Gilbert & Sullivan Spectacular

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Gilbert& SullivanSpectacularSummer Concert 2015Selections from HMS Pinafore, The Mikado,The Pirates of Penzance, The Gondoliers,The Yeomen of the Guard and Trial by JuryConductor: Cathal GarveySoloists: Charlotte Baptie,Stephen Godward and Nick SalesNarrator: Don CrerarCovent Garden Chamber OrchestraSaturday 20th June 2015, 7:30pm

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The ProgrammeNewbury Choral Society presentsA Gilbert & Sullivan SpectacularSelections fromTrial by JuryHMS PinaforeThe MikadoIntervalThe Pirates of PenzanceThe Yeomen of the GuardThe GondoliersConductor: Cathal GarveySoprano: Charlotte BaptieTenor: Nick SalesBaritone: Stephen GodwardNarrator: Don CrerarRehearsal accompanist: Steve BoweyPlease visit http://www.newburychoral.org.uk/concertFeedback/ to give usyour feedback on this concert.3

Programme Notes by Jane HawkerWilliam Schwenck Gilbert and Arthur Sullivan collaborated onfourteen comic operas between 1871 and 1896. Gilbert wrote thelibrettos, lampooning the establishment and creating a unique ‘topsy-turvy’ world that appealed to the Victorian audience’s sense of theabsurd, both reasons for the operas’ continuing appeal today.Sullivan’s music was tailor-made to Gilbert’s words, skilfullyemphasising their power and evoking stirring emotions as well aslaughter. These works are known as the Savoy Operas, after thetheatrical impresario, Richard D’Oyly Carte, who built the SavoyTheatre in London in order to stage them.This foray into the world of G&S tonight is a first for Newbury ChoralSociety, proving that even after 130 years it is not too late to trysomething new. In 1922, with conductor Bernard Ramsey, the choirsang Sullivan’s The Golden Legend, written following the hugesuccess of The Mikado. When it was first performed in 1886, TheGolden Legend caused quite a stir and soon became second inpopularity only to Handel’s Messiah with Victorian choral societies.Trial by JuryTrial by Jury, a ‘dramatic cantata’, was first performed in 1875, aspart of a programme in which Offenbach’s La Périchole was the mainevent. Gilbert had had a brief career as a barrister and found muchabout the legal profession to mock in his librettos. The plot concernsa breach of contract of marriage in which Angelina is suing Edwin forjilting her. Edwin tells the court that he became bored with her and isnow ‘another’s lovesick boy’. The gentlemen of the jury admit thatthey were also cads when young, but claim that they are nowreformed characters and have no sympathy with the defendant.The Judge enters with great ceremony and regales the court with thestory of how he attained his position. He fell in love with ‘a rich4

Programme Notesattorney’s elderly, ugly daughter’, grew wealthy due to thepatronage of her father and then dumped her. The irony of hissimilarity with the defendant escapes him. After a few more twistsand turns the opera ends with the Judge marrying Angelina himself,a scheme that fills everyone in the court with ‘joy unbounded’.Chorus - Hark the hour of ten is soundingUsher's Song and Chorus - Now, Jurymen, hear my adviceEdwin's Recitative. - Is this the Court of the Exchequer?Edwin's Song and Chorus - When first my old, old love I knewChorus and Usher - All hail great Judge!The Judge's Song - When I, good friends, was call'd to the barHMS PinaforeHMS Pinafore, subtitled The Lass that Loved a Sailor, opened in 1878.Gilbert uses the plot device of mistaken identity to ridicule theBritish obsession with class and status. Josephine, the youngdaughter of the captain of HMS Pinafore, is in love with an unsuitablylowly able seaman, Ralph, but she is betrothed to Sir Joseph PorterKCB, First Lord of the Admiralty. On his arrival on board ship,accompanied by his sisters, cousins and aunts, Sir Joseph urgesJosephine to ignore their class difference and follow her heart.Thinking that this will promote his own suit, he succeeds only inreinforcing her love for her sailor. However, once it has emerged thatthe captain and Ralph were switched as babies, Sir Joseph no longerwishes to marry the daughter of a member of the lower classes,saying that ‘love levels all ranks, but it does not level them as muchas that’. His snobbery paves the way for Josephine and Ralph tomarry. In Sir Joseph’s famous ‘patter-song’, Gilbert highlights arecurring theme in his work, that unqualified people can rise to5

