Handel - Messiah

S a t u r d a y 2 2 n d A p r i l 2 0 1 1 - 6 p m

The trumpet shall sound

B A R B I C A N - L O N D O N

11 7 5 t h A n n i v e r s a r y S e a s o n 1 7 5 t h A n n i v e r s a r y S e a s o n

MessiahHANDEL 1685 - 1759

ELIZABETH WATTS • CATHERINE WYN-ROGERS

MARK LE BROCQ • CHRISTOPHER PURVES

Conductor - JOSEPH CULLEN

CITY OF LONDON SINFONIA

Harpsichord: ALASTAIR ROSS

Organ: ROGER SAYER

FRIDAY 22 APRIL 2011

6 . 0 0 p . m . B A R B I C A N C E N T R E , L O N D O N


Barbican Centre, Silk St, London EC2Y 8DS, Administration: 020 7638 4141 Box Office Telephone bookings: 020 7638 8891

(9am - 8pm daily: booking fee)

Please try to restrain coughing until the normal breaks in the performance.

If you have a mobile phone or digital watch, please ensure that it is turnedoff during the performance.

In accordance with the requirements of the licensing authority, sitting orstanding in any gangway is not permitted.

No cameras, tape recorders, other types of recording apparatus, food or drinkmay be brought into the auditorium.

It is illegal to record any performance unless prior arrangements have beenmade with the Managing Director and the concert promoter concerned.

Smoking is not permitted anywhere in Barbican premises.

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Founded in 1836, Huddersfield Choral Society has long been amajor part of the UK's vibrant musical tradition. Under asuccession of distinguished principal conductors and chorusmasters it has developed an international reputation as thecountry's leading choral society. Its special quality is the unique'Huddersfield Sound' - a thrilling full-bodied and firm blendedtone, flexible enough for both the most shattering climaxes andfor the softest but tightly focused pianissimos.

We are delighted to return to the Barbican this evening toperform Handel's Messiah, the work perhaps most closelyassociated with the Society. A full performance of Messiah hasbeen an annual Christmas event in Huddersfield since 1864 andis still hugely popular, drawing capacity audiences over twoevenings. This season's performances were recorded by SignumClassics for a new release - now available - to celebrate our175th season (SIGCD246)

During this special anniversary season the Society has alsoperformed Messiah in The Sage, Gateshead, in only the secondsell-out concert for that hall. We joined the Stratford-upon-AvonChoral Society - also celebrating their 175th anniversary during2011 - in the first choral performance at the newly-refurbishedRoyal Shakespeare Theatre.

The Society promotes its own series of professional subscriptionconcerts in Huddersfield Town Hall, its home since 1881. Thisseason has already seen a critically acclaimed performance ofVerdi Requiem with Vasily Petrenko and the Royal LiverpoolPhilharmonic Orchestra. The Choral gave the UK prémière ofJonathan Harvey's Messages in its final subscription concert ofthe season in April, as part of a programme also includingStravinsky Symphony of Psalms and Bruckner E minor Mass,with the Orchestra of Opera North conducted by Martyn Brabbins(the Society's Conductor Laureate).

The anniversary season will conclude on 18th June 2011 with aperformance of Elgar's Dream of Gerontius with the Halléconducted by Martyn Brabbins. Christine Rice (mezzo), PeterHoare (tenor) and Christopher Purves (bass) are the soloists inthis special concert, taking place on the nearest available date tothat of the Society's founding 175 years ago. Tickets are nowavailable from the Kirklees Box Office (01484 223200).

A Society with a long and distinguished history, the Choral is alsokeen to encourage the young singers of the future. This seasonour Junior Choirs also celebrate the milestone of their 25thanniversary, and an exciting range of concerts and other eventshave been taking place through the season for our young people.In addition, a series of free workshops offered by the Society inpartnership with Kirklees Council and the Mrs Sunderland MusicFestival have seen some 1600 children and young people fromKirklees discovering and enjoying singing together. A choralconducting workshop, in conjunction with the Music Departmentat the University of Huddersfield, saw tonight's conductor JosephCullen inspiring six young conductors.

With a history spanning three centuries, the Choral is firmly in the 21st at

www.facebook.com/huddersfieldchoral and on twitter (@HuddsChoral).

Details of all concerts and other activities can be found atwww.huddersfieldchoral.com



Photograph taken prior to the performance of Delius’ Mass of Life. Martyn Brabbins, BBC Philharmonic, Janice Watson, Anna Stephany,

Roderick Williams and Jeffrey Lloyd-Roberts

JOSEPH CULLENConductor

Joseph Cullen's choral direction has consistently broughtglowing critical acclaim and he has been awarded twoGrammys for his work as Director of the London SymphonyChorus on the LSO Live and Chandos labels. He has beenChorus Master of the Huddersfield Choral Society since1999 and his trilogy of CDs conducting the Society is nowcomplete with the recent issue of The Crucifixion (JohnStainer) on the Signum label. He has directed the City ofLondon Sinfonia from the keyboard in a series of concertsfeaturing Bach Cantatas in the City of London Festival andhas made his début with the Northern Sinfonia as directorand soloist.

