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Saturday 9 July 2011 Ely Cathedral Cambridge Philharmonic Society Strauss & Walton Timothy Redmond Conductor Steve Bingham Leader Stephen Richardson Bass www.cam-phil.org.uk Image (c) Andrew Dunn Cambridge Philharmonic Society is grateful for the continued support of its Corporate Patrons and Friends. This season we are delighted to receive the support of: Honorary Patron The Right Worshipful Mayor of Cambridge Corporate Patrons Domino Printing Sciences plc We put our mark on a world of products D H Thomas The Pye Foundation Charles Russell LLP Nash Matthews Friends Richard and Anne King Ed and Gill Coe Paul Faulkes Davis and Kiloran Howard Sebastian and Penny Carter Gordon and Kate Oswald Terry Scotcher Elizabeth Hall Rob and Janet Hook Bill and Barbara Parker Jon Short and Debbie Lowther Cambridge Philharmonic Society is a member of Chesterton Community College Association. Registered Charity 243290 www.cam-phil.org.uk Programme IVES BRUCKNER STRAUSS The Unanswered Question Ave Maria Pange Lingua Christus factus est Also Sprach Zarathustra Interval WALTON Belshazzar‟s Feast Ladies and Gentlemen, Chairman‟s Greeting Robert Hook Chairman Cambridge Philharmonic www.cam-phil.org.uk The Unanswered Question Charles Ives (1813-1901) As a man who made a considerable fortune in the insurance business and whose compositions received few professional performances until the very end of his life, Charles Ives is sometimes perceived as a dilettante primitive, anticipating the processes of the twentieth-century avant-garde almost by idiosyncratic accident. On the contrary, he was a thoroughly trained musician, academic studies at Yale complementing the tuition of his bandmaster father and signally failing to stifle the radical experimentalism which came from the same source (George Ives arranged the convergence of marching bands in the town square of Danbury, Connecticut, and invented quarter-tone instruments). His music was underpinned by very serious philosophical and aesthetic principles, even if his pronouncements tended to take on a gnarled folksiness of expression (“Stop being such a God damned sissy,” he berated a heckler at a concert of difficult music, “Stand up and use your ears like a man!”). All these qualities can be found in the short piece for small orchestra The Unanswered Question, composed in 1906 as the first of a pair of pieces characteristically entitled: I. “A Contemplation of a Serious Matter” or “The Unanswered Perennial Question”; II. “A Contemplation of Nothing Serious” or “Central Park in the Dark in „The Good Old Summer Time‟”. There seems to be a link to the poem The Sphinx by Ralph Waldo Emerson, in whose Transcendentalist philosophy Ives was immersed. This includes the phrase „the unanswered question‟ in its depiction of a debate between the Sphinx who finds no solution to life‟s riddles and a poet who attempts to perceive design in chaos. With great economy of means, Ives superimposes three instrumental groups, separated physically and differing in tempo and rhythm. Over slow moving pianissimo strings, a trumpet call is repeated seven times and woodwind respond with increasing volume, tempo and dissonance. The score was revised in the 1930‟s and Ives then provided an explicit programme for the piece. It is perhaps excusable to find its talk of “Druids, who Know, See and Hear Nothing”, “The Invisible Answer” and “The Fighting Answerers” less enlightening than a simple open-eared attention to the music itself. Stephen Hills Three Motets Anton Bruckner (1824-1896) Ave Verum Pange Lingua Christus Factus Est Bruckner has often been portrayed as an innocent rustic of eccentric habits and unsophisticated ideas. His choral Motets, however, tell otherwise. Here is music that intertwines the artistic and devotional, historic and modern, studious and experimental, rigorous and Romantic. Bruckner was a sincerely religious man, holding dear his Roman www.cam-phil.org.uk Catholic faith and ritual. Music and prayer were inseparable elements of his life‟s purpose, and the church was his home, his community and his place of