FESTIVAL CONDUCTOR JONATHAN WILLCOCKS ORCHESTRA SOUTHERN PRO MUSICA Festival Concert Programme 12th + 13th April 2024 LEITH HILL MUSIC FESTIVAL DORKING HALLS 2024 Bringing choirs together for competitions and concerts in Dorking since 1905.
What is the Leith Hill Music Festival? ‘Such harmony…is in immortal souls’ Shakespeare’s words from The Merchant of Venice, set by Ralph Vaughan Williams in one of this year’s works, Serenade to Music, would surely resonate with anyone experiencing our Festival for the first time at any point over the last 120 years or so. If that is you, please let me know! Where else can singers and audiences alike experience the joy, the harmony that is our Leith Hill Music Festival? As with amateur singers all over the UK and beyond, we are fortunate to sing with professional conductors in our individual choirs, giving of our best each and every time we perform. Yet the Leith Hill Music Festival enables us to take this to another level, affording amateur choirs the opportunity to be voices amongst a chorus several hundred strong, sing under the baton of an internationally renowned conductor with professional soloists and orchestra, performing in the splendid art deco ambiance of the Dorking Halls, built for LHMF in 1931. A rare opportunity to step onto a major stage, to experience the ‘big’ choral works beyond the reach of many choirs, to forge bonds of camaraderie and a shared passion of singing. As we stand on the cusp of a new era, we invite you to join us in celebrating our rich tapestry of history with the boundless potential of our future. Together, let us raise our voices in harmony, spreading the joy of music far and wide, and ensuring that the legacy of the Leith Hill Music Festival continues to resonate for generations to come. Thank you for your unwavering support, your enthusiasm, and your love of music. Ges Ray / Chairman LEITH HILL MUSIC FESTIVAL DORKING HALLS 2024
Welcome to the 2024 Leith Hill Music Festival BRIAN KAY / PRESIDENT It’s my great pleasure, as always, to welcome you to another gathering of the Leith Hill Music Festival - yet another opportunity to celebrate the joy of making music and to share with all the singers involved the sheer pleasure they have (both musically and socially) in belonging to something which has enriched the lives of so many over so many years. This year sees another milestone in the history of Vaughan Williams’ great vision, as Jonathan Willcocks takes charge of his last as Festival Conductor. He has, with a wonderfully steady hand, steered this annual event through considerable changes and developments, initially aff ected by the years of lockdown during the pandemic, which had such a dramatic eff ect on choral music worldwide. The fact that the Festival continues to fl ourish so splendidly is a testament to his great input and to the exceptional work of the committee - and all those volunteers who work so tirelessly behind the scenes. This year’s programme is (as usual!) a real musical feast: Mozart’s irresistible Requiem alongside Vaughan Williams’ sublime Serenade to Music - surely his most ravishingly beautiful work - and then (on day two) Morten Lauridsen’s exquisite Lux Aeterna with one of my all-time favourites, the teenage Puccini’s Messa di Gloria - full to the brim with catchy tunes and youthful energy. It doesn’t get much better than that and my wife and I greatly look forward to being with you for the whole Festival. With all good wishes - particularly to those competing for the Festival cups and banners - as once again the Dorking Halls is fi lled with the sound of singing. Enjoy! Photo: Chris Christodoulou
JONATHAN WILLCOCKS / FESTIVAL CONDUCTOR It is with pride and pleasure that I welcome you to our two days of Festival music-making, which will see so many of us savouring our love of singing and the thrill of joining together in such a celebration of choral music. Each day will see all that is best about amateur music-making – the friendly rivalry of competitions in the morning and then all choirs coming together in the afternoon and evening, alongside professional soloists and orchestra, to rehearse and then perform great music by composers across a three-hundred-year span. It is the miracle of amateur choral singing that a choir of all ages and many diff erent musical and vocal abilities can perform with complete confi dence alongside professionals of the highest quality – imagine this mix on a football fi eld! It has been a complete thrill and honour to have held the reins for the past eight years of such a wonderful tradition that is the Leith Hill Music Festival. Together we have evolved and developed the Festival, come through the existential crisis of the pandemic and emerged in splendid heart to give many truly memorable performances. I am so delighted that a musician of the calibre and personal qualities of Neil Ferris is to fi ll the daunting shoes that have been passed down generation by generation from Ralph Vaughan Williams, and I look forward in future years to be able to visit the Festival as a keen member of the audience and feel ‘the buzz’ once again. GES RAY / CHAIRMAN Welcome to the Leith Hill Music Festival! As we gather once again to celebrate the harmonious convergence of talent and tradition, fused with the joy of singing, we are fi lled with both nostalgia for the illustrious past and anticipation for our bright future ahead. This year marks a poignant moment in our journey as we bid farewell to our esteemed conductor, Jonathan Willcocks, whose passion and dedication have guided us through countless memorable performances. With gratitude in our hearts, we extend our deepest appreciation for his leadership and unwavering commitment to excellence. As one movement fi nishes, another begins. We eagerly welcome Neil Ferris, Chorus Director of the BBC Symphony Chorus, taking up the baton and leading us into the next phase of our musical odyssey, weaving our rich tapestry of musical heritage harking back to Ralph Vaughan Williams, whose enduring legacy continues to inspire us, with a wealth of experience and a fresh perspective that promises to invigorate our Festival with renewed vitality. Behind the curtain, a new team of organizers has taken the helm, meticulously crafting unforgettable experiences for our cherished events. From our Spring Concert (the walls of Dorking Halls still resonate with the majestic strains of Bach St. Matthew Passion…), to this Festival, to the joy that is our annual ‘Come & Sing’ in October, each gathering is imbued with the spirit of camaraderie and artistic expression that defi nes our Festival. It also helps having a fresh website that, as well as refl ecting the professional image of LHMF, also enables you to fi nd what you are looking for! Thank you for joining us in our love for the joy of singing, the transformative power of music and the enduring spirit of the Leith Hill Music Festival.
Programme 2024
Friday 12th April Orchestra: Southern Pro Musica Orchestra Leader: Sophie Langdon Conductor: Jonathan Willcocks Soloists: Jessica Lawley (Soprano) Angelina Dorlin-Barlow (Contralto) Dafydd Jones (Tenor) Oliver Bowes (Bass) Participating Choirs: Capel, Dorking, Epsom, Leatherhead, Oxshott Programme The National Anthem Overture “The Hebrides” - Mendelssohn Serenade to Music - Vaughan Williams Presentation of Competition Prizes Interval Requiem - Mozart The Leith Hill Musical Festival gratefully acknowledges the financial support from the Josephine Baker Trust for the soloists performing in this concert.
The National Anthem The National Anthem, arranged by Jonathan Willcocks in celebration of the Leith Hill Music Festival. CHOIRS ONLY God save our gracious King! Long live our noble King! God save the King! Send him victorious, Happy and glorious, Long to reign over us, God save the King. ALL Thy choicest gifts in store On him be pleased to pour, Long may he reign. May he defend our laws, And ever give us cause, To sing with heart and voice, God save the King.
