CARMINA BURANA. Ely Cathedral. Programme. Saturday October 24th 2015 at 7.30pm MUSIC IN ELY: DATES FOR YOUR DIARY

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1 MUSIC IN ELY: DATES FOR YOUR DIARY Coming up from Ely Sinfonia President: Raphael Wallfisch Saturday 12 March 2016 Ely Cathedral 7.30pm Berlioz Symphonie Fantastique forms the centrepiece of Ely Sinfonia s spring concert, which will also feature Saint-Saëns Danse Macabre. Saturday 7 May 2016 Ely Cathedral, 7.30pm Ely Sinfonia performs Elgar s The Apostles with the St Ives Choral Society. Ely Cathedral Saturday 22 October 2016 Ely Cathedral, 7.30pm An all-american programme to include Copland s Appalachian Spring and Gershwin s Piano Concerto. Saturday October 24th 2015 at 7.30pm Ely Consort Saturday 28 November 2015 Ely Cathedral, 7.30pm O Come, Emmanuel: a concert of music for advent. Saturday 12 March 2016 St Mary s Church, Burwell Spring concert Saturday 7 July 2016 St Andrew s Church, Sutton Haydn s Paukenmesse presents CARMINA BURANA Ely Sinfonia with Kings Lynn Festival Chorus, Ely Consort, Ely St Mary s Junior School and Ely Youth Choir Tara Bungard Ashley Harries Tom Appleton Soprano Counter Tenor Baritone Conductor Steve Bingham Ely Choral Society Saturday 5th December 2015 St. Mary's Church, Ely choir The choral society s annual Christmas concert features Bach s Magnificat and seasonal works for and audience Other events Programme Giuseppe Verdi Marie-Joseph Canteloube Sunday 25 October West Road, Cambridge The Cambridge Philharmonic Society performs Grieg s Piano Concerto. Saturday 28 November Cambridge The Cambridge Concert Orchestra plays a concert of light music in aid of Cards from Africa Saturday 22 November Norfolk Symphony Orchestra plays Elgar, Stravinsky Carl Orff Overture from La Forza del Destino (The Power of Fate) Chants d Auvergne (Songs from the Auvergne) Carmina Burana There will be a 20 minute interval after the Canteloube By kind permission of the Dean and Chapter of Ely Cathedral Programme 2.00

2 Ely Sinfonia SUPPORT THE ORCHESTRA AND GET DISCOUNTED TICKETS PLUS PRIORITY BOOKING FOR OUR CONCERTS! Joining the FRIENDS of ELY SINFONIA is a great opportunity to become part of a lively, social group dedicated to supporting the orchestra. Being a Friend will give you the following advantages: Personal giving advance information of concerts and special events 10% discount plus advance booking for tickets to concerts promoted by Ely Sinfonia Friends newsletter Opportunity to meet the conductor and players at rehearsal All this for just 10 a year! As the local community orchestra, Ely Sinfonia aims to give players the chance of orchestral experience close to home, to provide local schoolchildren with the opportunity to learn about music and instruments, and to bring a wealth of wonderful music to local music-lovers. Your subscription will go towards developing the orchestra, allowing it to give more concerts in Ely and to take live music out to rural East Cambridgeshire and beyond. The Friends of Ely Sinfonia help us to perform in local venues and to run workshops during which young players have the chance to play alongside more experienced musicians and learn new, challenging pieces. Violin 1 Violin 2 Viola Cello Double Bass Flute/Piccolo Oboe Clarinet Bassoon Contrabassoon Horn Trumpet Trombone Tuba Timps Percussion Piano1 Piano 2 Harp Artistic director Steve Bingham Christina Everson, Donna Allum, Ann Clayton, Fiona Dagg, Judith France, Naomi Laredo, Rob Millman, Chris Moule, Mark Webb, Richard Williamson Roz Chalmers, John Balaam, Jacky Cox, Richeldis France, Graham Jones, Esther McLeish, Linda Moule, Melanie Siddall, Jonathan Skerrett, Jane Stevens, Polly Taylor, IJmkje van de Werf, Eleanor Wilson Katy Baker, Anna Growns, Jeremy Harmer, Patricia Mathieson, Marlen Moss- Eccardt, Hilary Sellars, Yvonne Williamson Dave Mcleish, Nick Balaam, April Bowman, Charlotte Dean, Jacob Fitches, Joan Marchbank, Laura Millman, Rachel Mycock, Sally Parnell, Saeko Soya, Czilla Waterfall Chris Finch, John Chalmers. Stuart Clow Ellie Wolmark, Susan Gatell, Jean Swift Jenny Sewell, Carol London, Amanda Williams Michelle Hughes, Peter Fisher, Stella Page Phil Evans, Simon Laughlin Wesley Gibbon Owen Rose, Laurie Friday, Clare Stygall Evert Bokma, James Stygall Michael Rickwood, Gary Davidson, Roger Nunn Alan Sugars Dave Ellis Nigel Blazeby, Lucy Coghlan, Charlie Gale, Derek Scurll, Brenda Stewart John Richens Rowan Marshall Rohan Plattts, Anne Bury, Lorna Whittle For more information about becoming a Friend, please ask for details and a membership form at the Friends stall or friends@elysinfonia.co.uk.

