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Saturday, 30th June 2018Redmaids’ High School, Bristol
Nina Bennet, soprano
Kai Scanlan, tap dancer
Swing Machine Jazz Orchestra,Ed Leaker, leader
Christopher Finch, conductor
Will Todd Footprints Choral Suite 1 The Tide 2 Footprints 3 Sun and Moon
Duke Ellington In a Mellow Tonearranged by Oliver Nelson
Billy Strayhorn Isfahan (from the Far East Suite)recorded by the Duke Ellington Orchestra
H.J. Lengsfelder, PerdidoErvin Drake& Juan Tizolarranged and recorded by Duke Ellington
Duke Ellington Sacred Concertarranged by John Høybye and Peder Pederson
INTERVAL (10 minutes)
Notes on Sacred Concert by Duke Ellington (1899-1974)Edward Kennedy "Duke" Ellington (1899–1974) was an American composer,pianist, and bandleader of a jazz orchestra which he led for over fifty years from1923 until his death. In all three he is one of the jazz greats. As a composer he wasprolific, writing over a thousand pieces: his best-known include such standards asIt Don’t Mean a Thing (if it Ain’t Got that Swing), In a Sentimental Mood,Sophisticated Lady and Mood Indigo. Although usually thought of as a Jazzman,Ellington preferred the term ‘Beyond Category’ to describe his music.
Towards the end of his life Ellington wrote three ‘Sacred Concerts’. The first arosefrom a commission to write music for the opening of Grace Cathedral in SanFrancisco in 1965, and consisted of a whole concert devoted to music withreligious words. Some of the music was new, some recycled. It was part of a widertrend in the mid 60s for jazz with a spiritual dimension, and was generally wellreceived. The second, containing all new material, was premiered in the Cathedralof St John the Divine in New York in 1968. It featured the Swedish Soprano AliceBabs; and the third was first performed in Westminster Abbey in 1973 andfeatured Babs and the baritone sax player Harry Carney.
On tour, Ellington would perform selections from each of these concerts, oftendeciding which movements to play on the night. Many of the pieces featured achoir, usually recruited locally. He would lead the performances from the piano.
In 1993 two Scandinavian jazz musicians, John Høybye and Peder Pedersendecided to rearrange this music to make performances more practical. They chosehighlights from the three original ‘Concerts’, adjusted the orchestration andincreased the role of the choir – Ellington, catering for local choirs with littlerehearsal time had kept the chorus parts very simple. The result is a set of pieceswhich lasts around an hour. It is scored for Soprano solo, SATB choir and bandconsisting of 5 saxophones, 4 trumpets, 4 trombones, guitar, piano and drumkit.And an optional tapdancer in movement seven.
Listeners might like to note the following:
Some of the ‘improvised’ solos are notated, and some are not – including partssung by the soprano solo. In a decent performance, it should not be possible towork out which are which.
One of the glories of the piece is the harmonies. Subtle and often shifting, theyalways turn out to have a sure sense of direction.
Despite his reservations (above) Ellington’s instrumental textures are generally inthe mainstream of Big Band Jazz.
The lengths of phrases tend to the traditional – most are 8 or 16 bars long.
Unless stated, all words are assumed to be Ellington’s own.
As the music is mostly straightforward there aren’t very many listening notes withthe words below - just sit back and enjoy the energy and the harmonic imagination.
There are ten movements.
1 Praise GodA short, bright start, alternating the Bright Swing tempo of the band with slowermusic for the choir.Praise God with the sound of the trumpetPraise God with the psalt’ry and harp.Praise God with the sound of the timbreland dance.
Praise God with the sound of the stringed instrumentsthe organ, the cymbals, the loud high-sounding cymbals,let everything that has breath praise God,praise the Lord, praise ye the Lord, praise GodAnd dance. (from Psalm 150)
2 HeavenMarked Slow Ballad. Structure: the tune and its chord sequence appear fivetimes – soprano solo, choir, band, soprano solo, choir + sop. solo; all with varyingaccompaniments and improvisation.Heaven my dream, Heaven divineHeaven, supreme Heaven combines ev’ry sweet and pretty thinglife would love to bring Heavenly Heaven to beis just the ultimate degree to be.