Overture “The Hebrides” Mendelssohn (1809-1847) Felix Mendelssohn was born into a prosperous and cultured family, his father being a prominent banker in Berlin. The household was a musical one and the young Mendelssohn showed a precocious musical talent. He enjoyed a brilliant career as a composer, pianist and conductor, though it was cut sadly short by his early death. Although he composed a wide range of music, from symphonies and choral works to short piano pieces and songs, Mendelssohn was often at his best when writing music that is in some way descriptive or programmatic. He was a cultured and widely-travelled man who was responsive to the natural beauty of scenery and landscapes. His powers of musical depiction are brilliantly demonstrated in works such as the Hebrides overture and the Scottish and Italian symphonies. In his early twenties Mendelssohn enjoyed several years of travel abroad. In 1829 he went to London, and from there to Edinburgh where the fi rst ideas for the Scottish Symphony came to him. He made a stormy crossing by steamship to the island of Staff a, with its Fingal’s cave, and it was during this voyage that he conceived the Hebrides overture. ‘In order to make you understand how extraordinarily the Hebrides have aff ected me’, he wrote in a letter home, ‘I have written down the following which came into my mind’, and he notated the fi rst twenty or so bars of the piece. The Hebrides overture is really a symphonic poem, vividly evocative of the sea around those remote Scottish islands. Through the sounds of Mendelssohn’s orchestra we can clearly hear the gentle lapping of the small waves and the crash of the great breakers, the calm of the open sea and the cries of seabirds, and the fury of a violent and dramatic storm - Ian Codd
Serenade to Music Vaughan Williams (1872-1958) In 1938 Sir Henry Wood’s conducting career had spanned fi fty years and it was proposed to hold a jubilee concert in his honour. When the idea was mentioned to him, Sir Henry suggested that the proceeds of the concert should be used to endow hospital beds for orchestral musicians; he felt this was a way of returning some thanks to the many performers who had worked with him. Numerous players and singers gave their services for the concert and Vaughan Williams agreed to write a new piece for the occasion. The work which Vaughan Williams produced was the Serenade to Music. The words were taken from the fi fth act of The Merchant of Venice; the passage begins ‘How sweet the moonlight sleeps upon this bank!’ and contains several references to the art of music. Vaughan Williams matched Shakespeare’s poetry with music of nocturnal beauty, radiant with moonlight, calm and peaceful. In its original version the Serenade was scored for sixteen solo singers, all of them close friends and colleagues of Sir Henry, but it is performed tonight in a version for four soloists and choir - Ian Codd How sweet the moonlight sleeps upon this bank! Here will we sit, and let the sounds of music Creep in our ears: soft stillness and the night Become the touches of sweet harmony. …Look, how the fl oor of heaven Is thick inlaid with patines of bright gold: There’s not the smallest orb that thou behold’st But in his motion like an angel sings Still quiring to the young-ey’d cherubins; Such harmony is in immortal souls; But, whilst this muddy vesture of decay Doth grossly close it in, we cannot hear it. Come, ho! and wake Diana with a hymn: With sweetest touches pierce your mistress’ ear, And draw her home with music. I am never merry when I hear sweet music. The reason is, your spirits are attentive: …The man that hath no music in himself, Nor is not mov’d with concord of sweet sounds, Is fi t for treasons, stratagems and spoils; The motions of his spirit are dull as night, And his aff ections dark as Erebus; Let no such man be trusted. Music! Hark! …It is your music of the house. Methinks it sounds much sweeter than by day. Silence bestows that virtue on it … How many things by season season’d are To their right praise and true perfection! Peace, ho! The moon sleeps with Endymion, And would not be awak’d! …Soft stillness and the night Become the touches of sweet harmony.
Requiem in D minor, K.626 Mozart (1756-1791) Only a few months before his death, Mozart received a strange commission to compose a requiem mass. The request was brought by an anonymous messenger, and the solemn and mysterious circumstances of the commission caused Mozart some unease. The truth was actually quite prosaic. The commission originated from Count von Walsegg, an eccentric nobleman and music-lover who was in the habit of commissioning music anonymously from a variety of composers and then claiming it as his own work. When his young wife died, he wanted to have a requiem that would be performed each year in her memory and he sent an intermediary to Mozart to arrange the commission. Mozart was enthusiastic, named his price, and began the composition immediately. However he was forced to interrupt work on the requiem when he was invited to write an opera for the coronation in Prague of the Emperor Leopold as King of Bohemia. On returning from Prague, Mozart resumed composition of the requiem and worked feverishly. But he fell ill and as he worsened he became certain that death was not far away. Towards the end he was convinced that his mysterious visitor had been a messenger from beyond the grave and that he was writing a requiem for his own funeral. Towards the end of November 1791 he was confi ned to bed and on 5 December he died. The Requiem was left unfi nished. Mozart’s widow eventually persuaded Franz Süssmayr, a pupil of Mozart, to undertake its completion. Mozart had fully scored only the fi rst movement, the Requiem aeternam, and had left the remainder in his usual sketch form. Süssmayr orchestrated all the movements from the Dies irae onwards and later claimed that the last three movements were entirely his own work. He described how he had often played and sung parts of the Requiem with Mozart shortly before his death and that Mozart had explained how he planned to complete the work. However the real extent of Süssmayr’s contribution remains uncertain. For his Requiem, Mozart chose the key of D minor. For him it was a dark and passionate key, suggesting ideas of death and vengeance; he used it to create a sombre and threatening mood in the D minor piano concerto and in Don Giovanni. The music of the Requiem is among Mozart’s most dark and powerful. Its vision is of something grim and awful, and its deep unsettling emotion proclaims a fear of the unknown. It must have been bitter for Mozart to face death; he was only 35, he knew he was leaving his wife and children badly provided for, and he felt he still had much to give the world through his music. The Requiem was Mozart’s last work. It is profound and disturbing, yet supremely beautiful, and certainly one of his fi nest achievements - Ian Codd
1. REQUIEM AETERNAM Requiem aeternam dona eis, Domine, Grant them eternal rest, Lord, et lux perpetua luceat eis. and let perpetual light shine on them. Te decet hymnus, Deus, in Sion, You are praised, God, in Zion, et tibi reddetur votum in Jerusalem. and homage will be paid to you in Jerusalem. Exaudi orationem meam, Hear my prayer, ad te omnis caro veniet. to you all flesh will come. Requiem aeternam dona eis, Domine, Grant them eternal rest, Lord, et lux perpetua luceat eis. and let perpetual light shine on them. Kyrie eleison. Lord have mercy upon us. Christe eleison. Christ have mercy upon us. Kyrie eleison. Lord have mercy upon us. 2. DIES IRAE Dies irae, dies illa, Day of wrath, day of anger Solvet saeclum in favilla, will dissolve the world in ashes, Teste David cum Sibylla, as foretold by David and the Sibyl. Quantus tremor est futures Great trembling there will be Quando Judex est venturus, when the Judge descends from heaven Cuncta stricte discussurus. to examine all things closely. 3. TUBA MIRUM Tuba mirum spargens sonum The trumpet will send its wondrous sound Per sepulcra regionum, throughout earth’s sepulchres Coget omnes ante thronum. and gather all before the throne. Mors stupebit et natora Death and nature will be astounded, Cum resurget creatura when all creation rises again, Judicanti responsura. to answer the judgement. Liber scriptus proferetur A book will be brought forth, In quo totum continetur, in which all will be written, Unde mundus judicetur. by which the world will be judged. Judex ergo cum sedebit, When the judge takes his place, Quidquid latet apparebit; what is hidden will be revealed, Nil inultum remanebit. nothing will remain unavenged. Quid sum miser tunc dicturus? What shall a wretch like me say? Quem patronum rogaturus, Who shall intercede for me, Cum vix justus sit securus? when the just ones need mercy? 4. REX TREMENDAE Rex tremendae Majestatis, King of tremendous majesty, Qui salvandos salvas gratis, who freely saves those worthy ones, Salve me, fons pietatis. save me, source of mercy.
