back to programme
Friday August 1
St. Peter's Church
Choral and Orchestral Concert
Budleigh Salterton Festival Orchestra
conducted by Nicholas Marshall
Nicholas Marshall
Nicholas Marshall - conductor-
was born in Plymouth in 1942, the son of musical parents (his mother
was a professional cellist and his father conductor of the Haigh Marshall String
Orchestra and Western Philharmonic Orchestra). He read music at Fitzwilliam
College, Cambridge, and then studied composition at the Royal College of Music
under Anthony Milner. He also studied privately with Sir Lennox Berkeley. While
at Cambridge he was active as a composer, having his first works published during
this time.
After leaving the Royal College he returned to Devon where he took up an appointment
as music teacher at Dartington Hall School and Dartington College of Arts. His
works for children include a number of dramatic works and two operas. From 1980
to 1985 he was the artistic director of the Ashburton Festival; he also became a choral
conductor, and has continued to be involved with choirs ever since. In 2007 Nicholas was appointed Director of Music of the Exeter Bach Society.
He has given many recitals as a piano duettist and as an accompanist, and has also
continued to compose, with a steady output that includes incidental music for radio
plays, orchestral, choral and chamber music. A CD of his music came out a few years
ago and a second CD is in the planning stages.
Nicholas retired from full time work in South Devon in 1999 and he and his wife
Angela moved to Budleigh Salterton where he has become fully involved with the
musical life in the town, in particular the Festival of Music. He formed the Budleigh Salterton Festival Orchestra last year and conducted
a most successful debut concert.
Budleigh Salterton Festival Chorus and soloists
The talented young Devon violinist Marie Langrishe returns to the Festival to perform a selection from Vivaldi's ‘The Four Seasons' and there is also music by Handel, Purcell and Bach – his 4 th Brandenburg Concerto.
Marie Langrishe Marie is 16 and lives near Honiton.
She started playing the violin whilst at
St Joseph’s Primary School in
Exmouth. Now at Maynard School
she is a member of the Devon County
Youth Orchestra and of Pro Corda, the
National School for Young Chamber Music
players, and the Junior Royal Academy of
Music where she was recently awarded
the junior violin prize. She studied violin in
Devon with Brenda Potts and now studies
at the Junior Royal Academy with Nina
Martin.
The second half is devoted to Haydn, when the orchestra is augmented by trumpets and drums, chorus and soloists in a performance of his dramatic Nelson Mass.
Soloists
Lesley-Jane Rogers (soprano)
Louise Tucker (contralto),
Richard Rowntree (tenor)
Stephen Foulkes (baritone)
This is Haydn's largest mass, and one of his most well-known and beloved choral works. It is also his only minor-key mass, set in D minor at the opening, but leading to a victorious D major finale. The orchestra does not include woodwind, and the use of three trumpets and timpani in the accompaniment creates a military feel (which perhaps contributed to the work's eventual name).Haydn's own title for this mass, Missa in Angustiis ('mass for times of distress'), would lead one to expect a dark piece, with an undercurrent of fear. Certainly the opening Kyrie features dark and dramatic fanfares, and belongs to the sound world of Mozart's Requiem , which was written in the same decade. However there are also contemplative and joyful movements and a jubilant finale. Remember that Haydn wrote this mass and others for the name-day of Princess Esterhazy. It would not do to celebrate such an important event with sombre music!
The mass is also notable for the 'fireworks' demanded of the soprano soloist, in the tragic, war-torn Kyrie through the D major Gloria and beyond. But while most contemporary mass settings make a clear distinction between arias and choral sections, in the manner of opera, the solos and ensemble passages in the Nelson Mass in the main remain closely integrated with the chorus.
The Qui tollis section of the Gloria starts surprisingly in Bb major, where the bass is accompanied by some lovely scoring for the strings and organ. The soprano returns us to D major for Quoniam tu solus sanctus and Part II ends with a choral fugue.
An extraordinary opening to the Credo has the sopranos and tenors competing in canon with the altos and basses to the sound of fanfaring trumpets. Et incarnatus begins with a gorgeous aria for the soprano soloist, before the emotional centre of the piece is taken up by the chorus who lead to a glorious D major finish once again in Et resurrexit .
The Benedictus in Part IV is a world away from the serene, prayerful setting that might be expected. This is typically set as a quiet meditation, but Haydn's setting begins with a stormy orchestral introduction, moves through a series of exchanges between soloists and chorus, and culminates in a strikingly dissonant passage. The G major Agnus Dei provides the chorus a little respite as the soloists take centre stage, before Dona nobis pacem returns triumphantly to D major in a joyous finale.