Programme Notespositions of authority without merit and for spurious reasons.Opening Chorus - We sail the ocean blueJosephine’s song - Sorry her lot who loves too wellChorus of Female Relatives - Over the bright blue seaChorus of Sailors and Female Relatives - Sir Joseph's barge is seenSir Joseph and Chorus - Now give three cheersSir Joseph and Chorus - When I was a lad.Exit for Ladies - For I hold that on the seasThe MikadoThe Mikado, or The Town of Titipu, was first performed in 1885, twomonths after Newbury Choral Society’s first concert. At that timethere was an exhibition in London called The Japanese Village, theculmination of a craze for all things Japanese since the opening up oftrade between Britain and Japan from the mid-nineteenth century. Amale dancer and a Geisha were engaged by the Savoy Theatre toauthenticate the performers’ mannerisms. Gilbert was able tosatirise British politics and institutions even more bitingly in thecontext of such an exotic setting.The son of the Mikado of Japan, Nanki-Poo, has fled his father’scourt disguised as a wandering minstrel. In Titipu he falls in love withYum-Yum, unwisely setting himself up as a romantic rival to YumYum’s guardian Ko-Ko, the fearsome Lord High Executioner. Thisleads to a bizarre series of bargains and conspiracies in which NankiPoo is forced to weigh up the merits of agreeing to be executedagainst taking his own life. The opera ends happily when the Mikadoshows mercy to all and accepts his son’s marriage to Yum-Yum.6

Programme NotesChorus of Men - If you want to know who we areNanki-Poo and Chorus - A wand'ring minstrel IChorus with Ko-Ko - Behold the Lord High ExecutionerKo-Ko with Chorus of Men - As some day it may happen (I've got alittle list)Chorus of Girls - Comes a train of little ladiesChorus - Three Little MaidsYum-Yum - The sun whose rays are all ablazeKo-Ko, Nanki-Poo and Yum-Yum - Here’s a how-de-do!Ko-Ko - Willow, Tit WillowKo-Ko, Nanki-Poo, Yum-Yum and Chorus - For he's gone and marriedYum-YumIntervalThe Pirates of PenzanceThe Pirates of Penzance, subtitled The Slave of Duty, had its worldpremiere in 1880, simultaneously on Fifth Avenue, New York andPaignton in Devon. D’Oyly Carte’s touring company happened to bethere with HMS Pinafore, and handily the sailors’ costumes doubledup for the pirates, with the addition of handkerchiefs on their heads.The plot reaches new heights of absurdity. Trainee pirate Frederic,who should have been apprenticed to a ‘pilot’ but for a mishearing, isnearing the end of his indentures. However, on learning that he wasborn on 29th February, he realises that he has only had five birthdayswith the pirates instead of the required twenty-one. Condemned tocontinue his piratical life, he encounters Mabel, youngest daughter of7

Programme NotesMajor-General Stanley, while she and her sisters are exploring theCornish coast. When the girls are captured by his fellow pirates,Frederic’s allegiance is torn, and he gathers together a group ofhapless policemen to defeat them. In a final Gilbertian twist, it isrevealed that the pirates are all former noblemen who have gone tothe bad, but after swearing allegiance to the Queen are permitted tomarry Stanley’s daughters, and Frederic and Mabel are united.Mabel and Chorus - Poor wand’ring oneMajor-General and Chorus - I am the very model of a model MajorGeneralChorus with Sergeant and Mabel - When the foeman bares his steelSergeant and Chorus - When a felon's not engaged in his employmentSamuel and Chorus - With cat-like tread.Act II Finale - Poor wand’ring ones!The Yeomen of the GuardThe Yeomen of the Guard, or The Merryman and his Maid, was firstperformed at the Savoy Theatre in 1888. It took the pair longer tocomplete than any of their other collaborations, and is Sullivan’s mostmusically ambitious score. The sober setting and more realisticemotional tone were a change of direction that audiences were notcertain to accept, but the encores on the opening night signalled thatit was another hit.Set in the sixteenth century in the Tower of London, the story centreson the planned execution of Colonel Fairfax for sorcery. Phoebe,daughter of one of the Yeomen, is in love with him, and she and herfather hope to prevent the execution taking place. The action relieson Gilbert’s stalwarts including disguise, unrequited love, a secretplot to free the prisoner, an obscure point of inheritance law and a8