Joseph has worked closely with some of theworld’s leading conductors including Sir SimonRattle, Sir Neville Marriner, Sir Mark Elder,Mariss Jansons, Valery Gergiev, Michael TilsonThomas, Martyn Brabbins, Gianandrea Noseda,Vasily Petrenko, Yan-Pascal Tortelier, BernardHaitink, Richard Hickox and, in particular, withSir Colin Davis. He has appeared as a guestconductor with the BBC Concert Orchestra,Academy of St Martin-in-the-Fields and theGrant Park Festival Orchestra in Chicago.

Joseph maintains a national profile as anorganist and a continuo player. He has heldmusical posts in the RC Cathedrals of Glasgow,Leeds and Westminster and has inauguratedthe new organs at the Abbeys of Pluscarden and Ryde andacts as vocal consultant to the monastic choirs of several

Benedictine monasteries. Joseph is committed to mentoringyoung musicians as they emerge onto the professionalscene. He has established choral conducting scholarshipswith both the London Symphony Chorus and theHuddersfield Choral Society and gives masterclasses at theOrkney conductors' course, which is part of the St MagnusFestival, and at the Royal Academy of Music. JosephCullen has coached many distinguished singers and givesthe next generation a platform with his ensemble, LondonChamber Voices. He is also a member of the vocalensemble, Tenebrae with whom he tours internationally.


Elizabeth WattsSoprano

Elizabeth Watts won theRosenblatt Recital Song Prize atthe BBC Cardiff Singer of theWorld competition in 2007. Inthe same year she was awardedthe Outstanding Young ArtistAward at the Cannes MIDEMClassique Awards and theprevious year the KathleenFerrier Award. She is currentlyan Artist in Residence at theSouthbank Centre, and a former BBC Radio 3 New GenerationArtist. Her critically acclaimed début recording of SchubertLieder for SONY Red Seal will be followed in 2011 by a disc ofBach Cantatas for Harmonia Mundi, with whom she has anexclusive contract.

Current and future plans include Marzelline Fidelio; SusannaLe Nozze di Figaro and Pamina Die Zauberflöte; AlmineraRinaldo; Serpetta in Mozart La Finta Giardiniera; MahlerSymphony No 2; Mozart Requiem and Mozart ExultateJubilate.

Recent concerts have included Brahms Requiem; MahlerSymphony No 4; Haydn The Seasons and Richard StraussOrchestral Lieder, as well as performances with all the BBCOrchestras, The English Concert, City of BirminghamSymphony and Hallé Orchestras.

Operatic appearances have included Susanna Le Nozze diFigaro; Purcell King Arthur and Handel's L'Allegro Il Penserosoed Il Moderato, both with the Mark Morris Dance Group, andMandane in Thomas Arne's Artaxerxes at the LinburyStudio/Royal Opera House which prompted Richard Morrissonto write in The Times “But the pick of the bunch is ElizabethWatts, who musters buckets of passion and thrilling coloraturaas Xerxes' anguished daughter Mandane”

Elizabeth was a chorister at Norwich Cathedral and studiedarchaeology at Sheffield University before studying singing atthe Royal College of Music in London. From 2005-2007 shewas a member of English National Opera's Young SingersProgramme, where she appeared as Papagena DieZauberflöte, Barbarina Figaro, Music and Hope in MonteverdiL'Orfeo and in Purcell King Arthur.

Catherine Wyn-RogersMezzo-soprano

Catherine Wyn-Rogers was aFoundation Scholar at the RoyalCollege of Music, studying withMeriel St Clair and gainingseveral prizes including theDame Clara Butt award. Shecontinued her studies with EllisKeeler and now works withDiane Forlano.

Miss Wyn-Rogers appears regularly with the Three ChoirsFestival, the Edinburgh Festival, the Aldeburgh Festival, theBBC Proms and at the Wigmore Hall. She has performed withSlatkin, Haitink, Andrew Davis, Colin Davis, Rozhdestvensky,Mackerras, Norrington and Mehta, and her numerousrecordings include Samson with Christophers, The Dream ofGerontius with Handley, Mozart's Requiem with Mackerras,Peter Grimes with Colin Davis and Graham Johnson'sComplete Schubert Edition.

