Let All the World in Every Corner Sing

José Maurício Nunes Garcia
Overture ‘Zemira’7’

Johann Sebastian Bach
Cantata No. 82, ‘Ich habe genug’24’

INTERVAL: 20 minutes

Joseph Haydn
Symphony No. 26, ‘Lamentatione’17’

Ralph Vaughan Williams
Five Mystical Songs20’

Harry Bicketconductor
Julien Van Mellaerts baritone
BBC National Chorus of Wales

The concert is being recorded by BBC Radio 3 for future broadcast in Radio 3 in Concert; it will be available for 30 days after broadcast via BBC Sounds, where you can also find podcasts and music mixes. The Garcia, Bach and Haydn are being filmed for future release in the BBC NOW Digital Concert Series.

José Maurício Nunes Garcia was born in Rio de Janeiro to biracial parents, both children of slaves, and ordained as a priest in 1792. Despite an apparently patchy musical training, his talent was obvious, and he was appointed music director at his home-city cathedral in 1798. By the time the Portuguese court was forced by Napoleon into exile in Brazil in 1808, Garcia was the country’s leading composer and was immediately put in charge of the royal chapel by the Prince Regent (later João VI). His health declined from around 1816 onwards, and the return of the court to Portugal without him in 1821 further limited his professional activities in his final years.

Though he was known for a while as a popular and fashionable piano improviser, his compositional output consists overwhelmingly of sacred music (including 19 Masses), but a handful of orchestral scores also survives. Tonight’s ‘overture’ is an enigma, as no Zemira opera by Garcia is known (though a libretto of that name was set in the 1790s by at least three well-known Italian composers). The earliest score offers no explanation, but does carry a note describing the piece as an ‘overture or introduction expressing lightning and thunderstorms’, which suggests that it may have been a piece of generic incidental music for a play or other species of musico-dramatic work, perhaps now lost.

^{Programme note © Lindsay Kemp}

1 Aria: Ich habe genug
2 Recitative: Ich habe genug
3 Aria: Schlummert ein, ihr matten Augen
4 Recitative: Mein Gott! wenn kömmt das schöne: Nun!
5 Aria: Ich freue mich auf meinen Tod

Julien Van Mellaerts baritone

When, in 1723, Bach took up the position of Kantor of the Thomasschule in Leipzig, he was stepping into one of the leading church music posts in Protestant Germany. His duties included organising music for Sunday and special services at the city’s four main churches, at the two biggest of which – St Thomas’s and St Nicholas’s – the focal point was a cantata for voices and instruments to be performed after the Gospel reading and, by its choice of text, reflect upon and illuminate it.

Ich habe genug was his cantata for the Feast of the Purification of the Virgin (2 February) 1727, whose Gospel for the day is the Biblical episode in which the infant Jesus is presented at the Temple, whereupon the aged Israelite Simeon recognises him as the long-awaited Messiah and declares himself ready for death. His words are the famous lines beginning (in the King James Version) ‘Lord, now lettest thou thy servant depart in peace’, but they are not directly quoted in the cantata, which instead makes them the starting-point for a classically Lutheran meditation on death as a release from life’s travails. It was a subject to which Bach often returned, but never with such persuasive power as in this piece, which – suffused with the complex state of mind that the organist and Bach scholar Albert Schweitzer described as ‘nostalgia for death’ – shows us how to die well and move towards a blissful afterlife, arriving there comforted and purified.

Written for a solo bass with a small orchestra of strings plus a beautiful obbligato part for oboe, its opening aria establishes a mood of almost exhausted resignation as the intertwining lines of oboe and singer stroke the soul in a way that only Bach can. The words ‘Ich habe genug’ (It is enough) form a refrain in this first aria, and the recitative that follows continues the idea, as it invites the listener to join with Simeon in relinquishing the world. But it is in ‘Schlummert ein, ihr matten Augen’ (Close in sleep, you weary eyes) that the sweet repose of death is most fully embraced in one of Bach’s finest arias, a lullaby of surpassing warmth and tenderness. After another recitative has bidden the world ‘good night’, a gaily dancing final aria anticipates death with unequivocal happiness.      

^{Programme note © Lindsay Kemp}

1 Allegro assai con spirito
2 Adagio
3 Minuet and Trio

The decade from the mid-1760s to the mid-1770s was a momentous one in Haydn’s career, a period in which his status changed from that of the unknown, newly appointed Kapellmeister to Prince Nikolaus Esterházy to recognition as one of Europe’s finest musical minds. His symphonies at this time in particular often had a new and very different message from their predecessors, apparently seeking to convey something more urgent than the ceremonial, diverting or just plain occasional norm of the day.

