Programme £1

Vivaldi - Gloria

Saturday 21 November 2015 St Philip & St James Church, Fleet - 7.30pm

www.hartvoices.org.uk

featuring

The Bergersen Quartet

Retiring Collection: All Saints Restoration Fund

Hart Voices - Vivaldi: Gloria - 21 November 2015

presents

Vivaldi: Gloria featuring The Bergersen Quartet

Roy Rashbrook, Conductor Michael Whytock, Organ & Associate Conductor

Soprano Soloists: Eve Borsey, Kirstie Hennessey, Jackie White, Clare M Thomas

Alto Soloists: Linda Hore, Polla Rashbrook, Louise Shapley

Trumpet: Rebecca Crawshaw

Vivaldi - Gloria

- Interval -

Handel - Coronation Anthems

Please join us for some light refreshments during the interval

THERE WILL BE A RETIRING COLLECTION FOR THE ALL SAINTS FUND

- WE APPRECIATE YOUR GENEROUS DONATIONS!

Hart Voices - Vivaldi: Gloria - 21 November 2015

PROGRAMME NOTES

Antonio Vivaldi (1678 - 1741)

Gloria RV589

Antonio Lucio Vivaldi composed this Gloria in Venice, probably in 1715, for the choir of the Ospedale della Pietà, an orphanage for girls (or more probably a home, generously endowed by the girls' "anonymous" fathers, for the illegitimate daughters of Venetian noblemen and their mistresses). The Ospedale prided itself on the quality of its musical education and the excellence of its choir and orchestra. Vivaldi, a priest, music teacher and virtuoso violinist, composed many sacred works for the Ospedale, where he spent most of his career, as well as hundreds of instrumental concertos to be played by the girls’ orchestra. This, his most famous choral piece, presents the traditional Gloria from the Latin Mass in twelve varied cantata-like sections. The wonderfully sunny nature of the Gloria, with its distinctive melodies and rhythms, is characteristic of all of Vivaldi’s music, giving it an immediate and universal appeal. The opening movement is a joyous chorus, with trumpet and oboe obligato. The extensive orchestral introduction establishes two simple motives, one of octave leaps, the other a quicker, quaver - semiquaver figure that function as the ritornello. The choir enters in chorale-like fashion, syllabically declaiming the text in regular rhythms, contrasting with the orchestral ritornello, which contains most of the melodic interest of the movement. The B minor Et in terra pax is in nearly every way a contrast to the first. It is in triple rather than duple time, in a minor key, and rather slower. Its imitative and expressive chromatic texture evokes the motets of the Renaissance era, the so-called "stile antico". Laudamus te, a passionate duet for soprano and mezzo-soprano, gives us some hint of the skill of Vivaldi’s young singers. Gratias agimus tibi is a very broad and entirely homophonic prelude to a fugal allegro on Propter magnam gloriam. The largo Domine Deus, Rex caelestis is in the form of duet between the solo soprano and the solo violin, followed by the joyful F major Domine Fili unigenite chorus in what Vivaldi and his contemporaries would have regarded as the 'French style'. It is dominated by the dotted rhythms characteristic of a French overture. Domine Deus, Agnus Dei features the alto soloist, with the chorus providing an antiphonal response, Qui tollis peccata mundi, to each intercession. The bold harmonies of the following section, Qui tollis, provide a refreshing change of tone colour, and complement the intercessional alto aria, Qui sedes ad dexteram Patris. The string accompaniment contains recollections of the opening movement, and prepares for the following movement, Quoniam tu solus sanctus, which takes the shape of a brief reprise of the opening movement’s broken octaves. The powerful stile antico double fugue on Cum Sancto Spiritu that ends the work is an arrangement by Vivaldi of the ending of a Gloria per due chori composed in 1708 by an older contemporary, the now forgotten Veronese composer Giovanni Maria Ruggieri, whom Vivaldi seems to have held in high esteem, as he used a second adaptation of this piece in another, lesser-known D Major Gloria setting, RV 588. Today Vivaldi is one of the most popular of all composers, who during his lifetime enjoyed considerable success and fortune, which he squandered through extravagance, and when he died in Vienna he was buried in a pauper’s grave.