5. RECORDARE Recordare, Jesu pie, Remember, kind Jesus, Quod sum causa tuae viae, my salvation caused your suffering; Ne me perdas ilia die. do not forsake me on that day. Quaerens me sedisti lassus, Faint and weary you have sought me, Redemisti crucem passus, redeemed me, suffering on the cross; Tantus labor non sit cassus? may such great effort not be in vain. Juste judex ultionis, Righteous judge of vengeance, Donum fac remissionis, grant me the gift of absolution Ante diem rationis. before the day of retribution. lngemisco tamquam reus: I moan as one who is guilty: Culpa rubet vultus meus; owning my shame with a red face; Supplicanti parce Deus. supplicant before you Lord. Qui Mariam absolvisti, You, who absolved Mary, Et latronem exaudisti, and listened to the thief, Mihi quoque spem dedisti. give me hope also. Preces meae non sum dignae, My prayers are unworthy, Sed tu bonus fac benigne, but, good Lord, have mercy, Ne perenni cremer igne. and rescue me from eternal fire. Inter oves locurn praesta, Provide me a place among the sheep, Et ab hoedis me sequestra, and separate me from the goats, Statuens in parte dextra. guiding me to your right hand. 6. CONFUTATIS MALEDICTIS Confutatis maledictis, When the accused are confounded, Flammis acribus addictis, and doomed to flames of woe, Voca me cum benedictis. call me among the blessed. Oro supplex et acclinis, I kneel with submissive heart, Cor contritum quasi cinis, my contrition is like ashes, Gere curam mei finis. help me in my final condition. 7. LACRYMOSA Lacrymosa dies illa That day of tears and mourning, Qua resurget ex favilla, when from the ashes shall arise, Judicandus homo reus. all humanity to be judged. Huic ergo parce, Deus, Spare us by your mercy, Pie Jesu Domine, Lord, gentle Lord Jesus, Dona eis requiem. Amen. grant them eternal rest. Amen.
8. DOMINE JESU Domine, Jesu Christe, Rex gloriae! Lord Jesus Christ, King of glory! Libera animas omniurn fidelium defunctorum; Liberate the souls of the faithful; de poenis inferni, et de profundo lacu. departed from the pains of hell and from the bottomless pit. Libera eas de ore leonis, Deliver them from the lion’s mouth, ne absorbeat eas tartarus, lest hell swallow them up, ne cadant in obscurum. lest they fall into darkness. Sed signifer sanctus Michael Let the standard-bearer, holy Michael, repraesentet eas in lucem sanctam, bring them into holy light, Quam olim Abrahae promisisti which was promised to Abraham et semini ejus. and his descendants. 9. HOSTIAS Hostias et preces tibi, Domine, Sacrifices and prayers of praise, Lord, laudis offerimus. we offer to you. Tu suscipe pro animabus illis, Receive them on behalf of those souls quarum hodie memoriam facimus: we commemorate today. fac eas, Domine, de morte Iransire ad vitam, And let them, Lord, pass from death to life, Quam olim Abrahae promisisti which was promised to Abraham et semini ejus. and his descendants. 10. SANCTUS Sanctus, Sanctus, Sanctus, Holy, holy, holy, Dominus Deus Sabaoth! Lord God of Sabaoth! Pleni suni coeli et terra gloria tua. Heaven and earth are full of your glory. Hosanna in excelsis. Hosanna in the highest. 11. BENEDICTUS Benedictus qui venit in nomine Domini. Blessed is He who cometh in the name of the Lord Hosanna in excelsis. Hosanna in the highest. 12. AGNUS DEI Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the world, dona eis requiem. grant them rest. Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the world, dona eis requiem. grant them rest. Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the world, dona eis requiem sempiternam. grant them eternal rest. Lux aeterna luceat eis, Domine, Let eternal light shine on them, Lord, cum sanctis tuis in aeternum, as with your saints in eternity, quia pius es. because you are merciful. Requiem aeternam dona eis, Domine, Grant them eternal rest, Lord, et lux perpetua luceat eis, and let perpetual light shine on them, cum sanctis tuis in aeternum, as with your saints in eternity, quia pius es. because you are merciful.
Saturday 13th April Orchestra: Southern Pro Musica Orchestra Leader: Sophie Langdon Conductor: Jonathan Willcocks Soloists: SangEup Son (Tenor) Jacob Harrison (Bass) Participating Choirs: Beare Green and Newdigate, Bookham, Buckland and Betchworth, Holmbury St Mary, Horsley and Mickleham Programme Lux aerterna - Morten Lauridsen Presentation of Competition Prizes Interval Messa di Gloria - Puccini God be with you till we meet again - Vaughan Williams
Lux aeterna Morten Lauridsen (b.1943) The American composer Morten Lauridsen specialises in vocal and choral music and is well-known for works such as O magnum mysterium and Les chansons des roses. His music shows influences from classical Lieder and popular American song as well as plainchant and Renaissance polyphony. His lyrical and expressive style has made him a deservedly popular choice with many choirs around the world. The ideas for Lux aeterna occupied him for some time before they began to take shape in 1995. The work was completed and first performed in 1997 by the Los Angeles Master Chorale, for which it was written. It is scored for choir and small orchestra and its five movements follow continuously without any breaks. The words are taken from various Latin texts, each of which makes some reference to holy light. The music conveys a message of faith and hope, in a mood of consolation; it may well have been influenced by the fact that Lauridsen’s mother died as he began work on the score. Two movements, the first and last, take their text from the Requiem mass while the others draw on different sources. The first movement uses the opening of the mass (Requiem aeternam) and in music that is flowing and melodious it establishes a mood of calm serenity. The second movement maintains this basic mood, mixing contrapuntal and chordal writing. The third movement is for unaccompanied choir, and then comes a joyful and exuberant hymn to the Holy Spirit. The last movement, the longest, uses the closing texts of the Requiem. The Agnus Dei, with its quiet choral phrases, is a hushed prayer for eternal rest, after which the Lux aeterna leads to a joyful Alleluia and a final quiet Amen - Ian Codd
I INTROITUS Requiem aeternam Rest eternal dona eis, Domine: give to them, O Lord: et lux perpetua luceat eis. and let light perpetual shine on them. Te decet hymnus, Deus in Sion, A hymn befits you, God, in Zion, et tibi reddetur votum and to you shall be fulfilled a promise in Jerusalem: in Jerusalem: exaudi orationem meam, Hear my prayer, ad te omnis caro veniet. To you all flesh will come. Requiem aeternam Rest eternal dona eis, Domine, give to them, Lord, et lux perpetua luceat eis. and let light perpetual shine on them. II IN TE, DOMINE, SPERAVI Tu ad liberandum To deliver us, suscepturus hominem you became man non horruisti Virginis uterum. Not disdaining the Virgin’s womb. Tu devicto mortis aculeo, With the sting of death vanquished, aperuisti credentibus you opened to believers regna cœlorum. the kingdoms of heaven. Exortum est in tenebris There is risen in the shadows lumen rectis. A light for the righteous. Miserere nostri, Domine, Have mercy on us, Lord, miserere nostri. have mercy on us. Fiat misericordia tua, Domine, Let your mercy, Lord, super nos, be upon us, quemadmodum speravimus in te. inasmuch as we have trusted in you. In te Domine, speravi: In you, Lord, I have trusted: non confundar in aeternum. Let me never be confounded. III O NATA LUX O nata lux de lumine, Born light from light Jesu redemptor saeculi, Jesus, redeemer of the age, Dignare clemens supplicum mercifully deign to accept suppliants’ Laudes preces que sumere. praises and prayers. Qui carne quondam contegi You once deigned to take on flesh Dignatus es pro perditis. for the sake of the lost damned. Nos membra confer effici, Grant that we be made members Tui beati corporis. of your blessed body.
