ACS …..Making Music Count







Veni Sancte Spiritus

Ave verum corpus

Conducted by David Lloyd-Mostyn



Piano Concerto No. 2 in F major

Lydia Bryan  Piano




Missa in Angustiis – Nelson Mass


Jennifer France

Carolina Krogius

Mark Duff

Matthew Duncan







Royal Northern College of Music

Saturday 4th April 2009 7.30pm















































Dates for your diary


4 July 2009

Royal Northern College of Music

Musica attraverso i secoli

Celebrating the joy of music throughout the centuries

and around the world.


11 July 2009

St. Cuthberts’s Church, Lytham

Musica attraverso i secoli


21 – 27 July 2009

Lake Garda & Verona

Musica attraverso i secoli


14 November 2009

Royal Northern College of Music

Handel – Messiah


19 December 2009

Carols with the Choral


17 April 2010

Royal Northern College of Music

Elgar – Dream of Gerontius


3 July 2010

Royal Northern College of Music

Opera Gala


13 November 2010

Royal Northern College of Music

Rossini – Petite Messe Solennelle



For more details on the above and for details on how to buy tickets, please add your name to our mailing list. Log on to and click on ‘add your name to our mailing list’ at the bottom of the page or speak to E Taylor on 0161 928 0375.


Altrincham Choral Society


Altrincham Choral Society prides itself in offering a diverse, innovative and challenging programme of concerts, alongside many choral favourites. This forward thinking is complemented with a commitment to choral training and standards which provides its members with the knowledge and confidence to thoroughly enjoy their music making.


All singers are welcome and each brings different strengths and attributes. We are looking for dedication, commitment and the ability to be part of a team and to contribute effectively to our music making.


You will undertake an audition, but should have the confidence to sing and sight read music to a reasonable level – we are not expecting the ‘perfect musician’.


Once you have been successful you can look forward to belonging to a well organised, good quality choir, with an enjoyable musical diet in a warm and friendly atmosphere.


You will improve your overall singing and even make new friends and all on a Monday evening – what better way to start the week?


Rehearsals are on Monday evenings at Altrincham Methodist Church, Springfield Road, Altrincham – off Woodlands Road (opposite the Cresta Court Hotel). We are only 5 minutes walk from the train/metro station too.


Rehearsals are from 7.45 – 10.00 pm


For more information you can contact us in a variety of ways:




Telephone: Mrs P Arnold (Secretary) 01270 764335

Steven Roberts


Steven Roberts is a Conductor, Musical Director and Adjudicator and has combined a career in education with his work as a musician working both in this country and throughout Europe. He has also worked as far afield as Peru and Bahrain.


Despite a very busy educational career, Steven has conducted numerous musical groups, including the Liverpool Welsh Choral Union, The Huddersfield Choral Society, Dodworth and Skelmanthorpe Male Voice Choirs and a variety of orchestras, brass bands and wind ensembles, as well as being Chorus Master for concerts with Dame Kiri Te Kanawa and José Carreras.


He is currently Musical Director and Conductor with the Altrincham Choral Society and the Chesterfield Philharmonic Choir. Steven has also worked as Musical Director in the theatre and this diversity reflects his music and drama training.


He has conducted in many prestigious venues, including the Waterfront Hall, Belfast, the Bridgewater Hall, Manchester, Philharmonic Hall, Liverpool, Leeds and Huddersfield Town Halls, Sheffield City Hall, Symphony Hall Birmingham and the Royal Concert Hall, Nottingham, as well as many times at the Royal Northern College of Music, Manchester.


His appointment to the permanent post of Music and Company Development Director with Sing Live UK now sees him working exclusively within the music industry on a variety of events.


Steven is an adjudicator member of the British and International Federation of Festivals, regularly adjudicating in this country and also a music mentor for Music for Youth. He is a member of the Adjudicators Council of the Federation and an associate member of The Lord’s Taverners, the cricketing charity that raises money to give ‘young people, particularly with special needs a sporting chance’.




David Lloyd-Mostyn


David is a composer and teacher who lives in Manchester and works in the North of England. 


A skilful and witty practitioner of music for small chamber ensembles, David’s compositions are beginning to enjoy international exposure and critical acclaim.

In October 2005 Minesweeper was premiered by the New York Miniaturist Ensemble at Lincoln Center, New York. In 2005 he was also commissioned to write Nyctaphonia for the Manchester-based trio Nyx who were subsequently awarded the 2005 RNCM Granada Prize for the chamber music with their performances of the work. He was commissioned by the flute, oboe and piano trio Intriplicate to write a new work in 2006. 


