Saturday 5 July • Brentwood Cathedral • 7.30pm Opening concert of the 2014 Brentwood Arts Festival

brentwoodartsfestival.org.uk

A n d t h e G r e a t W U M L

ELMS Symphony Orchestra

Brentwood Choral Society Cathedral Singers Hutton & Shenfield Choral Society Ingatestone Choral Society & guest singers

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Prog r amme : £ 1 . 5 0

Generously supported by Hosted by Part of

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Promoting a wider interest in the life and music of Edward Elgar

For only 130, you can join the largest UK. composer society, formed to promote a wider interest in the life and music of Edward Elgar. Benefits of membership include: o Free entrance to the Elgar Birthplace Museum in Broadheath o Regular regional meetings with talks by well known musicians or writers O Invitation to the annual Birthday weekend in May/June O Tree copies three times a year ol the Society's Journal and the News 0 Discount prices on the Society's hooks and CDs O Support of the Elgar Society Edition: creating a comprehensive edition of all Elgar s pul o Sponsorship of performances of Elgar's lesser known works both here and abroad o Access to a worldwide membership.

ionTVisit www.elgar.org or contact the Membership Secretary, Close, Horsham, West Sussex RU 12 SKI .

ww.elgar.org

I Instrument Sponsors

Leader - Worsfold Media Services Ltd Violin - Keith Miller, Marks Miller & Co Viola - Margaret MacLeay

Oboe - Condie Risk Consultancy

French Horn - Alan E Grant

Percussion - Keith Miller, Marks Miller & Co

Brentwood Choirs Festival is developing a range of sponsorship opportunities and is grateful to all of the firms and indi­viduals who have supported tonight's concert. Delivering large scale choral works with top quality soloists and orchestras is expensive and we do not want to make our ticket prices prohibitive: this is why the sponsorship scheme is an important part of our future.

Contact David Worsfold for details of future opportunities: 01277221445 or david. worsfold@zen.co.uk

E d w a r d E l g a r ( 1 8 5 7 - 1 9 3 4 )

Carillon Sospiri Cello Concerto*

Interval -15 minutes

Le Drapeau Beige Polonia Spirit of England

Julia Cockcrott - Cello Emily Onsloe - Soprano Malcolm Kimmance - Narrator

Brentwood Choral Society Cathedral Singers Hutton & Shenfield Choral Society Ingatestone Choral Society

ELMS Symphony Orchestra

Andrew Wright - Conductor David Pickthall - Conductor*

Opening Concert of the Brentwood Arts Festival 2014

The festival is also supported by

BRENTWOOD BOROUGH COUNCIL J

Essex County Council

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Many thanks to the following

Fr Martin Boland, Dean, Brentwood Cathedral, for permission to perform in the Cathedral The Elgar Society for generous financial support Brentwood Arts Council for generous financial support The Music Department at Brentwood Cathedral The directors of the participating choirs for rehearsing so diligently Martin Wray for arranging the orchestra Brentwood School for loan of staging and percussion instruments Brentwood Ursuline Convent High School for loan of percussion instruments David Worsfold for design and layout of programme and posters

There will be a retiring collection tonight to support the work of the Royal British Legion.

Brentwood Arts Festival Chairman's Welcome

It is now over two years since the idea of organising an Arts Festival was first mentioned during an Arts Council committee meeting and the first, tentative,

steps taken to make it a reality.

Advice was initially sought from within the Arts Council, from our President, Lord Petre, and Vice-President and from our very supportive colleagues at the Town Hall. Following further discussions a letter was sent to all our members asking for their approval and commitment to the project.

By the time of the 2013 A G M much progress had been made and a paper was distributed at that meeting outlining various ideas and suggestions for consid­eration by the participating groups. This paper reflected the decision that the over-arching theme of the Festival should be the centenary of W W 1 .

So much has happened since then: venues have been sourced and booked, budgets prepared and agreed, funds sought and - some — obtained, considera­tion given to transport for the elderly and infirm, meetings and more meetings to consider publicity, printing content and publication of the events programme

the list is endless.