Catherine made her début at the Lyric Opera of Chicago in TheMidsummer Marriage. She has also worked with the ScottishOpera, the Welsh National Opera, Opera North, the SemperOper, Dresden, the Teatro Real Madrid, the Netherlands Opera,the Lyric Opera of Chicago, the Houston Grand Opera and atthe Salzburg Festival. She is a regular guest of the EnglishNational Opera, the Royal Opera House, Covent Garden andwith the Bavarian State Opera. Most recently, she has sungErda and Waltraute (Goetterdammerung) under Mehta in bothValencia and Florence, and performed in the stagedperformances of Messiah for ENO and in Die SchweigsameFrau for the Bavarian State Opera.

Future engagements include Das Rheingold in Munich, EugeneOnegin for ENO and Peter Grimes for the Royal Opera and inher début for La Scala, Milan.


Credit: Marco Borggreve Credit: Maura McGroarty

Christopher PurvesBaritone

Christopher Purves studied atKings College Cambridge beforeperforming and recording with therock & roll group Harvey and theWallbangers.

In concert Christopher hasrecently appeared with LeConcert d'Astrée in a European tour of Handel's Messiah, withthe OAE in Beethoven Symphony 9 and in Aci, Galatea etPolifemo and Acis & Galatea with the Gabrieli Ensemble at theWigmore Hall. On the recital platform he has performedSchubert's Schwanengesang in Leeds and Cambridge. Thisseason he sings Das Klagende Lied with the LondonPhilharmonic Orchestra, Mahler 8 at the Casa da Musica inPorto and performances of Britten's Rape of Lucretia atAldeburgh and in Amsterdam and Luxembourg.

Operatic appearances include the title role in Wozzeck andBeckmesser Die Meistersinger for Welsh National Opera, Algran sole carico d'amore for the Salzburg Festival and the titlerole in Falstaff at the Glyndebourne Festival. Engagements in2010/2011 include his début with Houston Opera as Balstrodein Peter Grimes a role he will also sing at La Scala, MrRedburn Billy Budd at De Nederlandse Opera andMéphistophélès Damnation of Faust for English NationalOpera. Featuring among his subsequent engagements areNick Shadow The Rake's Progress for Opéra de Lille andBalstrode Peter Grimes at La Scala.

Mark Le BrocqTenor

Mark Le Brocq studied atCambridge, The Royal Academyof Music and the National OperaStudio.

Concert engagements includeLa Resurrezione, Saul, Solomonand The Fairy Queen (GabrieliConsort), Mozart Requiem (BBCProms), Verdi Requiem (Barbican), Beethoven Mass in C andChoral Fantasia (Queen Elizabeth Hall), Schubert Mass in EFlat (BBC Symphony Orchestra), Strauss The Donkey'sShadow (UK première - Covent Garden Festival), OebalusApollo et Hyancinthus (Opera Theatre Company), Agenore IlRe Pastore (Classical Opera Company), GoldschmidtMediterranean Songs (BBC Symphony Orchestra), Handel DixitDominus (BBC Proms), B Minor Mass (Israel Camerata), TheDream of Gerontius (Dunblane Cathedral), Berlioz GrandeMesse de Morts (St Paul's Cathedral), St Matthew Passion(English Chamber Orchestra), Mozart C Minor Mass (ScottishChamber Orchestra), Carmina Burana (RLPO) and Messiah(Collegium Instrumentale Brugense).

He has recorded Ruiz Il Trovatore, Pang Turandot andRemendado Carmen (Chandos), Samson, Saul and JudasMaccabäus (Maulbronn Festival live recordings), Purcell HailBright Cecilia (Gabrieli Consort/DG) and Handel Utrecht TeDeum and Boyce I Was Glad (Choir of St Paul'sCathedral/Hyperion). He appears in the videos of Ariodanteand The Fairy Queen for RM Arts.

Engagements in 2010/2011 include Gamekeeper/HuntsmanRusalka, Weinberg's The Portrait and Shapkin House of theDead for Opera North, Messiah in Maulbronn and at theBarbican Centre and Carmina Burana at the Royal Albert Hall.


Credit: Clive Barda

Composer Notes


at a London musical society by friends of Handel’s, then by a rival group inpublic; Handel prepared to put it on at the King’s Theatre, but the Bishop ofLondon banned a stage version of a biblical work. He then put on Acis, alsoin response to a rival venture. The next summer he was invited to Oxfordand wrote an oratorio, Athalia, for performance at the Sheldonian Theatre.Meanwhile, a second opera company (‘Opera of the Nobility’, includingSenesino) had been set up in competition with Handel’s and the twocompeted for audience over the next four seasons before both failed. Thisperiod drew from Handel, however, such operas as Orlando and two withballet, Ariodante and Alcina, among his finest scores.