3 22. TEMPUS EST IOCUNDUM Tempus est iocundum, o virgines, modo congaudete vos iuvenes. Oh, oh, oh! totus floreo, iam amore virginali totus ardeo! novus, novus novus amor est, quo pereo! Mea me confortat promissio, mea me deportant negatio. Oh, oh, oh! etc. Tempore brumali vir patiens, animo vernali lasciviens. Oh, oh, oh! etc. Mea mecum ludit virginitas, mea me detrudit simplicitas. Oh, oh, oh! etc. Veni domicella, cum gaudio, veni, veni, pulchra, iam pereo. Oh, oh, oh! etc. 23. DULCISSIME Dulcissime, Ah! totam tibi subdo me! BLANZIFLOR ET HELENA 24. AVE FORMOSISSIMA Ave formosissima, gemma pretiosa, ave decus virginum, virgo gloriosa, ave mundi luminar ave mundi rosa, Blanziflor et Helena, Venus generosa! FORTUNA IMPERATRIX MUNDI 25. O FORTUNA No. 1 repeated 22. THIS IS THE JOYFUL TIME This is the joyful time, O maidens, rejoice with them, young men! Oh, oh, oh! I am bursting out all over! I am burning all over with first love! New, new love is what I am dying of! I am heartened by my promise, I am downcast by my refusal. Oh! oh! oh! etc. In the winter man is patient, the breath of spring makes him lust. Oh! oh! oh! etc. My virginity makes me frisky, my simplicity holds me back. Oh! oh! oh! etc. Come, my mistress, with joy, come, come, my pretty, I am dying! Oh! oh! oh! etc. 23. SWEETEST ONE Sweetest one! Ah! I give myself to you totally! BLANCHEFLEUR AND HELENA 24. HAIL, MOST BEAUTIFUL ONE Hail, most beautiful one, precious jewel, Hail, Pride among virgins, glorious virgin, Hail, light of the world, Hail, rose of the world, Blanchefleur and Helen, noble Venus! FORTUNE, EMPRESS OF THE WORLD 25. O FORTUNE No. 1 repeated WELCOME O Fortuna! Fate and the inexorable passing of time hang over this evening s concert, although love and longing and feasting play their parts too. Things end badly for the lovers in the overture that opens the programme. There s a deal of rustic yearning in the folk songs which follow, but romantic love does triumph in the end in this evening s main work (after some grade A merrymaking); except that, of course, fate is waiting in the wings to remind us of our journey on fortune s wheel. Oh well: we must as well enjoy things while we can, then! Giuseppe Verdi ( ) Jeremy Harmer Overture to La Forza del Destino (The Power of Fate) One of most famous Italians of the nineteenth century, opera composer Giuseppe Verdi was something of a national treasure, as well as earning heaps of money thanks to the then new system of royalty payments for his twenty two stage works (not to mention his wonderfully dramatic Requiem, an intensely operatic work in that genre). But we don t hear that many Verdi overtures because he didn t usually write them, instead preferring short orchestral preludes to his works, such as in La Traviata, arguably the most popular opera ever written. For La Forza del Destino (best translated as The Power of Fate ), however, Verdi did provide a wonderfully atmospheric preview of the main themes of what was to come and the result is a sparkingly dramatic concert piece. La Forza del Destino is, inter alia, about love forbidden, death, fortune-telling, revenge and religion. The lovers both die in the end, of course, with Alvaro, the male side of the relationship, leaping to his death (as Tosca does later) in remorse at the tragedies his love has provoked. Many performers thought the opera was cursed (Pavarotti refused to sing Alvaro), especially after a famous tenor died in mid performance.

4 The overture starts with three notable brass chords presaging the tragedy to come, followed by the destiny motif on the strings. Full of foreboding, it permeates the work, including the long lamenting melody which it overwhelms. The clarinet launches the main allegro before, finally, the destiny motif rises again and the whole overture rises to a grand climax based on a melody from the opera s second act. Marie-Joseph Canteloube de Malaret Chants d Auvergne ( (Songs from the Auvergne) Pastourelle L Antoueno (Antoine) La Delaissado (The Abandoned One) N ai pas ieu de mio (I Have Not a Loved One) Bailero Many composers, from Bach and Beethoven to Tchaikovsky and (notably in Britain) Vaughan Williams, have used folk music those traditional tunes passed down from generation to generation - in their own compositions. And Vaughan Williams in this country, for example, has been, with contemporaries Cecil Sharp and others, largely responsible for the extraordinary folk revivals of later years through their assiduous collection of tunes and words. The Chants d Auvergne fit rather better into a Vaughan Wiliiams view of the world than, say, Bartok s or Kodály s, whose somewhat academic approaches to folk melody are in contrast to Canteloube s heartfelt appreciation of the songs that informed the farming and rural communities of the Auvergne in southern France. Although he had a long and productive career as a composer, it is his arrangements of folk melodies for which he is remembered (and listened to) today. He seems to capture the true spirit of the originals (sung in Occitan, the local Auvergnian language) with his beautiful orchestral arrangements, using clarinet and oboe to stand in for the cabrette (little goat) bagpipe which was usually the instrument of choice (if there was an instrument at all) for the original folk singers. Of course, the farmers of the Auvergne often sang unaccompanied and Canteloube has occasionally been criticized for imposing orchestral accompaniment on their music. But he himself had an answer for that. Just because the peasant sings without accompaniment, that is not sufficient reason to imitate him... there is an accompaniment which surrounds his song It is nature herself, the earth which makes this, and the peasant and his song cannot be separated from this.only the 18. CIRCA MEA PECTORA Circa mea pectora multa sunt suspiria de tua pulchritudine, que me ledunt misere. Ah! Manda liet, manda liet, min geselle chumet niet. Tui lucent oculi sicut solis radii, sicut splendor fulguris lucem donat tenebris. Ah! Mandaliet, etc. Vellet deus, vellent dii, quod mente proposui: ut eius virginea reserassem vincula. Ah! Mandaliet, etc. 19. SIE PUER CUM PUELLULA Sie puer cum puellula moraretur in cellula, felix coniunctio. Amore sucrescente, pariter e medio propulso procul tedio, fit ludus ineffabilis membris, lacertis, labiis. 20. VENI, VENI, VENIAS Veni, veni, venias, ne me mori facias, hyrca, hyrca, nazaza, trillirivos! Pulchra tibi facies, oculorum acies, capillorum series, o quam clara species! Rosa rubicundior, lilio candidior, omnibus formosior, semper in te glorior 21. IN TRUTINA In trutina mentis dubia fluctuant contraria lascivus amor et pudicitia. Sed eligo quod video, collum iugo prebeo; ad iugum tamen suave transeo. 18. IN MY HEART In my heart there are many sighs for your beauty, which wound me sorely. Ah! Mandaliet, mandaliet, my lover does not come. Your eyes shine like the rays of the sun, like the flashing of lightning which brightens the darkness. Ah! Mandaliet, etc. May God grant, may the gods grant what I have in my mind that I may loose the chains of her virginity, Ah! Mandaliet, etc. 19. IF A BOY WITH A GIRL If a boy with a girl tarries in a little room, happy is their coupling. Love rises up, and between them prudery is driven away, an ineffable game begins in their limbs, arms and lips. 20. COME, COME, O COME Come, come, O come, do not let me die, hyrca, hyrce, nazaza, trillirivos! Beautiful is your face, the gleam of your eye, your braided hair, what a glorious creature! Redder than the rose, whiter than the lily, lovelier than all others, I shall always glory in you! 21. IN THE BALANCE In the wavering balance of my feelings set against each other lascivious love and modesty. But I choose what I see, and submit my neck to the yoke; I yield to the sweet yoke.

