GUILDFORD BOROUGH
COUNCIL CONCERTS
Lesley Garrett
* Lesley Garrett was born in Yorkshn‘e and
studied at the Royal Academy of Music and
the National Opera Studio. In 1979 she was
1980/81
SATURDAY 7 MARCH 1981'
the winner of the Decca Prizein the Kathleen
at 7.45 p.m.
Ferrier Memorial Competition: in the same
year she made three appearances at the
Queen Elizabeth Hall, one with Leppard and
the English Chamber Orchestra. She gave a
'Guildfr;d
hlghly successful recital at the Purcell Room
and took part at the Musica Nel Chiosto
production of Orontea in Italy and later in
London.
Philharmon
ic
()rchestr
Lesley Garrett is much in demand as a con-
-
cert artist and operatic soloist.
Elizabeth Ritchie
a|
Elizabeth Ritchie studied singing and piano
Assocxatc Leaders:
'HUGH BEAN andJOHN LUDLOW
the Purcell Room in a Westmoreland Concert
marking the R.A.M’s Centenary. Subse-
at the Royal Academy of Music and was
selected by the R.A.M. to sing as a soloist at
-
quently, with an award from the Vaughan
Williams Trust, she studied at the
Mozarteum, Salzburg, with Eric Werba. She
also secured a bursary from the Worshlpful
Company of Musicians, while privately she
‘Philharmonic Choir
Lesley Garrett
Soprano
continued
her stu‘diés_«wfli"th Joy Mammen and,
later, with Audrey Langford.
Elizabeth Ritchie joined the Glyndebourne
Elizabeth Ritchie
Soprano
Chorus in 1977 but her interests and ex“perience are, however, by no means confined
Marilyn
de Blieck
to the world of opera, as her career to date has
_already demonstrated. She gave her first
Mezzo Soprano
Wynford Evans
Wigmore Hall recital as part of the Young
Musicians Series and subsequently, with
David Wilson-Johnson, gaveanother devoted
Tenor
to Wolf’s Morike Lieder.
John Hancorn
Marilyn de Blieck
Marilyn de Blieck, the only British finalist in
the 1979 Benson and fHCdgles Gold Award,
~ was also the yo‘unges't of the four finalists.
‘Bass
Vernon Handley
Conductor
A graduate of the Umversxty of Glasgow, she
was successively awarded Scottish Arts Coun~cil and Caird Scholarships to studyin London, whilst also attending Master Classes for
- Singers under Sir Peter Pears at Aldeburgh.
This concert is promoted by Gu‘ild{érd‘-BAoroug_h :
‘Council with financial support from the South East
Arts Associaton.
;
Her recent ‘cngflagements, have included
appearances with Christopher Seaman and
the Northern Sinfonia and performances of
Bach’s “St. Matthew Passion”
in Edinburgh,
King’s
College
Chapel,
Cambridge,
and
Snape Maltings, when Edward Greenfield of
The Guardian described her singing as having
‘a natural gravity, with tone both beautiful
and distinctive’.
Vernon Handley
Vernon
Handley,
tor/Musical
Principal
Director
of
the
ConducGuildford
Philharmonic Orchestra, was bornin Enfield,
North London, and studied at Balliol College,
Oxford and the Guildhall School of Music
and Drama. Vernon Handley has been
Wy'n'ford Evans
Musical Director of the Guildford Philhar-
Wynford Evans was born in Swansea. He
monic Orchestra
studied singing with Joyce Newton at the
developed it into a fully professional body of
Guildhall School of Musxc and Drama where
major import‘a'n‘ce which is now firmly es-
hewon many prizes.
tablished as “The Orchestra of the South
As one of the count—ry s leading tenors he has
travelled widely in Great Britain and on the
international
scene by
1980
he
will
have
- appeared in all the continents of the work.
