, Bach cantatas and Villa Lobos’s Bachianas Brasilieras. She has sung in venues throughout the UK from St John’s Smith Square, Snape Maltings, and St Martin in the Fields, to Salisbury Cathedral and Bath Abbey. She splits her time between performing and teaching singing.

Mezzo-soprano Fiona Mackay studied music at Gonville and Caius College, Cambridge; she is a graduate of Royal Academy Opera, where she studied with Elizabeth Ritchie and Audrey Hyland, and was supported by the Sickle Foundation. Fiona made her principal debut with Opera Holland Park as Mrs. Grose in The Turn of the Screw. Other highlights included Maman and La Libellule in Ravel’s L’Enfant et les Sortilèges, and Olga in Tchaikovsky’s Eugene Onegin. She also performed in Bach’s Magnificat and St John Passion. Other operatic roles include Popova in Walton’s The Bear, Sorceress in Dido and Aeneas, Ursule in Béatrice et Bénédict, and Lady Bertram in the London première of Dove’s Mansfield Park. Fiona’s solo work has included performances at the Spitalfields, Dartington, York and Bath Music Festivals and on BBC Radio 3. Her oratorio repertoire includes Elgar’s Sea Pictures, Verdi’s Requiem and Handel’s Messiah. Upcoming projects include La Badessa in Suor Angelica, and a national tour with the Gilbert and Sullivan Opera Company.

Fiona Mackay Alto

Stephen Whitford, bass-baritone, is in the Upper 6th Form at Dean Close School, Cheltenham. In March 2014 he gave his first solo recital singing Vaughan Williams’s Songs of Travel. Recently, he was invited to sing in performances of Puccini’s La Boheme, Purcell’s Ode to St Cecilia, Elgar’s The Dream of Gerontius, and Mahler’s 8th Symphony (Royal Festival Hall, Philharmonia Orchestra, Esa-Pekka Salonen).

Stephen Whitford Bass

In April, Stephen sang a duet with Sarah Connolly for the ‘Forget me not’ concert in Cheltenham. Future plans this year include a recital at Syde Manor, Gloucestershire, and a concert of opera arias at the Bacon Theatre in Cheltenham. Stephen sings with various choirs, including Tewkesbury Abbey Schola Cantorum, the prestigious Rodolfus Choir, directed by Ralph Allwood, and the Carice Singers. He holds Grade 8 Distinction in Voice, Cello and Piano. In 2013 Stephen studied opera under David Syrus and Marco Armiliato at the Royal Opera House, which he is planning to repeat this summer. Stephen has been offered a Choral Scholarship at King’s College, Cambridge, to start in October 2015, where he also has a place to read Classics.

David Mills (Peter) After studying in London with Roy Henderson, David has sung as a bass/ baritone soloist over a number of years in venues as far apart as Northallerton Parish Church, Lichfield Cathedral and Arundel Cathedral. He now enjoys teaching.

Graham Box (Judas) Graham spent eight years with Bournemouth Symphony Chorus from 1996 and took part in their tours to Italy, France and Belgium. He has sung with Bridgwater Choral Society since 2010. This is his first solo role.

Mary Morgan (Pilate’s Wife and First Maid) Mary gained an MA in vocal pedagogy from Ohio State University; she now lives in Somerset, and appears frequently as a soloist with choral societies throughout the South West. She also gives recitals and teaches singing. For many years she has been a member of and soloist for Bridgwater Choral Society.

Genevieve Baker (Second Maid) Genevieve sings in the Bruton School for Girls Chamber Choir.

Orchestra 1 Flute Sally Hedges Ruth Molins

Viola David Hedges ’Cello Jane Francis Helen Lunt

Oboe Helen Rawstron Lynne Carter Violin 1 Brigid Kirkland-Wilson Jackie Evans Rowan Patterson

Viola da gamba Jane Francis Double Bass Martyn Owen

Violin 2 Vyvyan Brooks Julia Smyth

Orchestra 2 Flute Jonty Hedges Deborah Stanley Oboe Moyra Montagu Susan Turner Violin 1 Kate Latham Mary Carson David Price

Violin 2 Alex Ennis Kathy Peckham Christine Bull Viola Christine Johnson ’Cello Clare Sprenger Double Bass James Agg

The Choir Sopranos Mary Bartlett Pauline Clarke Carole Collins Jackie Collins Jane Crowley Cynthia Dobson Debbie Dyer Caroline Farrimond

Sheila Green Jenny Jordan Beryl Melville Margaret Mills Mary Morgan Liz Morrell Jo Osborn Sue Pow

Annie Rivers Daphne Rudd Louise Russ June Score Elaine Thorneycroft-Gibb Sally Wallington

