STJOHNPASSION

PROGRAMME £1Lincoln Cathedral Choir, 19 March 2011

JSBACH

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Toilets are located off the cloister, which is accessed via the north-east transept (to the left

of the screen). Facilities are available on both floors

In the unlikely event of it being necessary to evacuate the building, please follow the

directions of the stewards

Please refrain from taking photographs at any stage

Please refrain from smoking in any part of the Cathedral building or grounds

It is very likely that early congregations would have joined in with the Chorales which interpolate the St John

Passion - used by Bach as a deliberate means of connecting the listener to the story. Tonight, you are invited

to do the same, and join the choir and orchestra during numbers 3, 11, 17 and 26 which are printed in this

programme at the appropriate point in the running order. Although tonight’s performance will for the main

part be sung in its original language of German, these chorales will be sung in English. A live projected

translation of the text will also be provided.

By kind permission of the Dean and Chapter of Lincoln

Screens and projection by ‘AndyCam’

Translation presentation operated by Janet Trim

Chamber Organ provided by Kenneth Tickell

English translation by Daniel Brittain

Programme design by Nick Edmonds

Poster design by Will Harrison

Thanks to Mrs Micky Philp for coordinating publicity

Refreshments provided by Lincoln Cathedral Choir Association

Thanks also to Very Revd Philip Buckler, Canon Gavin Kirk, Canon Dr Mark Hocknull, Mr N and Dr C Perry, Dr

E Bonnel and Dr A Moreno, Mr and Mrs R Mair, Mr John Campbell and the Vergers’ Department, Miss Anne

James and Miss Fiona Howick.

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Welcome to Lincoln CathedralFor more than 900 years there has been a choir of men and boys in Lincoln Cathedral. Since 1995 there has

also been a line of girls’ voices. Each line has a distinctive sound, but it is always enjoyable for the two lines

to sing together with the men for larger festivals, recordings, broadcasts and concerts such as this evening’s.

With a wide repertoire of sacred choral music, the choir’s fundamental role is to provide the music for the

daily office of the Cathedral, but in the largest Diocese of the Church of England, there are many additional

services for both county and diocese. In recent years the choir has toured to Prague (2003), Haarlem (2007)

and the Loire region (2009). Two recordings of the choir: Hail Mary (music devoted to the Blessed Virgin

Mary) and O be joyful in the Lord (Psalms and choral settings of Psalm texts) are available from the Cathedral

shop. The choir also broadcasts regularly on BBC Radio and Television.

Your role in tonight’s performance

The Lincoln Cathedral Music Fund (Registered Charity no: 1033089) aims to build up an endowment fund

which has as its objective the support of all the Cathedral's music and historic instruments. It directs a

substantial portion of its annual income towards the scholarships awarded to boy and girl choristers (who

receive a fifty per cent scholarship or, in special cases, more). For more information please contact Fiona

Howick at the Fundraising Office on 01522 561626 or email fundraisingassistant@lincolncathedral.com

Lincoln Cathedral Music Appeal

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Johann Sebastian Bach’s extraordinary

compositional output reveals a panoramic

grasp of national musical styles and includes

works in all the major forms and genres of the day,

with one exception: opera.

The ‘Coffee Cantata’ has sections of dialogue

recitative, but it is Bach’s two substantial settings of

the Passion narrative (St Matthew and St John) that

offer the strongest clues about what a Bach opera

might have been like. The Passion stories, with their

extremes of emotion and violent content, offer

material as striking, dramatic and varied as any opera

libretto. Bach’s musical response to the text was

driven by conflicting motives. His contract with the

Leipzig church authorities required him to provide

liturgical music which ‘should not last too long, and

should be of such a nature as not to make an operatic

impression, but rather incite the listeners to

devotion’. His deeply held Christian faith would have

urged him to offer the best to God: the most

advanced, finely-wrought and modern music, as well

as an honest, personal response. And Bach’s own

professional pride would not readily have permitted

him to play down, for the sake of piety, the musical

potential inherent in such a dramatic text.

