The Haberdashers Aske s Boys School Spring Concert THE SYMPHONY ORCHESTRA AND CHORAL SOCIETY Conductors: Christopher Muhley & Claire Cousens Bourne Hall Tuesday 17th March 2015 7.00 pm
PROGRAMME THE SYMPHONY ORCHESTRA AND CHORAL SOCIETY Glinka Overture: Russlan & Ludmilla Franck Symphony in D minor 1st movement Conductor: Christopher Muhley INTERVAL twenty minutes (Refreshments are served in the foyer) Orff Carmina Burana Charmain Bedford (Soprano) Daniel Joy (Tenor) Tom Stoddart (Baritone) Conductor: Claire Cousens Please switch off your mobile phone
Glinka: Overture: Russlan & Ludmilla Mikhail Glinka (1804-1857) is famous today for just one piece only and this is it, the overture to his opera Russlan and Ludmilla. The opera, whilst still performed in Russian theatres, has largely vanished from the repertoire of opera houses in the West; more s the pity because on the evidence of this overture, Glinka is both a fluent and vibrant composer. Apparently, the overture was composed at the very last moment, hours before the work s first performance, (a not unusual occurrence in the annals of operatic history). Certainly the music suggests he is in a hell of a hurry, for it hurtles along at a fair rate of knots: no chance for the orchestra to ease gently into things here! Several of the passages near the start of the movement are not quite as hard as they sound, but later on there is some fiendish stuff for the violins in particular as Glinka does his best to confuse us with elements of both western and oriental scales. The opera had an initial success and between 1842 and 1846 it was performed 56 times. We are left today with just this torso, a shame because it promises much. FJR Franck: Symphony in D minor 1st movement César Franck s Symphony in D minor is the most famous and performed orchestral work of the 19th-century Belgian composer. Dedicated to a pupil of his, Henri Duparc (who himself was a prolific composer), the work took two years to complete, and was finished on the 22nd August 1888. Composed towards the end of his life, the Symphony was one of his last works, performed only a year before his death. Despite the piece now being a staple part of canonic orchestral repertoire, the initial reaction to the performance and composition of the piece was extremely hostile. The recent Franco-Prussian War aroused a strong anti-german spirit amongst the French population, with composers keen to establish a French style of music as a reaction to the German Romantic idiom that had been dominated by composers such as Beethoven, Mahler and Wagner. The Symphonic form was very rare in 19th Century France, which considered the Symphony a mainstay of German music. Thus the reception of Franck s symphony was greatly affected by the politicised world of French music, whereby conservative composers such as Saint- Saëns and Vincent d Indy, amongst other high profile commentators, considered this an unacceptable betrayal of French music.
Tonight we shall be performing the first movement of this three movement symphony. The simple theme outlined in the first four bars of this piece by the lower strings forms the thematic basis for the entire work. This theme, transformed through a variety of keys, crops up again and again throughout the movement and is outlined at the start of the 2nd and 3rd movements. Indeed, César Franck s Symphony in D minor remains the most outstanding example of cyclic symphonic writing in the Romantic tradition. The structure of this movement is a standard Sonata-Allegro form: beginning lento (very slow), before then moving to a faster Allegro section. CASM Carl Orff: Carmina Burana The lyrics of this popular choral work originate from a set of around 250 poems contained on a 13th century German manuscript and discovered in 1803 in the Benedictine abbey of Benediktbeuern located roughly halfway between Munich and Innsbruck. A gentleman by the name of Johann Andreas Schmeller produced a complete edition of the poems and gave it the title Carmina Burana, meaning "Songs of Beuern". Most of the poems used in the work are in Latin but a few are in Middle High German and are comprised of political, moral, religious, Bacchic, satirical, even erotic verses. Written in 1936 and first performed to considerable acclaim in June 1937 in Frankfurt, it has always been regarded as an "accessible" piece of music for an audience not normally considered as being lovers of classical music, let alone 20th century classical music. It was the first of a trilogy of works but has always been the best known of the three, the other two (Catulli Carmina and Trionfo di Afrodite) coming nowhere near the raw power and appeal of the first. Despite being modern in terms of its creation, it is the basic and simple harmonies and driving rhythms in the music that allow listeners with a variety of musical preferences to feel attracted to it all. Carl Orff (1895-1982) was foremost a music educationalist as well as a composer. Some music scholars would say that his best music is not in Carmina Burana, but in his "Schülwerk" of 1930-35, a set of musical exercises for schoolchildren that stick in the mind much better than the typical sort of chanting in music lessons. Orff knew that the way to engage a child's attention was not by clever harmonic progressions, but by clear single-line melodies with robust tunes and lively rhythms, often with a pulse-quickening missed beat or two. As the composer destroyed all his classical work before Carmina Burana apart from "Schülwerk", he would seem to agree and judging from the music's subsequent success it would seem to work for adults too.