Peter Carey Royal Free Singers

Hart Voices - Vivaldi: Gloria - 21 November 2015

1. Gloria in excelsis Deo - Allegro, for chorus Gloria, gloria, In excelsis Deo. 2. Et in terra pax hominibus - Andante, for chorus Et in terra pax hominibus, Bonae voluntatis. 3. Laudamus te - Allegro, duetto for two soprano soloists Laudamus te, Benedicimus te. Adoramus te, Glorificamus te. 4. Gratias agimus tibi - Adagio, for chorus Gratias agimus tibi. 5. Propter magnam gloriam - Allegro, for chorus Propter magnam gloriam tuam. 6. Domine Deus Rex caelestis - Largo, for soprano soloist Domine Deus, Rex caelestis, Deus Pater omnipotens 7. Domine Fili Unigenite - Allegro for chorus Domine Fili Unigenite, Jesu Christe 8. Domine Deus, Agnus Dei - Adagio, for alto soloist & chorus Domine Deus, Agnus Dei, Filius Patris. Qui tollis peccata mundi, Miserere nobis. 9. Qui tollis peccata mundi - Adagio, for chorus Qui tollis peccata mundi, Suscipe deprecationem nostram. 10. Qui sedes ad dexteram Patris - Allegro, for alto soloist Qui sedes ad dexteram Patris, Miserere nobis. 11. Quoniam tu solus Sanctus - Allegro for chorus Quoniam tu solus Sanctus, Tu solus Dominus, Tu solus latissimus, Jesu Christe. 12. Cum Sancto spiritu - Allegro, for chorus

Cum Sancto spiritu, In Gloria Dei Patris, Amen.

Glory, Glory, To God in the Highest. And on earth peace to men of goodwill. Soloists: Eve Borsey, Clare M Thomas We praise You. We bless You. We adore You. We glorify You. We give You thanks. Because of Thy great glory. Soloists: Eve Borsey, Clare M Thomas Lord God, King of Heaven, God the Father Almighty. Lord Jesus Christ, only begotten Son. Soloists: Kirstie Hennessey, Polla Rashbrook, Jackie White Lord God, Lamb of God, Son of the Father. Who takes away the sins of the world, Have mercy on us. Who takes away the sins of the world, Receive our supplication. Soloists: Linda Hore, Polla Rashbrook, Louise Shapley Who sits at the right hand of the Father, Have mercy on us. For You alone are Holy, You alone are the Lord, You alone are the most High, Jesus Christ.

With the Holy Spirit, In the Glory of God the Father, Amen.

Hart Voices - Vivaldi: Gloria - 21 November 2015

George Frideric Handel (1685 - 1759)

Coronation Anthems

One of the lasts acts of King George I before his death in 1727 was to sign "An Act for the naturalizing of George Frideric Handel and others." Handel's first commission as a naturalized British citizen was to write the music for the coronation later that year. The four anthems Handel composed for the coronation of King George II and Queen Caroline on 11 October 1727 have never lacked popular favour. They were repeatedly performed at concerts and festivals during his life and since, and he incorporated substantial parts of them, with little change except to the words, in several oratorios, notably Esther and Deborah. (Incidentally, two of them were performed at the opening concert of Oxford's Holywell Music Room in 1748). Their success may have contributed to the popular image of Handel as a grandiloquent composer demanding huge forces of voices and instruments - the more the better - the figure stigmatised by Berlioz as a barrel of pork and beer! In fact Handel always matched his music to the occasion and the building for which it was written, and no occasion could be grander than a coronation. His ceremonial style in these anthems differs from his music for theatre in much the same way as the Fireworks Music, designed for performance outdoors, differs from the instrumental concerti. It is wholly extroverted in tone, dealing in masses and broad contrasts rather than delicate colour: he was not going to waste finer points of detail on the reverberant spaces of The Abbey. The forces that he used were substantial for the period: an augmented Chapel Royal Choir of 47 and an orchestra that may have numbered as many as 160! The chorus is divided from time to time into 6 or 7 parts (the tenors remain united) and a large body of strings includes three (not the usual two) violin parts. Zadok the Priest (with words adapted from the first chapter of the First Book of Kings) opens with a tour de force that no degree of familiarity can stale. The long ritornello, based on rising violin arpeggios over richly spaced repeated chords for lower strings and woodwind, prepares the way for a resplendent climax at the entry of the voices in 7 parts together with the trumpets and drums. Handel specifies no tempo and no dynamics except soft at the start and loud at the chorus entry; but the music implies a long sustained crescendo that conveys an overwhelming sense of expectation and suspense. The anthem is in three sections with the chorus for the most part moving homophonically to present the text clearly: there is scarcely any counterpoint. There is little harmonic surprise and the piece is firmly rooted in the tonic D major (the key dictated by the old valveless trumpets): thus Zadok is a supreme example of Handel's power to make a unique statement by the simplest means. The words of Zadok the Priest have been sung at every coronation since that of King Edgar in 973AD, and Handel's setting has been sung at every one since 1727. The King Shall Rejoice uses a text from Psalm 21 and Handel sets each of the four sentences and the final Allelujah as separate musical sections. The first movement, full of festive pomp and glittering fanfares with a long introductory ritornello, exercises the full strength of the choir and orchestra. The second movement, with no trumpets or drums, is in a lilting triple time, and it features the higher and lower string sections in playful exchange and also a catchy rising triplet figure in thirds. The choir enters in just 4 parts (Exceeding Glad) and then enjoys long chains of suspensions on Of Thy Salvation. The brief outburst of the triumphant third movement, with its extraordinary harmonic surprise, links directly to the fourth. This movement is again in triple time but it has more fugal counterpoint and Handel builds the excitement by adding instruments as he goes: first the strings, then the oboes and finally the trumpets and drums. The final movement is an exuberant double fugue (a fugue with two simultaneous melodies pitted against each other from the outset) which gives the piece a magnificently grand and elaborate conclusion which, as it was performed at the actual crowning section of the coronation service, matches the occasion perfectly.