- Apart from his OrafOEio work, Mr. Evans has
- performed many times with Kent Opera and
with the Netherlands Opera.
ensemble called
Fortune’s Fire and made
several
under
the
with concerts
throughout
the
South
1962
in
and
many
East
has
towns
region from
Cafnterb,ur'y'tor_S'alisbury. In 1974 the Composers’ Guild of Great Britain named Vernon
Handley as “Conductor of the Year” for his
services to Britishmusic and now recognised
~as one of the major champions of British
music, he is frequently entrusted with the
Wynford Evans has teamed up very
- successfully with Carl Shavitz to form a lute
records
East”’
since
Enigma
- with the ensemble.
label
-
As soloxst Wynford Evans hasappeared on
twenty-five records.
world premieres of new works. He is very
busyin the recordmg field and has an extensive list of recordingsin the current catalogue
including works by Dvorak, Tchaikovsky,
Elgar, Tippett, Debussy, Vaughan Williams
and Faure.
His recording of Elgar’s First
Symphony with the London Philharmonic
Orchestra has recently been released and his
recording of the Second Symphonyis due to
-
be released this month.
John Hancorn
Vernon
(South East Arts Association
Handley is now one of Britain’s
busiest conductors. As well as a full season of
Competition Winner)
John Hancornis twenty-six years old and was
bornin Inverness, Scotland, but has been liv-
ing in the south east for the last fourteen
years. He is a Graduate of Trinity College of
Music where, among other prizes, he won the
concerts with all the major British orchestras,
he is also taking on a number of engagements
with
foreign
orchestras
including
the
Stockholm Philharmonic, the NOS Radio
Philharmonic Orchestra, Hilversum and the
Berlin Radio Symphony Orchestra.
Elizabeth Schumann Prize for Lieder. After
leaving college, John attended four weeks of
In spite of his busy s_chedule, Vernon Handley
Master classes at the Britten-Pears School for
still manages to follow his keen imterest in or-
Advanced
nithology. .
Musical
Studies
under
the
direction of Sir Peter Pears.
John Hancorn has performed extensively in
oratorio and has also performed at the
Wigmore Hall as a result of winning the 1980
South East Arts Young Musicians Platform.
In October he is to join the National Opera
Studio and has a busy concert schedule to
fulfil,
including
performances
at
Kings
College, Cambridge and at the Royal Festival
Hall.
Philharmonic Choir
The Musical Director acknowledges with
thanks the help he has receivedin training the
choir from Kenneth Lank and accompanists
Linden Knight and Patricia Wood. The Choir
made its first recording in 1973 with the
Guildford Philharmonic Orchestra: ‘Intimations of Immortality’ by Gerald Finzi,
and in 1976 recorded Hadley’s ‘The Trees So
High’ with the Philharmonic Orchestra.
eighth movement the theme is heard as a continuous melody. When one considers the
Chaconne in G minor
Henry Purcell 1659-1695
Arranged for strings by W Gillies Whittaker
Among Purcell’s instrumental music were a
number of very expressive sonatas for two
violins, gamba and continuo as well as some
‘beautiful string fantasias. When
W. G. Whittaker was Professor of Music in the University
in Glasgow he found the manuscript score of
the posthumous *“Ten Sonatas of Four Parts”
in the Euing berary, Glasgow. The original
edition had been in 1697. He took Sonata
No.6 and arranged it for a modern string
orchestra with the one difference, that it includes three violin parts as well as viola, cello
and bass rather than the usual two violins
that we find in the modern orchestra.
:
4
W. G. Whittaker was himself a resourceful
and individual composer and not narrowly
academic as some University and Musical
Academy musicians become and it was
probably the fusion of Chaconne and Fantasia with its attendant expressive qualities
that attracted him to Sonata No.6. Certainly
any idea of a dry ‘working out’ must not inform anyone’s preconceptions of this
Chaconne. In its seven or so minutes, it
achieves a great variety of mood as well as
revealing Purcell’s imaginative writing for his _
original combination. Purcell was one of the
composers for whom Benjamin Britten had
an abiding regard and listeners may find
certain similarities between the Chaconne
own love of ostinato or repeated
and Britten’s
phrase ideas.
The “Cantata Academica’ was written to
celebrate the quincentenary of Basle University, and the text has been taken from the
charter of that University and from older
speeches praising the town. The work is
doubly academic in*that it not only has the
salute to the University as its subject, but also
uses musical academic devices in each of its
movements, including a serial theme of twelve
dominates
the
first
twelve
movements in the following order: G - F -E
flat- E- Fsharp-A-D-Bflat-C-Dflat-C
flat - A flat...
remains firmly tonal. Britten does not expect
his audience to appreciate all the academic
points laid out above and the work relies on a
brilliant set of contrasts for its effects.