5 III. COUR D AMOURS 15. AMOR VOLAT UNDIQUE Amor volat undique, captus est libidine. Iuvenes, iuvencule coniunguntur merito. Siqua sine socio, caret omni gaudio, tenet noctis infima sub intimo cordis in custodia: fit res amarissima. III. THE COURT OF LOVE 15. CUPID FLIES EVERYWHERE Cupid flies everywhere seized by desire. Young men and women are rightly coupled. The girl without a lover misses out on all pleasures, she keeps the dark night hidden in the depth of her heart; it is a most bitter fate. Carl Orff ( ) immaterial art of music can evoke the necessary atmosphere, with its timbres, its rhythms and its impalpable, moving harmonies. This evening s five songs taken from Canteloube s collection of more than fifty end with his most famous arrangement of Bailero in which, as in the first, more flirtatious, Pastourelle, the singer wishes she could cross the river for a shepherd. Carmina Burana 16. DIES, NOX ET OMNIA Dies, nox et omnia michi sunt contraria, virginum colloquia me fay planszer, oy suvenz suspirer,a plu me fay temer. O sodales, ludite, vos qui scitis dicite, michi mesto parcite, grand ey dolur, attamen consulite per voster honur. Tua pulchra facies, me fey planszer milies, pectus habens glacies, a remender statim vivus fierem per un baser. 17. STETIT PUELLA Stetit puella rufa tunica; si quis eam tetigit, tunica crepuit. Eia. Stetit puella, tamquam rosula; facie splenduit, os eius floruit. Eia. 16. DAY, NIGHT, AND EVERYTHING Day, night, and everything is against me, the chattering of maidens makes me weep, and often sigh, and, most of all, scares me. O friends, you are making fun of me, you do not know what you are saying, spare me, sorrowful as I am, great is my grief, advise me at least, by your honour. Your beautiful face, makes me weep a thousand times, your heart is of ice. As a cure, I would be revived by a kiss. 17. A GIRL STOOD A girl stood in a red tunic; if anyone touched it, the tunic rustled. Eia! A girl stood like a little rose: her face was radiant and her mouth in bloom. Eia! Fortuna, imperatrix Mundi Primo Vere In Taberna Cours d amours Fortuna, imperatrix Mundi It was the musicologist J A Schmeller who, in 1803, discovered a collection of twelfth and thirteenth century manuscripts in a monastery in Upper Bavaria. Written in a mixture of Latin and old German by wandering scholars and perhaps ex-priests, Schmeller gave them the name Carmina Burana (songs from the Beuen or, in Latin, Burana district). Carl Orff came across them in 1935 and instantly realized that they were a perfect vehicle for his ideas about music and theatre. And so he set about creating a scenic cantata, using Stravinksy-inspired rhythms and orchestration in a piece which was an instant hit when it was premièred in 1937, a position it has never relinquished. Like many of his German contemporaries, four times married Carl Orff was obliged to go through the denazification process after the Second World War. It has been claimed, most notably by Canadian historian Michael Kater, that the composer was a Nazi collaborator, though he himself claimed he had helped to establish the White Rose anti-hitler resistance, and it is true that he was a friend of Kurt Huber, the movement s founder. On the other hand he did, at the regime s bidding, write a new Midsummer Night s Dream overture when Mendelssohn s was banned because of his Jewish identity. And, of course, it is true that Carmina Burana was the outstanding musical success of the Nazi era. Nor did Orff use his influence to help Huber before that man s execution, yet later, at the end of the war, he wrote a letter to him (executed three years before), imploring his forgiveness. Wherever his sympathies really lay, however, the Americans finally classified him as gray acceptable like many other Germans of the time and he was free to continue composing and enjoying his success. He wrote other works apart from Carmina Burana, including Schulwerk ( School Work ) and Musik für Kinder ( Music for children ). The musical ideas in these pieces,

6 developed with Gunild Keetman, resulted in Orff Schulwerk, an innovative approach to music education combining movement, singing, playing and improvisation. Orff s preference for the performance of his masterwork would include many of the same elements and Carmina Burana would ideally be performed in the theatre. But today, despite the composer s fascination with the interrelation of different art forms, the piece is most usually heard and seen in the concert hall or, indeed, the cathedral, perhaps an interesting venue for a work that celebrates the tavern and the court of love. Yet these are at the heart of human existence, and their earthly realities (and the lyrics earthy descriptions of them) are a necessary adjunct to the heavenly aspirations enclosed within this majestic building s arching walls. After all, Jesus himself saw to the quality of the wine at the marriage of Cana, and accepted with love the homage of Mary Magdalene, a woman of apparently compromised virtue. The work opens with the majestic Fortuna Imperatrix Mundi (Fortune, Empress of the World) which warns of the wheel of fortune: one minute you are up, the next you are down and an inexorable fate awaits. The next poem laments the wounds that fortune deals and then we enter a section called Primo Vere (springtime) which celebrates the cycle of rebirth and optimism of that season. We move from the delights of spring to In Taberna (In the tavern) and here only the men of the chorus sing, fittingly, those monks would have believed, with the (male) soloists. The lament of the slowly roasting swan has to be one of the most challenging pieces in the entire tenor repertoire. From the tavern to Cour d Amours (the Court of Love) for the seductive world