IV VENI, SANCTE SPIRITUS Veni, Sancte Spiritus Come, Holy Spirit, et emitte cœlitus and send from heaven lucis tuae radium. the ray of your light Veni, pater pauperum, Come, father of paupers, veni, dator munerum, come, donor of gifts, veni, lumen cordium. Come, light of hearts. Consolator optime, Best of consolers, dulcis hospes animae, sweet host of the soul, dulce refrigerium. sweet respite. In labore requies, Amid labour, rest, in aestu temperies, amid heat, moderation, in fletu solatium. amid tears, solace. O lux beatissima, Light most blessed, reple cordis intima fill the inmost parts of the heart tuorum fidelium. of your faithful. Sine tuo numine, Without your spirit, nihil est in homine, there is nothing in man, nihil est innoxium. nothing harmless. Lava quod est sordidum, Clean what is dirty, riga quod est aridum, moisten what is dry, sana quod est saucium. heal what is wounded Flecte quod est rigidum, Bend what is rigid, fove quod est frigidum, warm what is cold, rege quod est devium. guide what is straying. Da tuis fidelibus, Give to your faithful, in te confidentibus, those trusting in you, sacrum septenarium. sacred seven-fold gifts. Da virtutis meritum, Give the reward of virtue, da salutis exitum, give the deliverance of salvation, da perenne gaudium. give eternal joy.
V AGNUS DEI – LUX AETERNA Agnus Dei, Lamb of God, qui tollis peccata mundi, who takes away the sins of the world, dona eis requiem. give them rest. Agnus Dei, Lamb of God, qui tollis peccata mundi, who takes away the sins of the world, dona eis requiem. give them rest. Agnus Dei, Lamb of God, qui tollis peccata mundi, who takes away the sins of the world, dona eis requiem sempiternam. give them rest everlasting. Lux aeterna luceat eis, Domine: Let light eternal shine on them, Lord: cum sanctis tuis in aeternum: in the company of your saints for ever; quia pius es. for you are merciful. Requiem aeternum Rest eternal dona eis, Domine: give to them, O Lord: et lux perpetua luceat eis. and let light perpetual shine on them. Alleluia. Amen. Alleluia. Amen.
Messa di Gloria Puccini (1858-1924) Giacomo Puccini, who died one hundred years ago, was the greatest Italian opera composer after Verdi – indeed he may be said to be Verdi’s successor. Born into a family of several generations of musicians in Lucca, and with a father who was an organist, he seemed destined to become a church musician. He started his own career as a church organist at fourteen but then he attended a performance of Aida which so aff ected him that he determined to become an opera composer. He studied fi rst in Lucca before going on to the Milan Conservatory and for his fi nal graduation exercise in Lucca he composed a Mass. Unpublished at the time, it lay unknown until it was rediscovered long after Puccini’s death. The score was fi nally published in 1951 and a recording made a year later. After three years of study in Milan, Puccini would go on to write his operatic masterpieces, many of which remain in the regular repertoires of the world’s opera houses to this day. The Mass is scored for tenor and bass soloists, choir and orchestra. Puccini was probably infl uenced by the example of Verdi, whose great Requiem had been written only a few years earlier. The Mass is an impressive work for a twenty-two year old composer. It combines assured choral writing with eff ective orchestration, producing a work that is both dramatic and imbued with genuine religious feeling. Most of the music is sung by the choir; the parts for the two soloists are relatively small. Possibly wishing to show his mastery of various styles and techniques, Puccini used lyrical vocal writing in the Italian bel canto manner, classical techniques of counterpoint and fugue, and also a good deal of powerful unison writing as in the chant-like music of the Credo. The fi nal section, Agnus Dei, is a quiet and moving prayer for peace. In tonight’s performance, the work concludes with a reprise of the fi nal section of the uplifting Gloria The longest movement is the Gloria. Beginning in joyful celebratory mood for the choir and full orchestra, it moves on to more impassioned vocal writing and a lyrical solo for the tenor. In later sections Puccini uses a variety of techniques including some impressive fugal writing. It is presumably on account of this powerfully dramatic and extended movement that the Mass acquired the name by which it is generally known - the Messa di Gloria - Ian Codd
KYRIE Kyrie eleison. Lord, have mercy upon us. Christe eleison. Christ, have mercy upon us. Kyrie eleison. Lord, have mercy upon us. GLORIA Gloria in excelsis Deo, Glory be to God on high, et in terra, pax hominibus bonæ voluntatis. And on earth, peace to men of good will. Laudamus te, benedicimus te, We praise you, we bless you, adoramus te, glorificamus te. We worship you, we glorify you. Gratias agimus tibi propter magnam gloriam tuam. We give thanks to you for your great glory. Domine deus, rex coelestis, deus pater omnipotens. Lord God, heavenly King, almighty God and Father. Domine fili unigenite, Jesu Christe, domine deus, Lord the only begotten son Jesus Christ, Lord God, agnus dei, filius patris. Lamb of God, Son of the Father. Qui tollis peccata mundi, You who take away the sins of the world, miserere nobis. Have mercy on us. Qui tollis peccata mundi, You who take away the sins of the world, suscipe deprecationem nostram. receive our prayer. Quoniam tu solus sanctus, For you alone are the Holy One, tu solus Dominus. you alone are the Lord. Tu solus altissimus Jesu Christe. You alone are the Most High Jesus Christ. Cum sancto spiritu With the Holy Spirit in gloria dei patris, amen. in the glory of God the Father, amen. CREDO Credo in unum deum, patrem omnipotentem, I believe in one God, the Father, the Almighty, factorem caeli et terrae, maker of heaven and earth, visibilium omnium et invisibilium, of all that is, seen and unseen, et in unum dominum Jesum Christum, and in one Lord Jesus Christ, filium dei unigenitum, the only Son of God, et ex patre natum ante omnia saecula, eternally begotten of the Father, deum de deo, lumen de lumine, God from God, Light from Light, deum verum de deo vero, true God from true God, genitum non factum, consubstantialem patri, begotten not made, of one being with the Father, per quem omnia facta sunt, through whom all things were made, qui propter nos homines who for us men et propter nostram salutem descendit de caelis. and our Salvation came down from heaven. Et incarnatus est de spiritu sancto By the power of the Holy Spirit became incarnate ex Maria virgine, et homo factus est. from the Virgin Mary and was made man.
Crucifixus etiam pro nobis sub Pontio Pilato, For our sake he was crucified under Pontius Pilate, passus et sepultus est. he suffered death and was buried. Et resurrexit tertia die On the third day he rose again secundum scripturas, in accordance with the Scriptures, et ascendit in caelum, and ascended into heaven, sedet ad dexteram patris, and is seated at the right hand of the Father, et iterum venturus est cum gloria and he will come again in glory judicare vivos et mortuos, to judge the living and the dead, cujus regni non erit finis. and his kingdown will have no end. Et in spiritum sanctum, dominum I believe in the Holy Spirit, the Lord qui ex patre filioque procedit, who proceeds from the Father and the Son, qui cum patre et filio who with the Father and Son simul adoratur et conglorificatur is worshipped and glorified qui locutus est per prophetas. who has spoken through the prophets. Et unam, sanctam, catholicam And I believe in one holy, catholic et apostolicam ecclesiam. and apostolic Church. Confiteor unum baptisma I acknowledge one baptism in remissionem peccatorum. for the forgiveness of sins. Et expecto resurrectionem mortuorum. And I look for the resurrection of the dead. Et vitam venturi saeculi, amen. And the life of the world to come, amen. SANCTUS Sanctus, sanctus, sanctus dominus deus sabaoth. Holy, Holy, Holy Lord, God of Sabaoth. Pleni sunt caeli et terra glória tua, Heaven and earth are full of your glory, hosanna in excélsis. Hosanna in the highest. Benedíctus qui venit in nómine dómini. Blessed is he who comes in the name of the Lord. Hossna in excélsis. Hosanna in the highest. AGNUS DEI Agnus dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the world miserere nobis. have mercy on us. Agnus dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the world miserere nobis. have mercy on us. Agnus dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the world dona nobis pacem. grant us peace. GLORIA REPRISE Gloria in excelsis Deo, amen. Glory be to God on high, amen. Cum sancto spiritu With the Holy Spirit in gloria dei patris, amen. in the glory of God the Father, amen.
