Richard Wagner (1813 – 1883)
Overture to Tannhäuser

Like so many of Wagner’s operas, Tannhäuser (first performed in 1845) is
rooted in ancient Germanic legend: in this case, a 13 th century story about
a singing competition, plus a good helping of Roman mythology for
variety.

The German knight Tannhäuser has spent the past year in the mountain
retreat of Venusberg – home of Venus, the Roman goddess of love. But
now, tired from a surfeit of sensuous love-making, he decides to return to
his old life and his old flame Elisabeth.

Venus, however, doesn’t tire so easily and is reluctant to release
Tannhäuser. It is only when he invokes the name of the Virgin Mary
(guaranteed to trump a mere pagan goddess) that Venus agrees to
release him. Tannhäuser returns to civilisation and a valley below
Wartburg Castle.

Tannhäuser reunites with Elisabeth and then decides to enter a song
competition, foolishly choosing to sing an ode to Venus and her lustful
ways. This upsets not only Elisabeth but also the Pope himself – and
Tannhäuser is obliged to join a pilgrimage to Rome in order to patch
things up.

Denied absolution from the Pope (who says it’s about as likely as his Papal
staff sprouting leaves) Tannhäuser returns to Wartburg. But before he can
get there, Elisabeth dies of a broken heart. On arrival, Tannhäuser sees
Elisabeth’s coffin and learns of her fate; and promptly dies of grief
himself.

And wouldn’t you know it? The other pilgrims then arrive carrying the
Papal Staff bearing fresh leaves, signalling Tannhäuser’s redemption.
The overture to Tannhäuser is one of Wagner’s most popular. It contains
all of the main themes from the opera, including the Pilgrim’s Chorus and
Tannhäuser’s ill-chosen ode to Venus.

Nigel Brooks (1926 – 2024)

Nigel Brooks was born in Barnstaple in 1926 and grew up in Ilfracombe
before moving to London to study at the Guildhall School of Music and
Drama.

After completing his studies, Nigel pursued a career as a conductor,
arranger and composer working mainly for the BBC.
In the 1970s he was asked to put together a group of singers for the
BBC’s light entertainment programmes such as Friday Night is Music
Night. This group – the Nigel Brooks Singers – went on to enjoy
considerable success with the BBC and beyond, picking up a Gold Disc
and two Silver Discs on the way.

Nigel’s more serious musical output included three ballet suites for
Sadlers Wells: Seven Cameos for Combe, The Water Babies and
Barnstaple Fair – the work you will hear tonight.

Towards the end of an eventful career, Nigel returned to Barnstaple. But
retirement wasn’t for him. Instead he immersed himself into North
Devon’s musical and theatrical life, setting up several vocal groups and
creating an annual “Young Stars of the Future” event to give aspiring
youngsters an opportunity to develop their skills.

Two years ago Nigel was awarded the British Empire Medal in the Queen’s
Birthday Honours in recognition of his ‘services to Musical Theatre and to
the Music Industry’.

He passed away peacefully in March this year at the age of 97.

Ballet suite: Barnstaple Fair

The ballet follows the adventures of a young girl on her first visit to
Barnstaple Fair where she encounters a cast of colourful characters
including a lecherous man, a sad clown and handsome youth.
The piece comprises six scenes:
Opening and Fight Sequence – Dreams – Clowns – Triste – Consolation –
Finale.

Antonín Dvo?ák (1841 – 1904)
Symphony No.8 in G major

Dvorak’s Seventh symphony is often considered his most emotionally
profound; and the Ninth (“from the New World”) is undoubtedly his most
famous. But the Eighth symphony is without doubt his most cheerful –
and a big favourite with orchestras around the world.

The composer (along with near-contemporary Bedrich Smetana) was
driven by a desire to develop a distinctive Czech voice in music. And like
Smetana, Dvorak made extensive use of traditional folk melodies and
Bohemian dance forms, particularly in this work.

The Eighth symphony is in four movements:
I Allegro
The symphony opens with a joyous evocation of the Bohemian landscape
– bird song and the sound of a hunting horn,
II Adagio
The second movement develops the bucolic theme. In a manner
reminiscent of Beethoven’s “Pastoral” symphony, the music suggests an
idyllic summer’s day interrupted by a cloudburst, after which the sun
reappears, sparkling through the raindrops.
III Scherzo
Most of the third movement is a melancholy waltz in 3/8 time. Near the
end, the meter changes to 2/4 and the music returns to the mood of the
second movement adagio.
IV Allegro ma non troppo
The final movement opens with a fanfare of trumpets that leads into a
series of variations on a lyrical theme culminating in a furiously energetic
coda, heavy with brass and high strings.

Orchestra

CONDUCTOR
Dominic Carter

FIRST VIOLIN
Kate Carter (leader)
Jane Norris
Naomi Raymont
Robert Baker
Simon Chappell
Jo Hawkins
Alice Mills

SECOND VIOLIN
Sue Phippen
Jenn Fuller
Laura Armstrong
Rod Mullick
Colin Biggs
Charmaine Chan
Daisy Houghton
Charlotte McLean
David Starr

VIOLA
Jenny Spencer-Wortley
Becky Houghton
Laura Hookes
Jenny Jessop

CELLO
Emma Collingham
Sophie Hadfield
Frances Burns
Vince Burton
Paul Evans
Wendy Roff

DOUBLE BASS
David Coles
Lee Yan Ong
Phil Stapleton

FLUTE
Catherine Nicholls
Susan Northrop

OBOE
Tom Lewis
Helen Philips

CLARINET
Jessica Danielson
Sarah Steed

BASSOON
Simon Graveson
Jeremy Taylor

FRENCH HORN
Tim Body
Nick Hadfield
Emma Nottage
Alison Woodward

TRUMPET
Neil Hamilton
Sharon McCallum

TROMBONE
Rob Jordan
Annie Sparrow
Pete Smith

TUBA
John Ashton

HARP
Benjamin Williams

TIMPANI
Annie Hill

PERCUSSION
Mason Owen
River Peryer
William Spencer-Wortley

NARRATOR
Alfie Stapleton