Hart Voices - Vivaldi: Gloria - 21 November 2015

My Heart is Inditing is an adapted and abridged text using verses from Psalms 45 and Isaiah 49, and is a coronation text that Purcell had set for the service in 1685. In 1727 it was sung late in the service when Queen Caroline was crowned, and throughout Handel's setting are references in the words that are relevant to a queen. The music is characterised by a more refined and genteel air than the other anthems, and this would have been appropriate for the queen's coronation too. The opening of the first movement, rather than a blazing trumpet fanfare, is a triple time Andante and the first section is taken by the soloists (originally 2 singers on each part to balance with the large orchestra) before the full choir enters. The second section, again an elegant Andante, features a charming walking bass line in the orchestra, and the melody begins with a long note followed by a jaunty dotted rhythm, matching the words Kings' Daughters. The third movement is yet again an Andante that maintains the air of grace and femininity until the laughing dotted rhythm appears on the words and The King hall have pleasure. Handel saves his Allegro until last, and the orchestra begins the final movement with a dazzling virtuoso ritornello before the choirs enters with all the ceremonial pomp of the other anthems. Handel keeps his trumpets in reserve until the very last when they add another triumphant dimension to the finale. Let Thy Hand be Strengthened. Handel sets Psalm 89, verses 14-15, a prayer for strength and wisdom for a political ruler. This had been part of the English coronation rite since the Middle Ages, and Handel divided this traditional text into three sections. The first (Let thy hand be strengthened and Thy right hand be exalted) has a quietly exultant choral part above a driving string background. The second section, a more fervent prayer (Let justice and judgement be the preparation of thy seat. Let mercy and truth go before thy face), is set in more supplicative tones, with gently overlapping choral lines. The anthem ends with a grand fugal Alleluia.

Aylesbury Choral Society

1. Coronation Anthem: The King Shall Rejoice The King shall rejoice in thy strength, O Lord. Exceeding glad shall he be of thy salvation. Glory and worship hast thou laid upon him, Thou hast prevented him with the blessings of goodness, And hast set a crown of pure gold upon his head. Alleluia.

2. Coronation Anthem: My heart is inditing My heart is inditing of a good matter;

I speak of the things which I have made unto the King.

Upon thy right hand did stand the Queen in vesture of gold and the King shall have pleasure in thy beauty. Kings’ daughters were among thy honourable

women. Kings shall be thy nursing fathers and queens thy nursing mothers.

3. Coronation Anthem: Zadok the Priest Zadok the Priest and Nathan the Prophet anointed Solomon King. And all the people rejoiced, and said: “God save the King, long live the King, God save the King! May the King live for ever, Amen, Alleluia.” 4. Coronation Anthem: Let thy hand be strengthened Let thy hand be strengthened and thy right hand be exalted. Let justice and judgment be the preparation of thy seat! Let mercy and truth go before thy face. Alleluia.

Hart Voices - Vivaldi: Gloria - 21 November 2015

In addition to the broadcasts, concerts, special events and daily services there, Roy also sings regularly with such groups as The King’s Consort and The Clerks, combining their various performing, touring and recording schedules with his work as a soloist, singing teacher and conductor.