Stephen Foulkes
sang for ten years as a lay-clerk in Bristol Cathedral Choir, with whom he toured extensively throughout Europe and in the USA. He is currently bass vicar-choral with Wells Cathedral Choir. A regular soloist with choral societies around the UK, he has made many broadcasts and recordings. His extensive repertoire includes works by Bach, Dvorak, Tavener and Finzi in venues as varied as Cologne, Amsterdam, New York and Nymberg in the Czech Republic.
His many recent performances in the UK have included Handel's Messiah in Edinburgh, London and Bath; Bach's St Matthew Passion in Truro Cathedral and St John Passion in Llandaff Cathedral; Cantata 140 Wachet auf! in York Minster; Verdi's Requiem in The Concert Hall, Reading; the role of Pater Ecstaticus in Mahler's monumental 8th Symphony for the Bath Festival; and Brahms' Ein Deutches Requiem in Romsey Abbey and for South Somerset Choral Society.In 2005 he was guest soloist with the Silver Ring Choir of Bath on a tour of the Far East and New Zealand.
Future plans include performances of Messiah in Bristol Cathedral and Bath Abbey;
Bach's Christmas Oratorio for North Devon Choral Society and in Wells Cathedral;
Vaughan-Williams' Dona Nobis Pacem in Aberystwyth; the Sea Symphony for the
Chiswick Choir; and performances of Durufle's and Faure's Requiems for Bath Bach
Choir and Bristol Bach Choir. In addition to his concert work, Stephen has sung in
opera ranging from Monteverdi to Britten, and has regularly appeared as judge
and recitalist in competitions for song composers under the auspices of the English
Poetry and Song Society.
Outside music his interests are mainly water-based, thanks to a previous occupation as a police frogman, and sailing his Wanderer dinghy around Cornwall and the Lake District remains his favourite relaxation. The waterside pubs are also a great attraction! He also enjoys horse-riding and has had a book published on the history of the Mounted Police in Bristol to mark their recent centenary.
Lesley-Jane Rogers
is heralded as one of the most versatile soloists of today, and is renowned for her captivating and evocative performances. An established concert soloist, she specialises in oratorio, solo cantatas, recitals and contemporary music, and has a vast repertoire of several hundred works. She studied singing and piano at the Royal Academy of Music where she won several prizes, and was recently made an ‘Associate’ in recognition of her eminence in the profession.
Her extensive oratorio repertoire encompasses the mainstream panoply – she frequently performs works by Bach, Handel, Haydn, Mozart, Mendelssohn, Elgar and Verdi – as well as many more unusual pieces. An exuberant performer when required, she is also a natural choice for works such as Orff’s Carmina Burana, the Poulenc Gloria, and David Fanshawe’s African Sanctus.
Lesley-Jane has worked with many leading conductors and orchestras, and her discography numbers several new-music releases for the specialist label Metier, various English composer CDs for the Campion/Cameo label, as well as discs for Toccata Classics, Hyperion, Collins Classics and ASV.
She is also an engaging recitalist, and has recently released two CDs, one of Schubert Lieder and one of English Song, with the pianist Christopher Ross.
Louise Tucker
Born in Bristol, Louise set out to train as an opera singer and studied singing at the famous Guildhall School of Music and Drama in London. It was a chance encounter with producers Tim Smit (now known for the Eden Project) and Charlie Skarbeck that led to the conception of the album MIDNIGHT BLUE, which is now regarded as the first combination of classical melody in a popular idiom to have enjoyed world-wide success. Its popularity led to appearances with such artists as John Denver, Marvin Gaye, Dire Straits and Randy Crawford. The second album, AFTER THE STORM, followed. MIDNIGHT BLUE became one of the ten most played records in the USA and appeared in the Guinness Book of Music Records. Together the albums sold over 3 million copies. Of course appearances on numerous shows in and around Europe followed, including the Yamaha Song Festival, Top of the Pops, Pebble Mill and a memorable interview with Rod Hull and Emu!
Whilst being resolutely proud of her achievements in popular music, Louise chose to return to her roots in classical music, where she enjoys performing in operas and oratorio concerts with choral societies.
During her varied opera career she has performed for many companies including Dublin Grand Opera, Kent Opera, the Aix-en-Provence Festival, Orleans Opera and the Holland Park Festival. She has enjoyed singing many roles ranging from Dido in Purcell's Dido and Aeneas to Ulrica in Verdi's Un Ballo Maschera as well as supporting contemporary music.