The opening movement of No. 26, composed in 1768, opens in the emotive minor-key style known as Sturm und Drang (‘storm and stress’), with pulsing syncopations over a striding bass-line being countered by quiet sighs from strings and horns. Yet it is the subsequent inclusion of ecclesiastical plainchant melodies that gives the piece its unifying character. Haydn had used chant melodies in symphonies before, but here the first two movements both use ones that would have been familiar to many Austrian listeners from their centuries-old use in Latin Passion plays. This, clearly, was a symphony for performance in Holy Week, perhaps in church.

The first chant melody appears as the first movement’s second theme, sounded out by oboe and second violins, but partially concealed by the first violins’ line, which lightly dances over the top; later, when the theme reappears in the major key, a horn is added to reinforce its message, and the movement ends in the same urgent mood in which it began.

The chant for the slow second movement is one associated with another Holy Week text, the Lamentations of Jeremiah, and is stated right from the off, again on second violins and oboe accompanied by elaborate and graceful counter-melodies from the first violins. The mood is sombre and dignified but, when the horns again join in the chant towards the end, it is transformed to one of radiance and benediction.

There are no evident chant references in the Minuet, though its emotional restlessness – sometimes stern, sometimes consoling – may suggest some kind of dramatic intent. Unusually, this is where the symphony ends; there is no conventional finale. Perhaps Haydn wanted to leave the resolution of the Passion story for Easter Sunday.

^{Programme note © Lindsay Kemp}

1 Easter
2 I got me flowers
3 Love bade me welcome
4 The Call
5 Antiphon

Julien Van Mellaerts baritone
BBC National Chorus of Wales

Vaughan Williams began composing Five Mystical Songs in 1906, but reworked them considerably in 1910–11. The intervening years were hugely significant for Vaughan Williams’s development: he composed works which today are  among his most popular (including A Sea Symphony and Fantasia on a Theme of Thomas Tallis) and steeped himself in ‘Englishness’ by editing the English Hymnal and collecting folk song. In the same period he sought an extra nuance to his musical language, believing – as he put it himself – ‘a little French polish’ would benefit his composition. To that end, he travelled to Paris and studied with Maurice Ravel for a fruitful three months in 1907–8. The works which followed immediately after shimmer with this new polish.

These multiple strands of influence feed into the Five Mystical Songs, which premiered at the Three Choirs Festival in 1911, Vaughan Williams somewhat nervously at the helm. The text is by George Herbert, one of the 17th century’s most distinguished metaphysical poets. Vaughan Williams, who at most was ‘cheerfully agnostic’, nonetheless responded to the rhetorical grace of Herbert’s verse, as well as to its rhythmic quality (such as the lilting groups of threes in the ‘The Call’, structured like an elegant acrostic). The French influence is most strongly felt in the meditative third song, with its lyrical charm and gently rocking, delicately orchestrated accompaniment.

The songs exist in various performing formats, including solo baritone and piano, but the collective, cumulative power of the choir and orchestral version perhaps best serves Herbert’s direct invitation to communion (most strongly expressed in the final song). At times the choir intones wordlessly while the soloist delivers the text; at others, the chorus and soloist gently punt phrases back and forth to each other. In ‘Antiphon’ the choir takes centre stage for a rambunctious finale: a forceful, singable surge of choral power, perhaps influenced by the explosion of choral sound in A Sea Symphony. Not surprisingly, the songs were well-received at the premiere, with reviewers responding both to the sincerity of Herbert’s verse and to the intuitive, direct appeal to the senses found in Vaughan Williams’s personal and continually evolving language.

^{Programme note © Lucy Walker}

Text

1 Easter
Rise heart; thy Lord is risen. Sing his praise
Without delayes,
Who takes thee by the hand, that thou likewise
With him may’st rise;
That, as his death calcined thee to dust,
His life may make thee gold, and much more, just.

Awake, my lute, and struggle for thy part
With all thy art.
The crosse taught all wood to resound his name,
Who bore the same.
His stretched sinews taught all strings, what key
Is best to celebrate this most high day.

Consort both heart and lute, and twist a song
Pleasant and long:
Or since all musick is but three parts vied
And multiplied,
O let thy blessed Spirit bear a part,
And make up our defects with his sweet art.

2 I got me flowers
I got me flowers to straw thy way;
I got me boughs off many a tree:
But thou wast up by break of day,
And brought’st thy sweets along with thee.