Programme Noteslast-minute reprieve of the death sentence. But in contrast with otherG&S operas, one of the principal characters, the jester Jack Point,does not get his girl at the end and the curtain falls on him dying of abroken heart and sighing ‘for the love of a ladye’.Double Chorus and Second Yeoman - Tower warders, under ordersFairfax - Is life a boon?Point, Elsie and Chorus - I have a song to sing, O!Elsie - 'Tis done! I am a brideAct I finale - The prisoner comesThe GondoliersThe Gondoliers, subtitled The King of Barataria, had its premiere atthe Savoy in 1889. Following on directly after Yeomen, it was hugelysuccessful at the time. The Prince of Wales saw it four times andQueen Victoria requested a private performance at Windsor Castle.However, it was to be their last popular work. This collaboration sawthe souring of relations between the two men, leading to Gilbertsuing Sullivan over financial matters during its run.Gilbert set this opera in both Venice and the fictional kingdom ofBarataria, with Spanish characters and culture thrown into the mix,once again making use of an exotic setting to satirise the British classsystem and to poke gentle fun at human foibles and vanities. At thecentre of the story are two highly desirable gondoliers, Marco andGuiseppe, who have the pick of all the young ladies in Venice as theirwives. Mistaken identity, due once again to baby-swapping, apossible case of bigamy, and secret lovers who happily turn out to befrom the same social class after all, lead to a joyful finale with thesherry flowing and the assembled cast dancing the cachucha.9

Programme NotesMarco, Guiseppe and Chorus - For the merriest fellows are we/Buongiorno, signorine/We're called GondolieriQuartet - Then one of us will be a QueenMarco - Take a pair of sparkling eyesChorus - Dance a cachuchaFinal Chorus - Once more, Gondolieri10

Cathal Garvey — Musical DirectorCathal Garvey hails from Ireland where he madehis name as a choral and orchestral conductor.Cathal began his career as an Opera ChorusMaster working for most of Ireland’s majoropera companies including Opera Ireland, OperaTheatre Company, Anna Livia Opera Festival,Opera South and Lyric Opera. For thesecompanies he worked on over fifty operaproductions and has acted as AssistantConductor for several of them. He has also conducted several musicalsin Cork and Dublin.During his ten years in Dublin, Cathal conducted the NationalSymphony Orchestra of Ireland, the RTÉ Concert Orchestra, theOrchestra of St Cecilia, the Ulysses Orchestra, Irish Sinfonia, the DublinBaroque Players, the Royal Irish Academy of Music Wind Ensemble,Dublin Concert Band, the RTÉ Philharmonic Choir, Bray Choral Societyand from 2001 to 2006 was Principal Conductor of the DublinOrchestral Players.From 2004 to 2009 he was Musical Director of the Dun LaoghaireChoral Society with whom he had a highly successful tenure, covering awide range of sacred music and oratorios. During this time he was anoted champion of British music, conducting many works by Elgar,Delius, Britten, Tippett, Stanford (Irish!) and Vaughan Williams.Since moving to London in 2009, he has conducted Southern Sinfonia,London International Orchestra, Covent Garden Chamber Orchestra, IMaestri, London Repertoire Orchestra, London Medical Orchestra,King's College London Symphony Orchestra and Morley College Choir.He is also Musical Director of Newbury Choral Society and BillingshurstChoral Society and for two seasons was Chorus Master and AssistantConductor at Grange Park Opera. He is currently on the conducting staffof the Royal Academy of Music.11

Cathal Garvey — Musical DirectorCathal began violin and piano studies in his native Cork at an early age,continuing at the Cork School of Music and later reading music atUniversity College Cork. After completing his Masters Degree inConducting he studied for two years at the prestigious College ofMoscow Conservatory.As a violinist, he has played with the National Youth Orchestra ofIreland and with numerous professional orchestras, including theNational Symphony Orchestra of Ireland and the German-basedPhilharmonia of the Nations. He currently works as a freelance playerin London. He has sung and toured with many choirs, among them theIrish Youth Choir, University College Cork Choir, Madrigal '75 and theCollege of Moscow Conservatory Choir.12