He has conducted several choirs and ensembles, including the Goldsmiths’ Chorus, The University of London Union Chorus, The Hanover Singers and Candlelight Opera. He is currently musical director of two choirs: Hart Voices (Fleet, Hampshire) and The Chantry Singers (Guildford, Surrey).

Roy has performed as a soloist with many of Britain’s leading orchestras including the City of London Sinfonia, the Orchestra of the Age of Enlightenment and the London Mozart Players. In addition to performances in all London’s best-known concert venues, his work has taken him all over the country and throughout Europe as well as to Israel and the States. He has appeared on many CD recordings, film soundtracks and radio and television broadcasts, both at home and abroad.

Recent conducting work includes performances of Stainer’s Crucifixion, Byrd’s Mass for Four Voices and Mozart’s Dominican Vespers. Recent singing engagements include broadcasts of music from Agincourt on BBC Radio 3 with The Clerks and of the London 7/7 memorial service from St Paul’s Cathedral on BBC TV, as well as tours to France, the Netherlands and the United States. Forthcoming conducting engagements include Haydn’s Nelson Mass and Mozart’s Vesperae de Confessore with Chantry Singers in Guildford. The next month will see performances of Handel’s Messiah in Worcester Cathedral and St Paul’s Cathedral, where he will also be singing many, many Christmas Carols. He also appears as a soloist on a new Christmas CD with the choir of St Paul’s on Decca Records.

ROY RASHBROOK Musical Director

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Roy Rashbrook was educated at Dauntsey’s School, going on to study Music at Goldsmith’s College and Singing under Alexander Oliver, William McAlpine and Rudolf Piernay at the Guildhall School of Music and Drama, London.

After a brief flirtation with a career in teaching, Roy became a professional singer in 1998, joining the world famous choir of Saint Paul’s Cathedral the following year; a position which offers some precious stability in the life of a freelance musician!

Michael graduated with a BA (Hons) Degree in Music from the University of Chichester, which has supplemented a wide range of musical studies - teachers have included Terence Allbright and Julian Cooper (piano/organ) and Michael Finnissy (Composition).

MICHAEL WHYTOCK Associate Conductor

Since working at the Royal Central School of Speech and Drama, Michael now works for the Civil Service, but maintains an active musical career as both a recitalist, the Director of Music at St Peter's Church Farnborough, and the Associate Conductor and Accompanist for Hart Voices, Fleet.

Hart Voices - Vivaldi: Gloria - 21 November 2015

BERGERSEN QUARTET

BQ's busy performing schedule sees them playing sell-out concerts throughout the UK. They particularly love quirky venues such as Brighton's Old Police Cells (Brighton Fringe) and Isambard Kingdom Brunel’s Grand Entrance Hall to the Thames Tunnel, but are equally at home on London's world class stages – including the Barbican (Steve Reich Reverberations Series), LSO St Luke's (International Spectral Festival) and the Palladium (with West End star Kerry Ellis and legendary Queen guitarist Brian May). The Bergersen Quartet frequently collaborates on projects with respected artists – from musicians and filmmakers to dancers and poets. Recent collaborative work includes: String Quartet Plus (a series of concerts premiering 14 works, by nine composers, all written for quartet plus other instruments); Opposites React (a world fusion music concert curated by British composer Richard Norris); East meets West (at London's Asian Music Centre); jazz with composer Paul Hart and pianist Mike Hatchard; and Different Trains, Distant Memories (a multi-arts collaboration based around Steve Reich's iconic 'Different Trains'). BQ are one of a handful of quartets in the world trained in the extraordinary techniques of ‘spectral’ music, regularly performing with the Hyperion Ensemble, run by Romanian composers Ana-Maria Avram and Iancu Dumitrescu.

Away from the concert platform, the Quartet is in demand as recording artists too. Credits include: pop sessions for Sony (Newton Faulkner), Warner (Clement Marfo and the Frontline), and independent releases for Bajan jazz singer Zeeteah, Scottish singer Katie Sutherland, and composer / pianist Josh Winiberg; library music for KPM / EMI and Audio Network; the musical Lift by Craig Adams; plus soundtracks for the international short films Slant, Woman in Fragments and Lancaster Movie. The Quartet has also released classical recordings for the Claudio Records label and is currently preparing a major release for its own label, Blue Jelly Records.

Alongside performing, the Bergersen Quartet members are committed educationalists – regularly coaching string quartet playing and compositional techniques to university level. They are visiting professors to the composition department at the Junior Guildhall School of Music & Drama, and are currently part of an International Research project on performance practice at the London College of Music.