of sensual pleasure, seduction and rapture. Dulcissime (Sweetest Boy) sings the soprano in ecstasy, and the section culminates in the stately joy of Blanziflor et Helena to celebrate the couple s union. But, as we were warned, the wheel turns and such earthly delights evaporate as fate, in the form of the work s extraordinary Fortuna opening, returns and brings Carmina Burana to its magnificent and compelling end. Primo pro nummata vini ex hac bibunt libertini: semel bibunt pro captivis, post hec bibunt ter pro vivis, quater pro Christianis cunctis, quinquies pro fidelibus defunctis sexies pro sororibus vanis, septies pro militibus silvanis. Octies pro fratribus perversis, nonies pro monachis dispersis, decies pro navigantibus, undecies pro discordantibus, duodecies pro penitentibus, tredecies pro iter angentibus. Tam pro papa quam pro rege bibunt omnes sine lege. Bibit hera, bibit herus, bibit miles, bibit clerus, bibit ille, bibit illa, bibit servus cum ancilla, bibit velox, bibit piger, bibit albus, bibit niger, bibit constans, bibit vagus, bibit rudis, bibit magus. Bibit pauper et egrotus, bibit exul et ignotus, bibit puer, bibit canus, bibit presul et decanus, bibit soror, bibit frater, bibit anus, bibit mater, bibit iste, bibit ille, bibunt centum, bibunt mille. Parum sexcente nummate durant cum immoderate bibunt omnes sine meta, quamvis bibant men te leta, sic nos rodunt omnes gentes et sic erimus egentes. Qui nos rodunt confundantur et cum iustis non scribantur. Io, io, io! First of all it is to the wine-merchant that the libertines drink, one for the prisoners, three for the living, four for all Christians, five for the faithful dead. six for the loose sisters, seven for the footpads in the wood. Eight for the errant brethren, nine for the dispersed monks, ten for the seamen, eleven for the squabblers, twelve for the penitent, thirteen for the wayfarers. To the Pope as to the king they all drink without restraint. The mistress drinks, the master drinks, the soldier drinks, the priest drinks, the man drinks, the woman drinks, the servant drinks with the maid, the swift man drinks, the lazy man drinks, the white man drinks, the black man drinks, the settled man drinks, the wanderer drinks, the stupid man drinks, the wise man drinks, The poor man drinks, the sick man drinks, the exile drinks, and the stranger, the boy drinks, the old man drinks, the bishop drinks, and the deacon, the sister drinks, the brother drinks, the old lady drinks, the mother drinks, this man drinks, that man drinks, a hundred drink, a thousand drink. Six hundred pennies would hardly suffice, if everyone drinks immoderately and immeasurably. However much the cheerful drink we are the ones whom everyone scolds, and thus we are destitute. May those who slander us be cursed and may their names not be written in the book of the righteous. Io, io, io!

7 Miser, miser! modo niger et ustus fortiter! Girat, regirat garcifer; me rogus urit fortiter: propinat me nunc dapifer, Miser, miser! etc. Nunc in scutella iaceo, et volitare nequeo, dentes frendentes video: Miser, miser! etc. 13. EGO SUM ABBAS Ego sum abbas Cucaniensis et consilium meum est cum bibulis, et in secta Decii voluntas mea est, et qui mane me quesierit in taberna, post vesperam nudus egredietur, et sic denudatus veste clamabit: Wafna, wafna! quid fecisti sors turpissima? Nostre vite gaudia abstulisti omnia! Haha! 14. IN TABERNA QUANDO SUMUS In taberna quando sumus, non curamus quid sit humus, sed ad ludum properamus, cui semper insudamus. Quid agatur in taberna, ubi nummus est pincerna, hoc est opus ut queratur, sic quid loquar, audiatur. Quidam ludunt, quidam bibunt, quidam indiscrete vivunt. Sed in ludo qui morantur, ex his quidam denudantur, quidam ibi vestiuntur, quidam saccis induuntur. Ibi nullus timet mortem, sed pro Baccho mittunt sortem. Misery me! Now black and roasting fiercely! The servant is turning me on the spit; I am burning fiercely on the pyre; the steward now serves me up. Misery me! etc. Now I lie on a plate, and cannot fly anymore, I see bared teeth: Misery me! etc. 13. I AM THE ABBOT I am the abbot of Cockaigne and my assembly is one of drinkers, and I wish to be in the order of Decius 1, and whoever searches me out at the tavern in the morning, after Vespers he will leave naked, and thus stripped of his clothes he will call out: Woe! Woe! what have you done, vilest Fate? The joys of my life you have taken all away! Haha! 14. THE TAVERN When we are in the tavern, we do not think how we will go to dust, but we hurry to gamble, which always makes us sweat, What happens in the tavern, where money is host, you may well ask, and hear what I say. Some gamble, some drink, some behave loosely. But of those who gamble, some are stripped bare, some win their clothes here, some are dressed in sacks. Here no-one fears death, but they throw the dice in the name of Bacchus. (1 Decius: the invented Saint of dice-throwers) Tara Bungard has a wide repertoire spanning oratorio, opera and jazz and enjoys a busy and varied career, having performed extensively throughout Europe and in the USA. A seasoned oratorio soloist, she has sung Haydn s St Nicholas Mass under Nicholas Cleobury, Handel s Messiah with the London Handel Orchestra and Mozart s Vespraes Solemnes de Confessore with the London Chamber Orchestra. Her other oratorio engagements include Bach s St John and St Matthew Passions, Haydn s Nelson Mass and Creation, Orff s Carmina Burana, Mozart s Requiem and C Minor Mass, Mendelssohn s Elijah, Brahms Ein deutches Requiem and Verdi s Requiem. Tara has also performed such concert works as Mozart s Exultate Jubilate, Haydn s great scena, Berenice, che fai? and Menotti s Muero porque no muero. In a lighter vein, she also occasionally appears