1. Fortuna Imperatrix Mundi (Fortune, Empress of the World) O Fortuna (Chorus) O Fortune O Fortuna velut luna statu variabilis semper crescis aut decrescis; vita detestabilis nunc obdurate 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! 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 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; ince Fate strikes down the string man, everyone weep with me! 2. Fortune plango vulnera (I bemoan the wounds of Fortune) Fortune plango vulnera stillantibus ocellis quod sua michi munera I bemoan the wounds of Fortune with weeping eyes, for the gifts she made me
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. 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. Fortune rota volvitur: The wheel of Fortune turns; descendo minoratus; I go down, demeaned; alter in altum tollitur; another is raised up; nimis exaltatus far too high up rex sedet in vertice sits the king at the summit - caveat ruinam! let him fear ruin! nam sub axe legimus for under the axis is written Hecubam reginam. Queen Hecuba. PRIMO VERE (SPRING) 3. Veris leta facies (The merry face of spring) Veris leta facies mundo propinatur, hiemalis acies victa iam fugatur, in vestitu vario Flora principatur, nemorum dulcisono que cantu celebratur. Flore fusus gremio Phebus novo more risum dat, hac vario iam stipate flore. Zephyrus nectareo spirans in odore. Certatim pro bravio curramus in amore. 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! Lying in Flora's lap Phoebus once more smiles, now covered in many-coloured flowers, Zephyr breathes nectarscented breezes. Let us rush to compete for love's prize. Ah!
Cytharizat cantico In harp-like tones sings dulcis Philomena, the sweet nightingale, flore rident vario with many flowers prata iam serena, the joyous meadows are laughing, salit cetus avium a flock of birds rises up silve per amena, through the pleasant forests, chorus promit virgin the chorus of maidens iam gaudia millena. already promises a thousand joys. Ah! 4. Omnia sol temperat (The sun warms everything) Omnia sol temperat purus et subtilis, novo mundo reserat faciem Aprilis, ad amorem properat animus herilis et iocundis imperat deus puerilis. Rerum tanta novitas in solemni vere et veris auctoritas jubet nos gaudere; vias prebet solitas, et in tuo vere fides est et probitas tuum retinere. Ama me fideliter, fidem meam noto: de corde totaliter et ex mente tota sum presentialiter absens in remota, quisquis amat taliter, volvitur in rota. 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. Whosoever loves this much turns on the wheel. 5 Ecce gratum (Behold, the pleasant spring) Ecce gratum et optatum Ver reducit gaudia, Purpuratum floret pratum, Sol serenat omnia. Iamiam cedant tristia! Estas redit, nunc recedit 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
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. Uf dem anger 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! 6. Tanz (Dance) 7. Floret silva nobilis (The woods are burgeoning) Floret silva nobilis floribus et foliis. Ubi est antiquus meus amicus? Hinc equitavit, eia, quis me amabit? Floret silva undique, nah min gesellen ist mir we. Gruonet der walt allenthalben, wa ist min geselle alse lange? Der ist geriten hinnen, o wi, wer sol mich minnen? 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, 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!