There are many, many people who have given freely and enthusiastically of their time towards the success of this Festival....those who have facilitated the obtaining of funds, the members and co-opted members of the extended Arts Council committee, the participants and last but by no means least you — the audience.

There are events to suit all tastes going on around the whole borough during the coming week. Please have a look at the programme and support as many of them as possible. This is a Festival for Brentwood by Brentwood people and shows we have much to be proud of in the arts in this area.

Glenda Abbott Chair, Brentwood Arts Council

Elgar and the Great War by David Worsfold

At the outbreak of the Great War, Edward Elgar was the pre-eminent English composer. He was also a

European composer with many of his greatest works — the Engima Variations, 1st Symphony and the Dream of Gerontius frequently played on the continent, especially in Germany. Many of his closest musical friends were German: A E Jaeger {Nimrod of the Engima Variations who died in 1909), the conductor Hans Richter (whose death during the war caused Elgar great anguish) and the composer Richard Strauss. This context is crucial to un-

gjg derstanding Elgar's equivocal creative response to the war.

He was, like many artists, shocked at how the nation of Beethoven, Brahms, Goethe and Schiller could throw itself into the brutality of mechanised warfare with complete disregard for people or places. The sacking of Louvain in Bel­gium at the end of August 1914 when the university and great medieval library were burnt to the ground shocked the world and was enough to convince Elgar that the cause for which his country was fighting was just.

He joined the special constabulary and was keen to be seen to be doing his bit for the war effort. This was soon reflected in his music, although it wasn't the bombastic nationalism of Land of Hope Glory but a much more nuanced, sensitive response as he absorbed the suffering of the people and countries drawn into the war.

Up until 1918 he wrote a wide range of music designed to appeal to serious and popular tastes but it is the Spirit of England that epitomises most vividly the creative and emotional tensions he grappled.

The second and third movements were written first and performed frequently during 1916. He struggled with some of the verses in the first poem which can be read as demonising Germans. It wasn't until 1917 that he felt he had a satis­factory solution which was to recall the vision of hell from Gerontius and leave the listener to work out whether that was his general response to the maelstrom of the Western Front or a commentary on the German role in the war.

Carillon, opus 75 (composed in 1914) Le Drapeau Beige, opus 79 (composed in 1917)

Elgar was deeply affected by the plight of Belgium and its people and these two works incorporating the poetry of Emile Cammaerts are his dramatic

and engaging response. Wi th their spoken narration they come out of the tradition of Victorian melodrama.

The first performance of Carillon was given in December 1917 with Elgar conducting and Cammaerts' wife, Tita Brand, as the narrator. It is written for a large orchestra and is a bold, robust accompaniment to the words which quickly caught the public imagination, although it also contains more sensitive, reflective passages of the type that became a feature of Elgar's best music written during the Great War.

Le Drapeau Beige, a shorter work written nearly three years later, was a return to the Carillon theme for Elgar but it failed to capture the public mood in the same way as the war-weary public failed to respond this time to its martial style and unashamed rallying cry. • Both ofthese rarely heard works are being performed tonightfrom copies of the original manuscripts, many in Elgar's own hand.

Sospiri, opus 70 (composed in 1914) Polonia, opus 76 (composed in 1915)

Sospiri was composed in the months before the war and first performed in the Queens Hall at the Proms on 15 August 1914. It had originally been conceived as a work for violin and piano with a French title but as the war approached Elgar re-wrote it for strings, organ and harp and gave it an Italian title - Sospiri - meaning 'sighs'. The Italians were, of course, our allies in the First World War. The same concert featured Land of Hope and Glory — which grew immensely in popularity as the war progressed — but Sospiri is a tender, gentle piece that could hardly offer a greater contrast.

Polonia was written to raise money for the Polish Victims Relief Committee and quotes heavily from Polish folk and national music, although it is far more than a mere medley of tunes. Elgar takes the various themes and weaves them into his own music, slowly allowing them to emerge in turn, especially the broad Chorale melody Z dymen pozarow ( 'With the smoke of fire'), and concluding with the Dqbrowski Mazurka — the Polish National Hymn — 'Poland is not lost'.