as a soloist with the Piccadilly Dance Orchestra and performed in their 20th Anniversary concert at Cadogan Hall. Her operatic repertoire is varied and includes such roles as Musetta (La Bohème), Adina (The Elixir of Love), Marzelline (Fidelio), Gilda (Rigoletto), Fiordiligi (Cosi fan Tutte), Gretel (Hansel and Gretel), Pamina (The Magic Flute) and the title roles in Tosca and Carmen. Future engagements include a recital in January as part of the King s Ely Recital Series. Ashley Harries has been involved in music-making around East Anglia for the past 20 years. He has been a lay clerk at Ely Cathedral for 17 years, although most of last year was spent on sabbatical, engaging in professional work in London. From January he takes up a post at Norwich Cathedral. Ashley studied with Charles Brett and now Ashley Stafford. With Charles Brett, he has worked on a two-volume anthology of Baroque songs for counter-tenor (to be published in November by Green Man Press). Works as a soloist include Purcell s The Fairy Queen and Come, ye sons of art, Vivaldi s Gloria, Mozart s Krönungsmesse and Requiem, Handel s Messiah, Haydn s Nelson Mass, Schöpfungsmesse, Harmoniemesse and Theresienmesse, and Bach s Matthäus- Passion, Magnificat and several cantatas.

8 Tom Appleton is the Music Director of the King's Lynn Festival Chorus, Director of Music Outreach at Gresham's School, and regularly sings under Sir John Eliot Gardiner in the Monteverdi Choir. Since graduating from the University of York in 2007, Tom has sung at the Royal Opera House, Covent Garden, Carnegie Hall, New York, the Duomo, Pisa, and at the Royal Albert Hall, where he was a soloist in the BBC Proms with the Monteverdi Choir. In the coming months the group's 2015 recording of Bach's B Minor Mass will be released, and Tom will perform Janáček s Glagolitic Mass in Zurich with them. As Musical Director of the King's Lynn Festival Chorus, Tom has enjoyed conducting performances of many of the major choral works with artists such as the English Chamber Orchestra and Dame Emma Kirkby, and the European Union Chamber Orchestra. He is delighted to have been chorus master on tonight's project. One of Tom's other great passions is running musical education programmes. At Gresham's, Tom works with hundreds of children a year. He aims to bring high quality musical experiences to children from diverse social and economical backgrounds. He is the artistic director of the International Britten Music Course, and has helped create a year long programme of collaboration between Gresham's and thenational Youth Choir of Great Britain. Ste ve B ing ham s t u d i e d v i ol i n w i t h E m a n u e l Hur w i t z, Si dney Gr il ler and the Amadeus Quartet at the Royal Academy of Music from 1981 to 1985, winning prizes for orchestral leading and string quartet playing. He is founder and lead violinist of the Bingham String Quartet, internationally known for its performances of both classical and contemporary repertoire. Steve has appeared as guest leader with many orchestras, including the BBC Scottish Symphony Orchestra and Scottish Chamber Orchestra, English National Ballet and English Sinfonia. He has given solo recitals in the UK and America and his concerto performances include works by Bach, Vivaldi, Bruch, Prokofiev, Mendelssohn and Sibelius. Steve is developing a sound reputation as a conductor. As well as Ely Sinfonia, he is musical director of the City of Peterborough Symphony Orchestra, and he is increasingly being invited to appear as guest conductor with groups all over the country. As a violinist, Steve is keenly interested in improvisation, electronics and world music. He has collaborated with several notable musicians in the field of world music, and has also released five solo CDs: Duplicity, Ascension, Third, The Persistence of Vision and Touch. k II. IN TABERNA 11. ESTUANS INTERIUS Estuans interius ira vehementi in amaritudine loquor mee menti: factus de materia, cinis elementi similis sum folio, de quo ludunt venti. Cum sit enim proprium viro sapienti supra petram ponere sedem fundamenti, stultus ego comparor fluvio labenti, sub eodem tramite nunquam permanenti. Feror ego veluti sine nauta navis, ut per vias aeris vaga fertur avis; non me tenent vincula, non me tenet clavis, quero mihi similes et adiungor pravis. Mihi cordis gravitas res videtur gravis; iocus est amabilis dulciorque favis; quicquid Venus imperat, labor est suavis, que nunquam in cordibus habitat ignavis. Via lata gradior more iuventutis, inplicor et vitiis immemor virtutis, voluptatis avidus magis quam salutis, mortuus in anima curam gero cutis. 12. OLIM LACUS COLUERAM Cignus ustus cantat: Olim lacus colueram, olim pulcher extiteram, dum cignus ego fueram. II. IN THE TAVERN 11. BURNING INSIDE Burning inside with violent anger, bitterly I speak my heart: Created from matter, of the ashes of the elements, I am like a leaf played with by the winds. If it is the way of the wise man to build foundations on stone, then I am a fool, like a flowing stream, which in its course never changes. I am carried along like a ship without a steersman, and in the paths of the air like a light, hovering bird; chains cannot hold me, keys cannot imprison me, I look for people like me and join the wretches. The heaviness of my heart seems a burden to me; it is pleasant to joke and sweeter than honeycomb; whatever Venus commands is a sweet duty, she never dwells in a lazy heart. I travel the broad path as is the way of youth, I give myself to vice, unmindful of virtue, I am eager for the pleasures of the flesh more than for salvation, my soul is dead, so I shall look after the flesh. 12. ONCE I LIVED ON LAKES The roasted swan sings: Once I lived on lakes, once I looked beautiful when I was a swan.