8. Chramer, gip die varwe mir (Shopkeeper, give me colour) 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 gemout unde lat iuch in hohen eren schouwen Seht mich an jungen man! lat mich iu gevallen! Wol dir, werit, daz du bist also freudenriche! ich will dir sin undertan durch din liebe immer sicherliche. Seht mich an, jungen man! lat mich iu gevallen! 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, young men! Let me please you! Hail, world, so rich in joys! I will be obedient to you because of the pleasures you afford. Look at me, young men! Let me please you! 9. Reie (Round dance) Swaz hie gat umbe Swaz hie gat umbe, daz sint alles megede, die wellent an man allen disen sumer gan! Chume, chum, geselle min Chume, chum, geselle min, ih enbite harte din, ih enbite harte din, chume, chum, geselle min. Suzer rosenvarwer munt, chum un mache mich gesunt chum un mache mich gesunt, suzer rosenvarwer munt Swaz hie gat umbe Swaz hie gat umbe, daz sint alles megede, die wellent an man allen disen sumer gan! 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, I long for you, come, come, my love. Sweet rose-red lips, come and make me better, come and make me better, sweet rose-red lips. Those who go round and round are all maidens, they want to do without a man all summer long. Ah! Sla!
10. Were diu werlt alle min (Were all the world mine) Were diu werlt alle min von deme mere unze an den Rin des wolt ih mih darben, daz diu chunegin von Engellant lege an minen armen. Were all the world mine from the sea to the Rhine, I would starve myself of it so that the queen of England might lie in my arms. IN TABERNA 11. Estuans interius (Burning Inside) 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; iocis est amabilis dulciorque favis; quicquid Venus imperat, labor est suavis, que nunquam in cordibus habitat ignavis. Via lata gradior Burning inside with violent anger, bitterly I speak to 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, the 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 like 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
more iuventutis inplicor et vitiis immemor virtutis, voluptatis avidus magis quam salutis, mortuus in anima curam gero cutis. 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. Cignus ustus cantat (The Roast Swan) Olim lacus colueram, olim pulcher extiteram, dum cignus ego fueram. Miser, miser! modo niger et ustus fortiter! Girat, regirat garcifer; me rogus urit fortiter; propinat me nunc dapifer, Miser, miser! modo niger et ustus fortiter! Nunc in scutella iaceo, et volitare nequeo dentes frendentes video: Miser, miser! modo niger et ustus fortiter! Once I lived on lakes, once I looked beautiful when I was a swan. 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! Now black and roasting fiercely! Now I lie on a plate, and cannot fly anymore, I see bared teeth: Misery me! Now black and roasting fiercely! 13. Ego sum abbas (I am the abbot) 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! I am the abbot of Cockaigne and my assembly is one of drinkers, and I wish to be in the order of Decius, 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!
quid fecisti sors turpassi Nostre vite gaudia abstulisti omnia! what have you done, vilest Fate? the joys of my life you have taken all away! 14. In taberna quando sumus (When we are in the tavern) 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, si 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: 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 discordaniibus, duodecies pro penitentibus, tredecies pro iter agentibus. Tam pro papa quam pro rege bibunt omnes sine lege. Bibit hera, bibit herus, bibit miles, bibit clerus, bibit ille, bibit illa, bibit servis cum ancilla, 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. First of all is to the wine-merchant 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,
bibit velox, bibit piger, bibit albus, bibit niger, bibit constans, bibit vagus, bibit rudis, bibit magnus. 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 ista, bibit ille, bibunt centum, bibunt mille. Parum sexcente nummate durant, cum immoderate bibunt omnes sine meta. Quamvis bibant mente leta, sic nos rodunt omnes gentes et sic erimus egentes. Qui nos rodunt confundantur et cum iustis non scribantur. 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 they cheerfully 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. III. COUR D'AMOURS 15. Amor volat undique (Cupid flies everywhere) 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. 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.