Sheila Cooper Anna Hallett Helen Hill Kirsty Knight Jeanne McIntosh Jenny Patten Muriel Payne Eliza Sackett

Gill Sayzeland Ingrid Schaffelhoffer Angelika Sivyer Celia Smith Sheila Thomas Margaret Tucker Sheila Wood

Steve Lodge Jenny McCubbin Andrew Morton

Scott Patterson Ann Philcox Wojcieck Dzwoniarski

Phil Griggs Chris Hall Chris Hill David Mills

Tony Milroy Mike Osborn Michael Stewardson Arthur Wood

Altos Jackie Ayres Barbara Baldry Pat Betts Clare Bourke-Jones Carol Bovett Rachel Boyd Lesley Burge Sheena Coats

Tenors Shirley Anthony Sue Brownlie Andrew Hansford

Basses Peter Attwood Graham Box Colin Chalmers Robert Crowley

Ripieno Choir Bruton School for Girls Chamber Choir

Our grateful thanks We would like to offer our grateful thanks to: The Friends of Bridgwater Choral Society Civic leaders for their support at society events Bridgwater Mercury and village and parish magazines for their welcome publicity Bridgwater Library and Angel Place precinct for displaying publicity boards John Bebbington FRPS for photographs Purnells Printers Blakes Signs Somerset Performing Arts Library, Yeovil St Joseph’s School, St Mary’s PCC, and Bridgwater Baptist Church for use of their premises for rehearsals and the performance All who helped with the staging, the flower arrangers, and the stewards Everyone who helps with refreshments, programme selling and all the other important jobs that help to make the evening a success And to the hard working committee, for their work behind the scenes throughout the season

Registered accountants to the Society Michael J Dodden, Chartered Accountants

Our next concerts

Handel: Messiah

with professional soloists and orchestra

Saturday 28 November 2015 at 7.30 pm St. Mary’s Church, Bridgwater Conductor - Iain Cooper

Carols and Christmas Music Saturday 5 December 2015 at 7.30 pm St. Mary’s Church, Bridgwater

with the choir of St Mary’s Primary School and the Wallscourt Brass Quintet. Conductor - Iain Cooper

Join Us!

You’ll find that singing with the choir is exhilarating, inspiring, and great fun. Bridgwater Choral Society welcomes singers of all ages, backgrounds and abilities. We are a diverse and friendly group, and we actively help and encourage new members who wish to extend their singing experience into the classical repertoire. We offer free membership to local young people who wish to sing with us. If you would like to come along to a rehearsal please feel free to do so. Rehearsals are held each Wednesday between September and May from 7.30pm at: St Joseph’s Primary School, Park Avenue, Bridgwater TA6 7NN Alternatively, contact: Sue Brownlie, Cossington House Farm, Millmoot Lane, Cossington TA7 8LW Tel: 01278 722344 email: [email protected] or visit our website for further details: www.bridgwaterchoral.org

Come and Sing Day If you are considering joining the Society, this might just be the fun, informal occasion you are looking for to spend time with us before taking the plunge! Our next Come and Sing Day will be in early Spring 2016. Please check our website nearer the time (www.bridgwaterchoral.org), or contact Sue Brownlie (see above) for further details

Friends of the Society David Baker, Barbara Baldry, Geoffrey Bond, WP and CY Bovett, Graham Box, Peter and Barbara Brown, Andrew Bye, Tony and Patricia Chapman, Fred Clarke, Mr and Mrs J Collins, Jenny Dimond-Hewlett, Eleanor Dixon, Mr and Mrs P Farmery, Judith Fletcher, Stephen Gilmour, Mr and Mrs Green, Lawrie Green, Ken Greib, Trevor Hains, Anna and John Hallett, Mac and Jenny Hawkins, Dr F and Mrs J Klemz, Derek Knight, Lizzie Martin, Eileen and Bill Macdonald, Mr and Mrs J McIntosh, Tony and Vanessa Milroy, Dr and Mrs E Ostler, Elizabeth Pearce, Graham Pow, Dick and Pauline Raymond, Pauline Rhodes, Syd Rudd, Philip and Ute Smeed, Paul and Celia Smith, Patrick Smith, Mr and Mrs R Stacey, David Wallington, Pauline Welsh, Arthur and Sheila Wood

Become a Friend The support of the friends is much appreciated by the Society. Benefits include advance notice and priority ticket booking with discount, receipt of our newsletter and an annual summer social event with choir members. Membership costs £12 single and £20 joint. If you would like to join please contact: Sally Wallington (01278 684250), or email friends @bridgwaterchoral.org or Sally on [email protected]

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