On the concert platform she is in demand as a soloist in works ranging from Handel's Messiah and Bach's Passions to solo works such as Elgar's Sea Pictures, but it is in romantic oratorios such as Verdi's Requiem and Elgar's Dream of Gerontius that she now enjoys the most acclaim.
She is also committed to helping young singers and enjoys a considerable success as a teacher, where her wealth of experiences offer her pupils an unusually cosmopolitan education.
Richard Rowntree
Richard Rowntree studied voice, viola and piano at Trinity College of Music, London. On leaving college, Richard became a tenor Vicar Choral at Wells Cathedral, a post he held from 1999 – 2007. Richard now sings in the choir of the London Oratory and combines this with a flourishing freelance career.
Richard is greatly in demand as a soloist and consort singer and regularly appears with some of the country's leading groups including The Monteverdi Choir under Sir John Eliot Gardiner, The Gabrieli Consort under Paul McCreesh, The King's Consort under Robert King and Matthew Halls, The Early Opera Company under Christian Curnyn, The London Handel Festival under Laurence Cummings, The Cambridge Singers under John Rutter and The Philharmonia Voices under Richard Hickox and Christoph von Dohnanyi.
Future engagements include tours to Santiago and Poland with the Gabrieli Consort, Portugal with The King's Consort and France and Spain with the Monteverdi Choir. Richard will make his BBC Proms debut this summer singing Handel's Belshazzar with the Choir and Orchestra of the Age of Enlightenment under Sir Charles Mackerras.
**********************************************************
At the Temple Methodist Church at 7.30pm
The Budleigh Salterton Male Voice Choir
With a programme of songs old and new. Our own Male Choir was founded 33 years ago, under the musical direction of Pamela Jones, now our life president. The current director, Allen Coles, has been with the choir for ten years and is only its third musical director. The choir exists to provide a stimulating and enjoyable hobby for its 60 or so members, but the key feature of the choir is that it performs 12 to 15 concerts a year around the region for the benefit of local and national charities.
Our accompanist, William Mann, who has been with the choir for about seven years, is shortly moving away from the area. We are delighted that Sandra Jepps, who is well known in Exmouth and Lympstone musical circles will be taking over from January 2008.
The choir recorded their new CD over the weekend 12/13 October. Up to 20 of your favourite songs. It will be ready by 1 December at just £8 so order your copies now so you get them in time for Christmas! Email us on budleighmvc@fsmail.net or contact any choir member.
In June 2006, the choir has purchased new maroon blazers and badges. This represents a change of image from the royal blue which we have worn for the last 20 years or so.
The Choir has exchange visits with other male voice choirs one or two times per year. Recent trips have been to Broadstairs in Kent, and to Bridgend in South Wales. In 2007 we have held joint concerts in Devon with Bristol Male Voice Choir, Newlyn Male Choir and with Barnstaple Ladies Choir, and in 2006 we had had a joint concert with Solent Male Voice Choir.
Recent beneficiaries of the choir’s concerts include Christian Aid, a hospital in Swaziland, Boy Scouts, Bible Society, the new diabetes centre in Exeter, British Legion Poppy Appeal, Hospicare, RNLI, Exeter Leukaemia Fund and many church development funds. Just over the last four months of summer 2007 over £4000 was raised for various charities.
In May 2007 the choir participated in the Cornwall International Male Voice Festival, singing in competition as well as in three other concerts there.
We are pleased to have the recent sponsorship of PENNYS Estate Agents, with branches throughout East Devon, who kindly print all our posters and programmes.
The Choir is a member of the National Association of Choirs - see their website www.nationalassociationofchoirs.org.uk
The Courtenay Players
The recorder consort was formed in 1989. At different times since then the group has consisted of combinations of players from two to five recorders, and has taken part in a wide variety of concerts in Devon, including a regular appearance at the summer series of concerts at St Marychurch in Torquay. The consort has also travelled to Somerset, Worcester and London, where they played with the early music ensemble Baroque Encounter. In 2003 they appeared with Carmen Lasok in the Exeter Festival, giving them a chance to explore the baroque repertoire for soprano and recorder. They have also provided incidental music for the theatre, in particular the outdoor production of Shakespeare's Henry IV Part 1 by the Playgoers' Society at Dartington Hall, playing music composed for the production by David Haines.
As a consort they have studied with Eileen Silcocks , Piers Adams and Daniel Bruggen of the Amsterdam Loeki Stardust quartet, and play not only the Renaissance consort music and baroque solos which are the instrument's traditional territory but also the expanding contemporary repertoire. They also have a keen interest in education, and visit local schools, both primary and secondary, giving illustrated talks about the recorder and its possibilities.