16. Dies, nox et omnia (Day, night and everything) Dies, nox et omnia michi sunt contraria; virginum colloquia me fay planszer, oy suvenz suspirer, plu me fay temer. O sodales, ludite, vos qui scitis dicite michi mesto parcite, grand ey dolur, attamen consulite per voster honur. 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. Tua pulchra facies me fay planszer milies, pectus habet glacies. A remender statim vivus fierem per un baser. 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. Stetit puella (A girl stood) Stetit puella rufa tunica; si quis eam tetigit, tunica crepuit. Eia. Stetit puella tamquam rosula; facie splenduit, os eius fioruit. Eia. 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! 18. Circa mea pectora (In my heart) (Circa mea pectora multa sunt suspiria de tua pulchritudine, que me ledunt misere. Manda liet, Manda liet min geselle chumet niet. In my heart there are many sighs for your beauty, which wound me sorely. Ah! Mandaliet, mandaliet, my lover does not come.
Tui lucent oculi sicut solis radii, sicut splendor fulguris lucem donat tenebris. Manda liet Manda liet, min geselle chumet niet. Vellet deus, vallent dii quod mente proposui: ut eius virginea reserassem vincula. Manda liet, Manda liet, min geselle chumet niet. Your eyes shine like the rays of the sun, like the flashing of lightening which brightens the darkness. Ah! Mandaliet, mandaliet, my lover does not come. May God grant, may the gods grant what I have in mind: that I may loose the chains of her virginity. Ah! Mandaliet, mandaliet, my lover does not come. 19. Si puer cum puellula (If a boy with a girl) Semi Chorus: Charlie Morris, Jonathan Swallow, Andrew Simm, Alex Courtney, Dylan Dissanayake, Nils Gaukroger, Jason Lam, Alec Moore, Viraj Alimchandani, Robbie Swallow Si puer cum puellula moraretur in cellula, felix coniunctio. Amore suscrescente pariter e medio If a boy with a girl tarries in a little room, happy is their coupling. Love rises up, in their limbs, arms and lips. 20.Veni, veni, venias (Come, come, O come) Veni, veni, venias, ne me mori facias, hyrca, hyrce, nazaza, trillirivos Pulchra tibi facies oculorum acies, capillorum series, o quam clara species! Rosa rubicundior, lilio candidior omnibus formosior, semper in te glorior! Come, come, O come, do not let me die, hycra, hycre, 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, ovelier than all others, I shall always glory in you!
21. In truitina (In the balance) In truitina mentis dubia fluctuant contraria lascivus amor et pudicitia. Sed eligo quod video, collum iugo prebeo: ad iugum tamen suave transeo. 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. 22. Tempus es iocundum (This is the joyful time) Tempus es iocundum, o virgines, modo congaudete vos iuvenes. Oh, oh, oh, totus floreo, iam amore virginali totus ardeo, novus, novus amor est, quo pereo. Mea me confortat promissio, mea me deportat Oh, oh, oh totus floreo iam amore virginali totus ardeo, novus, novus amor est, quo pereo. Tempore brumali vir patiens, animo vernali lasciviens. Oh, oh, oh, totus floreo, iam amore virginali totus ardeo, novus, novus amor est, quo pereo. 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! I am bursting out all over! I am burning all over with first love! New, new love is what I am dying of! In the winter man is patient, the breath of spring makes him lust. 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!