David is much in demand as a composer for theatre, film and television and has successfully collaborated with artists in the field of popular and commercial music. He has arranged music for the Hip-Hop outfit, Nightmares on Wax which was subsequently used by BBC Radio 1 and in February 2005 he provided over two hours of backing music for the Royal Academy of Music Session Orchestra to accompany Jonny Berliner in a fundraising concert for the Elton John Aids Foundation.


As a conductor, David Lloyd-Mostyn holds positions with Altrincham Choral Society, and he teaches music at a secondary school in Stockport.


Lydia Bryan


Lydia is a graduate of the Royal Northern College of Music where she studied piano, harpsichord, violin and singing. She specialised in piano accompaniment at postgraduate level.


Her professional concert career started as a winner of the North West Arts Young Musicians’ Platform and also with concerts awarded through the Live Music Now scheme, founded by Sir Yehudi Menuhin.


She won a British Council Scholarship towards concerts and recording work in Hungary, where she gave performances at the University of Budapest, the residence of the British Ambassador and the Kodály Institute.


Lydia has accompanied regularly for master lessons with John Cameron and Peter Pears, and has performed in master classes for Bernard Roberts and Vlado Perlemuter.


She has performed many times at the Royal Exchange Theatre for the Manchester Midday Concerts and also at the Purcell Room, and appeared as concerto soloist at the RNCM as well as recording for BBC radio and television. Lydia has toured extensively as both a  soloist and accompanist in Sweden, Germany, Switzerland, France, Italy and throughout the British Isles.


Her concert repertoire is wide-ranging; she has worked with many eminent contemporary composers and has performed works by Alexander Goehr and David Gow at the Society for the Promotion of New Music. She was also the accompanist for the ‘Art of Song’ courses at Higham Hall and has been official accompanist and adjudicator for music festivals in both the UK and abroad.


Lydia teaches at Manchester Grammar School and Loreto School in Altrincham and has been resident accompanist to Altrincham Choral Society since December 1996. She has many successful professional musicians amongst her past pupils.


The Lancashire Chamber Orchestra.

(Leader: Anne Heaton).


Now celebrating its fortieth year, the orchestra was formed in 1969 as the Lancashire String Orchestra, specifically by, and for string teachers supplemented by talented non-professional string players, all drawn from the farthest corners of the North West. The orchestra has expanded considerably over the years, with its increasing and enthusiastic membership enjoying, and being matched by a constantly growing reputation.



Its widely diverse repertoire has expanded to include works from the early Baroque era to 21st century, and concerts are given throughout the North West. For most concerts, they are joined by a regular team of the finest wind, brass and percussion players from the region. Over the years, they have been honoured to have many eminent soloists playing with them including Peter Donohoe, Stephen Hough, Yuri Torchinsky and numerous outstanding principal players from the BBC Philharmonic. In 2005, the orchestra appointed Kenneth Woods, the highly gifted young American conductor, to be its musical director.


Whilst presenting its own series of orchestral concerts, the orchestra has always been very committed to working with choirs in the region, and sees this role as a vital and enjoyable ingredient of its musical life. For many years the orchestra joined forces with the MAIA singers from Stockport and the Hospice Choir.


In more recent years new links have been established with choral societies in Lancaster and Chesterfield, adding to the already close and strongly forged musical associations with the choral societies of Blackburn and Altrincham.


Jennifer France  Soprano


Jennifer France is currently in her fourth year at the Royal Northern College of Music, studying with Sandra Dugdale.  Before attending the RNCM, Jennifer was a student at the Arts Educational School where she studied in dance and musical theatre.  During her time at AES, she performed in many productions, including a gala at the Shaftsbury Theatre in London’s West End where she sang a prestigious solo.


In 2001, Jennifer was the soloist for the Festival of Remembrance at the Royal Albert Hall where she performed for the Royal family and members of Parliament.


At the age of 11, Jennifer became a founder member of the National Children's Choir of Great Britain and through the years progressed into the National Youth Choir of Great Britain with whom she has toured throughout Europe.

During her time at the RNCM, Jennifer has performed in many of the college's opera productions including, La Rondine (cover Gabriella), The Threepenny Opera (Vixen), The Cunning Little Vixen (Young Vixen), L’enfant et les sortileges (La cendre and cover La pastourella), and Eugene Onegin.  In December Jennifer will be covering the role of Adele in the college’s forthcoming production of Die Fledermaus.  Other roles include Kate in The Yeomen of the Guard and chorus in HMS Pinafore both for Phoenix Opera with whom she performs at Gawsworth Hall each summer.