Carillon by Emile Cammaerts, translated into English by Tita Brand

Sing Belgiums, Sing Although our wounds may bleed, Although our voices break, Louder than the storm, louder than the guns, Sing of the pride of our defeats 'Neath this bright Autumn sun, And sing of the joy of honour When cowardice might be so sweet.

To the sound of the bugle, the sound of the drum, On the ruins ofAerschot, ofDinant, and Termonde, Dance, Belgians, dance,

And our glory sing, Although our eyes may burn, Although our brain may turn, Join in the ring!

With branches of beech, offlaming beech, To the sound of the drum, We'll cover the graves of our children.

We'll choose a day like this When the poplars tremble softly In the breeze, And all the woods are scented With the smell of dying leaves, That they may bear with them beyond The perfume of our land.

We'll ask the earth they loved so well, To rock them in her great arms, To warm them on her mighty breast, And send them dreams of other fights, Retaking Liege, Malines, Brussels, Louvain, and Namur,

And of their triumphant entry, at last, In Berlin!

Sing, Belgians, Sing! Although our wounds may bleed, Although our voices break, Louder than the storm, louder than the guns, Although our wounds may bleed. Although our hearts may break, Sing of hope and fiercest hate, 'Neath this bright Autumn sun. Sing of the pride of charity When vengeance would be so sweet.

Le Drapeau Beige by Emile Cammaerts, translated i English by Lord Curzon of Kedle

Red for the blood of soldiers, - Black, yellow and red -

Black for the tears of mothers, - Black, yellow and red -

And yellow for the light andflame Of the fields where the blood is shed!

To the glorious flag, my children, Hark! the call your country gives, To the flag in serried order! He who dies for Belgium lives!

Redfor the purple of heroes, - Black, yellow and red -

Black for the veils of widows, - Black, yellow and red -

Yellow for the shining crown Of the victors who have bled!

To the flag, the flag, my children, Hearken to your country's cry! Never has it shone so splendid, Never has it flown so high!

Redfor the flames in fury, - Black, yellow and red -

Black for the mourning ashes, - Black, yellow and red -

And yellow of gold, as we proudly hail The spirits of the dead!

To the flag, my sons! Your country with her blessing "Forward" crie. Has it shrunken? No, when smallest, Larger, statelier it flies! Is it tattered? No, 'tis stoutest! When destruction it defies!

Cello Concerto in E Minor, opus 85 (composed in 1919) 1 Adagio-Moderato 2 Lento-Allegro Molto 3 Adagio 4 Allegro-Moderato-Allegro, ma non troppo

At the end of the war, a deeply disillusioned Elgar stubbornly refused to write any Victory' or 'peace' music. Instead, he returned to the world of

abstract music, initially composing his two great chamber works, the Violin Sonata and String Quartet, and then his last great work, the Cello Concerto.

One of his biographers, Michael Kennedy, talking of the main 9/8 theme, sums up the work and the creative world Elgar was in at the end of the war: "This is overpoweringly the music of wood smoke and autumn bonfires, of the evening of life; sadness and disillusion are dominant".

Throughout the work there is sense of looking back, cleverly nurtured by the structure of the concerto which almost obsessively keeps returning to previous themes. This, coupled with the unusual sparseness of the orchestral textures and uncertain, chromatic harmonies, imposes that sense of a creative life - and an era — drawing to its close.

Spirit of England, opus 80 (composed in 1916 & 1917)

The Spirit of England was Elgar's one really large scale work of the war and i t encompasses the full range of emotional responses he had to the conflict.

It is a setting of three poems from Laurence Binyon's The Winnowing Fan which contain all the then familiar themes of noble sacrifice, courage in adversity and the justness of the cause and Elgar treats each of these in a very distinctive way.

The opening of the first movement The Fourth of August is a bold, optimistic statement but this quickly dissolves as the realities of war force their way through, not least in the vision of hell conjured up from Gerontius.

To Women and For the Fallen are more solemn movements as the poems reflect on the suffering at home and then at the front itself.

For the Fallen, in particular, captures so much of the essence of Elgar's mood in the middle of the Great War as its endlessly shifting keys suddenly resolve into bursts of certainty, only for that to ebb away once more.