During the rest of the 1730s Handel moved between Italian opera and theEnglish forms, oratorio, ode and the like, unsure of his future commerciallyand artistically. After a journey to Dublin in 1741-2, where Messiah had itspremière (in aid of charities), he put opera behind him and for most of theremainder of his life gave oratorio performances, mostly at the new CoventGarden theatre, usually at or close to the Lent season. The Old Testamentprovided the basis for most of them (Samson, Belshazzar, Joseph, Joshua,Solomon, for example), but he sometimes experimented, turning to classicalmythology (Semele, Hercules) or Christian history (Theodora), with littlepublic success. All these works, along with such earlier ones as Acis and histwo Cecilian odes (to Dryden words) were performed in concert form inEnglish. At these performances he usually played in the interval a concertoon the organ (a newly invented musical genre) or directed a concertogrosso.

During his last decade he gave regular performances of Messiah, usuallywith about 16 singers and an orchestra of about 40, in aid of the FoundlingHospital. In 1749 he wrote a suite for wind instruments (with optional strings)for performance in Green Park to accompany the Royal Fireworkscelebrating the Peace of Aix-la-Chapelle. His last oratorio, composed as hegrew blind, was Jephtha (1752); The Triumph of Time and Truth (1757) islargely composed of earlier material. Handel was very economical in the re-use of his ideas; at many times in his life he also drew heavily on the musicof others (though generally avoiding detection) - such ‘borrowings’ may beof anything from a brief motif to entire movements, sometimes as they stoodbut more often accommodated to his own style.

Handel died in 1759 and he was buried in Westminster Abbey, recognisedin England and by many in Germany as the greatest composer of his day.The wide range of expression at his command is shown not only in theoperas, with their rich and varied arias, but also in the form he created, theEnglish oratorio, where it is applied to the fates of nations as well asindividuals. He had a vivid sense of drama, but above all had a resource andoriginality of invention, to be seen in the extraordinary variety of music in theop.6 concertos, for example, in which melodic beauty, boldness and humourall play a part, that place him and J.S. Bach as the supreme masters of theBaroque era in music.

HANDEL, GEORGE FRIDERIC, (b Halle, 23 Feb 1685; dLondon, 14 April 1759. English composer of Germanbirth). He was born Georg Frederich Handel, son of abarber-surgeon who intended him for the law. At firsthe practised music clandestinely, but his father wasencouraged to allow him to study and he became apupil of Zachow, the principal organist in Halle. Whenhe was 17 he was appointed organist of the Calvinist

Cathedral, but a year later he left for Hamburg. There he played the violinand harpsichord in the opera house, where his Almira was given at thebeginning of 1705, soon followed by his Nero. The next year he accepted aninvitation to Italy, where he spent more than three years, in Florence, Rome,Naples and Venice. He had operas or other dramatic works given in all thesecities and, writing many Italian cantatas, perfected his technique in settingItalian words for the human voice. In Rome he also composed some Latinchurch music.

He left Italy early in 1710 and went to Hanover, where he was appointedKapellmeister to the Elector, but he at once took leave to take up aninvitation to London, where his opera Rinaldo was produced early in 1711.Back in Hanover, he applied for a second leave and returned to London inautumn 1712. Four more operas followed in 1712-15, with mixed success;he also wrote music for the church and for court and was awarded a royalpension. In 1716 he may have visited Germany; it was probably the nextyear that he wrote the Water Music to serenade George I at a river-party onthe Thames. In 1717 he entered the service of the Earl of Carnarvon (soonto be Duke of Chandos) at Edgware, near London, where he wrote 11anthems and two dramatic works, the evergreen Acis and Galatea andEsther, for the modest band of singers and players retained there.

In 1718-19 a group of noblemen tried to put Italian opera in London on afirmer footing, and launched a company with royal patronage, the RoyalAcademy of Music; Handel, appointed musical director, went to Germany,visiting Dresden and poaching several singers for the Academy, whichopened in April 1720. Handel’s Radamisto was the second opera and itinaugurated a noble series over the ensuing years including Ottone, GiulioCesare, Rodelinda, Tamerlane and Admeto. Works by Bononcini (seen bysome as a rival to Handel) and others were given too, with success at leastequal to Handel’s, by a company with some of the finest singers in Europe,notably the castrato Senesino and the soprano Cuzzoni. But public supportwas variable and the financial basis insecure and in 1728 the venturecollapsed. The previous year Handel, who had been appointed a composerto the Chapel Royal in 1723, had composed four anthems for the coronationof George II and had taken British naturalisation.

Opera remained his central interest, and with the Academy impresario,Heidegger, he hired the King’s Theatre and (after a journey to Italy andGermany to engage fresh singers) embarked on a five-year series ofseasons starting in late 1729. Success was mixed. In 1732 Esther was given

Entering its 40th year, City of London Sinfonia (CLS) isbeginning a new era with recently appointed artisticleaders, Stephen Layton (Artistic Director & PrincipalConductor) and Michael Collins (Principal Conductor) onboard.