3 a-g FreedomSeven pieces about freedom:A Freedom. To be contented prisoners of love or to reach beyond our reach, to reach for a star or go about the business of becoming what we already are Freedom.
B Freedom.
C Freedom’s what you thought you heard.
Freedom’s not just one big word, A perfect healing salve. Freedom, it’s what you got to have. Freedom’s good both night and day up and down and all around and all the way, give me Freedom must be won ‘cause Freedom’s even good fun.
D The words are recited over an A Cappella choral accompaniment. Freedom is a word that is spoken and sung, Loudly and softly all around the world, And in many languages. The word freedom is used for many purposes. It is sometimes even used in the interest of freedom.
E A bouncy little number with light accompaniment. Freedom is sweet on the beat Freedom is sweet to the reet complete it’s got zestness and bestness. Sugar and cream on the blessedness, no more pains no more chains to keep me from being free Freedom is sweet fat and that’s for me.
F The word Freedom in various languages.
G Reprise of 3a.
4 The ShepherdThe Shepherd (who watches over the flock) is band only - no voices. It is a typicalslowish big band number, starting with an introduction on piano solo and thenfeaturing solo trumpet.
5 The Majesty of GodBand – solo soprano – chorus with solo – Jazz Waltz.The beauty of God is indescribable.The power of God is unapraisable.The sight of God is unimaginableand we should know that the light of God is truth and does not a shadow throw.The wonder of GodThe future of futuresThe splendor of GodThe Heaven of Heavens
The domain of God is universal beyond end.The beginning is love and only God knows when.
6 Come SundayA simple piece for A Cappella chorus with decorations provided by the solosoprano.Lord, dear Lord above: God Almighty God of loveOh, please look down and see my people throughI believe that God put sun and moon up in the skyI don’t mind the grey skies, ‘cause they’re just clouds passing by.
7 David DancedThe introduction to this number can be done in various ways but usually involvesa tap dancer and improvised percussion. The tap dancer is asked to set the tempofor the rest of the movement, which shows Ellington at his most energetic. Notethe tune – very similar to the previous piece – but to quite different effect.David up and danced, David danced before the LordHe danced before the Lord with all his might.Psalt’ries, timbrels harp and cymbals rang out loud and clearshouting, singing trumpets bringing love to ev’ry ear.
(based on 2 Samuel 6 v14)8 Almighty GodStarts out with just choir, but adds backing; then the whole band takes over for avariation or two before the chorus returns.Almighty God has those angels away up there aboveup there a-weaving sparkling fabrics just for you and me to loveAlmighty God has those angels up in the proper placewaiting to receive and to welcome us and remake us in graceWash your face and hands and heart and soul ‘cause you wash so well,God will keep you safely where there’s no sulphur smell.Almighty God has those angels as ready as can bewaiting to dress, caress and bless us all in perpetuity.
9 T.G.T.T.The letters apparently stand for Too Good To Title. It’s nominally for the solosoprano (wordless) and piano, but other instruments can be added. One ofEllington’s exercises in slow laid-back cool.
10 Praise God and Dance – FinaleA much expanded version of the first number makes an exciting finale.
Praise God with the sound of the trumpetPraise God with the psalt’ry and harp.Praise God with the sound of the timbrelAnd dance.
Praise God with the sound of the stringed instrumentsthe organ, the cymbals, the loud high-sounding cymbals,let everything that has breath praise God,praise the Lord, praise ye the Lord, Praise God and dance. (from Psalm 150)
Notes © TJW
Kai Scanlan is 15 years old and currently trains at TapAttack and Wilkes Academy.In 2013, aged 10, Kai became a founding member ofTap Attack’s Mini Associate programme, andsuccessfully auditioned to become one of the firstmembers of the Children’s England Tap Team. Whilsttraining to compete with his children team membersat the 2013 IDO World Tap Championships, Kai wasselected to compete as a soloist, which he won,earning him his first World Tap Championship title.To date Kai has won thirteen World Titles, includingJunior and Adult Duos, Small Groups and Formations.