The Bergersen Quartet is a dynamic string ensemble specialising in the performance and recording of music by living composers.

Violin 1: Jonathan Truscott

Violin 2: Craig Stratton

Viola: Mircea Belei

Cello: Nick Allen

Joined tonight by Double Bass: Ayse Osman

Established in 2007, BQ is a groundbreaking British contemporary ensemble. Promoting new music of all genres, the Quartet have had many works dedicated to them and have premiered more than 30 new works in the last year alone.

Hart Voices - Vivaldi: Gloria - 21 November 2015

More information at www.hartvoices.org.uk

Saturday 19 March 2016 - Christ Church, Church Crookham

BACH: JESU MEINE FREUDE A concert for Cello & Choir

North & South American classics for choir & guitar

CELEBRATING THE AMERICAS

Saturday 2 July 2016 - Victoria Hall, Hartley Wintney

Hart Voices - Vivaldi: Gloria - 21 November 2015

REMEMBERING ALL SAINTS CHURCH Tonight’s concert should have been performed in All Saints Church, devastated by a fire on 22 June 2015, which ravaged our beloved Concert Venue and choral “home”. Here we re-run the article from our Summer Concert in which Concert Manager, Mike Huddie pays tribute to All Saints Church.

Whilst eating our evening meal on that Monday we received a text message saying that All Saints Church was on fire. At first we thought that this might be recycled news of the previous week’s attempted arson but a quick check of the internet confirmed that All Saints was indeed on fire. Sue & I finished our meal, drove into Fleet and, from a taped-off area in the car park opposite, we watched in shock as fire tore through the roof of the church. It was immediately obvious that very little would survive inside the building. We have been worshipping in the Parish of Fleet at St Philip and St James (P&J) Church for some twenty years and whilst we were not at All Saints every week, we would often go to All Saints for services, so it was for us a familiar place with a very warm and welcoming congregation. Whenever we could, we would also sing at the monthly Choral Evensong in All Saints: the wonderful music, the beautiful brickwork and dramatic lighting gave a strong sense of timeless continuity of successive generations who had worshipped in the same way. It is quite difficult to fully understand that the physical context for all that has now gone for ever. I am extremely grateful that we were part of an inspiring, unaccompanied Evensong in All Saints just a week before the fire struck. Hart Voices has had a long association with All Saints Church and after the fire we are continuing to rehearse each week in the Parish Community Centre. We have held many memorable concerts in All Saints, including most recently, Stainer’s The Crucifixion, a work that completely resonated with the church. In 2013, Hart Voices also performed a stunning Mozart’s Requiem in the Church and we are eternally grateful to have recorded some stunning photos, taken by Sean Haffey, of the choir in that wonderful building (you can find these all at www.hartvoices.org.uk - they are well worth a look). Hart Voices also spent much of one year rehearsing in the Church itself whilst the new Parish Community Centre was being rebuilt. During this time, the Church lighting was also being replaced and so each week our members were to be found clambering around something of a building site to find somewhere to rehearse! As its choral home, Hart Voices has been a firm part of the All Saints community for some 40 years. The week that followed the dramatic event of the fire was equally dramatic for the Parish. For many in the congregation, clearly grieving for the loss of a much loved Church, All Saints represented the precious memories of christenings, weddings and funerals of generations of their families. Through the week following the fire there were many gatherings where all shared their feelings, tears and hopes.

Hart Voices - Vivaldi: Gloria - 21 November 2015

Two things became clear as the week progressed. Firstly, there was a groundswell of support from the community of Fleet, often from people who had no obvious connection with All Saints. A strong wish has been repeatedly expressed that the Church be rebuilt including some spontaneous donations. Secondly, the congregations of the two churches of All Saints and St Philip & St James were united as never before and showed a determination that the whole parish would grow through the experience.

This was given expression at the end of that eventful week with both congregations packed into P&J for a wonderful combined service that made clear that, whilst we had suffered a terrible loss in the bricks & mortar that housed All Saints Parish, the Church in the end is about its people and local community, and that out of this would come new life.

Mike Huddie, Hart Voices, July 2015

Hart Voices rehearsing Mozart’s Requiem at All Saints in November 2013 Photography by Sean Haffey 2013

THERE WILL BE A RETIRING COLLECTION FOR THE ALL SAINTS FUND - WE APPRECIATE YOUR GENEROUS DONATIONS!

John retired from the choir recently, having contributed heavily to Hart Voices’ success over the years, so we asked him to share some thoughts about what it has meant to him…..