The structure of Johannes-Passion (1724) has

theatrical echoes. Two long choruses stand at each

end of the work: the first portentously sets the

scene, asking for understanding of the grim events

about to be unfolded; the last, with its resigned,

drooping Ruht wohl motif, is a farewell to the

crucified Jesus, and a prayer that by his death, the

gates of heaven will be opened. Scattered

throughout the action are chorales, which provide a

rather detached commentary on the narrative, as if

from a remote stand-point. The congregation at the

first Leipzig performances may well have joined in

with the singing of these chorales, as with four

numbers this evening, but even if they had not, the

familiarity of these cherished texts and melodies

would have had the effect of involving them in the

story. The chorus also provides brief turba (‘crowd’)

passages. The screams of ‘Kreuzige! Kreuzige!’

(‘Crucify! Crucify!’) have surely some of the most

chilling music ever crafted; angular motifs are

crammed together, and crusty consonants erupt in

ever-angrier bursts.

With only four vocal lines, Bach gives a compelling

impression of a large and increasingly bellicose

crowd. Equally sinister is the chorus Wäre dieser

(16b), where repeated ascending chromatic patterns,

and a perilous stretching of tonal boundaries depict

the crowd’s gathering bloodthirstiness, and their

mounting impatience with Pilate’s indecision.

Johannes-Passion: 1724

The ‘action’ of the story is carried by recitative,

accompanied by ‘cello and keyboard. The demanding

Evangelist part is given to a tenor, while Christ’s

words are afforded the extra gravitas of a bass. There

are small parts for Peter, for the bystanders who

identify him as Jesus’s disciple, and for Pilate. The

recitative (an operatic style) is generally

straightforward, moving efficiently through the text,

but rises to higher levels of word-painting when the

narrative requires it.

Early in the story, Jesus twice asks ‘Whom do you

seek?’; the rising interval in the music is subtly

inflective of the text, like a musical question mark.

The cock-crow (imitated in the ‘cello) reminds Peter

of his earlier denial of Jesus, and his bitter weeping

finds expression in a long, chromatic melisma. The

scourging of Jesus is matched by the Evangelist’s fast,

savage rhythms, and the slow, descending scale used

for Jesus’s last words (‘Es ist vollbracht’) suggests a

final, agonising breath.

Eight arias, two for each of the soloists, introduce

a contemplative element into the telling of the

Passion story. They are remarkable for their range of

expression, and for the variety of their

instrumentation. The subtle colourings of the viola

d’amore, lute and bass viol (instruments probably

thought of as obsolete when the work was

composed) supplement those of the standard

orchestra (trumpets and drums would have been

considered inappropriate for a Passion setting).

Some of the instrumental introductions allude to

images in the arias’ texts: Ich folge (no 9) opens with

off-beat pairs of bass quavers, hinting at the ‘joyful

footsteps’ (freudige Schritte); and in Erwäge (no 20),

the assortment of unusual stringed instruments

echoes the colours of the rainbow mentioned in the

text, while the shape of the opening motif is

suggestive of the rainbow’s arc.

The chorus is involved in the two bass arias: such

is the span of Mein treuer Heiland (no 32) that it

absorbs a chorale with a conflicting time signature;

Eilt, eilt (no 24) has repeated interjections of ‘Wohin?

Wohin?’ (‘Where? Where?’) as the soloist beckons

the listeners to Golgotha.

In his History of Church Ceremonies in Saxony

(1732), the theologian Christian Gerher bemoans the

loss of the old humble and reverent musical settings

of the Passion story, quoting an elderly widow’s

reaction to a new, elaborate rendering: “God save us

my children! It’s just as if we were at an opera!”

Musical procedures such as recitatives, da capo arias,

and brief, dramatic choral interjections must have

smacked of the (secular) opera house. Perhaps the

sheer visceral power and emotional range of Bach’s

music was also unsettling: it is all too easy to become

weary of a familiar story (even a grim one), and this

setting certainly casts a stark light on the sheer

horror of the Passion. But here too are consolation,

hope and expectation, musical expression drawn

from the spring of Bach’s profound Christian faith,

and from the countless sorrows and joys of his

everyday life. It is deeply honest, human music,

albeit of an almost super-human musical mind.

Johannes-Passion was first performed on Good

Friday, 7 April, 1724. The opening bars, thick with

surging semiquavers, must have quickly convinced

the congregation of the sheer magnitude and

modernity of what they were about to experience. I

hope that this evening we might join in spirit with

that first audience, to wonder anew at the

comprehensive brilliance of the music, and the

mystery of the story it carries.