Charlotte Baptie - SopranoSoprano Charlotte Baptie trained at Trinity LabanConservatoire of Music and Dance in Greenwichwhere she was awarded the Director's Prize forExcellence. She was supported by a Trinity CollegeLondon scholarship and selected for the EnglishNational Opera’s mentor scheme.Charlotte recently completed her first No 1 UK &Ireland tour (ATG/BB Promotions) with West SideStory, playing the role of Rosalia & first cover Maria.Credits include Geraldine in Free As Air at Finborough Theatre, Phyllisin Iolanthe and Melissa in Princess Ida (Gilbert & Sullivan OperaCompany), the title role in Peter Pan (Norwich Theatre Royal), Dodoin The Merry Widow (Royal Festival Hall) with John Wilson and thePhilharmonia Orchestra, Belinda in Dido and Aeneas (Black RobinOpera), Athos (alternate) in The Three Musketeers, Edith in ThePirates of Penzance (Charles Court Opera), Noemi in Cendrillon, FirstFairy in A Midsummer Night’s Dream (Blackheath Halls), Micaela inCarmen, Ilia in Idomeneo (Trinity Laban), Mabel in The Pirates ofPenzance, Rose Maybud in Ruddigore, Josephine in HMS Pinafore,Young Sally in Follies (Trent Opera), Johanna in Sweeney Todd andHodel in Fiddler on the Roof (Nottingham Festival Opera).Radio includes BBC Radio 2's Friday Night is Music Night: Ivor NovelloSpecial 2014 with the BBC Concert Orchestra (featured soloist).13

Nick Sales - TenorNick's recent opera performances haveincluded his debut for Welsh National Operawhere he sang the title role in Mozart'sMitridate, re di Ponto (under the baton of SirCharles MacKerras), Journalist/Glazier in PhilipGlass's Orphée for the Royal Opera House,Covent Garden and Don Ramiro, La Cenerentolaat Teatro La Fenice, Venice. Other recentperformances include Almaviva, The Barber of Seville for LongboroughFestival Opera, cover, Felice, Poliuto for Glyndebourne Opera Festival,Alfredo, La Traviata for Opera Project, Belmonte, Die Entführung ausdem Serail in Frutillar, Chile, Cavaradossi, Tosca for Heritage Operaand Focus Opera and Don José, Carmen for Focus Opera.Between 2005 and 2010, Nick worked extensively in Germany, wherehis roles included Ferrando, Cosi fan Tutte for Komische Oper, Berlin,Don Ottavio, Don Giovanni in Luebeck, Lurcanio, Ariodante, ItalianSinger, Rosenkavalier, Froh, Rheingold and title role in Handel'sBelshazzar in Halle.His concert work has taken him all over the world, includingperformances in Vietnam, St Lucia, Dubai and Qatar, as well as infourteen different European countries, the highlight of which was hisdebut at the Concertgebouw, Amsterdam, where he sang Rodriguez inMassenet's Don Quichotte.His extensive Gilbert & Sullivan experience includes the roles ofNanki-Poo, Fairfax, Marco, Ralph Rackstraw and Frederic for the CarlRosa Opera company, and Nanki-Poo and Ralph Rackstraw for theInternational Gilbert & Sullivan Opera Company, for whom he will singthe Duke of Dunstable in this summer's festival in Harrogate.14