CLS is one of the UK's most established and well-regardedchamber orchestras having earned a reputation forconsistently high quality performances and recordings,often with a particular focus on music featuring the humanvoice. The Orchestra performs throughout the UK, withregular London appearances at Cadogan Hall, St Paul'sCathedral and other City of London churches and venues.It has been resident orchestra at the capital's popularfestival Opera Holland Park since 2004 and holds long-

City of London Sinfoniastanding residencies in High Wycombe and Chatham, aswell as being a regular guest at major UK festivals. TheOrchestra also performs inventive Crash, Bang, Wallopfamily concerts at Cadogan Hall with a strong emphasis onaudience engagement and participation in core musicalpieces.

CLS's musicians work creatively in schools and communityprojects through the acclaimed Meet the Music programme,with a particular focus on the field of health and wellbeing,including a long standing residency at Great Ormond StreetHospital for Sick Children. They also work with corporatebusinesses through the Development through Musicscheme offering creative approaches to professional skillstraining through the medium of music.

Credit: Benjamin Harte



RECIT. (Bass)For behold, darkness shall cover the earth, and grossdarkness the people; but the Lord shall arise upon thee,and His glory shall be seen upon thee, and the Gentilesshall come to thy light, and kings to the brightness of thyrising.

AIR (Bass)The people that walked in darkness have seen a greatlight; and they that dwell in the land of the shadow ofdeath, upon them hath the light shined.

CHORUSFor unto us a child is born, unto us a son is given, andthe government shall be upon His shoulder; and Hisname shall be called Wonderful, Counsellor, the MightyGod, the Everlasting Father, the Prince of Peace.

PIFA (PASTORAL SYMPHONY)

RECIT. (Soprano)There were shepherds abiding in the field, keeping watchover their flock by night.

RECIT. (Soprano)And lo! the angel of the Lord came upon them, and theglory of the Lord shone round about them, and they weresore afraid.

RECIT. (Soprano)And the angel said unto them, Fear not; for behold Ibring you good tidings of great joy, which shall be to allpeople; for unto you is born this day in the city of David,a Saviour, which is Christ the Lord.

RECIT. (Soprano)And suddenly there was with the angel a multitude of theheavenly host, praising God, and saying:

CHORUSGlory to God in the highest, and peace on earth, goodwilltowards men.

AIR (Soprano)Rejoice, greatly, O daughter of Zion; Shout, O daughterof Jerusalem! behold thy king cometh unto thee!He is the righteous Saviour, and He shall speak peaceunto the heathen.

Continued on page 11

Messiah - HandelPART ONEThe prophecy and realisation of God’s plan toredeem mankind by the Coming of the Messiah.

SINFONY

RECIT. (Tenor)Comfort ye, my people, saith your God; speak yecomfortably to Jerusalem; and cry unto her, that herwarfare is accomplished, that her iniquity is pardon’d.The voice of him that crieth in the wilderness, prepare yethe way of the Lord; make straight in the desert ahighway for our God.

AIR (Tenor)Every valley shall be exalted, and every mountain and hillmade low, the crooked straight and the rough placesplain.

CHORUSAnd the glory of the Lord shall be revealed, and all fleshshall see it together; for the mouth of the Lord hathspoken it.

RECIT. (Bass)Thus saith the Lord of Hosts; Yet once a little while and Iwill shake the heavens and the earth, the sea and the dryland, and I will shake all nations; and the desire of allnations shall come.The Lord, whom ye seek, shall suddenly come to histemple, even the messenger of the covenant, whom yedelight in: Behold He shall come, saith the Lord of Hosts.

AIR (Alto)But who may abide the day of His coming? and who shallstand when he appeareth?For He is like a refiner’s fire.

CHORUSAnd He shall purify the sons of Levi, that they may offerunto the Lord an offering in righteousness.

RECIT. (Alto)Behold! a Virgin shall conceive and bear a Son, and shallcall His name Emmanuel, ‘God with us.’

AIR (Alto) and CHORUSO thou that tellest good tidings to Zion, get thee up intothe high mountain; O thou that tellest good tidings toJerusalem, lift up thy voice with strength; lift it up, be notafraid, say unto the cities of Judah, Behold your God.Arise, shine, for thy light is come, and the glory of theLord is risen upon thee.


Messiah - Handel c o n t i n u e dRECIT. (Alto)Then shall the eyes of the blind be open’d and the earsof the deaf unstopped; then shall the lame man leap as ahart, and the tongue of the dumb shall sing.