Charles Harrison

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Violin

Nicolette Moonen (Leader)

Bethan Morgan

Stephen Pedder

Sophie Barber

Viola/Viola d’amore

Rachel Stott

Nicola Blakey

Charles Harrison

Violoncello

Natasha Kraemer

Double Bass

Liz Bradley

Oboe

Cait Walker

Stephanie Oatridge

Flute

Eva Caballero

Marta Goncalves

Bassoon

Robert Percival

Continuo

Benjamin Chewter (organ)

Kinga Gaborjani (violoncello)

Lincoln Cathedral Choir

Girl choristers

Rebeca Bonell-Moreno, Georgina Cohu, Zoe Dawson,

Anya Ertmann, Ffion Frazher, Ruby Gale, Fientje van der

Kaaij, Phoebe Kirrage, Matilda Mair, Araminta Perkins Ray,

Shania Thompson, Sophie-Dominique Waddie, Bryony

Waddingham, Poppy Wells, Mary Wilson, Emily

Zehetmayr

Boy Choristers

Lucas Brown, Lincoln Cupples, Hugo

Dodsworth, George Faulkner, Jefferson

Feerick, Rory Feerick, Oliver Jones, Geert

van der Kaaij, Charlie Kirk, Scott Milne,

Stuart Milne, Oliver Page, William Parlby

Neale

Alto

David Bennett

Daniel Brittain

William Harrison

Richard Lindsay

Jim Newton

Tenor

Benjamin Clark

Keith Halliday ¥

Nick Perry

Edward Rimmer

Thomas Wilson

Bass

William Burn

Stephen Clay

Philip Craven

Nick Edmonds ‡

Timothy Salisbury

Bozidar Smiljanic †

‡ Peter † Pilate ¥ Servant * Maid

Soprano: Carys Lane

Countertenor: Aric Prentice

Tenor: Alexander Sprague

Bass/Jesus: Robert Rice

Evangelist: Richard Roddis

Lindum Baroque

Soloists

Conductor

1. Chorus: Herr unser Herrscher

2a. Evangelist, Jesus: Jesus ging mit seinen Jüngern

2b. Chorus: Jesum von Nazareth

2c. Evangelist, Jesus: Jesus spricht zu ihnen

2d. Chorus: Jesum von Nazareth

2e. Evangelist, Jesus: Jesus antwortete

3. Chorale: O wondrous love (please join in)

4. Evangelist, Jesus: Auf daß das Wort erfüllet würde

5. Chorale: Dein Will gescheh

6. Evangelist: Die Schar aber und der Oberhauptmann

7. Aria: Von den Stricken (Alto)

8. Evangelist: Simon Petrus aber folgete Jesu nach

9. Aria: Ich folge dir gleichfalls (Soprano)

10. Evangelist, Maid, Peter, Jesus, Servant:

Derselbige Jünger war dem Hohenpriester bekannt

11. Chorale: Who was it, Lord, did smite Thee? (please join in)

12a. Evangelist: Und Hannas sandte ihn gebunden

12b. Chorus: Bist du nicht

12c. Evangelist, Servant, Peter: Er leugnete aber und sprach

13. Aria: Ach, mein Sinn (Tenor)

14. Chorale: Petrus, der nicht denkt zurück

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Part 1

15. Chorale: Christus, der uns selig macht

16a. Evangelist, Pilate: Da führeten sie Jesum

16b. Chorus: Wäre dieser nicht ein Übeltäter

16c. Evangelist, Pilate: Da sprach Pilatus zu ihnen

16d. Chorus: Wir dürfen niemand töten

16e. Evangelist, Pilate, Jesus: Auf daß erfüllet würde das Wort

17. Chorale: Ah, Mighty King (please join in)

18a. Evangelist, Pilate, Jesus: Da sprach Pilatus zu ihm

18b. Chorus: Nicht diesen, sondern Barrabam

18c. Evangelist: Barrabas aber war ein Mörder

19. Arioso: Betrachte, meine Seel (Bass)

20. Aria: Erwäge, wie sein blutgefärbeter Rücken (Tenor)

21a. Evangelist: Und die Kriegsknechte flochten eine Krone

21b. Chorus: Sei gegrußet, lieber Jüdenkönig

21c. Evangelist, Pilate: Und gaben ihm Backenstreiche

21d. Chorus: Kreuzige, kreuzige!