The Sunne arising in the East,
Though he give light, and th’East perfume;
If they should offer to contest
With thy arising, they presume.

Can there be any day but this,
Though many sunnes to shine endeavour?
We count three hundred, but we misse:
There is but one, and that one ever.

3 Love bade me welcome
Love bade me welcome: yet my soul drew back,
Guiltie of dust and sinne.
But quick-ey’d Love, observing me grow slack
From my first entrance in,
Drew nearer to me, sweetly questioning
If I lack’d anything.

A guest, I answer’d, worthy to be here:
Love said, You shall be he.
I the unkinde, ungratefull? Ah, my deare,
I cannot look on thee.
Love took my hand, and smiling did reply,
Who made the eyes but I?

Truth Lord, but I have marr’d them: let my shame
Go where it doth deserve.
And know you not, sayes Love, who bore the blame?
My deare, then I will serve.
You must sit down, sayes Love, and taste my meat:
So I did sit and eat.

4 The Call
Come, my Way, my Truth, my Life:
Such a Way, as gives us breath:
Such a Truth, as ends all strife:
Such a Life, as killeth death.

Come, my Light, my Feast, my Strength:
Such a Light, as shows a feast:
Such a Feast, as mends in length:
Such a Strength, as makes his guest.

Come, my Joy, my Love, my Heart:
Such a Joy, as none can move:
Such a Love, as none can part:
Such a Heart, as joyes in love.

5 Antiphon
Let all the world in ev’ry corner sing,
My God and King.

The heavens are not too high,
His praise may thither flie;
The earth is not too low,
His praises there may grow.

Let all the world in ev’ry corner sing,
My God and King.

The Church with psalms must shout,
No doore can keep them out;
But above all, the heart
Must bear the longest part.

Let all the world in ev’ry corner sing,
My God and King.

^{from The Temple by George Herbert (1593–1633)}

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Biographies

Harry Bicketconductor

Born in Liverpool, Harry Bicket studied at the Royal College of Music and the University of Oxford, where he was Organ Scholar at Christ Church. He is an Honorary Member of the Royal Academy of Music and was awarded an OBE in the 2022 Queen’s birthday honours.

He is especially renowned for his interpretation of Baroque and Classical repertoire. Since 2007 he has been Artistic Director of The English Concert, with whom he has recently embarked on a project to record all of Handel’s works as an online resource for all.

Since 2013 he has been Chief Conductor of Santa Fe Opera and in 2018 became its Music Director. He has conducted operas by Beethoven, Berlioz, Bernstein, Bizet, Britten, Debussy, Handel, Monteverdi and Mozart. This season he returns to Opera North and Opéra de Paris. He is also a regular guest at the Metropolitan Opera, New York, and has conducted at the Bavarian State Opera, Munich, Liceu, Barcelona, Theater an der Wien, Opéra de Bordeaux, Royal Opera House, Covent Garden, English National Opera, Scottish Opera, Welsh National Opera and Glyndebourne. 

He regularly conducts North American orchestras, including the Boston, Chicago, Cincinnati, Detroit, Houston, Indianapolis, San Francisco and Seattle Symphony orchestras, Los Angeles and New York Philharmonic orchestras, Los Angeles and St Paul Chamber orchestras, Orchestra of St Luke’s, NACO Ottawa, Cleveland Orchestra and Minnesota Orchestra. Elsewhere, he has conducted repertoire ranging from Bach to Britten with the Bavarian Radio, BBC Scottish, RTÉ National and Tokyo Symphony orchestras, Israel, Monte Carlo, Oslo, Prague, Rotterdam and Royal Stockholm Philharmonic orchestras, Royal Northern Sinfonia and Scottish Chamber Orchestra.

He is a prolific recording artist and has made numerous recordings with The English Concert, most recently Handel’s Rodelinda, La Resurrezione and Serse, to critical acclaim.

 
Julien Van Mallaerts baritone

Julien Van Mellaerts won the Wigmore Hall/Kohn Foundation International Song Competition, the Kathleen Ferrier Awards and both the Maureen Forrester Prize and the German Lied Award at the Montreal International Music Competition; he represented New Zealand at Cardiff Singer of the World 2019.