The opening Corale gives simple phrases to
the chorus and underlines them strikingly
with a rhythmic orchestral accompaniment.
This Corale will return as the last movement
of the piece. By complete contrast, the second
movement is lyrical: the tune sung by the
male voices being answered in melodic invertion by the soprano and altos, eventually
the two versions being heard together. Next
comes a florid recitative for tenor, followed
amusingly by an arioso pomposo for bass.
The contrast between the pomposity
and the
next movement, a graceful duet for soprano
and alto soloists, is typical of Britten’s most
effective writing. The duet leads directly to
the tranquil recitative for tenor, and the first
part ends with a presto Scherzo recalling
Verdi in melodic shape.
The second part begins with a statement of a
serial theme, and a straightforward fugue.
The duet that follows this is itself made of
contrasts, the bass soloist singing very dotted
rhythms in praise of the city, the final phrase
of the Latin (As if a common fatherland to all
men) being given to the contralto, who sings
the
smoothest
possible
line.
The
next
movement, with soprano solo singing very
beautifully about the suitability of calling
Basle the Royal city, has an accompaniment
of a hummed traditional students’ song contributed by the choral tenors and basses. A
Cantata Academica
Britten 1913-1979
notes which
associations of the word ‘serialism’ nowadays,
it is an added joke that this particular work
The thirteenth movement
returns to G, and at the beginning of the
further florid recitative for tenor leads to the
twelfth movement, where soloists and chorus
jubilantly praise the city. Thefestivity of this
movement eventually explodes into the
“recapitulation of the Corale.
PARS 1
1. CORALE—Solisti e coro
Bonorum summum omnium
humanae vitae labilis
vel hoc sit, quod dono dei
per studium
assiduum
mortales adipisci valeant
scientiae margaritam,
II. ALLA ROVESCIO—Coro
quae bene beateque vivendi viam
praecbet
et ad mundi arcana cognoscenda
dilucide introducit
'
et hac in terrena statione natos
evehit in sublimes
III. RECITATIVO—Tenore solo
At huius caelestis doni
-
Basileae quis auctor fuit,
quis bonus gentis Ruracae
IX. SOLI EDUETTO—
Alto e basso soli
Rhenana erga omnes urbs
humana et hospitalis est
et tamquam hominum quaedam
patria communis.
X. ARIOSO CON CANTO
POPOLARE—
Soprano solo e coro maschile
ut iustissime Basilea audiat.
XI. RECITATIVO—Tenore solo
genius clarusque conditor?
O cives Basilienses,
IV. ARIOSO—Basso solo
Majorum imprimis virtus,
amans bonarum artium,
vecti pulchrique provida,
tam nobilem academiam
auxisse semper vobis laudi sit.
XII. CANONE ED OSTINATO—
Solisti e coro
et audax magnanimitis
Nos autem cuncti hoc festo die
senatus'atque populi;
ex animi sententia
hic nostrae Romae Romulus,
qui civitatem de se bene meritam
optamus et precamus: Sit
opibus firma, copiis locuples.
Basilea patria in perpetuum
laudibus ambla, virtute honesta.
instructa privilegiis
XIII. CORALE CON CANTO—
V. DUETTINO—Soprano edalto soli
tum vero Aeneas Sylvius,
professionum omnium
ornavit academia.
vigeatque academia libera
VI. RECITATIVO—Tenore
solo
Et gubernacula mundi qui tenet
preces propitius exaudivit
in libera civitate,
sempiternum decus atque ocellus
inclytae Basileae.
Soliste e coro
conditorum sese orantium:
VII. SCHERZO—Solisti e coro
ut ad longaeva tempora
Wynford Evans
floreat studium generale,
quo fides propagetur,
justitia servetur,
John Hancorn
tuendae sanitati consulatur,
quodque idem sit philosophiae fons
irriguus,
Soloists: Elizabeth Ritchie
Marilyn de Blieck
‘
de cuius plenitudine hauriant
universi litterarum
cupientes imbui documentis.