He has been fortunate to perform around the world and has been awarded anumber of scholarships, which have enabled him to train in the USA with world-renowned teachers including Jason Janas, Anthony Morigerato, Sarah Reich, ChloeArnold, Maud Arnold and Mike Minery, and to be part of shows whilst studying inLos Angeles, New York, Boston and in Europe, Croatia.Kai’s performances include Move It, Tap United, International Dance TeachersConference, O2, BBC News, numerous theatrical and charity galas, videos andcorporate events. He has also been part of a short film “Dance beats cancer” andappeared on Little Big Shots on ITV. Most recently he has been part of the CBBCshow Taking the Next Step, where he came runner up. Following that, Kai wasinvited to appear in Swingin In The Rain, a show that Jonny Labey produced andstarred in.Over the last year Kai has developed a passion for choreography and has had theopportunity to develop his own dances which he has performed for TV, shows andcompetitions. He also assists regularly for Tap Attack at workshops andconventions around the country where he often has the chance to perform.
The versatile lyric soprano Nina Bennet firststudied Philosophy and English beforeembarking on post-graduate study in singingand Early Music performance at the RoyalCollege of Music, London.
Concert platform highlights include Mozart’sC Minor Mass under Jeremy Backhouse inGuildford Cathedral, Haydn’s Little OrganMass and Fauré’s Requiem with the City ofLondon Sinfonia, Bach’s B Minor Mass andMonteverdi’s Vespers with Charivari Agreablein St John’s Smith Square, Bach’s ChristmasOratorio with Peter Schreier, also in St John’s,and Vivaldi’s Gloria with the Royal
Philharmonic Orchestra. Most recently, she performed Beethoven’s MissaSolemnis and Tippett's Child of Our Time under Ben Palmer in Cadogan Hall.
Nina is becoming increasingly in demand in 20th Century and contemporarymusic, performing Birtwistle's Nine Settings of Celan with Kokoro, theBournemouth Symphony Orchestra’s contemporary group, and Schoenberg’sPierrot Lunaire with Sequenza at the Oxford Lieder Festival. Nina made her soloProms debut last summer, singing in the UK premiere of Lera Auerbach’s TheInfant Minstrel and His Peculiar Menagerie with the BBCSO under Edward Gardner.
Equally at home in both Jazz and Gospel, she performed the Duke Ellington SacredConcerts under Neil Ferris, Will Todd's Mass in Blue under Mark Forkgen, sangwith Ken Burton in his own piece Take Time To Change, and performed a set ofBillie Holiday numbers with soloists from the Aurora Orchestra in King’s Place,London.
Nina is also a versatile consort singer, regularly performing with the Academy ofAncient Music, The Clerks, the BBC Singers, Britten Sinfonia Voices, PhilharmoniaVoices, Amaryllis Consort and the new vocal group, Sonoro.