9 8. CHRAMER, GIP DIE VARWE MIR Chramer, gip die varwe mir, die min wengel roete, damit ich die jungen man an ir dank der minnenliebe noete. Seht mich an, jungen man! lat mich iu gevallen! Minnet, tugentliche man, minnecliche frouwen! minne tuot iu hoch gemuot unde lat iuch in hohen eren schouwen. Seht mich an Wol dir werlt, das du bist also freudenriche! ich will dir sin undertan durch din liebe immer sicherliche. Seht mich an 9. REIE Swaz hie gat umbe, daz sint allez megede, die wellent an man alle disen sumer gan Chume, chum, geselle min, ih enbite harte din. Suzer rosenvarwer munt, chum unde mache mich gesunt. Swaz hie gat umbe, 8. SHOPKEEPER, GIVE ME COLOUR Shopkeeper, give me colour to make my cheeks red, so that I can make the young men love me, against their will Look at me, young men! Let me please you! Good men, love women worthy of love! Love ennobles your spirit and gives you honour. Look at me, etc. Hail, world, so rich in joys! I will be obedient to you because of the pleasures you afford. Look at me, etc. 9. ROUND DANCE Those who go round and round are all maidens, they want to do without a man all summer long. Ah! Sla! Come, come, my love, I long for you. Sweet rose-red lips, come and make me better. Those who go round, etc. About Ely Sinfonia Ely Sinfonia was founded in November 1999 by a group led by ADeC (Arts Development in East Cambridgeshire), with the aim of becoming a beacon of excellence as East Cambridgeshire s own community orchestra. Since then it has become one of the region s best respected orchestras. Today, Ely Sinfonia is made up of players of all ages and backgrounds, including school and college students, business professionals, retired people and local music teachers. Our repertoire ranges from mainstream works to the contemporary, including special commissions. We are strong supporters of the Cambridge Young Composer of the Year competition and winners pieces have frequently been played at our concerts. The orchestra has close links with Ely Cathedral, regularly providing small groups to play at events such as the Easter Day Mass. Other projects include open workshops, when less experienced players have the chance to play alongside the orchestra s regular members and develop their orchestral and ensemble playing techniques. publicity@elysinfonia.co.uk 10. WERE DIU WERLT ALLE MIN Were diu werlt alle min von dem mere unze an den Rin, des wolt ih mih darben, daz diu chu negin von Engellant lege an minen armen. Hei! 10. IF ALL THE WORLD WERE MINE If all the world were mine from the sea to the Rhine, I would do without it if the Queen of England would lie in my arms. Hey! The next Ely Sinfonia workshop will be on Sunday 8th November 2015 Open to all-comers of grade V standard or above. We shall spend the day studying Beethoven s fabulous Symphony no 9 under the expert guidance of our conductor and artistic director, Steve Bingham. For further details or to register for the workshop, please Dave McLeish on workshops@elysinfonia.co.uk.

10 Kings Lynn Festival Chorus King s Lynn Festival Chorus is a friendly and dynamic choir drawn from the local community in King s Lynn and West Norfolk. Initially formed in 1977 to perform in the King s Lynn Festival, the choir continues to do so, but also sings and rehearses throughout the year, usually giving three concerts. They are privileged to have performed with such luminaries as Dame Emma Kirkby, Crispin Steele- Perkins and soloists from the Monteverdi Choir. This summer they joined children at Gresham s School to perform Mass in Blue with the composer Will Todd at the piano. They expect to work with Dame Emma again in 2016 when we are singing Handel s Messiah in St Nicholas Chapel in King s Lynn. Under the musical direction of Tom Appleton, the chorus of around 100 enjoys singing a variety of music, both ancient and modern. Over the last 12 months, their concert programmes have ranged from Vivaldi s Gloria and Bach s Christmas Oratorio to Morten Lauridsen s Lux Aeterna and works by other living composers. They try to tour for a few days each year and last spring spent a long and enjoyable weekend in Dublin, singing in both cathedrals there. This winter they return to St Nicholas Chapel for our annual Christmas concert. Their busy diary for 2016 includes Mahler s Symphony no 8 in Norwich as well as a long weekend tour of Edinburgh. They always welcome new members and anyone with a basic vocal talent may audition for the Chorus, which meets weekly in King s Lynn. For more information visit Music director: Tom Appleton Soprano Clare Bee, Sally Bird, Diana Braithwaite, Amanda Claydon, Jean Coombeer- McGarrick, Katie Fisher, Helen Herbert, Ann Hullah, Margaret Hunt, Veronica Hutchby, Sheila Johnson, Claire Legg, Helen L Strange, Helen Lodge, Penny Matkin, Robin McCaffrey, Paula Moore Grace Ng, Carol Norwood, Daisy Norwood, Hazel Richards, Vickie Rose, Pam Robson, Fiona Ross, Gaynor Scrivenge, Sue Threlfall, Stephanie Walford, Heather Wells, Sheila West 5. ECCE GRATUM Ecce gratum et optatum Ver reducit gaudia, purpuratum floret pratum, Sol serenat omnia, iamiam cedant tristia! Estas redit, nunc recedit Hyemis sevitia. Iam liquescit et decrescit grando, nix et cetera, bruma fugit, et iam sugit, Ver Estatis ubera; illi mens est misera, qui nec vivit, nec lascivit sub Estatis dextera. Gloriantur et letantur in melle dulcedinis qui conantur, ut utantur premio Cupidinis; simus jussu Cypridis gloriantes et letantes pares esse Paridis 5. BEHOLD, THE PLEASANT SPRING Behold the pleasant and longed-for spring brings back joyfulness, violet flowers fill the meadows, the sun brightens everything, sadness is now at an end! Summer returns, now withdraw the rigours of winter. Ah! Now melts