On the concert platform, Jennifer has performed in many oratorios including Handel’s Dixit Dominus, Messiah, Bach’s Magnificat, Cantata No 63 and Monteclair’s cantata La morte di Lucretia with the RNCM Baroque ensemble.


Jennifer France appears by kind permission of the Royal Northern College of Music.


Carolina Krogius   Mezzo-soprano


Carolina Krogius was born in Finland and commenced her singing studies at Turku Conservatory where she graduated in 2006. She is currently a third year postgraduate student at the Royal Northern College of Music in Manchester, studying with Susan Roper.


Before undertaking her music studies Carolina studied psychology at Åbo Akademi University.


Operatic roles that Carolina has performed include Dorabella in Cosí fan tutte (Lyric Opera Studio Weimar), Conception in L’heure Espagnole, Cherubino in Le Nozze di Figaro, a Hen in The Cunning Little Vixen (RNCM productions) and Fortune and Venus in L’Incoronazione di Poppea (Turku Music Academy). In the RNCM Opera Excerpts she has also performed the title role of Ariodante, Rosina in Il Barbiere di Siviglia and Dorothée in Cendrillon.


She has also performed Ravel’s Trois poemes de Mallarmé at the RNCM Ravel Festival in April 2007.



Recent concert performance highlights include Sibelius’s Rakastava with the Hallé Youth Choir in the Hallé Orchestra’s concert series The Origin of Fire and James MacMillan’s Busqueda with Ensemble 10/10 (Royal Liverpool Philharmonic), Mozart’s Coronation Mass with Northern Sinfonia and Mahler’s 8th Symphony at The Sage, Gateshead.


Carolina is the winner of the Chris Petty Competition for English Song and has received the Alfred Alexander and the Caj Ehrstedt Awards and the Brigitte Fassbaender Prize.


Carolina Krogius appears by kind permission of the

Royal Northern College of Music.


Mark Duff  Tenor


Mark studied music at D.I.T, Conservatory of Music and Drama, Dublin, where he was awarded a BMus Performance degree in June 2006. Mark is currently a second year Postgraduate vocal student at Royal Northern College of Music studying with Barbara Robotham.


Mark has been successful in many competitions. He has been awarded the William T. Watt cup for tenor solo in Ireland and that same year he was a recipient of the Count John McCormack honorary bursary.


He has participated in masterclasses given by Mark John Ainsley, Ugo Benelli, Julius Drake, Eric von Ibler, Denis O’Neill and Ian Bostridge.


At D.I.T Mark performed regularly in operatic excerpts annually presented at the National Concert Hall, Dublin. At the RNCM Mark has sung Monsieur Triquet (Eugene Onegin), Torquemada (L’Heure Espagnole), Le Petit Vieillard (L’Enfant et les Sortileges) and excerpts of Jaquino (Fidelio), Lysander (A Midsummer night‘s dream), Lurcanio (Ariodante), Jupiter (Semele) and Arturo (I Puitani).




Following five consecutive seasons with Opera Ireland he sang the role of Don Basilio in a Bite-Size production of The Marriage of Figaro under the direction of Dieter Kagei at the Gaiety Theatre, Dublin.


Professional opera engagements have included Don Curzio, (Le Nozze di Figaro) Lyric Opera, Spiridione, (Il Campanello) Anna Livia Opera and Dancairo, (Carmen) Mananan International Opera Festival.


Mark sings regularly on the concert and oratorio platform. His recordings include Faith of our Fathers (R.T.E 1996) and commissioned works Amore by composer Rosemarie Taylor. Mark recently performed the role of Eisenstein, (Die Fledermaus) at the RNCM. Mark’s studies are being supported by Dunnes Stores Ireland and The Liverpool Opera circle.


Mark Duff appears by kind permission of the

Royal Northern College of Music.


Matthew Duncan  Baritone


Matthew graduated in music from the University of Hull in 2004. He is currently a postgraduate at the Royal Northern College of Music where he studies with Thomas Schulze.


Before commencing at the RNCM, he studied on the Morley College Opera course in London as well as in Perugia and Hamburg.


He recently sang the title role in Britten’s Billy Budd at the RNCM, also singing Guglimo (Cosi fan Tutte) and Falke (Die Fledermaus) with European Chamber Opera.


In 2007 he sang the role of Masetto (Don Giovanni) with Opera Anywhere and earlier that year appeared in Strauss’s The Bat's Revenge with Alternative Opera Company. 




Roles performed at the Morley College Opera School in London include Gugliemo & Don Alfonso (Cosi fan Tutte), Ottone (Coronation of Poppea), Figaro (Barber of Seville) as well as appearances in extracts from Manon, Don Pasquale, Lucia di Lammermoor and Dido & Aeneas.