worship. Bruckner was the eldest of eleven children, born in the small Austrian village of Ansfelden, not far from the town of Linz. His father, village teacher and organist, died when Anton was only 13 years old. Anton was then sent to live and study within the Augustinian order at St Florian. His youth was marked by relative poverty, musical service at the rural churches that fed and housed him, and dogged determination to pass as many examinations in music theory as possible. He was appointed organist at the Cathedral in Linz, but composed little, apparently plagued by doubt as to his worthiness in comparison to his peers. Although he appeared destined to follow the family traditions in both domestic and professional life, he never married (being rather famous for making awkward advances to younger females), and pursued his ambition to leave the countryside for cosmopolitan Vienna, at that time embroiled in the musical factionalism of Brahms and Wagner. After further years of study and yet more examinations, he eventually gained recognition as Professor of Counterpoint at the Vienna Conservatory. His bashfulness gave way to Wagnerian inspiration, and he completed his first symphony at the age of 42, a work of great complexity which pushed the skills of the Linz instrumentalists to the limit, and was met with respect rather than joy. His a capella sacred compositions thus provided respite, for the composer, his musicians and his audience. The Ave Maria was the first work completed by Bruckner after five years of arduous study with the famed musical grammarian Simon Sechter. The Frohsinn choral society had appointed Bruckner as their director in 1860, and it was with this ensemble and this composition that he made his first concert appearance as composer in 1861. The Ave Maria supplication was intrinsic to Bruckner‟s daily meditations – he allegedly kept a diary in which he recorded how many times he repeated the prayer each day, using a private symbolic code. Composed for seven voices, the first section of this modal setting contrasts the three-part women's choir and the four-part men's choir, which unite in the proclamation of the name of Jesus. The second section is for all seven parts, with a marked diminuendo as the choir asks for intervention for all sinners. For the Pange Lingua of 1868 Bruckner combined a text that had inspired him as a young teenager, with a newfound confidence and experimentalism that allowed him to challenge musical orthodoxies. It is simple and hymn-like, with little rhythmic counterpoint, but awakens the listener with unexpected dissonances. The musical publisher Witt took it upon himself to „correct‟ the music extensively prior to printing the piece, to Bruckner‟s extreme displeasure. Needless to say, it is the original version that will be performed in Ely. The Graduale, Christus Factus Est, composed for Maundy Thursday in 1884, originates in Gregorian plainchant, makes clear reference to the Italian Renaissance www.cam-phil.org.uk composer Palestrina (whose work Bruckner greatly admired on both technical and spiritual grounds), but is not without operatic dynamics. The four-part setting opens homophonically, with an immediate contrapuntal contrast. The music rapidly builds to a dramatic climax followed by an equally emotional whispered conclusion. Kate Baker Ave Maria Ave Maria, gratia plena, Dominus tecum. Benedicta tu in mulieribus et benedictus fructus ventris tui, Jesus. Sancta Maria, mater Dei, ora pro nobis peccatoribus, nunc et in hora mortis nostrae. Amen. Hail Mary, full of grace, the Lord is with you, you are blessed among women, and blessed is the fruit of your womb, Jesus. Holy Mary, mother of God, pray for us sinners, now and in the hour of our death. Amen. Pange Lingua Pange lingua gloriosi Corporis mysterium Sanguinisque pretiosi Quem in mundi pretium Fructus ventris generosi Rex effudit gentium. Now my tongue the mystery telling, of the glorious body sing; and the blood, all price excelling which the world‟s eternal king, in noble womb once dwelling, shed for this world ransoming. Tantum ergo sacramentum Veneremur cernui, Et