INTERVAL
Mass in C minor (K.427)
Mozart 1756-1791
The Mass in C Minor and the Requiem are
the most impressive of Mozart’s religious
works. The Mass is a very important landPARSII
VIII. TEMA SERIALE CON FUGA—
:
Coro
Docendi ac discendi aequitati
in peregrinos comitas consociatur.
Venerint ex omnibus orbis terrarum
;
regionibus:
mark in Mozart’s development because when
he broke with the Archbishop of Salzburg and
went to Vienna, he became acquainted with
the works of Bach and Handel for the first
time. The two great masters of Church music
made a tremendous impression on Mozart
and he came to the writing of his religious
works thereafter with a new zeal and
freshness. The first work after his study of
Bach and Handel was the C Minor Mass of
1782-1783. There was also a personal reason
-
:
IV SANCTUS
:
for the composition: his fiancée Constance
“Sanctus”
and ‘“Osanna’—Chorus
Weber, was ill and he promised to write a
Mass after her recovery. He wrote to his
“Benedictus”—Quartet:
father, ‘“As for the Mass, it is quite correct
Tenor and Bass
that it has not flowed from my pen without
prcvxous intention, I really promlsed it in my
heart”.
Soprano,
|
Mezzo
Soprano,
Soloists: Lesley Garrett
Marilyn de Blieck
When he had married, in August
Wynford Evans
1782, he at once started the work. A number
of personal problems interrupted the writing
of the Mass and when Mozart arrived back in
John Hancorn
Salzburg in 1783, he merely took with him the
completed movements which were the Kyrie,
Gloria, Sanctus and Benedictus. The Credo
was in pieces and the Agnus Dei not begun.
ON THE MOVE
At the first performance Constanze sang the
Durmg this past week the orchestra has given
soprano solo part. How Mozart filled in the
a series of concerts for schools at the Central
parts lacking in the Mass, or even whether he
did, is uhknown; editions have appeared in
which one of his pupils and later editors have
Halls, Chatham, at the invitation of Kent
County Council. The five concerts, conducted
by Dr. Bela de Csillery, followed a highly
put in sections from one or more of his other
successful
works. He never completed the remaining sec-
during the spring of 1980.
tions, but it is in the complete form that the
work is generally performed because it gives a
true picture of the new Church music style
which Mozart took on after his study of the
works of the Baroque masters. The deep faith
and the sublime and happy faith stand side by
side in the huge contrasts of this work. The
strict seriousness
of the
Kyrie includes a
coloratura Christe eleison for soprano. The
Gloria is all Handel; the Laudamus te the
very spirit of Italian Opera. And so on right
through the work, contrasts and styles blend-
ed
by Mozart’s
symphonic
brilliance
culminatingin the sublime fugato for double
chorus, Osanna.
similar
series
for Kent schools
'
The orchestra’s educational activities continue to expand and on April 1st it is to give a
schools’
concert
preceding
its
public
appearance at the Congress Theatre, East-
bourne that evening. Vernon Handley will
conduct Weber’s Overture ‘Der Freischutz’
and Sibelius’ Second Symphony and the
soloistin Tchaikovsky’s First Piano Concerto
will
be Ilana Vered whom Guildford
audiences will have the opportunity to hear
oon Sunday 22nd March.
The Tchaikovsky concerto will occupy the
second part of this Sunday afternoon concert
and will also be conducted by Vernon
Handley. Mendelssohn’s ‘“Hebrides” Over-
ture and Bizet’s youthful and ebullient
I. KYRIE
Symphony in C open the programme and for
“Kyrie”’—Soprano and Chorus
this
II GLORIA
welcomes guest conductor, John Forster.
part
of
the
concert
the
orchestra
“Gloria’ —Chorus
“Laudamus te”’—Mezzo Soprano
“Gratias”’—Chorus
“Domine”’—Soprano Duet
Sunday 22 March
“qu tollis”—Chorus
“Quoniam”—Soprano, Mezzo Soprano and
Civic Hall
at 3.00 p.m.