God be with you till we meet again Vaughan Williams This noble hymn tune, written by Vaughan Williams, has for several years been the traditional music used to close the Festival and also to look forward to the next year. The stirring orchestration is by William Llewellyn, another former festival conductor - Ian Codd The audience is invited to join in. God be with you till we meet again; May he through the days direct you; May he in life’s storms protect you; God be with you till we meet again. God be with you till we meet again; And when doubts and fears oppress you May his holy peace possess you; God be with you till we meet again. God be with you till we meet again; In distress his grace sustain you; In success from pride restrain you; God be with you till we meet again. God be with you till we meet again; May he go through life beside you, And through death in safety guide you; God be with you till we meet again. Amen 1 2 3 4
Festival Artists
JONATHAN WILLCOCKS / FESTIVAL CONDUCTOR Jonathan Willcocks was born in Worcester, and after early musical training as a chorister at King’s College Cambridge and an Open Music Scholar at Clifton College he took an Honours degree in Music from Cambridge University where he held a choral scholarship at Trinity College. In addition to his role as Festival Conductor for the Leith Hill Music Festival he is currently Musical Director of The Chichester Singers, Guildford Choral Society and the professional chamber orchestra Southern Pro Musica. Freelance conducting and workshop engagements have taken him to many parts of the world including the USA, Canada, New Zealand, Australia, South Africa, Singapore, China and most of the European countries as well as the United Kingdom. These engagements have seen him conducting concerts in many of the world’s finest concert halls, including Carnegie Hall in New York, the Gewandhaus in Leipzig and Perth Concert Hall, Australia as well as closer to home in the Royal Albert Hall and Royal Festival Hall in London and Symphony Hall in Birmingham. Jonathan’s compositions encompass large-scale orchestral scores and chamber music in addition to many choral works, and his music is published principally by Oxford University Press, Lorenz (USA) and Prime Music/MorningStar. Jonathan’s music is widely performed and recorded with four CDs issued by Priory Records devoted to his choral music, three CDs of music for children’s choir and a recording of his works for narrator and orchestra. His music has been played at the BBC Proms and his choral repertoire has also been recorded by many other wellknown choirs such as the Mormon Tabernacle Choir and the London Bach Choir. Much of his music has been written to commission for choirs, orchestras and ensembles in the UK, USA and around the world and his choral music has been recognised by nomination for the Academy of Composers and Songwriters’ prestigious British Composer Awards. Performers and audiences alike are attracted to Jonathan’s vibrantly rhythmic and tuneful compositional style. Full details of his music, including samples of recordings, can be found at www.jonathanwillcocks.com Jonathan’s extensive choral and orchestral conducting experience results in many invitations to take choral workshops and adjudicate competitions. Although his career now focuses principally on his conducting and composition work, he has in the past held major posts in general and specialist music education – most recently at the Royal Academy of Music in London.
thousands of young listeners, and these concerts have been given in Winchester, Petersfield, Worthing, Portsmouth, Chichester, Southampton, Guildford and Dorking. In its work providing first-class professional orchestral support for leading choirs in the south, the orchestra is proud to perform regularly with Leith Hill Music Festival, each season partnering The Chichester Singers, Portsmouth Choral Union, Guildford Choral Society and Petersfield Musical Festival and has also collaborated with Woking Choral Society, Southampton Choral Society, Winchester Music Club, Sussex Chorus, Dorset Guild of Singers, Epworth Choir, Froxfield Choir and the Wokingham Choral Society. Southern Pro Musica has made a number of recordings issued on the Priory Records label and further CDs have since appeared including a collaboration with the National Children’s Choir of Great Britain and music for narrator and orchestra with the distinguished musician and broadcaster Brian Kay. Full information and details of forthcoming concerts can be found at the orchestra’s website www.southernpromusica.org SOUTHERN PRO MUSICA Southern Pro Musica is firmly established as one of the leading freelance professional chamber orchestras in the south of England. It includes amongst its core players many of the finest orchestral players to base their work in the south and its versatile schedule of work includes a broad range of concerts and musical repertoire. In 2021 Southern Pro Musica celebrated the landmark of its 30th anniversary season. Southern Pro Musica has collaborated with many distinguished national and international soloists, including Alison Balsom (trumpet), Antje Weithaas (violin), Natalie Clein (cello), Michaela Petri (recorder) Nicholas Daniel (oboe), Emma Johnson (clarinet), Michael Collins (clarinet), John Wallace (trumpet) Nikolai Demidenko (piano) and Frederick Kempf (piano) and the actor Brian Blessed. In 2013 Southern Pro Musica was appointed by Guildford Borough Council as their ‘principal provider of Classical music’, encompassing a broad range of orchestral concerts and educational outreach work in Guildford, a tenure which was then renewed for a further four years in 2017. In addition to its regular orchestral concerts, Southern Pro Musica undertakes an annual series of children’s concerts, introducing live orchestral music to many
Alan Brown studied piano and cello with Ruth Harte and Lilly Phillips at the Royal Academy of Music. Whilst there he was awarded the prestigious Recital Diploma, and was proclaimed National Most Promising Pianist of the Year. He was a fi nalist in the Royal Over-Seas League and National Federation of Music Societies awards and won the Hastings National Piano Concerto Competition. Since his acclaimed Wigmore Hall début, Alan has appeared frequently in London, throughout the United Kingdom and Europe, as well as Australia, South Korea and Japan. Alan has a repertoire of over forty fi ve concertos, performing with the Royal Philharmonic Orchestra, the English Chamber Orchestra, the London Mozart Players, the Virtuosi of England and other orchestras, working frequently with Arthur Davison and his son Darrell. He is in great demand as duo partner to wind and string players, performing for recitals, concerts and competitions here and in Germany. Alan gives much of his time to young students, working as accompanist and coach at both the Royal Academy of Music and the Guildhall School of Music and Drama. Until recently he had a regular summer commitment to international violin courses, working with Igor Ozim in Weimar, Salzburg and Slovenia. This is Alan’s thirty sixth year year playing for the Leith Hill Choirs. ALAN BROWN / FESTIVAL ACCOMPANIST