antiquum documentum Novo cedat ritui: Praestet fides supplementum Sensuum defectui. Therefore we, before him bending, this great sacrament revere; types and shadows have their ending, for the newer rite is here. Faith, our outward sense befriending, makes the inward vision clear. Genitori genitoque Laus et iubilatio. Salus honor virtus quoque Sit et benedictio, Procedenti ab utroque Compar sit laudatio. Amen. Glory let us give, and blessing to the Father and the Son; honour, might and praise addressing, while eternal ages run: ever too his love confessing, who, from both, with both is one. Amen. Christus factus est Christus factus est pro nobis obediens usque ad mortem, mortem autem crucis. Propter quod et Deus exaltavit illum et dedit illi nomen, quod est super omne nomen. Christ became obedient for us, even unto death, death upon the cross. Because of this, God raised him and bestowed on him the name which is above all names. www.cam-phil.org.uk Also Sprach Zarathustra Richard Strauss (1865-1849) Richard Strauss composed this tone poem during 1896, based on the philosophical treatise by Nietzsche on the same subject. Strauss conducted its first performance on 27 November 1896 in Frankfurt. In 1944, at the age of 80, Strauss conducted the Vienna Philharmonic in an experimental high-fidelity recording of the piece. The work has been part of the classical repertoire since it was first performed. The magnificent introductory fanfare, entitled "Sunrise" in the composer's program notes, has become particularly well known to the general public due to its use in Stanley Kubrick‟s film 2001: A Space Odyssey. The piece is divided into nine sections played with only three definite pauses. Strauss named the sections after selected chapters of the book: 1. 2. 3. 4. 5. 6. 7. 8. 9. Einleitung (Introduction) Von den Hinterweltlern (Of the Hereaftergo'ers) Von der großen Sehnsucht (Of the Great Longing) Von den Freuden und Leidenschaften (Of the Joys and Passions) Das Grablied (The Grave-Song) Von der Wissenschaft (Of Science) Der Genesende (The Convalescent) Das Tanzlied (The Dance Song) Nachtwandlerlied (Song of the Night Wanderer) The piece starts with a sustained double low C on the double basses, contrabassoon and organ. This transforms into the brass fanfare of the Introduction and introduces the "dawn" theme that is common throughout the work. One of the major compositional themes of the piece is the contrast between the keys of B major, representing humanity, and C major, representing the universe. Because B and C are adjacent notes, these keys are dissimilar tonally: B major uses five sharps, while C major has none. Richard Strauss was born in Munich in 1864, and died aged 85 in 1949. He was inspired by a musical family, his father being the first horn player in the court orchestra in Munich. His earliest work was a symphony composed at the age of 17. Having developed early, he put aside parental influence and modified his conservative tendencies to far more expressive and emotional idioms such as we shall hear tonight in Also Sprach Zarathustra. Richard Strauss became a leading German composer of the late Romantic and early modern eras. He is known for his operas which include Der Rosenkavalier, his Four Last Songs, and his tone poems and orchestral works, such as Death and Transfiguration, Till Eulenspiegel's Merry Pranks, An Alpine Symphony, and Metamorphosen. Strauss was also a prominent conductor throughout Germany and Austria, and along with Gustav Mahler he represents the late flowering of German Romanticism in which pioneering subtleties of orchestration are combined with an advanced harmonic style. Binnie Macellari www.cam-phil.org.uk Belshazzar’s Feast 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. William Walton (1902-1983) Thus spake Isaiah If I forget thee O Jerusalem Babylon was a great city In Babylon, Belshazzar the King made a great feast Praise ye Thus in Babylon, the mighty city And in that same hour Then sing aloud to God our strength The trumpeters and pipers were silent Then sing aloud to God our strength William Walton was born and raised in Oldham, Lancashire, where