and disappears ice, snow and the rest, winter flees, and now spring sucks at summer s breast: A wretched soul is he who does not live or lust under summer s rule. Ah! They glory and rejoice in honeyed sweetness who strive to make use of Cupid s prize; At Venus command let us glory and rejoice in being Paris equals. Ah! Alto Tenor Bass Jan Clubb, Yodah Galloway, Nicky Godfrey, Wendy Hendrie, Margaret Horn, Alison Hoyle, Amanda Hughes, Audrey Jones, Lissa Kinsey, Helen Lilley, Jane Little, Fiona McGovern, Denise Mole, Debbie Nelson, Anne Peppitt, Sue Rodwell, Nina Rye, Linda Shearn, Jan Smith, Sue Stewart, Penny Sutton, Fiona Thompson, Jan Willson, Jane Wilson Kevin Carruthers, Ian Mack, Keith Macleod, Jim McGarrick, Neil Quinn, Ron Scarisbrick, Barbara Smith, Glyn Watkins, Derek Wilkins Clive Aldred, Martin Bird,, Andrew Haig, Alan Hartley, Oliver Hendrie, Tony Nelson, Tom Robson, Mark Scrivenger, Andrew Stewart, Nick Torry, David Wagstaff, Tony Williams, Pete Willson, Bob Wilson UF DEM ANGER 6. TANZ 7. FLORET SILVA Floret silva nobilis floribus et foliis. Ubi est antiquus meus amicus? Ah! hinc equitavit, eia, quis me amabit? Floret silva undique, nah mime gesellen ist mir wê. Gruonet der walt allenthalben, wâ ist min geselle alse lange? der ist geriten hinnen, owî, wer soll mich minnen? ON THE GREEN 6. DANCE 7. THE NOBLE WOODS ARE BURGEONING The noble woods are burgeoning with flowers and leaves, Where is the lover I knew? Ah! He has ridden off! Oh! Who will love me? Ah! The woods are burgeoning all over, I am pining for my lover, The woods are turning green all over, why is my lover away so long? Ah! He has ridden off, Oh woe, who will love me? Ah!

11 Flore fusus gremio Phoebus novo more risum dat, hoc vario iam stipate flore Zephyrus nectareo spirans in odore; certatim pro bravio curramus in amore. Cytharizat cantico dulcis Philomena, flore rident vario prata iam serena, salit cetus avium silve per amena, chorus promit virginum iam gaudia millena. 4. OMNIA SOL TEMPERAT Omnia Sol temperat purus et subtilis, novo mundo reserat facies Aprilis, ad Amorem properat animus herilis, et iocundis imperat deus puerilis. Rerum tanta novitas in solemni vere et veris auctoritas iubet nos gaudere; vias prebet solitas, et in tuo vere fides est et probitas tuum retinere. Ama me fideliter! fidem meam nota: de corde totaliter et ex mente tota sum presentialiter absens in remota. quisquis amat taliter, volvitur in rota. Lying in Flora s lap Phoebus once more smiles, now covered in many-coloured flowers, Zephyr breathes nectar-scented breezes. Let us rush to compete for love s prize. Ah! In harp-like tones sings the sweet nightingale, with many flowers the joyous meadows are laughing, a flock of birds rises up through the pleasant forests, the chorus of maidens already promises a thousand joys. Ah. 4. THE SUN WARMS EVERYTHING The sun warms everything, pure and gentle, once again it reveals to the world April s face, the soul of man is urged towards love and joys are governed by the boy-god. All this rebirth in spring s festivity and spring s power bids us to rejoice; it shows us paths we know well, and in your springtime it is true and right to keep what is yours. Love me faithfully! See how I am faithful: With all my heart and with all my soul, I am with you Even when I am far away. Whoever loves this much turns on the wheel. Ely Consort Ely Consort is a chamber choir of about forty voices. Performing music in a wide variety of styles; its performance venues include Ely Cathedral as well as other local churches. Ely Consort has built up a performing reputation over the last twenty five plus years to be known as one of the premier chamber choirs in East Anglia, a reputation it is very proud of maintaining. Conductor: Soprano: Alto: Tenor: Bass: Matthew Rudd Miriam Brown, Lydia Hill, Jane Johannessen, Claire Nicholl, Bev Sweet Kathryn Faulkner, Hannah Fitches Nick Barton, Peter Lancaster, Charles Schneider Peter Wright Ely St Mary s C of E Junior School Conductor: Hazel Law Music plays an important and distinctive part in shaping the ethos and culture of St Mary s and is one of its strengths. United Voices, the choir representing the school today, were last year s winners of The Peterborough Music Festival s Junior Choir s Class. It is one of two choirs, the other of which is more than eighty strong! The school also has an orchestra, a ukelele group and a steel band and all the children in year 3 get to learn a stringed instrument as part of the music curriculum. Singers: Abbie Leonard,, Amy Hutchings, Ashwinjan Anga, Cameron Ludlow, Chloe Wymer, Csenge kalazdi, Elizabeth Alfaro Picado, Ella Fraser, Ellie Donelly-Mabbott, Ellis Lamb, Felix Turrell, Genevieve Dean, Grace Nanayakara, Grace Pennington, Jade Watts, Lauren Yeomans, Lilia Cassam, Lilymay Kenny, Lola Harfield, Louis Foulkes, Lucy Francis, Mia Wisbey, Noah Jewkes, Sasha Bower, Skye Bailey, Stella Coe, William Jones