I joined the choir, then called Hart Choral Society, in May 2001. My wife had died at the beginning of that year, and so the choir became a big part of the new phase in my life.

Memories come rushing in: the Messiah of course; St John’s Passion; Durufle’s Requiem; pieces from Roy’s cathedral repertoire; and most moving of all, Brahms Ein Deutches Requiem which we sang with The Chantry Singers in Holy Trinity Church, Guildford in March 2014.

So much choral music is religious, with many of our concerts being performed in wonderful church acoustics and as a Christian, I have been grateful for this combination of artistic beauty and spiritual meaning. Of course, we have sung a great deal of secular music too, usually in the summer concerts when programmes are somewhat lighter; with nimble rhythms & often unexpected harmonies, it takes a lot of rehearsal to get it right, while giving the impression of careless ease! Favourites notably include I’m a Train, Battle of Jericho, Fields of Gold and a crazy version of Country Gardens.

I joined Hart Voices just before Roy became Musical Director: regular audience members will have noticed how the quality of the Choir has improved under his ambitious leadership.

Having been Treasurer of the choir and then Chairman for four years, the biggest event of those years was taking the lead in arranging the Centenary Chorus - a consortium of five local choirs performing Mendelssohn’s Elijah in Guildford Cathedral, which was a huge success!

However, what gives me most pleasure from my time in office with the Choir is having made the link with the Phyllis Tuckwell Hospice and starting the Hart Voices tradition of devoting the annual Christmas Concert to their benefit.

I shall miss the excitement of concert days: the anticipation of afternoon rehearsals as it all comes together; apprehension as the audience arrives; the drama and tension of singing as the music unfolds in all its beauty; and then relaxing with the rest of the choir in the pub afterwards.

John McCormick, November 2015

Find out more about us at: www.hartvoices.org.uk

Rehearsals - Wednesday Evenings - 8pm to 10pm All Saints Parish Centre, Church Road, Fleet

Musical Director: Roy Rashbrook

Associate Conductor: Michael Whytock

What Hart Voices Means to Me

Choir Members tell us about how important being a part of the choir is to them.

This month, we hear from John McCormick

Choir Member for: 14 years Voice Part: Tenor

Hart Voices is a mixed voice choir based in Fleet, Hampshire which achieves a high-standard of singing from a non-auditioned choir. We perform four concerts each year across three terms running from September to July. Our programme varies from stunning major choral works to satisfying chamber music programmes and the occasional light programme of popular numbers! Singers are drawn not only from Fleet and the surrounding area, but also outlying towns including Guildford and Basingstoke. Choir membership is currently around 50 voices, many of whom have sung with the choir for several years. The combined experience and enthusiasm enables us to explore new musical horizons - both in repertoire and venue. We aim to broaden our experience, strive for quality and musicality in our performances and involve young singers wherever possible. Soloists are drawn from the choir, although for more complex works we often invite professional singers to participate.

Find out more about us at: www.hartvoices.org.uk

Rehearsals - Wednesday Evenings - 8pm to 10pm All Saints Parish Centre, Church Road, Fleet

Musical Director: Roy Rashbrook

Associate Conductor: Michael Whytock

Altos Anne Elcock Llinos Harris Judith Layzell Liz Oliver Polla Rashbrook Angela Richards Jill Rowe Louise Shapley Carolyn Smith Fiona Smith Helen Smith Jenny Spencer Chris Townsend Pat Vidler

Tenors Linda Hore Deidre Major Deryck Martin Bill Wickenden Hugh Walker

Basses Phil Day Richard Dexter Graham Gillies Malcolm Hitchcock Mike Huddie Richard Joyce Michael Soul

Hart Voices (Charity No. 264333) is affiliated to Making Music (the National Federation of Music Societies)

Follow us on Twitter: @hartvoices Like us on FB: facebook.com/hartvoices

Fancy joining? We don’t have a formal audition process but if you can sing in tune and read music and fancy making Wednesday night your choir night, then contact us at enquiries@hartvoices.org.uk or simply come along to our next rehearsal!

HART VOICES ONLINE Sopranos Nessie Black Eve Borsey Ann Bradford Clare Downer Angela Edwards Eszter Faulkner Kirstie Hennessey

Anne-Mary Hine Sue Huddie Penny Joyce Joan Kilby Katy Lethbridge Lorraine Pickett Stephanie Roseblade Catherine Schlieben

Angela Southern Pat Spence Clare Thomas Di Tilston Jackie White Kate Wickenden

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