His delicate treatment of the now famous words "They shall not grow." is in stark contrast to the way they are usually declaimed at from thousands of war memorials on Remembrance Sunday and says much about how deeply sensitive Elgar was as man and a composer.

All programme notes © David Worsfold

Spirit of England by Laurence Binyon

1. The Fourth Of August

Now in thy splendour go before us, Spirit of England, ardent eyed, Enkindle this dear earth that bore us, In the hour ofperil purified

The cares we hugged drop out of vision. Our hearts with deeper thoughts dilate. We step from days of sour division Into grandeur of our fate.

For us the glorious dead have striven, They battled that we might be free. We to their living cause are given; We arm for men that are to be.

Among the nations nobliest chartered, England recalls her heritage, In her is that which is not bartered, Which force can neither quell nor cage.

For her immortal stars are burning; With her, the hope that's never done, The seed that's in the Springs returning, The very flower that seeks the sun.

She fights the fraud that feeds desire on Lies, in lust to enslave or kill, The barren creed of blood and iron, Vampire of Europe's wasted will...

Endure, O Earth! and thou, awaken Purged by this dreadful winnowing-fan, O wronged, untameable, unshaken Soul of divinely suffering man.

2. To Women

Your hearts are lifted up, your hearts That have foreknown the utter price. Your hearts burn upward like a flame Of splendour and of sacrifice.

For you, you too, to a battle go, Not with the marching drums and cheers But in the watch of solitude And through the boundless night of fears.

Swifter, swifter than those hawks of war, Those threatening wings that pulse the air, Far as the vanward ranks are set, You are gone before them, you are there!

And not a shot comes blind with death, And not a stab of steel is pressed Home, but invisibly it tore And enteredfirst a woman's breast

Amid the thunder of the guns, The lightning of the lance and sword Your hope, your dread, your throbbing pride. Your infinite passion is outpoured.

From hearts that are as one high heart, Withholding naught from doom and bale Burningly offered up, - to bleed, To bear, to break, but not to fail!

3. For The Fallen

With proud thanksgiving, a mother for her children, England mourns for her dead across the sea. Flesh of her flesh they were, spirit of her spirit, Fallen in the cause of the free.

Solemn the drums thrill: Death august and royal Sings sorrow up into immortal spheres. There is music in the midst of desolation And a glory that shines upon our tears.

They went with songs to the battle, they were young, Straight of limb, true of eye, steady and aglow. They were staunch to the end against odds uncounted, They fell with their faces to the foe.

They fought, they were terrible, nought could tame them, Hinger, nor legions, nor shattering cannoade. They laughed, they sang their melodies of England, They fell open-eyed and unafraid

They shall grow not old, as we that are left grow old; Age shall not weary them, nor the years condemn. At the going down of the sun and in the morning We will remember them.

They mingle not with laughing comrades again; They sit no more at familiar tables of home; They have no lot in our labour of the day-time; They sleep beyond England's foam.

But where our desires are and our hopes profound, Felt as a well-spring that is hidden from sight, To the innermost heart of their own land they are known As the stars are known to the Night;

As the stars that shall be bright when we are dust, Moving in marches upon the heavenly plain, As the stars that are starry in the time of our darkness, To the end, to the end, they remain.

The Performers

DavidPickthall (conductor) was an Academic Foundation Scholar of Brentwood School from 1970-77, then won an Organ Scholarship to Selwyn College, Cambridge, from where he graduated in 1981. While at Cambridge he was taught composition by the late Sir Philip Ledger and Hugh Wood, and the organ by Dame Gillian Weir. He is a Fellow of the Royal College of Organists.

He spent the year 1981-1982 gaining his teaching qualification at London University. A teaching post back at Brentwood School followed, and in 1987 he became Director of Music. Twenty-seven years later he is in his final year of leading a department of three full-time staff and twenty peripatetic music specialists.

He was presented with a Civic Award for Services to the Arts in Brentwood in 1997, in recognition of his founding/conducting of the Brentwood Philharmonic Orchestra (an orchestra to which he returned in February 2014 for a concert of Film and Television Music), and a series of popular jazz programmes for the local community radio station Phoenix F M .