12 Ely Youth Choir Ely Youth Choir is Ely Choral Society s community choir for year olds. It was set up in 2010 so that the next generation of choral singers can access quality training in an afterschool setting and take part in concerts and local events. There are no auditions and, currently, no fees. Membership is open to anyone in the age group who wants to sing. The choir, which has been conducted by Andrew Parnell since its foundation, participates in many Ely Choral Society concerts and performs at community and charity events in its own right. The repertoire is very broad, from Adele to Hairspray to Handel. In 2014, EYC members took part in the second Scratch Youth Messiah at the Royal Albert Hall, which was named Best Classical Music Education Initiative 2015 by the Music Teacher Awards for Excellence. They will take part in this year s performance, on 29th November. The choir devised and hosted the Ely Youth Choir Festival in 2013 and 2015, for youth choirs in our region. It formed the Ely Integrated Youth Choir with singers from Highfield Special School to perform at community events, including a stunning inaugural performance at Ely s Paralympic Flame Celebration event as part of London Ely Youth Choir is managed by a steering group of Ely Choral Society members. Ely Choral Society funds its core running costs as part of its public benefit work as a registered charity. Conductor: Andrew Parnell Members: Daniel Allgood, Rachel Barton, Emily Eidson, Katelyn Eidson, Natalie Gerighty, Kimberleigh Hewson, Ellis Hociej, Hope Macguire, Nomalanga Mhlanga, Samantha Mhlanga, Adrienne Schneider, Saskia Winkel. 2. FORTUNE PLANGO VULNERA Fortune plango vulnera stillantibus ocellis, quod sua michi munera subtrahit rebellis. Verum est, quod legitur fronte capillata, sed plerumque sequitur Occasio calvata. In Fortune solio sederam elatus, prosperitatis vario flore coronatus; quicquid enim florui felix et beatus, nunc a summo corrui gloria privatus. Fortune rota volvitur: descendo minoratus; alter in altum tollitur; nimis exaltatus rex sedet in vertice caveat ruinam! nam sub axe legimus Hecubam reginam. I. PRIMO VERE 3. VERIS LETA FACIES Veris leta facies mundo propinatur, hiemalis acies victa iam fugatur, in vestitu vario Flora principatur, nemorum dulcisono que cantu celebratur. 2. I BEMOAN THE WOUNDS OF FORTUNE I bemoan the wounds of Fortune with weeping eyes, for the gifts she made me she perversely takes away. It is written in truth, that she has a fine head of hair, but, when it comes to seizing an opportunity, she is bald. On Fortune s throne I used to sit raised up, crowned with the many-coloured flowers of prosperity; though I may have flourished happy and blessed, now I fall from the peak deprived of glory. The wheel of Fortune turns: I go down, demeaned; another is raised up; far too high up sits the king at the summit let him fear ruin! for under the axis is written Queen Hecuba. I. SPRING 3. THE MERRY FACE OF SPRING The merry face of spring turns to the world, sharp winter now flees, vanquished; bedecked in various colours Flora reigns, The harmony of the woods Praises her in song. Ah!

13 Songs of the Auvergne Pastourelle Come close to me so I can see you. Come to my side so we can talk. And the rest of the day we will talk of love. But I cannot pass, how can I do it? I have no boat, nor bridge to cross the water, Nor a shepherd to love me faithfully. You shall quickly have a boat and you will be happy. You will have a bridge, and a shepherd who will remain faithful to the grave. L Antoueno (Antoine) When we go to the fair, We will go together, Antoine. We will buy a cow together, Antoine. But the cow will be mine. The horns will be for you, Antoine! La Pastrouletta e Lou Chibalie (The Shepherdess and her Cavalier) Would you like a little shepherdess, shepherd? I will keep all well close, cavalier. I will keep all close, little nightingale. Come and sit in the shade, shepherd. The shade is wet with dew, cavalier. The shade is wet with dew, little nightingale. Over there the fern is dry, shepherd. Let s go and pass an hour, cavalier. Let s go and pass an hour, little nightingale.

14 La Delaissado (The Abandoned One) A shepherdess waits over there in the high woods for one whom she loves, But he does not come. He has abandoned me! I do not see my beloved. I believed myself loved, and I loved him better. When the stars appear, they herald the night. The poor shepherdess remains alone and weeps. N ai pas ieu de mio (I Have Not a Loved One) I have no friends. I am only a shepherdess. I do not have one to whom I could be faithful, And if my beloved loves me well, I will cover him with flowers and kisses. On the bridge there are two birds. They sing not for lovers. If one thing is true, They will sing for the sweet beloved who is close to me. In the fields there are beautiful flowers, Blues, reds, all colours. And I will go and gather them And take them to my beloved. Bailero Shepherd, over there beyond the water, you re surely not having fun. Sing bailero. None at all, and you? Bailero. Shepherd, the grass is in flower. Come here to tend your flock. Sing bailero. The grass is better here, so come. Bailero. Shepherd, the water separates us and I cannot cross. Sing bailero. I will come down to find you. Bailero. CARMINA BURANA FORTUNA IMPERATRIX MUNDI 1. O FORTUNA O Fortuna, velut Luna statu variabilis, semper crescis aut decrescis; vita detestabilis nunc obdurat et tunc curat ludo mentis aciem, egestatem, potestatem dissolvit ut glaciem. Sors immanis et inanis, rota tu volubilis, status malus, vana salus semper dissolubilis, obumbrata et velata michi quoque niteris; nunc per ludum dorsum nudum fero tui sceleris. Sors salutis et virtutis michi nunc contraria est affectus et defectus semper in angaria. Hac in hora sine mora corde pulsum tangite; quod per sortem sternit fortem, mecum omnes plangite! FORTUNE EMPRESS OF THE WORLD 1. O FORTUNE O Fortune, Like the moon You are changeable, ever waxing and waning. Hateful life, first oppresses, and then soothes as fancy takes it; poverty, and power it melts them like ice. Fate - monstrous and empty, you whirling wheel, you are malevolent, well-being is in vain and always fades to nothing, shadowed and veiled you plague me too; now through the game I bring my bare back To your villainy. Fate is against me in health and virtue, driven on and weighted down, always enslaved. So at this hour without delay pluck the vibrating strings; since Fate strikes down the strong man, everyone weep with me!