AIR (Alto)He shall feed His flock like a shepherd; and He shallgather the lambs with His arm, and carry them in Hisbosom, and gently lead those that are with young.

AIR (Soprano)Come unto Him, all ye that labour, and are heavy laden,and He will give you rest and take His yoke upon you,and learn of Him, for He is meek and lowly of heart, andye shall find rest unto your souls.

CHORUSHis yoke is easy and His burthen is light.

INTERVALTWENTY MINUTES

PART TWOThe accomplishment of redemption by thesacrifice of Jesus, mankind’s rejection of theoffer, and mankind’s utter defeat.

CHORUSBehold the Lamb of God that taketh away the sin of theworld.

AIR (Alto)He was despised and rejected of men; a man of sorrowsand acquainted with grief. He gave His back to thesmiters and His cheeks to them that plucked off the hair;He hid not His face from shame and spitting.

CHORUSSurely He hath borne our griefs, and carried our sorrows!He was wounded for our transgressions; He was bruisedfor our iniquities; the chastisement of our peace wasupon Him.

CHORUSAnd with His stripes we are healed.

CHORUSAll we like sheep have gone astray; we have turnedevery one to his own way. And the Lord hath laid on himthe iniquity of us all.

RECIT. (Tenor)All they that see Him laugh Him to scorn; they shoot outtheir lips, and shake their heads, saying:

CHORUSHe trusted in God that He would deliver Him; let Himdeliver Him, if He delight in Him.

RECIT. (Tenor)Thy rebuke hath broken His heart; He is full ofheaviness. He looked for some to have pity on Him, butthere was no man, neither found He any to comfort Him.

AIR (Tenor)Behold, and see if there be any sorrow like unto Hissorrow.

RECIT. (Tenor)He was cut off out of the land of the living; for thetransgressions of Thy people was He stricken.

AIR (Tenor)But Thou didst not leave His soul in hell; nor didst Thousuffer Thy Holy One to see corruption.

CHORUSLift up your heads, O ye gates, and be ye lift up, yeeverlasting doors, and the King of Glory shall come in.Who is this King of Glory?The Lord strong and mighty, strong and mighty in battle.Lift up your heads, O ye gates, and be ye lift up yeeverlasting doors, and the King of Glory shall come in.Who is this King of Glory?The Lord of Hosts, He is the King of Glory.

RECIT. (Alto) Thou art gone up on high, thou hast ledcaptivity captive, and received gifts for men;Yea, even for thine enemies, that the Lord Godmight dwell among them.

CHORUS The Lord gave the word, great was the company of thepreachers.

AIR (Soprano)How beautiful are the feet of them that preach thegospel of peace, and bring glad tidings of good things.

Continuedon page 12


Messiah - HandelRECIT. (Bass)Behold! I tell you a mystery: we shall not all sleep; butwe shall all be changed, in a moment, in the twinkling ofan eye, at the last trumpet.

AIR (Bass)The trumpet shall sound, and the dead shall be raisedincorruptible, and we shall be changed.

AIR (Soprano)If God be for us, who can be against us?Who shall lay anything to the charge of God’s elect?It is God that justifieth,Who is he that condemneth?It is Christ that died,Yea, rather, that is risen again,Who is at the right hand of God,Who makes intercession for us.

CHORUSWorthy is the Lamb that was slain, and hath redeemedus to God by His blood, to receive power, and riches,and wisdom, and strength, and honour, and glory, andblessing.Blessing and honour, glory and power be unto Him thatsitteth upon the throne, and unto the Lamb, for ever andever.

CHORUSAmen.

CHORUSTheir sound is gone out into all lands, and their wordsunto the ends of the world.

AIR (Bass)Why do the nations so furiously rage together, and whydo the people imagine a vain thing? The kings of theearth rise up, and the rulers take counsels togetheragainst the Lord, and His Anointed.

CHORUSLet us break their bonds asunder, and cast away theiryokes from us.

RECIT. (Tenor)He that dwelleth in heaven shall laugh them to scorn; theLord shall have them in derision.

AIR (Tenor)Thou shalt break them with a rod of iron; Thou shalt dashthem in pieces like a potter’s vessel.

CHORUSHallelujah! for the Lord God Omnipotent reigneth.The kingdom of this world is become the kingdom of ourLord, and of His Christ; and He shall reign for ever andever.King of Kings, and Lord of Lords. Hallelujah!

PART THREEA hymn of thanksgiving for the final overthrow ofdeath.

AIR (Soprano)I know that my Redeemer liveth, and that He shall standat the latter day upon the earth; and though wormsdestroy this body, yet in my flesh shall I see God.For now is Christ risen from the dead, the first-fruits ofthem that sleep.