21e. Evangelist, Pilate: Pilatus sprach zu ihnen

21f. Chorus: Wir haben ein Gesetz

21g. Evangelist, Pilate, Jesus: Da Pilatus das Wort hörete

22. Chorale: Durch dein Gefängnis, Gottes Sohn

23a. Evangelist: Die Jüden aber schrieen und sprachen

23b. Chorus: Lässest du diesen los

23c. Evangelist, Pilate: Da Pilatus das Wort hörete

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Part 2

Interval - 20 minutes

23d. Chorus: Weg, weg mit dem

23e. Evangelist, Pilate: Spricht Pilatus zu ihnen

23f. Chorus: Wir haben keinen König

23g. Evangelist: Da überantwortete er ihn

24. Aria: Eilt, ihr angefochtnen Seelen (Bass, Chorus)

25a. Evangelist: Allda kreuzigten sie ihn

25b. Chorus: Schreibe nicht

25c. Evangelist, Pilate: Pilatus antwortet

26. Chorale: Within my heart’s recesses (please join in)

27a. Evangelist: Die Kriegsknechte aber

27b. Chorus: Lasset uns den nicht zerteilen

27c. Evangelist, Jesus: Auf daß erfüllet würde die Schrift

28. Chorale: Er nahm alles wohl in acht

29. Evangelist, Jesus: Und von Stund an nahm sie der Jünger

30. Aria: Es ist vollbracht (Alto)

31. Evangelist: Und neiget das Haupt

32. Aria/Chorale: Mein teurer Heiland / Jesu der du warest tot (Bass, Chorus)

33. Evangelist: Und siehe da

34. Arioso: Mein Herz, indem die ganze Welt (Tenor)

35. Aria: Zerfließe, mein Herze (Soprano)

36. Evangelist: Die Jüden aber, dieweil es der Rüsttag war

37. Chorale: O hilf, Christe, Gottes Sohn

38. Evangelist: Darnach bat Pilatum Joseph von Arimathia

39. Chorus: Ruht wohl

40. Chorale: Ach Herr, laß dein lieb Engelein

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Charles Harrison (Conductor) is Assistant Director of Music and

Sub Organist of Lincoln Cathedral, posts he has held since 2003.

At Lincoln, Charles directs the choir of boys and men, and plays

for many of the Cathedral’s services. He is also busy as a

teacher (of organ, harpsichord, harmony and counterpoint),

and as a continuo and orchestral keyboard player. Charles was

a chorister and later organ scholar at Southwell Minster, then

organ scholar of Jesus College, Cambridge, where he took a

degree in music, and studied organ with the late David Sanger.

During his second year at Cambridge, Charles won the Turpin

and Durrant prizes for his performance in the Fellowship

examinations of the Royal College of Organists. Charles went on to win prizes in the international

organ competitions at St Albans and Odense; these successes have led to a busy programme of

engagements, including concerts at many of the celebrated venues in Britain, and solo

performances in France, Denmark, Finland, Slovakia, Czech Republic, USA, the Netherlands,

Germany, Italy, Iceland and Poland. Concerto work has included performances with the Irish

Chamber Orchestra and the Ulster Orchestra, both broadcast by the BBC. In 2006, he was invited

by the BBC National Orchestra of Wales to join them for a recording and broadcast of works by

Florent Schmitt. As accompanist and continuo player, Charles has worked with many leading

soloists, conductors and ensembles, including Roy Goodman, Steven Isserlis, Stephen Cleobury,

the BBC Singers and Andreas Scholl. In 2010, he appeared with the Ulster Orchestra at the BBC

Proms, playing the mighty organ of the Royal Albert Hall. His solo performances on recent

recordings from Lincoln have been reviewed as ‘authoritative’, ‘exemplary’ and ‘stunning’.

Richard Roddis (Evangelist) won joint First Prize for his Lieder singing in a national competition

staged by the London Lieder Group, in December 2001. The event attracted 265 entrants, from

whom eight Finalists were judged by Graham Johnson and Anthony Rolfe Johnson. Richard

graduated in Music at Exeter University and held a Choral Scholarship at the Cathedral. He now

combines a career as a solo singer in Oratorio and Recital, with the directorship of several choirs

and a busy teaching practice. He is on the peripatetic music staff at Nottingham High School and

Trent College. Richard is well known across the country for his oratorio solo work, having sung for

numerous Choral Societies nationwide. Recent and forthcoming concert engagements show his

range of repertoire, including the Bach Passions (Evangelist), Britten’s St Nicolas and Gerald Finzi’s

