Saturday, 1st December 2018 at Holy Trinity church, Sandgate Road, Folkestone. CT20 2HQ.
Georg Friedrich Handel`s - Zadok the Priest.
Zadok the Priest is a British anthem which was composed by George Frideric Handel for the coronation of King George II in 1727. Zadok the Priest is one of Handel`s best-known works and has been sung prior to the anointing of the sovereign at the coronation of every British monarch since its composition. The lyrics of Zadok the Priest are based on the same scripture as those for God Save the Queen from 1 Kings 1:38-40. The lyrics of Zadok the Priest do not change regardless of the sovereign`s gender. Because the piece is a hymn based on a scripture the lyric "king" remains even if the monarch is female. Zadok the Priest is written for SS-AA-T-BB chorus and orchestra in the key of D major. The music prepares a surprise in its orchestral introduction through the use of static layering of soft string textures followed by a sudden rousing forte tutti entrance, augmented by three trumpets. The middle section "And all the people rejoic`d, and said" imitates a dance in 3/4 time. The final section "God save the King", etc is a return to 4/4 time with the choir singing chordally, interspersed with the Amens incorporating long semi-quaver runs, taken in turn through the six voice parts (SAATBB) with the other parts singing quaver chords accompanying it.
Joseph Haydn`s - Nelson Mass.
It has said that this mass "is arguably Haydn's greatest single composition". Written in 1798, it is one of the six late masses by Haydn for the Esterházy family. The late sacred works of Haydn are regarded as masterworks, influenced by the experience of his London symphonies. They highlight the soloists and chorus while allowing the orchestra to play a prominent role. Owing to the political and financial instability of this period in European history, Haydn's patron Nikolaus II dismissed the wind band octet, shortly before Haydn wrote the Nelson Mass. Haydn, therefore, was left with a "dark" orchestra composed of strings, trumpets, timpani, and organ. Later editors and arrangers added what they perceived to be missing woodwind parts, but the original scoring has again become the accepted choice for modern performances. Though Haydn's reputation was at its peak in 1798, when he wrote this mass, his world was in turmoil. Napoleon had won four major battles with Austria in less than a year. The summer of 1798 was therefore a terrifying time for Austria, and when Haydn finished this mass, his own title, in the catalogue of his works, was Missa in Angustiis (Mass for troubled times). What Haydn did not know when he wrote the mass, was that on 1 August, Napoleon had been dealt a stunning defeat in the Battle of the Nile by British forces led by Admiral Horatio Nelson Because of this coincidence, the mass gradually acquired the nickname Lord Nelson Mass. The title became indelible when, in 1800, Lord Nelson himself visited the Palais Esterházy accompanied by his British mistress, Lady Hamilton, and may have heard the mass performed. Haydn's original title may also have come from illness and exhaustion at this time, which followed his supervision of the first performances of The Creation, completed a few months earlier. The piece was premiered 23 September 1798 at the Stadtpfarr church,
Vaughan Williams - Fantasia on a Christmas Carol
Fantasia on Christmas Carols was composed in 1912 by English composer Ralph Vaughan Williams for baritone, chorus, and orchestra. First performed at the 1912 Three Choirs Festival at Hereford Cathedral, the work is a single movement of roughly twelve minutes which consists of the English folk carols "The Truth sent from Above", "Come all ye worthy Gentlemen" and "On Christmas night all Angels Sing" (i.e. the Sussex carol), all folk songs collected in southern England by Vaughan Williams and his friend Cecil Sharp a few years earlier. These are interposed with brief orchestral quotations from other carols, such as The First Nowell. The early work remains popular with choral societies, and is sometimes paired with his longer Christmas work Hodie of 1954. There is also a version of the Fantasia which replaces the orchestra with strings and organ.
Vivaldi - Concerto for two trumpets.
Concerto for Two Trumpets in C Major, by Antonio Vivaldi, is one of the few solo works of the early 1700s to feature brass instruments. It is the only such piece by Vivaldi.
The rarity of Vivaldi’s Concerto for Two Trumpets stems from the difficulties inherent in the Baroque trumpet. At the time, trumpets were natural, or valveless. The instrument’s range was quite restricted, and much depended on the performer’s lip control, as with the modern bugle.
As with the great majority of Vivaldi’s concertos, this one begins with a quick and sparkling movement to catch the attention of the audience and to showcase the bright tones of the solo trumpets. This is followed by a languid and very brief second movement, with fanfare-like passages from the soloists overlaying sustained string tones. For the final movement, Vivaldi returned to brilliant mode with quick energy and intricate passages for the soloists.