Jessica Lawley is a soprano from Derby studying a Masters at the Royal College of Music under the tutelage of Patricia Rozario OBE and coached by Caroline Dowdle. She is an Ian Evans Lombe Scholar supported by the Helen Marjorie Tonks Scholarship and is also supported by the Josephine Baker Trust. She is an Alvarez Young Artist and will be covering Barbarina and playing First Bridesmaid in Le Nozze di Figaro by Mozart in Garsingon Opera’s 2024 Summer Season. Recently she played Frou-Frou in RCM’s 2024 Spring Term production of The Merry Widow by Lehar, directed by Liam Steel. In July 2023, Jessica performed the role of Charity Taylor in the UK premier of Barnum’s Bird by Libby Larsen at RCM. Other roles include Cybelle in RCM’s 2022 production of Orfeus in the Underworld (Offenbach), as well as roles in opera scenes such as Dalinda (Ariodante, Handel), Female Chorus (Rape of Lucretia, Britten) and Euridice (Orfeo ed Euridice, Gluck). JESSICA LAWLEY / SOPRANO British contralto Angelina Dorlin-Barlow is a Fishmongers’ Company Scholar and a Josephine Baker Trust Artist studying at the Royal College of Music with Patricia Bardon. Angelina was a featured Young Artist in the Bitesize Proms concert series and received the Norma Procter Song Prize in the 2020 Kathleen Ferrier Junior Bursary Competition. At RCM, Angelina was awarded Best Undergraduate Vocal Performance at the Brooks Van Der Pump English Song Competition 2021 and the Poppy Holden Prize for Vocal 2023. Angelina has appeared as a solo recitalist at the Liverpool Philharmonic Hall Music Room and as a soloist in many venues including the Royal Albert Hall. Angelina featured as a soloist with the London Philharmonic Orchestra at the Royal Festival Hall singing the role of Astra Desmond in A Serenade to Music by Vaughan Williams. Last summer, Angelina performed as Third Shining One, Cupbearer, Pickthank, and Woodcutter’s Boy in Vaughan Williams’ The Pilgrim’s Progress with the British Youth Opera and the Royal Philharmonic Orchestra. Angelina was a Cecil King Scholar at the Oxford international Song Festival 2023 where she premiered her composition Prison under the pseudonym Lorainne Glorinda Lawb. Angelina covered the role of the Jewish Child in the world premiere of Noah Max’s new chamber opera A Child in Striped Pyjamas in London and again at the Brundibár Festival 2024. She has performed in masterclasses with Michael Chance, Nicky Spence, Jennifer Johnston, and Roderick Williams. ANGELINA DORLIN-BARLOW / CONTRALTO
Welsh tenor, Dafydd Jones, is an Aldama scholar studying with Nicky Spence and Caroline Dowdle at the Royal College of Music International Opera Studio. Dafydd is a Samling Artist and made his international opera debut as Clotarco in Haydn’s Armida at the Bregenzer Festspiele last season and has just performed the title role in Albert Herring for Opera North. Other operatic credits include Pastore in Monteverdi’s L’Orfeo (Garsington Opera) Earl Tolloller (cover) in Iolanthe (English National Opera), Don Ottavio Don Giovanni (OPRA Cymru). Equally passionate about song repertoire, Dafydd was awarded the Ferrier Loveday Song Prize at the Kathleen Ferrier Competition finals last year and was recently a member of the Wigmore Hall French Song Exchange programme. As the recent winner of the Royal Over-Seas Singer Section Final, Dafydd is looking forward to competing for their Gold Medal prize at the Wigmore Hall later this year. Other successes include being awarded the Queen Elizabeth the Queen Mother Rose Bowl from the Royal College of Music, winning the Prix Thierry Mermod at the Verbier Festival. Dafydd was a Rising Star Artist for the 2023 Shipston Song. Dafydd is thrilled to be joining the Opera Studio at the Bayerische Staatsoper in Munich for the 24/25 season and will be making a welcomed return to the Verbier Festival. He will also appear on a complete album of Ravel songs with distinguished pianist Malcolm Martineau. Dafydd’s studies are generously supported by the Ivor Llewellyn Foster Scholarship, the Amaryllis Fleming Foundation and Geoff & Val Richards. DAFYDD JONES / TENOR SangEup Son, a dedicated tenor, has crafted a remarkable journey through the realms of music and opera. His educational foundation includes a Bachelor’s degree earned from the prestigious Korea National University of Arts (KNUA) spanning from 2013 to 2020. Demonstrating a commitment to continuous growth, SangEup further honed his skills at the Solti Accademia in 2023 and participated in the Opera Festival de Bauge in France during the same year. Currently pursuing the Guildhall Artist Masters in the Opera Course from 2023 to 2025, SangEup has delved into an immersive exploration of the operatic arts. His dedication to the craft is reflected in his portrayal of iconic opera roles, including Don Ottavio from Don Giovanni, Nemorino from L’elisir d’amore, and Alfredo from La traviata. SANGEUP SON / TENOR
Acclaimed young British baritone Oliver Bowes began his music-making as a treble at Ely Cathedral under Paul Trepte. Having since sunk to greater vocal depths, he continued singing chorally and making occasional forays into amateur opera and operetta. He also began to study composition, with a focus upon dramatic and liturgical music. Upon leaving school he took up the post of Choirmaster of St. Mark’s Anglican Church, Florence, where he enjoyed foisting upon his choir several world premieres, and has had works performed by world-renowned groups such as Voces8. After this, he studied with John Pickard and David Bednall at the University of Bristol, winning awards for his cantata CROW (a setting of Ted Hughes’ poetry) and performing his opera The Picture of Dorian Gray in association with LoveOpera. Rediscovering himself now as a Baritone, he studies at the Royal College of Music where he is the Jessie Sumner Scholar, and is taught by the award-winning tenor Ben Johnson, and pianist Bryan Evans. Recent productions include The Mariner in Contemporary Music Ventures’ The Rime of the Ancient Mariner; Saul in Handel’s Saul, Adonis in Blow’s Venus and Adonis, and the Bass soloist in Purcell’s Hail! Bright Cecilia with Richmond Opera; Counsel for the Plaintiff in Trial by Jury at the Southrepps Festival; Enrico in Lucia di Lammermoor for Brent Opera; the Baritone Soloist in Carmina Burana with the Chelsea Arts Club Singers; and Figaro in excerpts from Il barbiere di Siviglia for RCM Opera Scenes. OLIVER BOWES / BASS Jacob Harrison is a bass-baritone from Norfolk, England. He is currently enrolled on the Opera Course at the Guildhall School of Music & Drama in London, where he studies with Robert Dean. Jacob completed his Masters at Guildhall from 2020-2022, during which time he was awarded the Wyburd Prize for German Lieder (2021), the Keith Bonnington Prize (2022), and the Weston Award at the Chris Treglown Competition (2022). Prior to Guildhall, Jacob studied with Cristiano Manzoni and Anna Aurigi at the Academia Europea di Firenze in Italy (2016), before completing his BA History and International Relations with Spanish at the University of Exeter (2016-2019). Along with Opera, Jacob is also a keen recitalist and concert-singer. Jacob’s performance highlights include Figaro in the University of Exeter Opera Society’s 2019 production of Le Nozze di Figaro; Don Quijote in Encuentro de Santander’s 2023 performance of El Retablo de Maese Pedro; Lord Fortune in Miss Fortune, Pedro Paramo in A Star Next to the Moon (Guildhall Opera Productions 2022-2024); bass soloist in performances of Rossini Petite messe solennelle, Bach B Minor Mass, Bach St. John Passion, Handel Messiah, Brahms Ein Deutsches Requiem, Haydn Creation (across UK, 2016-2024 Upcoming performances include Glyndebourne Chorus this summer, and in September 2024 Jacob will be moving to Düsseldorf to join the Duetsche Oper am Rhein Opernstudio. During his studies, Jacob has received generous support from The Behrens Foundation and Help Musicians, from which he is a recipient of the Van Allan Opera Award 2023/24. JACOB HARRISON / BASS
Festival Choirs