Dies Natalis. As a recitalist, Richard has made a speciality of German Lied. Since teaming up with

Clive Pollard in 1997, he has performed Schubert's song-cycle Die schöne Müllerin a number of

times around the Midlands (on the first occasion as part of the

composer's bicentenary celebrations). Richard has made CD

recordings and BBC broadcasts with several professional choirs,

including the BBC Northern Singers, the Britten Singers, Cappella

Nova, Canzonetta, and the Cathedral choirs of Lincoln, Lichfield and

Southwell. He has toured abroad to Europe, Israel, Australia, Hong

Kong and Thailand. Richard is much in demand as a choral

conductor, and directs four choirs in the East Midlands, including

Derby Bach Choir, for whose Golden Jubilee he composed a large-

scale work Lauda Creatoris, premiered on 4th April 2009.Ric

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Carys Lane (Soprano) is a versatile soprano combining a career of solo

and consort singing which embraces music from Hildegard of Bingen

to the present day. On the concert platform, Carys has performed for

such conductors as Sir Roger Norrington, Ivan Fischer, Harry

Christophers. Her work with Paul McCreesh has included Handel’s

Solomon, Carissimi’s Jepthe, Buxtehude’s Membra Jesu Nostri,

performances throughout Europe of Purcell’s Fairy Queen, King

Arthur and Dido and Aeneas, Monteverdi’s Combatimento di Tancredi

e Clorinda in Venice, and two appearances at the Proms in Handel’s

Dixit Dominus and Monteverdi’s Lamento della Ninfa. She has appeared for The Opera Group,

creating the role of ‘Crow’ in Edward Dudley Hughes’ opera, The Birds, at the Buxton Festival. She

was part of the celebrated production, The Full Monteverdi, directed by John la Bouchardiere, a

DVD of which was released to critical acclaim. As a solo artist, Carys has recorded the Mozart

Requiem for Warner Classics, Purcell and Vivaldi for Naxos, and Vaughan Williams for Chandos. She

recorded the role of First Witch in Purcell’s Dido and Aeneas for the Orchestra of the Age of

Enlightenment for Chandos and has made over 90 discs with ensembles such as The Sixteen, The

Tallis Scholars, and The Cardinall’s Musick who this year won Gramophone’s disc of the year.

Nicolette Moonen (Leader) grew up in Amsterdam and studied violin with Jaap

Schröder and Sigiswald Kuyken. Early encounters with Nikolaus Harnoncourt

and Gustav Leonhardt inspired her to make a career in Early Music. She has

played with most of the major baroque orchestras in continental Europe and in

the UK, and has been invited to lead ensembles such as Collegium Vocale Gent,

La Chapelle Royale, and English Touring Opera. In 1996 Nicolette founded The

Bach Players. The ensemble has toured all over the UK and beyond and has a

regular concert series in Norwich and London. In 2008 it started a series of CD recordings of these

concert programmes on the label Hyphen Press Music. She teaches at the Royal Academy of Music in

London and directs the baroque orchestra at Dartington International Summer School.

Aric Prentice (Countertenor) has been Director of Music in Lincoln

Cathedral and Lincoln Minster School since January 2003. He

began his musical training as a chorister in Durham Cathedral,

moving to Trent College as a music scholar in 1985. In 1990, he

went up as an instrumental exhibitioner to Jesus College,

Cambridge, where he read Music and Theology and in his final

year sang as a choral scholar in St John’s College Cambridge,

recording and broadcasting extensively. Aric is now regularly in

demand as a soloist, accompanist and conductor. Solo

countertenor roles have included Handel’s Messiah and DIxit

Dominus, Bach’s St John and St Matthew Passions and Mass in B minor, the part of Micah in Handel’s

Samson, Mozart’s Requiem, Haydn’s Nelson Mass, and Purcell’s Come, ye sons of art. He is currently

studying singing with Robert Rice. Under Aric’s direction the Cathedral Choir has made two

recordings on the Guild record label: Hail Mary and O be joyful in the Lord, this latter being reviewed

as ‘rousing’ and ‘first class’ and recently a Christmas CD on the Cantoris label. In 2005/6 both the

Cathedral and Minster School Chamber Choirs were involved in the filming of three episodes of