his father was a church organist, choirmaster and singing teacher and his mother a gifted amateur singer. The young William joined his father‟s choir and apart from this liturgical duties took part in regular performances of Messiah, The Creation and Elijah. He was also familiar with the local brass band tradition. At the age of 10, William went to Christ Church Cathedral, Oxford as a chorister. As part of their daily routines the boys were encouraged to compose their own music. Reams of manuscript paper were covered with his compositions – mostly motets for double choir. William was shown every encouragement in his writing. He remained at Oxford to read music (as one of the youngest undergraduates ever to have entered the university) but failed the matriculation examinations and was sent down. This did not seem to deter the young composer – far from it – he did not relish the academic vocation which was being mapped out for him. While as Oxford Walton met the Sitwells. Sacherverell Sitwell found Oxford rather dull and disappointing but described Walton as “the sole redeeming point of Oxford”. This eccentric, artistic and aristocratic family were to have a profound effect on Walton‟s life and career. After he left Oxford, he lived at their Chelsea house and was introduced to everybody and anybody in the international artistic world. He collaborated with Edith Sitwell on Façade, which was first performed in the Sitwell‟s living room with the active involvement of both brothers as well as Edith herself. By this stage, Walton‟s Piano Quartet (1918) had been published and in 1932 he secured international recognition at the Salzberg meeting of the International Society of Contemporary Music. In 1929, shortly before the premiere of the Viola Concert, the BBC made the first commission offered to a composer for a piece specifically for broadcasting. The commission specified that the piece was to be for two soloists, small chorus and small orchestra. In the early stages of composition the piece was titled “Nebuchadnezzar or the Writing on the Wall”. The text was drawn together by Osbert Sitwell from texts from the Book of Daniel, Psalms 137 and 81 and the book of Revelations. Isaiah‟s www.cam-phil.org.uk prophecy „The day of the Lord is at hand‟ was used to open the work. The composer‟s creative ambitions overtook the scale of the original commission and by the time of the first performance it was scored for baritone solo, double chorus, semi-chorus, a large orchestra, organ and two groups of brass. (Fellow Lancastrian, Sir Thomas Beecham, gave Walton encouragement, suggesting "As you‟ll never hear the thing again, my boy, why not throw in a couple of brass bands?") While Walton‟s knowledge of the British choral tradition is drawn on extensively in the piece, it is nonetheless full of innovation. The orchestration is extremely colourful in places and draws remarkable and contrasting effects. The rhythms are often syncopated and distinctly jazzy (Walton was a great admirer of George Gershwin and presented hi with a copy of the score of his Piano Quartet when the two met in 1925). Great demands are made on the chorus and in its early days the piece was only performed by crack choirs and virtuoso conductors. Today is may seem surprising that this was considered a piece which the artistic establishment of the day shunned. The premiere performance had been scheduled to take place at Worcester in 1932 as part of the Three Choirs Festival. However, the Festival‟s authorities were very quick to dissociate themselves from such an “unsuitable” work, so far as performance in a cathedral was concerned; Belshazzar‟s Feast was not performed in churches or cathedrals until it was given at the Three Choirs Festival in 1957. Today, we can be grateful that this moving and invigorating work has been accepted into the mainstay of the British choral repertoire and that neither Sir Thomas Beecham‟s pessimism nor the initial suspicion of this masterpiece have prevailed. Walton did not take his work with the greatest seriousness. At a Hoffnung festival concert, he conducted a large choir and orchestra