CHORUSSince by man came death.By man came also the resurrection of the dead.For as in Adam all die.Even so in Christ shall all be made alive.

Recordings

NEW RELEASE - MESSIAH: £15.00

THE CRUCIFIXION: £12.00

Recordings can be obtained from:

David Lockwood (Telephone 01484 666827) E-mail: [email protected] or via the web site at www.huddersfieldchoral.com

Recordings

AND THE GLORYA History in Commemoration of the 175th

anniversary of Huddersfield Choral Society

The book can be obtained from:David Lockwood

Telephone 01484 666827 E-mail: [email protected]

or via the web site at www.huddersfieldchoral.com

£15 plus £3.50 p&p



Future Concerts

Saturday 18 June 2011175th Anniversary Celebration Concert

Huddersfield Town HallTHE DREAM OF GERONTIUS - Elgar

Conductor Martyn BrabbinsTickets now available via Kirklees Box Office

Tel:01484 223200

Saturday 1 October 2011Liverpool Anglican CathedralMahler - SYMPHONY No 8 Conductor Vasily Petrenko

Friday 4 November 2011 - Subscribers' ConcertHuddersfield Town Hall

Beethoven - MISSA SOLEMNISRoyal Liverpool Philharmonic Orchestra

Vasily Petrenko - conductor

Saturday 5 November 2011Philharmonic Hall Liverpool

Beethoven - MISSA SOLEMNISRoyal Liverpool Philharmonic Orchestra

Vasily Petrenko - conductor

Friday 9 December 2011Huddersfield Town Hall

CHRISTMAS CONCERT

Tuesday 20 December 2011Huddersfield Town Hall

Handel - MESSIAHNorthern SinfoniaGrant Llewellyn

Wednesday 21 December 2011 - Subscribers' ConcertHuddersfield Town Hall

Handel - MESSIAHNorthern SinfoniaGrant Llewellyn

Choir Members


SOPRANO:Louise AlpMargaret Atkinson**Susan BainesSheila Baker**Jill Bamford Esme BarberLydia BaylissRuth BeattieCharmaine Beaumont**Jill BennPatricia Berry*Janet BoothElly BosworthElizabeth BoyleDorothy Bradbury Christine Broadbent Louise BrownSarah BrownColleen BrownDerrianne ByrneMary Cadwaladr Barbara Carroll Joanna Cole Gwyneth CooperRosemary Cooper Eleanor Davies Jenny EllisSue EllisTrish EllisLindsey FawcettLinda Fellows Sheila Garside* Katherine HallJulia Harvey* Margaret Henry**Hilary Hibbin Kate Hyland-CollierCaroline JonesGeorgia KatsiroumpaHelen KettlewellEmma KilroyYuki KondoFiona Law Elaine Lee* Anne Lockwood

Liz MarshallHelen Martin Pamela MasihAnjuli MehtaWendy MooresCath MurgatroydMegan NelsonJean Parker*Carol Randerson* Christine Roberts Katrina Robinson-BrownJane Sargent* Hannah SaxonSue ShepherdThelma Simpson Debbie SkipperSusan SmithDoreen SmurthwaiteNan Steinitz*Catherine StephensonRuth Stones*Marilyn SutcliffeSarah WickhamDenise Wilkes Ann WilkesGlynis WilkinsonSusan Wilkinson*Mary Wilson

ALTO:Ruth AldredHelen Ashley-Taylor Anna BaileyThelma BatemanRuth BostockAnn BoswellBarbara Brook*Ken BrownRowena Burton Sandy Cole**Margaret Collison Jean Collison* Cynthia Daniel** Janet Dransfield* Christine Durham** Winifred Ellis*

Janet GabanskiJulie Hale Gaynor HalidayRichard HallasAndrea Hindson Pam Hird** Jane Hobson* Sue Hornby Susan KirbyHilary LaurieSylvia McGee** Hilary McLean Elizabeth MortimerKath Northern* Marjorie Norton* Audrey O'Hara Alison Owen - MorleyJayne Preston** Frances PriestnallCaroline Robinson Jennifer SandersonSusan SandfordKatie SaundersVicki Scurrah Eileen Sheller Suzanne SmeltAlexandra SodenMarjorie Swift**Pam SykesVera Thompson Anna ThompsonLettice Thomson* Susan TurnbullSandra TwitchettAlex VickersMichelle Walker Jean Walters* Rebekah WheelerSue Wilman**Jenni WohlmanGlenda Wray