BBC’s Songs of Praise including the 2005 Christmas episode. Forthcoming projects include two more

performances of Bach's St John Passion and new works by Gabriel Jackson and Howard Goodall. Aric

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Among the younger generation of British baritones, Robert Rice (Bass) has established a reputation

as an insightful interpreter of challenging repertoire. He is a valued collaborator and creator of roles

in modern chamber opera and music theatre, as well as a concert singer of distinction. Having been

a choral scholar at King’s College, Cambridge, and a postgraduate at the Royal Academy of Music

under Mark Wildman, he continued his studies with Richard Smart and Sheila Barnes. As a concert

artist Robert undertakes a wide variety of repertoire. Concerts in 2010 included Elgar's The Kingdom

in Sherborne Abbey, Mendelssohn's Paulus at Snape, Carmina Burana and semi-staged opera in

Srebrenica and Vienna. This season he also sings Bach's St John Passion in Chichester and Chelmsford

Cathedrals, and gives recitals for York Late Music and the London English Song Festival. His stage

work often involves contemporary music: he has toured Bosnia, Scotland and England with Opera

Circus, appearing as Hasan in Nigel Osborne's well-received Differences in Demolitions, and in their

previous production Arcane, with music by Paul Clark. Further stage

appearances include Demas The Pilgrim's Progress (Sadler's

Wells/Hickox), Sailor Dido and Aeneas (Chatelet/McCreesh), Herakles

The Birds and Tempter The Martyrdom of St Magnus (both for The

Opera Group). Robert has recorded Judas The Apostles with Canterbury

Choral Society and the Philharmonia Orchestra. He is also featured on

Monteverdi’s Vespers of 1610 with the Southern Sinfonia and the

Rodolfus Choir. His recording of Cornelius’ Die Drei Könige (The Three

Kings) with the choir Polyphony is a favourite on both Classic FM and

BBC Radio 3 whenever Christmas approaches. A skilled arranger of

vocal music in many genres, he is published by Novello & Co. Ltd.

Alexander Sprague (Tenor) is currently studying with Ryland

Davies and Iain Ledingham on the Opera Course at The Royal

Academy of Music where he is supported by the Josephine

Baker Trust. Alexander is the recipient of the Grant McCann

Prize and the Kohn Bach Foundation scholarship, performing

tenor arias in the Academy’s Bach Cantata series. Forthcoming

performances include working with John Butt, Rachel Podger

and Peter Schreier. Alexander’s operatic experience is ever

increasing, most recently he understudied Don Ottavio, Don

Giovanni (Longborough Festival Opera) and was the recipient

of The Haskell Family Foundation Scholarship to perform

scenes as Ferrando, Cosi Fan Tutte at The Britten Pears Young Artist Programme. As a member of

Royal Academy Opera, Alexander has performed the roles Ferrando Cosi Fan Tutte, Demo Il Giasone,

The Mayor Albert Herring, Don Eusebio L’Occassione fa il Ladro and Apollo, Semele, working with

conductors including Sir Colin Davis, Sir Charles Mackerras, Dr Jane Glover and directors John Copley

and John Cox. Alexander has made numerous solo appearances across the country on the oratorio

stage, his most recent roles include Mozart Requiem in St Martin in the Fields, London, Evangelist

St John Passion in Bristol Cathedral, and with the Northern Sinfonia in Durham Cathedral. Also a

consort singer, Alexander regularly appears with The Monteverdi Choir (for which he has also

performed as a soloist) under Sir John Eliot Gardiner, touring across the UK, Europe and USA,

performing at venues including Carnegie Hall, New York and Opera Comique, Paris.Ale

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ORGAN RECITALS 2011

Sundays at 5.30pm (Admission £5)

NB There will be no March recitals this year while

the organ is undergoing some minor repairs

12 June Benjamin Chewter (Lincoln Cathedral)

18 December Colin Walsh (Lincoln Cathedral)

Messiaen: La Nativité du Seigneur

Mondays at 7pm (Admission £5)

2 May Roberto Marini (Teramo, Italy)

30 May Dr Francis Jackson CBE

(Organist Emeritus, York Minster)

27 June Joseph Nolan (Perth, Australia)

11 July Michael Eckerle (Pforzheim, Germany)

8 August Huw Williams (St James’s Palace, London)

29 August Colin Walsh (Lincoln Cathedral)

For details: 01522 561600

visitors@lincolncathedral.com

www.lincolncathedral.com