Outside of Brentwood School's walls, he may be found in the recording studio, often in Europe, where he conducts film scores — recent work has been with the City of Prague Philharmonic (two projects for ITV, The King's Beard and Eddy and the Bear) and the B B C National Orchestra of Wales (The Wyvern Mystery for BBC1), while his original scores and arrangements have been recorded by the London Philharmonic Orchestra, the Central Band of the RAF and the King's Singers, among many others.

He is proud that he is the musical voice of the villainous penguin in the Oscar-winning Wallace & Gromit The Wrong Trousers. Other work for the B B C includes conducting the film of the popular children's series The Story of Tracey Beaker and supervising the music for Julian Fellowes' Most Mysterious Murders in 2005. He has recently been working for Channel Four as musical arranger for The Paul O'Grady Show, and conducted the London Symphony Orchestra for the Australian group INXS' orchestral sessions.

David is the composer of two operas and three musicals, one of which — Ain't Life Good! — written originally for Harrow School and starring a young Benedict Cumberbatch, was awarded the Barclays Best New Musical Prize after a South Bank performance in 1994. He is published worldwide by Samuel French Ltd. Retirement plans include more composing, arranging, conducting and travelling.

Andrew Wright (conductor) Andrew Wright has worked in church music for over thirty years, encompassing teaching, Andrew Wright enjoys an extensive career as a church musician, conductor, teacher, organist and composer.

After graduating from Oxford University, he was appoint­ed Assistant Master of Music at Westminster in 1979 under Stephen Cleobury, and in 1982 became Cathedral Director of Music in Brentwood and Director of Liturgical Music for the Diocese.

At Oxford he was a member of The Tallis Scholars and the Oxford University Chamber Orchestra and continued advanced piano studies at the Royal College of Music under John Barstow. He has worked widely through broadcasts, recordings, many major events, and orchestral performances of works extending from the Monteverdi Vespers to Elgar's Dream of Gerontius, working with soloists including Judith Howarth, Roderick Earle, John Lill and Emma Johnson. In recent years has conducted a wide variety of music at the Cathedral, including Britten's Noye's Fludde which involved local school children and music groups, a Sing-a-long Messiah, and Brahms' German Requiem.

He has been English National President of the Pueri Cantores Federation and a member of the Bishops' Conference Church Music Committee.

He has composed much for the liturgy and for choirs and organ with works published in the U K and USA. In 2009 a C D was published which included his song cycle Bliss of Soli­tude, with tenor soloist Richard Dowling. His Requiem of Peace has been widely performed locally, nationally and in the USA, including in Los Angeles Cathedral.

Julia Cockcroft (cello) began learning the 'cello at six years old with local teacher Sally Goodfellow. In 2007, she was awarded a music scholarship to study at Brentwood School, where she has just completed her A-level studies in French, Latin and Classical Greek.

Julia is currently the principal cellist of the Essex Youth Orchestra and enjoys playing as a member of the Essex Youth String Quartet.

At the age of 16, she achieved a distinction at ABRSM Grade 8 and currently studies cello with Margaret Powell, who was herself a pupil of Jacqueline Du Pre.

Julia is also a passionate linguist and, from October 2014, plans to read French at Pembroke College, Oxford, where she is keen to participate in the musical life of the university.

Emily Onlsoe (soprano) is a British soprano who is currently studying with Professor Susan McCulloch in her third year at the Guildhall School of Music & Drama. Her passion for music began at an early age learning the clarinet and saxophone, which eventually brought her to realising her talent for singing.

Emily won the 2012 Freda Parry Scholarship Fund and was a finalist at the Essex Young Musician of the Year awards. Previous titles include Havering's Young Musician of the Year and The Rotary Music competition winner In addition to this

she won the Vera Richards Residential Course prize, The Ian Cox and Brian Donnelly Award for Outstanding Achievement and the Ruth Richards shield for Music. In 2011 Emily was generously supported by the Thomas Acton memorial Fund.