Matthew recently sang the role of Frank in the RNCM’s production of Die Fledermaus and future engagements include a performance of Bach’s Cantata No 82 Ich hab Genug.


Matthew Duncan appears by kind permission of the Royal Northern College of Music.




ACS is grateful to the following for their continued

support this season:







Platinum Sponsors


Beryl Collins MBE


Gold Sponsors


John Kennedy CBE, DL


Lee Bakirgian Family Trust


Silver Sponsors


Sir John Zochonis




Committed Developments Ltd


Ellis Bor


Faddies Dry Cleaners of Hale


Flowers by Remember Me of Hale


Florence Matthews


The Shell Action Employee Fund


The Wessex Group








The Society invites our supporters to become Patrons of ACS. Patrons receive advance publicity, complimentary tickets and reserved seating for all performances.

The Society welcomes Sponsors for future concerts. Sponsors can support the Society’s season or specific concerts, and receive acknowledgements in all publicity and concert programmes. Sponsors also receive complimentary tickets and reserved seating at performances. Please contact Christine FitzGerald 0161 928 8044.

Wolfgang Amadeus Mozart (1756 – 1791)


Wolfgang Amadeus Mozart’s short life of almost thirty-six years began in Salzburg on 27th January 1756. He was an infant prodigy, whose father, a leading court musician and thrifty administrator, sought to exhibit the talent of Wolfgang and that of his equally musical elder sister throughout the courts of Europe.


For nine years the family relentlessly toured Europe, the children performing in a series of long and often gruelling exhibition concerts, from Hungary to Paris, London and finally to Italy. Mozart and his sister astounded audiences with their precocious skills, and by the time Wolfgang was fifteen and the family had returned to Salzburg, he had already composed numerous works and had his first music published.


Adolescence and early manhood proved a less satisfactory time for Mozart. Once the hullabaloo surrounding his early touring had died down, his genius was largely misunderstood and unappreciated. Indeed, Mozart’s greatest problems were perhaps his eccentric personality - he was considered to have a bumptious and boastful manner by some - and his sense of artistic isolation, about which he constantly bemoaned in letters to his father.


As he grew up he came to be regarded as just another professional in the market for a job. His marriage in 1782 to Constanze Weber did nothing to forward his career financially, socially or musically. His attempts at finding work in Southern Germany and also Paris were disastrous, and eventually he went to Vienna. Here, in 1787, he obtained a minor court post, which gave him a reasonable salary. Lavish spending and poor management, meant that Mozart often suffered financial difficulties and had to borrow money, despite working himself to exhaustion.


The last five years of Mozart’s life was the climax of his creative output. During this time he produced a stream of masterpieces. His early death could be said to be one of the greatest tragedies in the history of music. The precise nature of his death from a feverish illness has given rise to much speculation.


Veni Sancte Spiritus KV47


Come Holy Spirit – a sequence for Whitsunday, bears the date 1768 in Leopold Mozart’s list of works composed by his son from the age of seven. Thus it was undoubtedly written in Vienna, by the twelve year old Mozart, whilst the young family was on tour. It is in two parts, the first part giving way to a series of joyful Alleluias.


Ave Verum Corpus K618


Ave Verum Corpus was Mozart’s final completed sacred work. His wife had travelled to Baden, a spa town just outside Vienna, in the late spring of 1791 during her sixth pregnancy. Mozart made several trips to visit her there and on one occasion found the opportunity to compose a little motet for choir and strings as a gift to the local choirmaster Anton Stoll. Ave Verum Corpus was first performed at the parish church in Baden on Corpus Christi day. Mozart’s autograph is dated 17 June 1791. This setting of the Eucharistic hymn is widely regarded as a most beautiful piece of music, remarkable for its compact simplicity.


Dmitri Shostakovich  (1906 – 1975)


Dmitri Shostakovich, unlike his compatriots Prokofiev and Stravinsky, worked entirely under the influence of the communist regime, and struggled throughout his career with his genuine wish to create art for the state and the state’s inability to accept any art it did not understand.


Born in Saint Petersburg, Russia, his immediate forbears came from Siberia. He was a child prodigy as a pianist and composer, his talent becoming apparent after he began piano lessons at the age of eight with his mother.


He studied with Glazunov at the Petrograd Conservatory and made his first mark in the musical world with his diploma work, the Symphony No.1, in 1926. After graduation he initially embarked on a dual career as a concert pianist and composer, but soon began to concentrate on composition.