Stephen Godward - BaritoneStephen Godward was born in Nottingham andstudied at The Guildhall School of Music and Dramaunder Richard Standen. He has studied with PamelaCook.He has performed in many professional theatresaround the country and specialises in the Mozartbuffo roles having played Figaro, Papageno,Leporello and Don Alfonso. Stephen has a busyconcert schedule and this takes him far and wide.He has sung many roles including, La Boheme, Aida, Turandot, TheBartered Bride, Carmen and L’Elisir d’Amore as well as countlessmusicals both old and new.He has performed in all fourteen of the Gilbert and Sullivan operas inmany different venues around the country, in Canada, the USA andSpain and has appeared with ‘Gilbert and Sullivan for All’ and TheGilbert & Sullivan Opera Company.In 1998, 1999, 2010 and 2013 he won ‘Best Male Performer’ and ‘BestSupporting Role’ for his Colonel Calverley in Patience at theInternational Festival of Light Opera in Waterford. In 2005, he won theaward for Best Male Voice at Waterford.Stephen has sung the world premieres of Betty Roe’s and UrsulaVaughan-Williams’ two chamber operas A Canterbury Morning and AFlight of Pilgrims in Leicester, London and Canterbury Cathedral.He has received critical acclaim (Opera magazine) for his performanceof Judge Turpin in Sondheim’s Sweeney Todd which he has played inseven different productions, the most recent at the Lakeside,Nottingham.Future plans include Elijah, Messiah, Mozart’s Requiem as well as ThePirates of Penzance in Buxton Opera House, Iolanthe, and The Yeomenof the Guard in Harrogate.15

Don Crerar - NarratorDon hails from Edinburgh, but has lived for thelast thirty-five years in North Hampshire, soalmost feels like a native. He was a jobbingactor for twenty of those years until he got aproper job in IT, but he still pops upoccasionally in episodes of Bergerac and TrueCrimes on UK Gold. He also did a season of‘Gotcha’s for Noel Edmunds, for which he isstill receiving therapy, and has appeared twiceat the Watermill Theatre – once professionally,and once as the bridegroom at his own wedding reception.He has been a regular in the chorus with Kennet Opera for the pastdecade or so, and has also enjoyed a long association with NewburyChamber Choir for whom he regularly contributes the non-singinginterludes. This, however, is his first outing with Newbury ChoralSociety, and he is absolutely delighted this evening to be introducingsome of the best-loved, unashamedly enjoyable music ever written.16

Covent Garden Chamber OrchestraCovent Garden ChamberOrchestra is one of London’sleading non-professionalorchestras. The players comefrom many different professions, including architecture, artsadministration, the BBC, IT, law, media, medicine, publishing andteaching, for some seriously enjoyable music-making. CGCO hasperformed in various London venues, including St Paul’s ChurchCovent Garden (the actors’ church), St John’s Smith Square, St James’sPiccadilly, Southwark Cathedral, St Peter’s Eaton Square, St Peter'sNotting Hill and St Jude’s-on-the-Hill, Hampstead. The orchestra has awide repertoire of classical and modern music. Concerts have includedthe UK première of Iscariot by the American composer ChristopherRouse, Music for Strings, Percussion and Celeste (Bartók), Weill’s ViolinConcerto, Dumbarton Oaks and Pulcinella Suite (Stravinsky), celloconcertos by Barber, Korngold, Milhaud and Shostakovich, Rhapsodyfor Viola and Orchestra (Martinu), Night Music (Colin Matthews) andRobert Simpson’s Symphony No. 7.Raising money for charity has always been important for CGCO.Accompanying choral societies is one of the orchestra’s activities, andenquiries for collaborative concerts are always welcome. Severalplayers also participate in chamber ensembles. The orchestra hasappeared several times at the Proms at St Jude’s in Hampstead, and inJune 2008 it was one of the training orchestras in the BBC2 televisionprogramme Maestro.CGCO has a policy of inviting guest conductors, and previousconductors have Included Nicholas Daniel, Daniel Harding, Joan EnricLluna, Robert Max, Peter Stark, Benjamin Wallfisch and HowardWilliams. Previous soloists have included Nancy Argenta, WilliamBennett, Nicolai Demidenko, Nicola Eimer, Joy Farrall, Emma Johnson,Ralph Kirschbaum, Colin Lawson, James Lisney, Marie Macleod, EnikoMagyar, John Reid, Paul Silverthorne, Tamsin Waley-Cohen, RaphaelWallfisch and Sarah Williamson. For more information please go tocgco.org.uk.17