www.ninabennet.com
SaxophonesEdward Leaker(Band Leader)Jade GallAndy TweedSteve HackingDuncan LamontTrumpetsAlex BrainRobin PengilleyAndy HagueJack CowardTrombonesJon HopesTerry KellyKeith ThomasAlex StewartPianoAndy NowakGuitarMark LawrenceBassAl SwaingerDrumsMark Whitlam
Swing Machine Jazz Orchestra brings together some of the UK’s finestjazz musicians under the leadership of saxophonist Edward Leaker.The original concept for the band was to form a professional big bandthat would demonstrate the talents of the many excellent jazzmusicians in the South West of England whilst performing classic andmodern big band music to the highest level. The Orchestra has beenperforming to packed audiences since 2010 and has received ravereviews from audiences and musicians alike.The musicians’ collective experience is truly exceptional. Between themthey have performed for some of the top musical groups in the countryincluding: Piccadilly Dance Orchestra, Strictly Come Dancing Live Band,National Youth Jazz Orchestra, Rat Pack National Touring Shows, RPO,LSO, BBC Big Band, Syd Lawrence Orchestra and literally hundreds ofsmaller bands.In February 2013, SMJO Big Band recorded their first album of classicand modern big band repertoire at the legendary Monnow ValleyStudios in South Wales. The album can be bought after the concerttoday or online.Swing Machine Jazz Orchestra are officially supported by YAMAHA UKand endorse their DXR and DXS sound systems.www.edwardleaker.com/swingmachine
Edward LeakerEdward graduated from the Royal Academy of Music with a Masters
Degree in Music Performance having studied with Richard Addison, Martin Speake and Duncan Lamont. Since then, Edward has built an enviable reputation as a freelance saxophonist and educator.As a freelance musician, Edward has performed in a wide variety of settings, both classicaland jazz. From big bands and jazz ensembles to solo recitals, quartets, orchestral andtelevision work. Edward is always in demand as a saxophonist for his versatility and is wellrespected among musicians for his sound and approach.A passionate educator, Edward currently holds the position of Head of Woodwind andHead of Jazz at Wells Cathedral School. Edward’s extensive experience as an educatorincludes teaching the saxophone, clarinet, improvisation and jazz studies at several leadingindependent schools and for Kings College, London. In addition to this, Edward leadsworkshops and ensembles nationally and is a mentor and tutor for South West MusicSchool.Edward also performs with his own ensembles including Swing Machine Jazz Orchestra,Blaze (a ground breaking classical crossover group which features the saxophone withstrings) and pop jazz ensemble The Edward Leaker Band. These groups perform nationallyand have all released albums available on physical CD or download.Edward is a Yanagisawa Saxophones UK Artist. www.edwardleaker.com
Christopher Finch is an acclaimed choral conductor andaccompanist. He rose to national prominence in 2010when he led the Wellensian Consort to the title of BBCChoir of the Year, the UK’s premier choral competition.He enjoyed further competitive success in 2013 whenWells Cathedral School Choralia became the first Britishchoir in over a decade to reach the grand final of theinternationally revered Let the Peoples Sing competition.He is greatly in demand as a conductor, accompanist,vocal coach, répétiteur and teacher.He is currently Head of Student Programmes andCoordinator of Vocal Studies in the specialist musicfaculty of Wells Cathedral School. A passionate advocateof the importance of singing in education, Christopher isactively engaged in outreach programmes as a choraladvisor and guest conductor. Appointed as musicdirector to Bristol Bach Choir in January 2012,Christopher combines this with his commitments conducting the Wellensian Consort,Choralia, Wells Cathedral School Chapel Choir, and one of Bath’s leading chamber choirs,A Handful of Singers.Christopher has performed and collaborated with some of this country’s finestperformers, composers and ensembles, including; Richard Hickox; John Rutter, CharlesHazelwood, Bob Chilcott, John Tavener, Will Todd, Brian Kay, Charivari Agréable, Canzona,Arve Henriksen, Patricia Rosario and Iestyn Davies amongst many others. Performances,workshops and recordings have taken Christopher to many parts of Europe, the USA andthe Far East, and his recordings have been broadcast worldwide.
Nigel Nash read Music at Bristol University and teachespiano at Badminton School, as well as being accompanistat Bristol Grammar School & Badminton. Since hisappointment as Bristol Bach Choir’s accompanist in 1998,Nigel has played for the choir in numerous concerts inBristol, Oxford and Gloucester and on tour in Paris, Oporto,Prague, Dresden, Iceland and Tallinn. In the autumn of 2011Nigel became the choir’s acting Musical Director,conducting them in concerts at St Mary Redcliffe and StGeorge’s, Bristol.
A fellow of the Royal College of Organists, Nigel is muchsought after as an accompanist for choirs across the WestCountry and he has accompanied choral workshops withBrian Kay, Nigel Perrin & Bob Chilcott. He has also been involved with several broadcastson national radio and television including HTV’s Morning Worship, Carols from WellsCathedral, and BBC Radio 4’s Daily Service, and Sunday Half-Hour on Radio 2.