Mea mecum ludit virginitas, mea me detrudit simplicitas. Oh, oh, oh, totus floreo, iam amore virginali totus ardeo, novus, novus amor est, quo pereo. Veni, domicella, cum gaudio, veni, veni, pulchra, iam pereo. Oh, oh, oh, totus floreo, iam amore virginali totus ardeo, novus, novus amor est, quo pereo. My virginity makes me frisky, my simplicity holds me back. 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! Come, my mistress, with joy, come, come, my pretty, I am dying! 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! 23. Dulcissime (Sweetest one) Dulcissime, totam tibi subdo me! Blanziflor Et Helena Sweetest one! Ah! I give myself to you totally! 24. Ave formosissima (Hail, most beautiful one) Ave formosissima, gemma pretiosa, ave decus virginum, virgo gloriosa, ave mundi luminar, ave mundi rosa, Blanziflor et Helena, Venus generosa! Fortuna Imperatrix Mundi 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! 25. O Fortuna (O Fortune) O Fortuna, velut luna statu variabilis, O Fortune, like the moon you are changeable,
semper crescis aut decrescis; vita detestabilis nunc obdurate 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! 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, everybody weep with me!
Soloists Charmain Bedford Charmian is a graduate from Clare College, Cambridge, where she read Classics and Trinity College of Music where she was a finalist in both the French Song Competition and the Lieder Prize and received the Paul Simm Opera Prize two years running for her portrayal of Blanche (Les Dialogues des Carmélites) and again for Anne Truelove (The Rake s Progress). Other operatic roles include Tytania (A Midsummer Night s Dream) for both Opéra de Baugé and Garsington Opera (cover), Rowan (Little Sweep) for Jubilee Opera, Belinda (Dido and Aeneas) for Silent Opera, Gilda (Rigoletto) for Bury Court Opera (cover), Catarina in Nicola LeFanu s new Chamber Opera Dream Hunter, Musetta (La bohème) for Go Opera and 2nd niece for the Aldeburgh Festival s award winning Grimes on the Beach. Varied concert performances have included premieres by Daniel Thomas Davis and Peter Child in Lontano s Festival of Contemporary American Music, songs by electronic composer Mira Calix for Opera North, 2nd Woman (Dido and Aeneas) with the Academy of Ancient Music, Mahler s Fourth Symphony with Aurora Orchestra, Israel in Egypt with the Monteverdi Choir, Berio s Laborintus II with Mahogany Opera at LSO St Luke s, Mozart s Requiem with the Australian Chamber Orchestra, Bach s Magnificat for BBC Radio 3, Bach Cantatas at Wigmore Hall and Vivaldi Dixit Dominus at St Sulpice, Paris and the Concertgebouw, Amsterdam. Daniel Joy Daniel studied music at Durham University where he gained a first class music degree, was awarded the Eve Myra Kisch Price Prize for outstanding academic achievement and was a choral scholar at Durham Cathedral, before studying on the postgraduate vocal course at The Royal College of Music, and recently graduated with distinction from the opera course at Guildhall School of Music and Drama. Daniel made his professional stage debut as Kozak in Statkowski's Maria for Wexford Festival Opera, also broadcast on BBC, Schweizer Radio DRS and RTE Radio Ireland. He has returned to Wexford to