in "an excerpt from Belshazzar's Feast": Walton raised his baton, and the chorus bellowed the single word "slain" (from #7). He then put down his baton, shook hands with the baritone soloist, who had not sung a note, and they both bowed and left the platform to gales of applause. Bruce Tate www.cam-phil.org.uk Belshazzar’s Feast Selected and arranged from Psalms 81 and 137, and the Book of Daniel, by Sir Osbert Sitwell (1892–1969). Thus spake Isaiah: All manner vessels of most precious Thy sons that thou shalt beget wood, They shall be taken away, Of brass, iron and marble, And be eunuchs Cinnamon, odours and ointments, In the palace of the King of Babylon Of frankincense, wine and oil, Howl ye, howl ye, therefore: Fine flour, wheat and beasts, For the day of the Lord is at hand! Sheep, horses, chariots, slaves And the souls of men. By the waters of Babylon, By the waters of Babylon In Babylon There we sat down: yea, we wept Belshazzar the King And hanged our harps upon the willows. Made a great feast, Made a feast to a thousand of his lords, For they that wasted us And drank wine before the thousand. Required of us mirth; They that carried us away captive Belshazzar, whiles he tasted the wine, Required of us a song. Commanded us to bring the gold and Sing us one of the songs of Zion. silver vessels: Yea! the golden vessels, which his father, How shall we sing the Lord's song Nebuchadnezzar, In a strange land? Had taken out of the temple that was in Jerusalem. If I forget thee, O Jerusalem, Let my right hand forget her cunning. He commanded us to bring the golden If I do not remember thee, vessels Let my tongue cleave to the roof of my Of the temple of the house of God, mouth. That the King, his Princes, his wives Yea, if I prefer not Jerusalem above my And his concubines might drink therein. chief joy. Then the King commanded us: By the waters of Babylon Bring ye the cornet, flute, sackbut, psaltery There we sat down: yea, we wept. And all kinds of music: they drank wine again, O daughter of Babylon, who art to be Yea, drank from the sacred vessels, destroyed, And then spake the King: Happy shall he be that taketh thy children And dasheth them against a stone, Praise ye The God of Gold For with violence shall that great city Praise ye The God of Silver Babylon be thrown down Praise ye The God of Iron And shall be found no more at all. Praise ye The God of Wood Praise ye The God of Stone Babylon was a great city, Praise ye The God of Brass Her merchandise was of gold and silver, Praise ye the Gods! Of precious stones, of pearls, of fine linen, Of purple, silk and scarlet, All manner vessels of ivory, www.cam-phil.org.uk Thus in Babylon, the mighty city, Belshazzar the King made a great feast, Made a feast to a thousand of his lords And drank wine before the thousand. Belshazzar whiles he tasted the wine Commanded us to bring the gold and silver vessels That his Princes, his wives and his concubines Might rejoice and drink therein. After they had praised their strange gods, The idols and the devils, False gods who can neither see nor hear, Called they for the timbrel and the pleasant harp To extol the glory of the King. Then they pledged the King before the people, Crying, Thou, O King, art King of Kings: O King, live for ever… And in that same hour, as they feasted Came forth fingers of a man's hand And the King saw The part of the hand that wrote. In that night was Belshazzar the King slain And his Kingdom divided. Then sing aloud to God our strength: Make a joyful noise unto the God of Jacob. Take a psalm, bring hither the timbrel, Blow up the trumpet in the new moon, Blow up the trumpet in Zion For Babylon the Great is fallen, fallen. Alleluia! Then sing aloud to God our strength: Make a joyful noise unto the God of Jacob, While the Kings of the Earth lament And the merchants of the Earth Weep, wail and rend their raiment. They cry, Alas, Alas, that great city, In one hour is her judgement come. The trumpeters and pipers are silent, And the harpers have ceased to harp, And the light of a candle shall shine no more. Then sing aloud to God our strength. Make a joyful noise