In 2013 Emily sung in Mahler's Symphony No2 in C minor Resurrection at the Barbican with the B B C Symphony Orchestra, conducted by Jiri Belohlavek. She sang with the Chelmsford & District Male Voice choir as a guest soloist at the Central Baptist Church, Chelmsford and gave a recital for the Salvation Army and organised a charity opera gala to raise money for The Olive Tree. Emily was the soloist for Mozart's Coronation Mass at St Joseph's, Leyton and William Russell's oratorio Job at The United Reformed Church, Maldon. Personal highlights include performing as a guest soloist at The Savoy Theatre, playing the role of Woman 1 in Jason Robert Browns Songs for a New World and most recently making her debut as the Countess in Mozart's, The Marriage of Figaro directed by Sally Burgess.

As a young singer Emily was part of Glyndebourne Youth Opera, and the National Youth Choirs of Great Britain, this led her to go on to sing professionally with the Brentwood Cathedral Choir. Emily has had the opportunity to work with internationally renowned artists such as: Sarah Walker, Robin Bowman, Mary King, Audrey Hyland, Saffron van Zwaenberg, Amanda Roocroft, Mary Hammond and Emanuele Moris .

On the completion of her degree Emily plans to continue her studies at postgraduate level.

Malcolm Kimmance (narrator) Malcolm has been part of the theatre scene in the Colchester area for many years.

Theatre credits include The Winslow Boy, Shadowlands, The Herbal Bed and Blithe Spirit (Colchester Theatre Group), Much Ado About Nothing, The Comedy of Errors and The Taming of The Shrew (Mad Dogs and Englishmen Theatre Company), Of Mice and Men (Dare Productions), Much Ado About Nothing (New Route Theatre Company), Hay Fever and A Pin To See The Peep Show (Headgate Theatre Productions)

and Wind in The Willows, The Three Musketeers and Alice in Wonderland (Chameleon's Web Theatre Company).

He has directed performances of Kafka's Dick, Amy's View, Black Comedy, A Separate Peace, The Lady In The Van and Educating Rita in The Headgate Theatre and will be directing Waiting For Godot there in November.

Recently, he played the role of Samuel Pepys in evenings of words and music at Ingatestone Hall and Hylands House and performed the narration for The Manchester Carols in Chelmsford Cathedral.

Malcolm is delighted to be working again in Brentwood Cathedral, as he was part of Brentwood Cathedral Music for several years until he moved away from the area in 1994.

***** ELMS (Ex-London Music Students) Symphony Orchestra

Sourced primarily from the London Music Colleges, the ELMS Orchestra brings together musicians who are either currently studying or have recently graduated and are now playing

professionally in the UK and abroad. Many of the players work regularly with leading orches­tras such as The Halle, London Philharmonic, Royal Philharmonic, BBC Scottish Symphony Orchestra, English National Opera and BBC Philharmonic. The ELMS Orchestra is very much looking forward to performing at future concerts in Brentwood Cathedral. Its previous concerts at Brentwood Cathedral include Messiah, Mozart's Clarinet Concerto and Requiem and Verdi's Requiem.

1st Violins Minn Majoe, Rose Hinton, Jonathan Chan, Nilufar Alimaksumova, Anthony Carey 2nd Violins Haru Ushigusa, Colm O'Reilly, Theodor Kung, Jan Bislin Violas Martin Wray, Christopher Deakins, Fraser Keddie Cellos Dan Burrowes, Patrick Johnson, Auriol Evans Double Basses Ben Wolstenholme, Enric Boixados

Flute & Piccolo Helena Gourd, David Ruff, Sarah Brennan (Piccolo) Oboe & Cor Anglais Lucie Tibbits, Grace Warren, Toby Thatcher (Cor Anglais) Clarinets Oliver James, Michael Pearce Bassoons Harry Ventham, Sinead Frost, Tom Corin (Contrabassoon)

French Horns Alexander Edmundson, Thomas Pollock, Joseph Ryan, Elise Campbell Trumpets Sam Kinrade, Victoria Rule, Stephen Peneycad Trombones Thomas Dafydd Scaife, Ashley Harper, Alexander Kelly

Harp Caroline Hall

Timpani Craig Apps

Percussion George Barton, Sam Wilson, James Leveridge, Nathan Gregorys, Merlin Jones

The Festival Choirs

Brentwood Choral Society was founded in 1941, and specialises in a reper­toire of major choral works, when it often combines with other local choirs to sing in large venues, such as the Cathedral.