Tenor
Hebrides Overture, Mendelssohn*
Symphony
in C, Bizet*
Y Pesy
Christe—Cum
spiritu”—Chorus
III. CREDO
“Credo”—Chorus
“Et incarnatus est’’%qu'ra’no-
sancto
Piano Concerto in Bb minor,
Tchaikovsky
- Ilana Vered, Pianoforte
John Forster, Guest conductor*
DELPHONIC ENSEMBLE JAPAN
Sunday 29th March at 7.45 p.m.
JAPANESE MUSIC PAST AND PRESENT
The Civic Hall Guildford will be the final
GUILDFORD SINGERS
President: John Alldis
Vice President: Vernon Handley
SATURDAY 4 APRIL at 7.30 p.m.
prestigious Delphonic Ensemble Japan, one
Rejoice in the lamb, Britten
The Twelve, Walton
of the foremost performing groups of Japanese
Mass in D, Dvorak
venue in an eight nation European tour by the
traditional and contemporary music.
Performing in traditional dress, these four
outstanding musicians will bring the sounds
of the East to the West. The haunting beauty
of traditional Japanese music played on the
shakuhachi, koto and shamisen. The energy
and excitement of new Japanese music using
electronics,
percussion
and
traditional
in-
struments.
The
Mari Williams
Peter Medhurst
Organ — Peter Wright
Conductor — Stephen Cleobury
GUILDFORD CATHEDRAL
(by kind permission of the Dean & Chapter)
ADMISSION BY PROGRAMME
:
£2 from A & N and SPCK, Guildford
concert
will
be
introduced
by
Neil
Sorrell, lecturer at York University, who will
also illustrate the background to the varied
programme.
and choir members
For further information please contact:
John Evans
— Guildford 71221 (day)
Guildford 898297 (evening)
Tickets at £2 (with £1 concession to Senior
Citizens and Students) available from Civic
Hall Box Office.
Enquiries Civic Hall Guildford (67314) and
Guildford Philharmonic Orchestra Guildford
(73800).
The tour is supported by the Japan Foundation and
promoted by
Heather Keens
Philip Salmon
Guildford Philharmonic Society on
behalf of Guildford Philharmonic Orchestra.
GUILDFORD
PHILHARMONIC
ORCHESTRA
Director of Music/Conductor
Vernon Handley
First Violins:
Cellos:
Trumpets:
Harp:
Associate Leaders
Eldon Fox
Geoffrey Thomas
Clifford Haines
Kate Wilson
Hugh Bean
John Ludlow
John Stilwell
Sheila Beckensall
Pauline Sadgrove
John Gralak
Kathleen Hamburger
Richard Kirkland
Robert Lewcock
Linda McClaren
Cyril Newton
Susan Thomas
David Towse
- Gil White
' Second Violins:
"
Tina Macrae
John Hursey
Marie Louise Amberg
Ruth Dawson’
Marilyn Downes
Peter Fields
Andrew Laing
David Richmond
Martin Nicholls
Douglas Lees
Michael Fagg
Flutes:
Christopher Nicholls
Oboes:
Clarinets:
Hale Hambleton
Violas:
:
David Newlands
Nicholas Hunka
Anna Meadows
William Hallett
Horns:
Len Lock
Concerts Manager:
Kathleen Atkins
Concerts Assistant:
~ David Groves
Stephen Wick
‘Timpani:
Roger Blair
Percussion:
Charles Fullbrook
David Corkhill
Jack Lees
John Donaldson
George Caird
Bassoons:
John Harries
Piano/Celesta:
Callum Ross
James Brown
Victor Slaymark
Timothy Grant
Bass Trombone:
Tuba:
Ronald Tendler
Julius Bannister
Ian White
- Graham Bolton
Basses:
Mark Thomas
Frederick Campbell
James Walker
Tenor Trombones:
John Bass
Colin Paris
Stephen Martin
Nicholas Maxted Jones Henry Messent
Rosemary Roberts
Michael Hinton
Peter Clack
Dennis Scard
David Clack
George Woodcock
The audience may be interested to know that
the violin sections are listed in alphabetical
order after the first desk because a system or
rotation of desks is adopted in this orchestra
so that all players have the opportunity of
playing
in all positions in the section.