to the God of Jacob. For Babylon the Great is fallen. Alleluia! And this was the writing that was written: 'MENE, MENE, TEKEL UPHARSIN' 'THOU ART WEIGHED IN THE BALANCE AND FOUND WANTING'. www.cam-phil.org.uk STEPHEN RICHARDSON Bass Stephen Richardson was born in Liverpool and studied at Manchester University and the Royal Northern College of Music. He has created roles in many important contemporary works including Thomas Adès‟s The Tempest (Royal Opera House); Tan Dun‟s Orchestral Theatre II‚ Re‚ and Tea (Suntory Hall‚ Tokyo); Barry‟s The Triumph of Beauty and Deceit and The Intelligence Park; Tavener‟s Eis Thanaton‚ Resurrection‚ The Apocalypse and Fall and Resurrection (City of London Sinfonia‚ St Paul‟s Cathedral); and the British premiere of Ruders‟ The Handmaid‟s Tale (English National Opera). Roles with British companies include Graf Waldner Arabella‚ Mamirov The Enchantress‚ Daland‚ Claggart‚ Fasolt‚ Osmin‚ Sarastro‚ Colline‚ Commendatore‚ Kommandant From the House of the Dead‚ Sparafucile‚ Baron Ochs‚ Swallow‚ Timur‚ and Sir Morosus Die schweigsame Frau. He appears regularly with Netherlands Opera‚ De Vlaamse Opera‚ Opera National de Paris‚ Teatro alla Scala‚ Oper der Stadt Bonn‚ Istanbul Festival‚ Lyric Opera of Chicago‚ Salzburg Festival and Nationale Reisopera. Concert repertoire includes Anubis/Death of Kong in Birtwistle‟s The Second Mrs Kong (Royal Festival Hall)‚ Hansel and Gretel (BBC Concert Orchestra)‚ Messiah (Carnegie Hall/Trevor Pinnock)‚ Oedipus Rex (BBC Stravinsky Festival/Sir Andrew Davis)‚ Nixon in China (London Symphony Orchestra) and Knussen‟s Where the Wild Things Are and Higglety Pigglety Pop! (Cleveland Orchestra and London Sinfonietta/ Knussen). Recordings include Where the Wild Things Are‚ title role in Goehr‟s Death of Moses (Unicorn Kanchana)‚ Purcell‟s Ode for the Birthday of Queen Mary (DG Archiv)‚ Stravinsky‟s The Flood and Britten‟s A Midsummer Night‟s Dream (London Symphony Orchestra/ Sir Colin Davis‚ Philips) and Albert Herring (Chandos). Recent and future engagements Stromminger La Wally (Opera Holland Park); Drummaker and Puppeteer/ Fire-eater/Ape-Judge/ Fisherman/ Ringmaster/ Farmer The Adventures of Pinocchio (Opera North); Flint Billy Budd (Netherlands Opera); Ludwig van Beethoven in Gerald Barry‟s Schott and Sons‚ Mainz (National Chamber Choir of Ireland‚ Dublin); Samuel Un ballo in maschera (Nationale Reisopera); Rocco and ll Giullare Francesco da Rimini (Opera Holland Park); Sir Joshua Cramer in Barry‟s The Intelligence Park (Irish Museum of Modern Art‚ Dublin); Lady Bracknell in Barry‟s The Importance of Being Earnest (Los Angeles Philharmonic‚ Thomas Adès Festival); Commandant From The House of The Dead (Opera North); Ferrando Il Trovatore (Den Jyske Opera); Hobson Peter Grimes (Royal Opera House‚ Covent Garden); Falstaff and Sarastro (Opera Australia); Kaspar Der Freischütz (Opéra de Rennes); Don Quichotte in Fénelon‟s Le Chevalier Imaginaire (Ensemble Intercontemporain)‚ Monterone and Hobson (Opera North)‚ Bartolo Le nozze di Figaro (Grange Park Opera) and X Powder her Face (London Symphony Orchestra concert/ Thomas Adès). www.cam-phil.org.uk TIMOTHY REDMOND Conductor Timothy Redmond has been principal conductor of the Cambridge Philharmonic since 2006. He recently made his debut at St Petersburg's Mariinsky Theatre, conducting the Russian premiere of Thomas Adès' Powder Her Face. The production was filmed for Russian TV and he was immediately re-engaged to conduct the opera in Valery Gergiev‟s Stars of the White Nights festival. He conducted the same work in Carlos Wagner‟s new production for the Royal Opera House, Covent Garden in 2008 and 2010. His 2010/11 season opens with a return to the Wexford Festival for the European premiere of The Golden Ticket, Peter Ash and Donald Sturrock‟s new opera based on Charlie and the Chocolate Factory, which he premiered for Opera Theatre of St Louis last season. Other highlights this season include a series of concerts with the London Symphony Orchestra and the Hallé, return engagements with orchestras in Finland, Macedonia and Slovenia and his debut with Italy‟s Filarmonico Arturo