perform The Poor Horn Player (Delius' A Village Romeo and Juliet) and Gherardo (Gianni Schicchi), the title role in Albert Herring at GSMD, covered of various roles in Monteverdi's L'incoronazione di Poppea for Glyndebourne Festival, cover of Cassio (Otello) for Opera North, Adolfo/Gobin/cover Prunier in Puccini s La Rondine for Opera di Peroni / Go Opera, The Duke (Rigoletto) and Goro (Madama Butterfly) both for Opera Brava, cover of Remendado (Carmen) for Scottish Opera, Alfred (Die Fledermaus) for Kentish opera and the lead role of Jimmy in John Estacio's Lillian Ailing at The Banff Centre, Canada, in a joint production with Vancouver Opera. Redcent concert performances include Verdi s Requiem at The Royal Albert Hall with The Royal Philharmonic Orchestra, Elgar s The Dream of Gerontius in Eton College, Finzi's Dies Natalis (Britten Sinfonia), Handel's Messiah (Cadogan Hall), the Evangelist in Bach's St John Passion (St. Martinin-the-Fields), Monteverdi's Vespers of 1610 (The English Cornet and Sackbutt Ensemble), Haydn's Missa Sancti Nicolai (Europen Union Chamber Orchestra), Finzi's Intimations of Immortality (West Road Concert Hall, Cambridge), Evangelist and arias in Bach's Christmas Oratorio (Armonico Consort), Britten's St Nicolas (Durham Cathedral), as well as recitals of songs by Tchaikovsky accompanied by Liubov Orfenova, and of madrigals by Monteverdi in Glyndebourne Festival as part of the Jerwood Young Artists Development Scheme. Tom Stoddart Young baritone Tom Stoddart has recently performed the role of Marcello La Boheme for OperaUpClose at Charing Cross Theatre. He has previously performed as Jack Rance La Fanciulla Del West for OperaUpClose to critical acclaim at the King s Head Theatre, Leporello in Don Giovanni (OperaUpClose) at the Soho Theatre and Paul in Les Enfants Terribles as part of the Grimeborn festival. His recent solo concert work includes; Mozart Requiem, Duruflé Reqiuem, Carmina Burana and St John Passion. Tom created the role of Chandler in Comedy Central s Friends-The Opera. Tom studies with Robert Dean.
The Symphony Orchestra 1st VIOLIN 2nd VIOLIN VIOLA CELLO Henry Gould* Hugo Max* Zechariah Mohamed* Noah Max* Nils Gaukroger Sameer Aiyar-Majeed* Arun Thavasothy* George Handley-MacMath* Edward Upson* Benedict Lavelle* Amaan Lakhani* Gordon Hao* Alex Down Naveed Bashir Pip Worn* Rohan Virani Philip Peters* Anushtup Ghosh Freddie Bird Phay Thi* Seungsoo Han Joshua Baumring-Gledhill Fai Li* Alex Davies Christopher Combemale Vishaal Patel* Siddharth Sheth* Boaz Halberstam* Ashvin Kuri Jai Thakrar* James Westmore Max Colbert Henry Peng Oliver Gledhill* Pranash Krishnakumar* Philip Chen* Kabir Mann* Aron Von Maydell* BASS Lorely Rive* Keeth Suthakaren George Lawrence* Fiona Robertson* Hari Asokan Jake Gilbey* Adiyant Lamba* Ronan Pandit Ravi Haria* Henry Rocha* Theo Sibtain* Lawrence Lee* Caroline Maguire* Aahil Damani* Michiko Negami* FLUTE/PICCOLO OBOE CLARINET BASSOON Keval Haria* Shamil Shah* Arun Doegar* Bruce Parris* James Meir* Saurav Karia* Adam Vaughan* Benjy Parikh* Aril Pandya* Roger Ren COR ANGLAIS Eb CLARINET CONTRA BASSOON Peter Sequeira* Leeran Talker* Howard Legge* BASS CLARINET Tim Benger* HORN TRUMPET TROMBONE TUBA Gabriel Wheway* Joe Atkins* Daniel Harris* Andrew Simm Sam Pathanathan* Joshua Diamond* Robbie Swallow Andy Martin* Harjivan Singh* Paddy Sidwell* Chris Fletcher* Krush Kotecha David Bentley* Jonathan Clark Alex Astruc* Elizabeth Perrottet* Jonathan Adams Steven Byron* PERCUSSION TIMPANI PIANOS CELESTE Daniel Ohrenstein* George Menon* Roxana Gozzard* Christopher Muhley* Matthew Lee* Isabel Mair* Daniel Calman* Hugo Davidson* Zachary Lande* Jon Ormston* *indicates Carmina Burana Orchestra