Highlights of his operatic career have included Duke of Nottingham (Roberto Devereux) for Badisches Staatstheater Karlsruhe and Chelsea Opera Group, Silvio (Pagliacci) for Israeli Opera, Masetto (Don Giovanni) and the title-role in The Marriage of Figaro for Salzburg Mozartwoche, Masetto and Papageno (The Magic Flute) at the Verbier Festival and Count Almaviva (The Marriage of Figaro) for Opera Holland Park. With the Royal Ballet he appeared alongside Zenaida Yanowsky in Elizabeth at the Barbican.

He has given recitals at festivals in New Zealand, Austria and Northern Ireland, as well as in concert halls in London, Berlin and Madrid.

Current engagements include the title-role in Wozzeck for Orchestra Wellington, Frédéric (Lakmé) for Chelsea Opera Group, Oreste (Iphigénie en Tauride) for Opéra national de Lorraine, Guglielmo (Così fan tutte) for New Zealand Opera, Schaunard (La bohème) for Israeli Opera and Frank (Edgar) for Opera Holland Park. He is also co-curator of Opera in Song to be presented at Opera Holland Park this summer.

His recordings include works by Barber, Handel, Russell Pascoe and Stanford, as well as two song recitals.

BBC National Orchestra of Wales

For over 90 years, BBC National Orchestra of Wales has played an integral part in the cultural landscape of Wales, occupying a distinctive role as both broadcast and national symphony orchestra. Part of BBC Wales and supported by the Arts Council of Wales, it has a busy schedule of live concerts throughout Wales, the rest of the UK and the world.

The orchestra is an ambassador of Welsh music and champions contemporary composers and musicians; its concerts can be heard regularly across the BBC – on Radio 3, Radio Wales and Radio Cymru.

BBC NOW works closely with schools and music organisations throughout Wales and regularly undertakes workshops, side-by-side performances and young composer initiatives to inspire and encourage the next generation of performers, composers and arts leaders.

The orchestra is based at BBC Hoddinott Hall in Cardiff Bay, where its purpose-built studio not only provides the perfect concert space, but also acts as a broadcast centre from where its live-streamed concerts and pre-recorded content are presented as part of its popular Digital Concert Series.

For further information please visit the BBC National Orchestra and Chorus of Wales’s website: bbc.co.uk/now 

Patron
HM King Charles III ^{KG KT PC GCB}
Principal Conductor
Ryan Bancroft
Conductor Laureate
Tadaaki Otaka ^CBE
Composer-in-Association
Gavin Higgins
Composer Affiliate
Sarah Lianne Lewis

First Violins
Lesley Hatfield leader
Gwenllian Hâf MacDonald
Terry Porteus
Suzanne Casey
Emilie Godden
Carmel Barber
Ruth Heney
Anna Cleworth
Rebecca Totterdell
Žanete Uškāne

SecondViolins
Anna Smith *
Dmitry Khakhamov
Sheila Smith
Vickie Ringguth
Joseph Williams
Michael Topping
Beverley Wescott
Roussanka Karatchivieva

Violas
Catherine Marwood ‡
Peter Taylor
Daire Roberts
Lydia Abell
Robert Gibbons
Anna Growns

Cellos
Alice Neary *
Raphael Lang
Sandy Bartai
Rachel Ford
Alistair Howes

Double Basses
David Stark *
Alexander Jones #
Gabriel Rodrigues

Flutes
Amy Yule  ‡
John Hall † 

Oboes
Steve Hudson *
Amy McKean †

Clarinets
Nick Carpenter *
Lenny Sayers

Bassoons
Jarosław Augustiniak *
Jo Shewan

Horns
Neil Shewan †
Meilyr Hughes
John Davy
Jenny Cox
Alexander Harris

Trumpets
Philippe Schartz *
Robert Samuel

Trombones
Donal Bannister*
Jake Durham

Bass Trombone
Darren Smith †

Tuba
Matt Lait

Timpani
Steve Barnard *

Harp
Valerie Aldrich-Smith †

Chamber Organ
Gregory Drott

* Section Principal
† Principal
‡ Guest Principal
# Assistant String Principal



The list of players was correct at the time of publication

Director Lisa Tregale
Orchestra Manager appointment in progress
Assistant Orchestra Manager Nick Olsen
Orchestra Personnel ManagerKevin Myers
Business Coordinator Caryl Evans
Orchestra Administrator Eleanor Hall +
Head of Artistic Planning and ProductionMatthew Wood
Artists and Projects Manager Victoria Massocchi **
Orchestra Librarian Eugene Monteith
Producer Mike Sims
Broadcast Assistant Kate Marsden
Head of Marketing and Audiences Sassy Hicks
Marketing Coordinator Amy Campbell-Nichols +
Digital Producer Yusef Bastawy
Social Media Coordinator Harriet Baugh
Education Producers Beatrice Carey, Rhonwen Jones **
Audio Supervisors Simon Smith, Andrew Smillie
Production Business Manager Lisa Blofeld
Stage and Technical Manager Steven Brown +
Assistant Stage and Technical Manager Josh Mead
BBC Wales Apprentice Jordan Woodley

+ Green Team member
** Diversity & Inclusion Forum

BBC National Chorus of Wales

BBC National Chorus of Wales is one of the leading mixed choruses in the UK and, while preserving its amateur status, works to the highest professional standards under Artistic Director Adrian Partington. 