President: Brian Kay
Hon. Vice President: The Lord Mayor of Bristol
Music Director: Christopher FinchRegistered Charity No. 253338
Sopranos: Polly Beck, Julie Borowski, Fiona Bowden, Cynthia Dobson, Alison Grant,Sue Gregory, Lucy Griffith, Tamzin Howard, Emma Lovell, Sarah O’Grady, Fran SmetternAltos: Andrea Argent, Jessica Best, Kirsten Cunningham, Pat Harrad, Natasha Melia,Katy Ratcliffe, Melanie Reed, Danni Rochman, Bridget Simpson, Caroline Taylor,Emily Thornton, Helen Thouless, Judith Vorley, Margaret Williams
Tenors: Mike Garnier, Richard Griffith, Nigel Nash, Phil Neville, Gui Rego,Jonty Rougier, Tim Warren
Basses: Michael Cullen, Julian Dale, Angus Gregson, Rupert Handley, Vince Hobbs,Paul Stephens, Graham Thornton, Rod Thouless
Bristol Bach Choir is one of the South West’s finest choral groups. Since its formation in1967 the choir has gained a reputation for its dynamic, expressive singing and its vibrantperformances.Its repertoire ranges from early Baroque music to 21st century compositions by JamesMacMillan, Arvo Pärt, Ēriks Ešenvalds, Cecilia McDowall and Will Todd. This versatility, andthe choir’s size, mean that larger choral works and more intimate chamber choir pieces areperformed with equal success.The choir regularly appears alongside the country's finest professional soloists andorchestras and also engages exceptionally talented young musicians on the verge of majorinternational careers.Tours are a regular part of the choir's activities with performances across the EEA includingSpain, France, Germany, Portugal, Iceland, the Czech Republic, Italy and Estonia.
Are you interested in joining the choir?We are actively recruiting for singers in some sections of the choir. If you are interestedand have relevant experience and good sight reading ability please apply [email protected] auditioning, you will be encouraged to come to a few rehearsals to meet and singwith the choir. The choir meets on Thursdays, 7.30-9.30 pm at Trinity-Henleaze UnitedReformed Church.
PATRONSVictor and Anthea BarleyTony and Diana BeckingsaleMike and Liz BellRuth and Jonathan BolgarChristine BuckleyColin CarrollPeter Dart and Annabel MartinDavid and Julia DeanAngela DixonGeorge and Cynthia DobsonGareth and Jill DoddsPenny DoddsJulian DudleyAntony and Rachel EvansSarah EvansMs Alison FarnillSusan GarnierPenny GarrettDr Naomi GillinghamAlthea HamlynChris and Helen HillGeoff HillIan HopleyJenny and John Huskins
Maggie KirbySheila LangDave and Chris LewisGillian LewisJohn and Gaynor McCarthyB McGowanElizabeth MildnerCarolyn MorganIan and Breeda MortonEve NashTony and Alison PeckDr Graham PeggMary Quirk & Chris WilliamsMr Colin ReedMichael SeeleyValerie SheltonDiana SmithRob and Angela ThackrayMrs Rosemary ThomasDave VorleyChris and Andrew WatsonPete and Joanne WestonColin WilliamsRobin and Aurelie Wright
Bristol Bach Choir Patrons enjoy● top price tickets for all concerts● reserved seating● preferential booking for extra tickets before general release● complimentary programmes● an annual reception and invitation to other choir events● choir news and updates
If you would like to consider becoming a Patron, please contact:Althea Hamlyn, 2 Church Lane, Berkeley, GL13 9BN tel: 01453 811723email: [email protected] are also opportunities for corporate sponsorship. For details pleasecontact Pat Harrad email: [email protected]
The Alan Farnill Fund, named to celebrate the Bristol Bach Choir'sco-founder, assists new singers under the age of 30 with their music andchoir membership costs.