TENOR:Michael Benn*Jonathan BriggStephen Brook*

Tom ChiltonDavid Croft**Malcolm Fairless* Chris FawcettGraham Fearnley* Jeremy Garside Ronald Gee David Gee Malcolm Hinchliffe Roy Hirst Norman HirstMartin Jenkins Martin Kettlewell Gregory KnaggsChris KnightAlex KyleTimothy Lewis**David Lunn Richard Myhill Arthur Quarmby* Philip Ratcliffe Stuart RuddGerald Savage* Philip ShergoldIan SmithAlan Stephens Charles R. SykesDavid VickersHarvey WalshDavid WardMichael Widdall Tim Wilkes

BASS:Richard AinleyChristopher Arnold** David Atkinson James BeattieGareth Beaumont** John Brown* David Burgess Peter ChaseMike CorneyJim Cowell Martyn Crossley* James Curran**

Ian Daniel* Peter DawsonP.J. DoddGranville Dransfield* Raymond Ellis Daniel FieldsJohn HarmanDavid Hartley*** David Hoddle Dennis Holmes Keith Horner William KirbyMartin LukeKenton MannAndrew MarslandJohn McGahey Barrie Mortimer Robin Owen - MorleyAngus Pogson** Geoffrey Priestley David Robinson Howard Sandford John Sandland* Graham SmeltTerry SmurthwaitePaul SpencerJim Stafford*Alan StirkNeil StonesMark TaylorRichard Thompson Lyndon Wilkinson** Barrie Williams Conrad Winterburn**

* Holder of 25 year badge

** Holder of 40 year badge

*** Holder of 50 year badge

F R I E N D S

The cost of membership of The Friends is £18 joint membership,£12 single membership.

Further details and an application form can be obtained from:

Cynthia Pratt Chapel House, Slant Gate, Highburton,

Huddersfield HD8 0QNTelephone: 01484 600352 Email: [email protected]

‘The Friends of the Huddersfield Choral Society’ wasestablished in 1995 and provides a link with TheSociety, support of The Society’s activities and benefitsfor its members.

BENEFITS INCLUDE:• Priority booking for Public Concerts at the Town

Hall (limited in the case of Public Messiahtickets).

• Subscriber Friends who are unable to attend theballot given priority in the subsequent allocationof tickets.

• Priority on returned tickets for subscription concerts.

• Regular Newsletters covering the life of TheSociety.

• Prize Draws.

• Discounted recordings of the Huddersfield ChoralSociety.


Huddersfield Choral Society

OFFICIALS AND COMMITTEEPresident . . . . . . . . . . . . . . . . .CONRAD WINTERBURN

Vice President . . . . . . . . . . . . . . . .JENNY LOCKWOOD

General Secretary . . . . . . . . . . . . . . . . . JIM COWELL

Treasurer . . . . . . . . . . . . . . . . . . . . . . . . ADRIAN LEE

Choir Secretary . . . . . . . . . . . . . . . . DAVID BURGESS

Subscribers’ Secretary . . . . . . . . . . . . . . JULIE HALE

Sponsorship Secretary . . . . . . . . . . . . .TONY BOOTH

Programme Officer . . . . . . . . . . . . DAVID LOCKWOOD

Recruitment Officer . . . . . . . . . . . . GAYNOR HALIDAY

Publicity Officer . . . . . . . . . . . . . . . . SARAH WICKHAM

Joint Librarian . . . . . . . . . . . . . . HOWARD SANDFORD

Joint Librarian . . . . . . . . . . . . . . . . SUSAN SANDFORD

Associate Members’ Secretary . . . . . . JEAN PARKER

Archivist . . . . . . . . . . . . . . . . . . MALCOLM HINCHLIFFE

Chairman 175 Committee . . . . . . . JENNY LOCKWOOD

Members’ RepresentativesJanet Booth David Croft

Hilary McLean Barrie Mortimer Jane Sargent Vicki Scurrah Mark A Taylor Sue Turnbull

Subscribers’ RepresentativesHelen Marshall Cynthia Pratt

Honorary Life MembersMr. R. Barraclough DL Mr. H. CloughMr. D. Hartley Mr. J. D. Haywood DL

Mr. K. Rothery Mr. G. Slater

HUDDERSFIELD CHORAL SOCIETY PO Box B30, 35 Westgate, Huddersfield HD1 1PA

Telephone: 01484 536968www.huddersfieldchoral.com

Conductor Laureate . . . . . . . . . . . . . . . . . . . . MARTYN BRABBINS

Chorus Master . . . . . . . . . . . . . . . . . . . . . . . . . . JOSEPH CULLEN

Deputy Chorus Master . . . . . . . . . . . . . . . . . DARIUS BATTIWALLA

Accompanist . . . . . . . . . . . . . . . . . . . . . . . . . . . .DANIEL GORDON

Deputy Accompanist . . . . . . . . . . . . . . . . . .MALCOLM HINCHLIFFE

Agent . . . . . . . . . . . . . . . . PATRICK GARVEY (Tel 01904 621222)

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