Based at BBC Hoddinott Hall in Cardiff Bay, the chorus, which celebrates its 40th birthday this season, regularly works  alongside BBC National Orchestra of Wales, as well as giving concerts in its own right. Made up of over 120 singers, the chorus comprises a mix of amateur choristers alongside students from both the Royal Welsh College of Music & Drama and Cardiff University. 

Recent highlights include performances of Fauré’s Requiem and Messiaen’s rarely performed O sacrum convivium with Ludovic Morlot, Haydn’s ‘Nelson’ Mass with renowned early-music specialist Christian Curnyn and a CD of Sir Karl Jenkins’s Dewi Sant in his 80th birthday year, plus annual engagements at the BBC Proms – with recent appearances including John Adams’s Harmonium with Principal Conductor Ryan Bancroft, Vaughan Williams’s A Sea Symphony with Andrew Manze and Mozart’s Requiem from memory with Nathalie Stutzmann.

The 2023–24 season sees the chorus perform Vaughan Williams’s Five Mystical Songs with Harry Bicket, Karl Jenkins’s Dewi Sant to mark St David’s Day, Poulenc’s Stabat mater and the world premiere of Alexander Campkin’s Sounds of Stardust alongside BBC Cardiff Singer of the World Audience Prize-winner Julieth Lozano, plus the basses perform Shostakovich’s gritty 13th Symphony under the baton of Ryan Bancroft. 

Committed to promoting Welsh and contemporary music, BBC National Chorus of Wales gave the second-ever performance of Grace Williams’s Missa Cambrensis, 45 years after its premiere, which it has just recorded for CD release later this year, and has premiered works by many composers, including a special performance of Kate Whitley’s Speak Out, set to the words of Malala Yousafzai’s 2013 UN Speech.

The Chorus can be heard on BBC Radio 3, BBC Radio Wales and BBC Radio Cymru, and recently featured in Paul Mealor’s soundtrack for BBC Wales’s Wonders of the Celtic Deep.

BBC National Chorus of Wales

Artistic Director Adrian Partington
Accompanist Chris Williams

Soprano 1
Jessica Rose Baber
Logan Clark
Phoebe Dry
Sarah Jane Griffiths
Claire Hardy
Caitlin Hockley
Vanessa John-Hall
Rebecca Jolliffe
Lucie Jones
Katherine Meredith
Angharad Phillips
Elizabeth Phillips
Zoha Sohail
Helen Thomas
Charlotte  Town
Jo Westaway
Hannah Willman

Soprano 2
Kate Bidwell
Dee Cooke
Katelyn Da Costa
Rhianwen Hallows
Emily Hopkins
Rhiannon Humphreys
Victoria Illsley
Izzy Jackson
Julie Jones
Carolyn Lee
Rosie Moore
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Melanie Taylor
Caroline Thomas
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Alto 1
Ceri-Ann Absalom
Anna Eldred
Rachel Farebrother
Kathrin Hammer
Naomi Hitchings
Sara Peacock
Kate Reynolds
Zozi Sookanadenchetty
Julie Ellen Thornton
Vicki Westwell

Alto 2
Alex Butler
Darcy Cole
Yvonne Higginbottom
Max Keith
Sian Schutz
Julie Wilcox

Tenor 1
Oli Bourne
Roland George
Tom Lazell
Nick Willmott

Tenor 2
Mike Ennis
Peter Holmes
Rory McIver
Owen Parsons
Richard Wilcox

Bass 1
Peter Cooke
John Davies
Rafael Grigoletto
David Hopkins
Jack Irwin
Geraint Jones
Emyr Wynne Jones
Jez Piper
Neil Schofield
Miles Smith

Bass 2
Jeff Davies
Lyndon Davies
Joshua Eatough
Oliver Hodgson
Stuart Hogg
David Hutchings
Joseff Morris

The list of singers was correct at the time of publication