The Choir SOPRANO Roshan Patel Viraj Shah Nils Gaukroger Anita Ark Neal Patel Shane Shah Vithun Illankovan Thomas Arnott Aadit Prabhu Maria Stebbings Chris Joyce Nikhil Baid Louis Rivett-Carnac Sachin Thapar Ashvin Kuri George Balint Yuta Sato Mahin Vekaria Jason Lam Jay Batavia Rohan Sawhney Max Marmor Atharv Bibekar Alexander Schotness Pack TENOR Theo Michail Ejaaz Cardinouche Akshay Shah Benjamin Adams Alec Moore Aniket Chakravorty Ishaan Shah Jonathan Adams Charlie Morris Raphael Chung Anay Sharma Viraj Alimchandani Ronan Pandit Jonathan Cohen Manraj Singh Saneel Amin Anish Patel Jack Coles Saihajbir Singh Archuna Ananthamohan Iyon Rudran Guy Collins Jacqueline Spiro James Benson Andrew Simm Gaurav Dabas Solomon Summer Saif Abbas Chatoo Rahun Shah Charles Dray Rahul Sutharsan Jonathan Clark Robbie Swallow Keelan Farrell Abim Tayo Gordon Clark Joe Vaughan Harish Gangadevan Nayan Thapar Henry Colbert Rohan Virani Ethan Gerrard Angela Tong Max Colbert Chris White Jan Goodair Julie Tucker Alex Courtney Jamie Goodkind Nikhil Varodaria Nikhil Dawda Shunta Goto Yasinthan Vickneswaran Tom Eyre-Maunsell Isaac Green Rishi Virani Lewis Forman Eden Halperin Aron Von Maydell Che Ganarelli Zaki Hasan Lisaweta Von Truchsess Losel Gyaltsen Petroc Hauser Joseph Wolffe Rajeev Kumar Roshan Iynkaran Hugo Woodward Savan Mehta Ethan John Krish Nanavati Alex Kay ALTO Luke Stebbings Alex Kesterlian Tamilore Awosile Ben Stewart Shabarish Ketheeswaran Aditi Banerjee John Swallow Akshi Krishnakumar Rajeewa Basnayake Jeffrey Tooze Indie Kulkarni Aryaman Bhuwania Freddie Ugo Joshua Lee-Benson Maria Clark Anish Verma Evyatar Levin Guy Dabby-Joory Kavinthan Vickneswaran Joanna Lewy Maxine Down Anosan Vijayakaran Neel Madan Urszula Galuszka Rohan Maini Rohan Gandhi BASS Siobhin Manocha Kumayl Khamisa Karan Basu Gabriel Mendoza Ayman Khan Joshua Baumring- Gedhill Dorothy Miller-Smith Catherine Lockwood Adam Botkai Neil Mitra Ayan Mitra Ben Caplan Ethan Myers Alex Morzeria-Davis Matthew Desmond Sam Newman Irene Ng Dylan Dissanayake Kleanthes Papadopoulos Andrew O Sullivan Alex Down Hari Paramaswara Sayan Paheerathan Sam Fenn
ACKNOWLEDGEMENTS Assistant Chorus Masters Rehearsal Accompanists Orchestral Coaching Box Office & Front of House Programme Staging Refreshments Lighting Charlie Morris, Roxana Gozzard Christopher Muhley, Roxana Gozzard Leon Gee Lorely Rive Pip Worn Oliver Gledhill Caroline Maguire Howard Legge David Bentley Jon Ormston Ruju Nathwani, Tom Jones Charlie Morris Jamie Ypey and Team Parents Social Committee Hugh Silver Forthcoming Concerts Summer Term 2015 22nd April Guitar and Percussion Concert Seldon Hall 30th April Summer Concert Bourne Hall 16th 23rd June HABS Music Festival Seldon Hall 3rd July Preparatory School Summer Concert Bourne Hall This concert is being livestreamed. If you know anyone who would like to watch it but is unable to be here, please give them the web address: http://habstube.habsboys.org.uk/default.aspx?search=find:%2 0live Login: habsguest Password: habsguest2015 Music School: Tel: 0208 266 1730 Email: musicschool@habsboys.org.uk