However we also perform lighter music, such as our Christmas and Summer Concerts, and can be heard at Hutton and Shenfield Union Church on Saturday 7 December.

We rehearse on Monday evenings in the Music Room of Brentwood School under our recently appointed conductor Mich Sampson, and welcome enquiries from prospective new members to join us.

Please contact our Secretary, Robin Derbyshire, 01277 651689, or via the contact page of our website www.brentwoodchoralsociety.org.uk

***** Hutton & Sheiifield Choral Society was established in 1967 and is the largest choral society in Brentwood and, with 120 singers, one of the leading choirs in South Essex. The choir, which is conducted by Tim Hooper, performs choral music with professional orchestras and soloists in venues in Brentwood and, from time to time, in Chelmsford Cathedral.

We rehearse on Monday evenings at 7.30pm in Holly Trees Primary School, Warley and welcome new members in all voice parts.

Further information www.hscs.org.uk

***** Ingatestone Choral Society is a mixed voice choir, some sixty strong, under its conductor Bruce Pennick. As well as taking part in combined concerts, such as this one, it puts on concerts of varied music, often based in Ingatestone. Rehearsals are on Wednesdays from 8-10pm in the United Reformed Church Hall in Ingatestone.

New members are very welcome. Please contact Pauline Collier on 01277 840634.

See our website www.ingatestonechoral.org.uk

Further details can he found on the BCF website www.brentwoodchoirs.org.uk

Programme printed by Brentwood Community Print, info@brentwoodcommunityprint.org.uk

Warsaw Philharmonic Orchestra Thu 14 May 2015 at 7.30pm

We're very pleased to end our series in a celebratory style with a performance of Beethoven's mighty and majestic Symphony No. 9, in which a number of Essex-based choruses will join the Warsaw Philharmonic in an eagerly-awaited collaboration.

A more modest but delightful Schubert Symphony No. 3 will start the concert and then the audience will get* to hear one of the greatest symphonies ever written. This towering masterpiece by Beethoven is not performed as often as it should be and this is a wonderful opportunity to enjoy one of the greatest musical experiences to be had in the concert hall. Do book early for this concert!

Price £24.00* Concession £20.00* Student/U16 £10.00* Season Package Discounts available. Ask at Box Office.

* A £1.50 per ticket booking fee (capped at four tickets) will be added to all transactions with a £2.00 additional charge for mailing out the tickets. Bookings of more than 10 tickets are exempt.

5 *

Bre rentwood Arts Festival 2014

Events taking place at Brentwood Cathedral j T Sunday 6 July 11.30am

Tuesday 8 July 1pm

Wednesday 9 July 1pm

Wednesday 9 July 6.30pm

Wednesday 9 July 7.30pm

Thursday 10 July 1pm

Friday 11 July 8pm

The Cathedral welcomes the Choir of Liverpool Metropolitan Cathedral who will sing with the Brentwood Cathedral Choir. All Welcome.

Songs by Andrew Wright (world premiere) and others with Andrew Wright (piano) and Julia Wilson-James (soprano). Admission free.

Prof David Graham from the Royal College of Music plays music by Parry, Elgar and others. Admission free.

Sung by the Brentwood Cathedral Choir. All welcome.

Members of Brentwood Cathedral Choir perform a selection of popular opera arias. Admission free.

Music associated with WW1 and other conflicts by German, French and English composers played by Michael Frith. Admission free.

Tickets: £10/£7.50/£5

X BRENTWOOD OP? C A T H E D R A L

Full details of all the Festival events can be found at brentwoodartsfestival.org.uk

Tickets can be purchased through the website or from 01277 200305 between 10am and 4pm or in person at Brentwood Theatre between 10am and 4pm,

15 Shenfield Road Brentwood CM 15 8AG