Steve Bowey - AccompanistSteve studied organ and piano from an early age,playing the organ regularly at the churches of St.Francis’ and St. Andrew’s in Coulsdon. Afterstudying Engineering at Salford University he movedto Newbury to work for Vodafone. In 1991 Stevewas appointed as accompanist of the CromwellSingers and became their musical director in 1993.From 1992, he was Director of Music at St. Mary’sChurch, Shaw-cum-Donnington, and regularly accompanied localchoirs, including the Douai Choral Society, the Downland Chorale,the RSCM Southern Cathedral Singers, Berkshire Maestros youthchoirs and Worcester College, Oxford.In June 1995 an opportunity at work took Steve to live in Holland. Onreturning to Newbury in 1997 he returned to St. Mary’s, Shaw-cumDonnington as organist. In 2001 he was appointed Musical Directorof the Sandham Singers.In 2006 Steve joined the Royal College of Organists, and in July thefollowing year took the examination for Associate (ARCO) in whichhe was awarded the Limpus prize for performance, as well as theSowerbutts and Samuel Baker prizes. After further study, he wasawarded the Fellowship diploma (FRCO) in January 2011. He wasappointed as accompanist to Newbury Choral Society in 2011 andalso to the Newbury based Cecilia Consort in 2014. He is a regularperformer in the NDOA lunchtime recital series and has also givenrecitals in Thaxted, Caterham, Manchester and Farnham. He teachesorgan and piano and enjoys working with the many choirs inNewbury and the surrounding area.18

Newbury Choral SocietyWomankind on bicycles and tenors under the bedclothesIn our 130th year we have been looking back at our extensivearchive material and marvelling at the thought that, while the worldhas changed immeasurably during the lifetime of the choir, the joysand tribulations of performing live music have remained the same.Here are some excerpts from a history of the choir written for asouvenir programme of November 1934, Newbury Choral Society’s‘Jubilee Celebration Concerts’. Mr E.L. Staples, one of the Society’sFounders and its Honorary Secretary for the first twenty years,writes:Previous to 1884, no effort to make choral singing in Newbury a permanentinstitution seems to have met with much success. At sundry times, a choruswould be got together for the performance of some particular work (oftena Handel oratorio) and then the concert an accomplished fact, the singerswould disperse, and the word for the time being was ‘as you were’.Shortly after the late J.S. Liddle had been appointed organist to the ParishChurch a few zealous amateurs had come to a decision that they wouldbe satisfied with nothing less than a properly constituted Choral Society.Not a spasmodic affair of fits and starts like they had known, but somethingperennial, lasting through the years and going on from strength tostrength. That was just their idea.In the autumn of 1884, a meeting was held of all those interested, and thescheme was received with enthusiasm. A small committee was appointedto arrange preliminaries and draw up rules, etc., and Mr Liddle wasinstalled as conductor. It would not be true to say that the committee andconductor always saw eye to eye over the music question – far from it –and there was sometimes a pretty stiff fight over it, but somehow a spirit ofconciliation or compromise ruled in the end, and it is pleasant to recordthat nothing like a rupture ever took place.The selection of music in a Choral Society, apart from technical questions,is always likely to be a difficult and contentious affair. The field of choice is19

Newbury Choral Societyso vast and individual tastes and opinion differ so widely. Apropos of this,one influential member of the committee wrote to the Secretary saying‘he hoped the choice of music for this the first concert would not be anunfamiliar one, but that we should stick to something known and popular.Let me quote you the motto of the Onslow family, festina lente (hastenslowly)’.If only those ‘zealous amateurs’ could have known that the ChoralSociety would indeed go from strength to strength, and that 130years later it would still be attracting well over a hundred memberswho share the same love of music and the same drive to perform tothe highest standard. Mr Staples goes on to give the readers animpression of how different life was in the 1880s compared with theachievements and technologies of the modern era in which he waswriting, the 1930s:Now let us take a rapid survey of old Newbury fifty years ago. There wereno ‘buses or motor-cars, no golf or lawn tennis, no water company ordrainage system, no electric light or typewriter, no cinema, gramophone ortelephone, while aeroplanes, wireless and television were primeval forestsprobably. Just a few of the brightest and best of womankind werestruggling to ride the not very perfect bicycles of the period. Should thegentle reader consider the fact not important enough to mention here, heor she must be reminded that writers on social subjects refer to it as thebeginning of the movement known as the Emancipation of Woman (sic).Mr Staples continues with a description of the first concerts on 27thJanuary 1885, one in the afternoon and one in the evening. Disasterstruck at noon:There came a bolt out of the blue in the form of a telegram from theprofessional soprano engaged for the solo parts, telling us she was too ill tocome, and worse still she had sent no substitute Then a ray of lightflashed through the darkness. Why should not two ladies of the chorusstep into the breach? They did. The audience in the afternoon appreciatedtheir plucky efforts and gave them generous applause, for they sang20