Toscanini. Timothy Redmond is a regular guest conductor with the Royal Philharmonic Orchestra, both in the recording studio and the concert hall and he has conducted the Manchester Camerata every season since 1997. He has conducted many of the UK's other leading orchestras, including the London Symphony Orchestra, Royal Liverpool Philharmonic, the Ulster and BBC Philharmonic Orchestras, the Orchestra of Opera North, Northern Sinfonia and the Philharmonia. He has recorded several discs for EMI, Type Records and Harmonia Mundi and his recent CD, Dreams, with the French cellist Ophèlie Gaillard and the RPO is shortly to be released in the UK, having reached number one in the French classical charts. In the opera house he has conducted productions for Opera North (Don Giovanni), English Touring Opera (Daughter of the Regiment, The Magic Flute, Carmen), Tenerife Opera (Gianni Schicchi, The Miserly Knight, Carmen) and the Wexford Festival (Weill‟s Die Silbersee). His particular interest in contemporary music has led him to give premieres in Bregenz (Richard Ayres‟ The Cricket Recovers) for Almeida Opera/Aldeburgh Festival (Raymond Yiu‟s The Original Chinese Conjuror), at English National Opera (Will Todd‟s Damned and Divine) and for Opera Theatre Europe at the ROH Linbury (Tobias Picker‟s Thérèse Raquin). He has also conducted for Glyndebourne, Garsington, Strasbourg, De Vlaamse Opera, at the UKLA Festival in Los Angeles and for New York‟s American Lyric Theater. Timothy Redmond read music at Manchester University and studied the oboe at the Royal Northern College of Music. He later held the RNCM's Junior Fellowship in Conducting and furthered his studies in masterclasses with Yan Pascal Tortelier, Ilya Musin, George Hurst and Pierre Boulez. www.cam-phil.org.uk STEVE BINGHAM Leader Steve Bingham studied violin with Emmanuel Hurwitz, Sidney Griller and the Amadeus Quartet at the Royal Academy of Music from 1981 to 1985, where he won prizes for orchestral leading and string quartet playing. In 1985 he formed the Bingham String Quartet, an ensemble which has become one of the foremost in the UK, with an enviable reputation for both classical and contemporary repertoire. The Quartet has recorded numerous CDs and has worked for radio and television both in the UK and as far afield as Australia. The Quartet has worked with distinguished musicians such as Jack Brymer, Raphael Wallfisch, Michael Collins and David Campbell. Steve has appeared as guest leader with many orchestras including the BBC Scottish Symphony Orchestra, the Scottish Chamber Orchestra, English National Ballet and English Sinfonia. He has given solo recitals both in the UK and America and his concerto performances include works by Bach, Vivaldi, Bruch, Prokofiev, Mendelssohn and Sibelius, given in venues as prestigious as St John‟s, Smith Square and the Royal Albert Hall. Steve is also Artistic Director of Ely Sinfonia. In recent years Steve has developed his interest in improvisation, electronics and World music, collaborating with several notable musicians including guitarist Jason Carter and players such as Sanju Vishnu Sahai (tabla), Baluji Shivastrav (sitar) and Abdullah Ibrahim (piano). Steve‟s debut solo CD Duplicity was released in November 2005, and has been played on several radio stations including BBC Radio 3 and Classic FM. The Independent gave it a 4-star review. Steve released his second solo CD, Ascension, in November 2008. You can find out more about Steve on his web site at www.stevebingham.co.uk. www.cam-phil.org.uk LEO TOMITA Chorus Master Leo was Organ Scholar at Corpus Christi College, Cambridge, where in addition to conducting and running the choir and playing the organ for services, he conducted the college orchestra. He is now a counter-tenor Lay Clerk at St John‟s College, Cambridge, where he sings in the choir in their daily services (including weekly webcast services), Radio 3 broadcasts, concerts and tours. Leo is Assistant Conductor of the Cambridge University Chamber Choir, and will be touring North Germany in July with them. Leo has been Assistant Conductor for several operas including a Yorke