Beare Green & Newdigate Choral Society celebrates 87 years of singing and socialising this year. We are a small village choir that enjoys the friendship and support that singing together and making wonderful music brings. No wonder we have a loyal membership! That said, we’re always on the lookout for new members and, with no auditions necessary, why not consider joining us? In addition to LHMF, we perform Christmas and summer concerts under the direction of our Conductor, Alex Leadbeater. We meet on Wednesday evenings at 7:45 pm in Newdigate Village Hall and you can expect a warm welcome (and tea and biscuits!) BEARE GREEN AND NEWDIGATE CHORAL SOCIETY Bookham Choral Society was founded in 1927 to participate in the Leith Hill Music Festival. In autumn 2023 we welcomed our enthusiastic new musical director, Elliot Mercer, who conducted us in Durufle’s Requiem at St Nicolas in Bookham with our brilliant accompanist, Anthony Merryweather, playing organ. At Christmas a packed audience attended our annual carol concert, complete with Messiah choruses, wine and mince pies. We are always happy to welcome new singers and a number have joined us since the new year. Our next concert will be music for a summer afternoon at St Nicolas on Sunday 7 July. We are delighted to be rehearsing for the Festival again and are thoroughly enjoying the choice of music. BOOKHAM CHORAL SOCIETY www.bookhamchoralsociety.co.uk Meeting: Tuesday evenings, from 7.30pm, Eastwick Road Church Hall, Bookham. Contact: Secretary, Janet Kay - [email protected] www.bgncs.co.uk Meeting: Wednesday evenings, from 7.45pm, Newdigate Village Hall. Contact: Lesley Mears - secretary [email protected]
BBCS, formed in 1923, is a lively and friendly choir. We enjoy singing classic works as well as pieces by more contemporary, less well-known composers. After a busy and successful 2023 centenary year we are looking forward to taking part in the Leith Hill Music Festival, followed later, in June, by our own light, jazzy afternoon concert. We’re excited to have started the 2024 season under the expert guidance of George Inscoe, internationally renowned conductor and organist, and long-standing accompanist Anna Tetsuya. What better time to come and join us? We welcome new singers. Do drop in and see for yourself. BUCKLAND AND BETCHWORTH CHORAL SOCIETY www.bbcsinfo.org Meeting: Wednesdays at 19:45 to 21:45 at Betchworth Village Hall, Station Road, Betchworth, RH3 7DF. Please visit our web site or call Jean Cooke on 01737 245161 for more information. Capel Choral Society, founded in October 1904, contested the first Leith Hill Competitions in 1905. After WWII, the Society re-formed in 1948 for the specific purpose of competing in the Leith Hill Musical Festival. As the Choir nears its 120th anniversary it is now the only founding choir of the Festival to survive to the present day and has participated in well over 100 Festivals with numerous banners and trophies won in the Competitions during that time. In addition to the Festival, Capel Choral organises its own concerts, including a Christmas concert and a very successful Carols & Cakes in Capel church. At the beginning of September 2023, the Choir appointed Anna Tabor as its new Conductor. Anna studied oboe and piano at the Guildhall school of Music and Drama, specialising in arranging and conducting both orchestras and choirs. She also has a Masters Degree in Performing Arts, and a Master of Music from the University of Surrey. The Choir’s Christmas concert in December 2023 was the first one for which she conducted Capel Choral. She is proving very popular with the singers. Capel is now the smallest member choir of the LHMF. This friendly choir is in urgent need of new singers, so if you enjoy singing, we would love to hear from you. CAPEL CHORAL SOCIETY www.capelchoralsociety.com Meeting: Mondays, Capel Memorial Hall, 7.30pm. Contact: Choir Secretary, Rosemary Goddard, [email protected], 01306 711259
Dorking Choral’s year begins in September and, including the Festival, we run a full programme of rehearsals and concerts, throughout the year. Established over 100 years ago, we are an open and sociable society with fundraisers, tours and events run alongside our musical repertoire. We undertook two wonderful concerts in the Autumn term. Daniel Mahoney, our MD, conducted our orchestral Remembrance Sunday Concert, in St Martin’s Church, performing Duruflé Requiem with works by Imogen Holst and Josef Rheinberger. This was followed by our usual Christmas Concert, in the URC, with all enjoying this seasonal event. DORKING CHORAL SOCIETY The choir of around 90 voices is ably directed by our MD, Julian Collings, through 4 concerts and the Festival each year, and has now been singing for over 100 years. Last year we gave highly acclaimed performances of Fanshawe’s African Sanctus and Mendelssohn’s Elijah. This summer we will be in Cadogan Hall singing Belshazzar’s Feast, in partnership with The Barnes Choir. After that we have Haydn, Mozart, Verdi’s Requiem and Will Todd’s Mass in Blue in the pipeline. We have a reputation for learning new music at a fast rate! Do come and join us if you fancy a challenge. EPSOM CHORAL SOCIETY www.epsomchoral.org.uk Meeting: Wednesday night, 7.45pm-10pm, St Martin’s Church, Church Street, Epsom KT17 4PX. Contact: Hamish Young [email protected] or 07860 541745 www.dorkingchoralsociety.org.uk Rehearsals: Wednesday, 7:30pm, Crossways Community Baptist Church, Junction Road, Dorking RH4 3HB. Contact: Lyn Groves 07587 695254
Holmbury St Mary Choral Society is a group of around forty singers with a shared ethos: a good-humoured quest for musical excellence. Alongside our annual summer and Christmas concerts we consider the Leith Hill Music Festival a highlight of our choral calendar. Our repertoire ranges from traditional choral works to contemporary American music, spirituals, folksongs and more. Last year’s summer concert was an exciting mix of Joseph Horovitz’s Captain Noah and his Floating Zoo and Will Todd’s Mass in Blue, accompanied by a jazz ensemble and enthusiastically conducted by Cole Bendall. At Christmas we were fortunate to perform Clive Osgood’s Magnificat which was commissioned for the Coronation of King Charles III, alongside pieces by Howells, Rutter, Gjelo and Lawson, and followed by some rousing audience carols. On 22nd June we have our summer concert entitled “A Night at the Opera” which will feature selections from classic operas and modern masterpieces. Enquiries from potential members are welcome. HOLMBURY ST MARY CHORAL SOCIETY www.holmburychoral.org Meeting: Thursday evenings, 8 – 9.45pm, Holmbury St Mary Village Hall. Contact: Secretary, Liz Hamilton, [email protected], 01306 730382. Our sell-out summer concert ‘An Evening at the Opera’ featured well-loved opera classics performed by the choir with friends Oxshott Choral Society, soloists Jane Searle, Elizabeth Searle, John Upperton and Geoffrey Horton with professional pianists Matthew Rickard and David Harvey. In September, HCS joined Godalming Choral Society to celebrate its 160th anniversary with a performance of Verdi’s Requiem at the Grange Park Opera’s Theatre in the Woods; a memorable night for all concerned. This led us to rehearsals for Christmas, which included singing at the Surrey Hills Christmas Fair at West Horsley Place, carolling in the village and our Christmas concert, ‘Come & Adore’ featuring Vivaldi’s Gloria, where we were once again joined by soloists Elizabeth and Jane. HORSLEY CHORAL SOCIETY www.horsleychoralsociety.com Rehearsals: Mondays 8-10pm, East Horsley Village Hall, Kingston Avenue, East Horsley. Contact: John Stone [email protected], or Gill Walker (Chair) - 01372 457987.