Newbury Choral Societycapitally and earned the gratitude of the Society. For the evening concert, aprofessional lady singer arrived from Windsor.Another ‘date of supreme importance’ was in April 1898 when SirCharles Hubert Parry came to Newbury to conduct a performance ofthree of his works, Invocation to Music, The Lotos-Eaters and BlestPair of Sirens. The chorus was augmented by ‘trusty singers fromneighbouring towns’, the orchestra bolstered by professional playersand the soloists chosen by Parry himself. Mr Staples writesintriguingly:A rare and fascinating orchestral effect was produced by muted horns inThe Lotos-Eaters, an effect never before heard in Newbury and all too rareanywhere. One lady in the chorus said it was like beautiful tenor voicessinging under the bedclothes. Really a good simile though a rough andready one.Only one incident was in danger of marring the concert, but theshow must go on:The last of the works, Blest Pair of Sirens, was going grandly and workingup to the final glorious climax, when lo! some of the London players areseen hurriedly leaving the platform, anxious not to miss the last up train The surprising thing about it all was the attitude of the composer, whoseemed to be the one person unperturbed, and with his geniality ofdisposition regarded the affair as just a sporting chance with the luck goneagainst him.You can find out more about Newbury Choral Society, its history andforthcoming events, at www.newburychoral.org.uk.21

Back cover photograph:Mr J.S. Liddle conducts Newbury Choral Society and the Newbury Amateur Orchestral Union in a performance of Mendelssohn’s Elijah, at theSociety’s 30th Anniversary Commemoration Concert in the Corn Exchange, Newbury, in November 1913.22

Newbury Choral Society MembersHonorary Life Patron: Lady KnillChairperson: Liz WallaceSecretary: Nat SmithTreasurer: Tracy SmithConcert Manager: Mike BarthorpeRehearsal accompanist: Steve BoweySOPRANOSRachael AtkinsonRebecca BergerHelen BomgardenerMarion CroxfordAnn DoyleLucy FittSarah FoleyJanet FreerGill HitchcockMurrie JacksonLauraine LeighLynne MooreALTOSDebbie MurphyMargaret OwenKathryn PollardRos PreussSue SimTamsin SlatterSarah SouthMaggie StewartPatricia StewartFenisia StopherJulie van HaperenCaroline WhitingTENORSPeter AngwinMike BarthorpeBill BatemanTom BrownMatthew EvansDerek HarwoodKatharine AndrewsMargaret BakerHilary BanksDenise BarthorpeJacquie BaskerJane BurgessJacquie CooperHelen DouglassNicola FosterLily GreenLynnette HarperJane HawkerGwenda HutchinsonKiki KettunenCeinwen LallyMary LawlerEmma LeaderViv MassonBridget PurrBarbara RiggsAnn ShepherdSally SinclairMargaret SmithNat SmithTracy SmithAnn TurnerAnn VoddenLiz WallacePenny WebbMargaret WrightBASSESJim NeedhamRichard PapworthNeil RendallAndrew SalisburyJeremy WrightGerald AtkinsonRobin BaskerPeter BellDavid BomgardnerMike BraideGreg ChoulesDavid CraigGordon CroweDavid Gavins23Brian HarperPaul HighDavid HuntRichard MooreBrendan MurphyAndrew ParkerJohn RabanAdrian Slatter

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Nanki-Poo and horus - A wand'ring minstrel I horus with Ko-Ko - ehold the Lord High Executioner Ko-Ko with horus of Men - As some day it may happen (I've got a little list) horus of Girls - omes a train of little ladies horus - Three Little Maids Yum-Yum - The sun whose rays are all

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