Trust production of Rameau‟s Castor et Pollux and a Cambridge Festival production of Britten‟s Noye‟s Fludde. In September, Leo began studying for an MA in vocal studies at the Royal Academy of Music, and has been awarded a Postgraduate Performance Award administered by the Musicians Benevolent Fund. www.cam-phil.org.uk CAMBRIDGE PHILHARMONIC SOCIETY ORCHESTRA First Violins Steve Bingham (leader) Kate Clow (co leader) Vincent Bourret Graham Bush Roz Chalmers Hilary Crooks Naomi Hilton Maydo Kay Adele Martin Meriel Rhodes Sean Rock Victoria Stelzhammer Gerry Wimpenny Second Violins Debbie Saunders Joanna Baxter Leila Coupe Fiona Cunningham Rebecca Forster Emma Lawrence John Mascall Anne McAleer Edna Murphy Katrin Ottersbach John Richards Sarah Ridley Carol Ripley Violas Gavin Alexander Liz Andrews Dominic de Cogan Alex Cook Robert Heap Miriam Henson Jo Holland Emma McCaughan Janet O‟Boyle David Watkinson Cellos Vivian Williams Sarah Bendall Angela Bennett Helen Davies Anna Edwards Melissa Fu Clare Gilmour Helen Hills Lucy Mitchell Lucy O‟Brien Amy Shipley Alex Sicola Bassoon Neil Greenham Jenny Warburton Double Bass Sarah Sharrock Stephen Beaumont Elspeth Cape Susan Sparrow Trumpet Andy Powlson Naomi Wrycroft Mike Ball Huw Grange Flute Alison Townend Sally Landymore Samantha Fryer Adrienne Jackson Trombones Denise Hayles Gary Davison Oboe Jenny Sewell Rachael Dunlop Camilla Haggett Cor Anglais Gareth Stainer Clarinet Sarah Whitworth Frances Richmond (also Alto Sax) Graham Dolby (also Eb Clarinet) Stephanie Reeve (also Bass clarinet) www.cam-phil.org.uk Contra Bassoon Phil Evans Horn Carole Lewis Paul Ryder Stephen Orriss Mike Appleton Elly Hey Liz Perrott Bass Trombone Rob Brooks Tuba Alan Sugars Christopher Lawrence Timps Dave Ellis Percussion Michael Ellis James Shires Zoe-Laura Arkinstall Harps Lizzie Scorah Isobel White Organ Jonathan Lilley OFF STAGE LEFT Trumpets Shaun Fitzgerald Elliot McAusland Noah Lawrence Trombones Sarah Minchin Luke Fitzgerald OFF STAGE RIGHT Bass Trombone Rob Tovey Tuba Christopher Lawrence Trumpets Huw Grange Garath Williams Mike Spencer Chapman Bass Trombone Chris Holt Tuba David Minchin Trombones Nick Byers Will Hutchin Cambridge Philharmonic Society Chorus First Soprano Helen Bache Jane Cook Christina Klasse Ros Mitchell Ruth Pegington Amanda Price Josephine Roberts Mary Richards Anne Sales Pat Sartori Paddy Smith Ruth Tricker Alison Vinnicombe Second Soprano Cathy Ashbee Eleanor Bell Nicola Bown Susannah Cameron Joanne Clark Jennifer Day Susan Earnshaw Christine Halstead Maggie Hook Diana Lindsey Ursula Lyons Cat Macardle Valery Mahy Suzie McCave Liz Popescu Vicky Potruff Anne Read Pip Smith First Alto Jenny Barma Margaret Cook Caroline Courtney Alison Dudbridge Kin Mei Leung Jan Littlewood Janet Mills Julia Napier Alice Parr Sarah Upjohn Helen Wheatley Margaret Wilson Second Alto Kate Baker Jane Bower Hilary Burch Elizabeth Crowe Alison Deary Tabitha Driver Jane Fenton Jane Fleming Stephanie Grey Hilary Jackson Sue Purseglove Gill Rogers Chris Strachan Claudia West www.cam-phil.org.uk Tenor Johan Alsiö Aiden Baker Jeremy Baumberg Geoff Forster David Griffiths Ian MacMillan Jim Potter David Reed Stephen Roberts Michael Short Graham Wickens Bass Richard Birkett Neil Caplan Brian Dawson Chris Fisher Andrew Goldman Patrick Hall Lewis Jones Richard Monk Paul Rendle Harrison Sherwood Mike Warren David White Chorus Master Leo Tomita Cambridge Philharmonic Society 2011 – 2012 Season Programme Dates and Venues Sunday 13 November 2011 West Road Concert Hall, Cambridge Saturday 10 December 2011 Emmanuel United Reformed Church, Cambridge Saturday 21 January 2012 West Road Concert Hall, Cambridge Sunday 11 March 2012 West Road Concert Hall, Cambridge Saturday 19 May 2012 West Road Concert Hall, Cambridge Saturday 30 June 2012 King‟s College Chapel, Cambridge Details of these concerts are to be confirmed For further information and online ticket sales, visit: www.cam-phil.org.uk To leave feedback about our concerts and events please email: [email protected] To receive news of forthcoming concerts, send a blank email to: [email protected] www.cam-phil.org.uk