LEATHERHEAD CHORAL SOCIETY www.leatherhead-choral.net Rehearsals: Thursday evenings 7.45pm - 9.45pm, Leatherhead Methodist Church. Contact: Secretary, Diana Payne 07713 000721, [email protected] With a strong community vibe, we are a sociable and friendly choir of approx 55 members. No auditions are necessary to join in! Besides our usual cycle of LHMF, Summer, Remembrance and Carol Concerts, we try to have European adventures, two years ago in Sinalunga Tuscany, as part of the Dorking town twinning initiative, last year a group went to Erl in Austria to sing Carmina Burana and this year we will be in France in the Gironde region singing in the 11th century Abbey at Sainte Gemme. Juliet Hornby, Conductor and Judith Flint Accompanist, continue to lead us with flair and professionalism. MICKLEHAM CHORAL SOCIETY www.micklehamchoral.org.uk Rehearsals: Thursdays 8 - 10pm (with interval), Mickleham Village Hall, Dell Close, Mickleham. Plenty of parking space. Contact: [email protected], 01306 883932 Leatherhead Choral Society is a dedicated and friendly mixed-voice choir which has been rehearsing and performing since 1928. The choir is made up of singers with a wide range of musical experience and new members are welcomed without audition. Under the leadership of its long-term Musical Director, Ian Assersohn, LCS has built up a reputation for the quality of its music making, innovative and enjoyable programmes and friendly welcoming character. The choir’s commitment to high standards in performance, along with Ian’s communicative and engaging style help to make every LCS concert a memorable occasion, enjoyable and musically fulfilling for choir and audience alike.
Embracing our local area of Oxshott, Cobham and Stoke D’Abernon and the wider Elmbridge community, OCS is a choir of 50 voices. Under the leadership of our enthusiastic musical director Valerie Beynon, we perform an extensive repertoire. Last summer we combined with Horsley Choral Society for a concert “An Evening at the Opera” featuring well known opera choruses and solos. We followed this in September by taking part in a performance of Verdi’s Requiem with three other Surrey choirs in the Grange Park Opera House in West Horsley. At Christmas, we performed Bob Chilcott’s Gloria with a selection of carols and Christmas songs, with brass, percussion and organ accompaniment. Most importantly,we enjoy a friendly and fun atmosphere. New members are always welcome. OXSHOTT CHORAL SOCIETY www.oxshottchoral.org.uk Rehearsals: Wednesdays 8pm, St Mary’s Church Hall, Stoke D’Abernon. Contact: [email protected]
The Great Songbook Saturday6July2024 American ConductedbyIanAssersohn Pianist-GarethGiles ~Concert&Refreshments~ ConductedbyIanAssersohn Pianist-GarethGiles Saturday6July2024 3.00pm TheLighthouse (ParishChurchHall) ChurchRd.Leatherhead KT228BD Saturday6July2024 Saturday6July2024 3.00pm TheLighthouse (ParishChurchHall) ChurchRd.Leatherhead KT228BD The Great American Songbook Tickets (including refreshments) £15 (under 16s - £5) www.leatherhead-choral.net
Present FEAST WILLIAM WALTON Cadogan Hall, London SW1X 9DQ Tickets: £40, £30, £20 (transaction fees apply) Box office: 020 7730 4500, cadoganhall.com Further information: www.belshazzar2024.org.uk Saturday 13th July 2024 at 7:30pm Programme also includes Parry | I Was Glad Vaughan Williams | Five Mystical Songs Elgar | Serenade for Strings Parry | Blest Pair of Sirens Performers Baritone | Philip Tebb Epsom Choral Society The Barnes Choir Arcubus Ensemble English Sinfonietta Conductor | Julian Collings
The LHMF family
Who’s who in the Festival Chairman / Ges Ray Festival Organiser / Samantha Wilkins March Concert / Janet Kay Come and Sing Event / Lindsey Thorne and Alison Hunt Treasurer / Pat Frankland Festival Music Librarian / Gill Moir Web Site / Amy Callaghan Assistant Treasurer / Richard Frost Programme Editing / Karen Emerson Programme Design / Sarah Medway / www.smedway.co.uk The Leith Hill Musical Festival Trust The LHMF Trust was established in 1990 as a separate charity to the Festival. Investment income from this capital fund is available to support, enhance and strengthen the activities of the Festival, securing its long-term future. The trustees are all current members of Festival choirs: Ann-Christine Harland (Dorking) Elizabeth Dobson (Holmbury St Mary) Alison Hunt (Leatherhead) We would love to hear from you if you are interested in becoming a Trustee, or if you would like to make a donation to the Trust - [email protected] The LHMF Trust is a registered charity: 1001934 This year we were lucky enough to have been left a legacy of £3000 which has covered the cost of erecting the choir staging for this year’s festival. All gifts are very gratefully received. PLEASE REMEMBER US IN YOUR WILL LEITH HILL MUSIC FESTIVAL
Book through Dorking Halls www.dorkinghalls.co.uk 01306 881717 For more information - lhmf.org.uk Upcoming events for 2024/25 2 Day Festival - Friday 11th April 2025 and Saturday 12th April 2025 Renowned conductor Neil Ferris with professional orchestra Southern Pro Musica, LHMF choirs and superb professional soloists. LEITH HILL MUSIC FESTIVAL DORKING HALLS 2024/25 COME & SING 2024 MESSIAH 2025 Saturday 12th October 2024 Mendelssohn’s Elijah. All day at Dorking Halls, led by Neil Ferris Sunday 9th March 2025, 7:30pm Massed voices of the LHMF choirs, celebrated Baroque ensemble Canzona, outstanding professional soloists and conducted by Neil Ferris FESTIVAL 2025
Together, let’s help music to flourish As those who love choral singing will know, music brings people together like little else. Leith Hill Music Festival is surely a shining example of this, uniting choirs, orchestral musicians and soloists throughout its rich history, all made possible thanks to a host of dedicated volunteers and supporters behind the scenes. Such collaboration is especially close to our hearts at the Royal Philharmonic Society – itself founded by a group of musicians in 1813 – and is central to our work today. As one of music’s foremost charities, we create opportunities for musicians to excel. We help performers and composers when they can often struggle, with grants, commissions, mentoring and performance opportunities. We help young musicians with insufficient means to acquire the instruments they dearly need to progress. We raise the profile of musical endeavours nationwide through the RPS Awards, and our filmed talks and events, cultivating pride and support for so many artists and initiatives worth discovering. We do this with the help of music-lovers who join our community as RPS Members and take pride in positively shaping the story of music. We are especially grateful and proud of our association with Leith Hill Music Festival, whose support as an RPS Corporate Member enhances our work, contributing to our recent achievements: last year, we gave £17,000 to outstanding music students to acquire the instruments they need to progress; we helped talented performers broaden their horizons with scholarships worth £30,000 to study abroad; we celebrated a milestone with our programme for composers, which has commissioned over 100 early-career composers since 2000; we welcomed a new cohort to our renowned Women Conductors programme, tackling gender inequality on the podium in partnership with The Glasshouse International Centre for Music. We warmly invite music-lovers to consider RPS Membership, which is an opportunity to make a charitable gesture and show support for the music and musicians you love, make fresh discoveries, and get closer to what’s happening in classical music today. Do visit our website to discover more and get in touch to share your musical passions with us. We’d be delighted to hear from you – together we can help ensure music thrives. Harriet Wybor, General Manager www.royalphilharmonicsociety.org.uk Left to right: RPS Members making fresh musical discoveries at one of our talks and events Lara Aisha Ali, one of many students the RPS has helped buy an instrument Charismatic brass ensemble Quartet Menine, supported by the RPS
2023 Festival
“Lots of lovely music – lots of lovely people” heads the contribution from fondly remembered Renée Stewart in ‘Music Won the Cause – 100 Years of LHMF’ opening with a thoughtful observation “Choral music is a community activity…” Our LHMF community transcends the voices you see on stage, encompassing our friends and patrons whose ongoing support of our Festival is warmly appreciated.
Founded in 1905 www.lhmf.org.uk Registered Charity 275176