His music was at first highly successful, but the development of a more conservative attitude on the part of the Soviet government, coinciding with his own development of a more experimental outlook, led to official criticism. His relationship with the Soviet government was complex and difficult. He suffered two official denunciations of his music, in 1936 and 1948, and the periodic banning of his work. At the same time he received a number of accolades and state awards. Despite the official controversy, his works were popular and well received.


Shostakovich visited Great Britain twice in 1958 and 1974, and became a close friend of Benjamin Britten.


He died in Moscow aged sixty-nine. His son is the conductor and pianist Maxim Shostakovich. The Grove Dictionary of Music and Musicians judges him, ‘the most talented Soviet composer of his generation’.


Piano Concerto No. 2 in F major


Shostakovich wrote his second piano concert in 1957 as a birthday gift for his 19 year old son Maxim. The piece is full of a light-hearted energy that may owe as much to the composer’s relief at the demise of Stalin as to his cheerful wishes for his son. The eager, brilliant tone and brisk tempos coupled with repeated notes similar to a bugle’s call in the first and third movements are likely the reason for the Disney artists having chosen to use excerpts from this concerto for Hans Christian Andersen’s the ‘Steadfast Tin Soldier’ section of the movie Fantasia 2000.


(Franz) Joseph Haydn  (1732 – 1809)


The one composer who was truly Mozart’s equal and who earned his unstinting admiration was Joseph Haydn. He followed a career that was mostly spent away from the bright lights of Vienna.


Haydn was born the son of a wheelwright in Rohrau, Lower Austria.

His father, who was musically inclined, must have been delighted when his eight year old son gained a place in the choir of St Stephen’s Cathedral, Vienna.

There, Haydn received good practical experience as a singer and violinist, but because of his family’s modest circumstances, had to pick up his training in musical theory where he could.


Haydn was mainly self-taught and as a young man scraped a living accompanying and teaching. He had the good fortune to meet the famous singer Porpora, who, in return for the performance of menial tasks, gave him instruction in composition. His first permanent appointment came at the age of 26, as director of music and composer to Count Morzin, a Viennese nobleman.


In 1760 Haydn married Maria Anna Keller (the sister of a pupil with whom he had fallen in love, but who had become a nun). The match was long lasting, but turned out unhappily in most respects. About this time, began Haydn’s famous connection with the Esterházy family.


He became Kapellmeister in 1766 and for some thirty years directed the musical establishment of this enlightened and wealthy family. He worked with some first-rate instrumentalists and singers, but compared with the orchestras and opera houses of the major European cities Haydn’s resources were very modest. He was to a considerable extent isolated, but not forced to compose popular works, as he might have been had he had a larger public to please.


In 1781 Haydn met Mozart and familiarity with his music brought a new technique and style to Haydn’s compositions.


When the establishment was disbanded in 1790 Haydn was allowed to retain the title Kapellmeister and was paid a handsome pension. Some years later the music of Esterházy was restored and Haydn returned to his post. During the intervening years he had made full use of his independence, travelling to London for two seasons (1791 – 1792 and 1794 –1795), where he achieved immense success.


The second period at Esterházy was distinguished by a remarkable late flowering of the composer’s talent. During this time he composed his greatest masses and the two oratorios, The Creation and The Seasons.


Imperial ‘Nelson’ Mass


When Haydn returned to the service of Prince Nikolaus II Esterházy in August 1795 after his second London visit, his duties were light.


His main task was to compose a mass each year for the name day of the Prince’s wife. Between 1796 and 1802 Haydn wrote six masses for the Princess. They rank amongst the greatest and most uplifting of accompanied mass settings. The third and most famous of these masses, the D minor Missa in angustiis (‘Mass in time of trouble’) was composed in July and August 1798, and first performed in Eisenstadt parish church the following month.


The title by which the work is usually known, Nelson Mass, dates from 1800, when Nelson, having routed the French at Aboukir, visited Prince Esterházy on his return journey to England and attended a performance of the Missa in angustiis in his honour.


Haydn’s masses have often been classed as ‘sacred music of the concert hall’ rather than as liturgical, suitable for use in a service.


To this criticism he is said to have replied: ‘I do not know how to write otherwise. When I think of God, my heart is so full of joy that the notes flow like a fountain: and, since God has given me a joyous heart, He will pardon me for having served Him joyfully’.


Programme notes: Elizabeth Jones.


Sources: The Oxford Companion to Music, The New Grove Dictionary of Music and Musicians, Chambers Biographical Dictionary, Richard Wigmore – HMV Classics, Barbara Heninger, The Internet.


ACS …..Making Music Count