GUILDFORD
PHILHARMONIC
ORCHESTRA
1984-85 Season
SVTTON PLACE_
WINTER SERIES
Friday 28th September
Saturday 29th September
Sunday 30th September
£4.00
£3.00
£2.00
Flowers at Sutton Place
A Festival of Flowers in aid of the NSPCC,
staged by The Surrey Area of NAFAS
CONCERTS
Thursday 29th November
CARA CLARISSIMA with
Tickets: £50 inclusive
LAVERNE WILLIAMS
Mezzo Soprano and piano
accompaniment
Schubert, Brahms
Three songs by black American
Tickets: £50 inclusive
Felicity Lott, Gabriel Woolf,
Roger Vignoles
The story in music and words,
of Clara Wieck in the life of
Robert Schumann
Thursday 13th December
composers
Sunday 16th December
THE PHILIP JONES BRASS ENSEMBLE
Sold Out
Tickets include a Reception with wine, the concert and a three course supper
in the Long Gallery
YOUNG PERFORMERS SERIES
Wednesday 14th November
FABER TRIO
Flute, harp, viola
Telemann, Ravel, Bax,
Mathias and Debussy
Tickets: £12 inclusive
Wednesday 21st November
VIRGINIA BLACK
Tickets £12 inclusive
Wednesday 5th December
RICHARD MARKHAM AND
Tickets: £12 inclusive
MARIUS MAY AND
Tickets: £12 inclusive
Harpsichord
Couperin, Rameau, Seixas
and Scarlatti
DAVID NETTLE
Four hands on one piano
Onslow, Walton, Bowen,
Bridge and German
Wednesday 12th December
JEREMY MENUHIN
Cello and piano
Beethoven, Schumann and
Franck
Tickets for these informal evenings will include a Finger Buffet and Wine
Sutton Placeis open to the public between October and April on two days a week.
-
For bookings to visit the house and ticket enquiries,
-
please telephone the Booking Manager on Guildford (0483) 504455.
-
The finest Peking Restaurant in Surrey
Laurence Evans
CATERERS TO THE CIVIC HALL
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after 6.00 pm
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Guildford 69334
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e
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House
155 High Street
For sauna, solarium,
squash, swimming, keep
fit and much more! Tel:
G. 571651/3 or 505027
after 5 pm and
Guildford
Philharmonic
Orchestra
Castle Arch,
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dating from prehistory to
the present day. Open
Mon-Sat 11am - 5pm.
Admission free. Tel: G.
weekends.
Quarry Street
505050.
Varied art exhibitions
throughout the year.
Open 10.30am to 4.50pm
Mon-Sat. Admission
free. Tel: G. 505050 or
503406 after 5pm and
Parks &
Parks, gardens and open
spaces throughout the
borough for all tastes
and interests. Tel: G.
505050 ext. 3501 for full
details and to book
outdoor sports facilities.
The
Open air heated
swimming pools set in
weekends.
For all kinds of family
entertainment — plus
facilities to hire for your
own events. Tel: G.
67314 or 502866 eves
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Museum
and weekends.
The top professional
orchestra of the South
East performing a full
range of concerts and
recitals at the Civic Hall.
Tel: G. 573800.
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rolling lawns and
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GUILDFORD BOROUGH COUNCIL
CONCERTS 1984/85
CORPORATE MEMBERS
The
Guildford
Philharmonic
Orchestra
and
Guildford
Borough Council are very grateful to MARKS &
SPENCER PLC and MERROW SOUND who by their
membership
are
supporting
the
Guildford
Philharmonic
Orchestra in the forthcoming season.
Six Corporate Membership schemes are available which
provide tickets in various parts of the Civic Hall and adver-
2
GUILDFORD CATHEDRAL
(By kind permission of the Dean and Chapter)
SATURDAY 13 OCTOBER 1984
at 7.45 p.m.
tisement in all the programmes for Guildford Borough
Council’s series of concerts in the Civic Hall.
If you are interested in further information, please contact:
The Administrator, Guildford Philharmonic Orchestra, The
Lodge, Allen House Grounds, Chertsey Street, Guildford
GUI1 4HL. T/N 0483 573800.
Guildiord
Philharmonic
Orchestra
Associate Leaders:
HUGH BEAN
JOHN LUDLOW
NORMAN DEL MAR
Conductor
PHILIP LANGRIDGE
Tenor
ANDREW MILLINGTON
Organ
PHILHARMONIC CHOIR
Chorus Master: Simon Halsey
Guildford Cathedral Choristers
Master of the Choristers: Andrew Millington
Lanesborough School Choir
Director of Music: Mollie Deller
Tormead School Choir
Director of Music: David Stevens
This concert is promoted by Guildford Borough Council with financial
support from the South East Arts Association.
many oth.r British composers. He began an extensive
collaboration with Britten in 1949, as principal conductor of the English Opera Group, from which stemmed
‘Let’'s
Make
an
Opera’,
quickly
established
as
a
favourite on both sides of the Atlantic under his baton.
He
has
worked
extensively
with
foreign
orchestras
abroad, in Europe, Russia, the Middle and Far East and
South America, often under the auspices of the British
Council. His love of opera has led to frequent guest
engagements
at
Covent
Garden,
Sadlers
Wells,
the
Royal Stockholm Opera and Scottish Opera, for whom
he conducted ‘La Boheme’ in early 1984, with ‘Capriccio’ planned for 1985.
Norman Del Mar has championed British music at
home also, not least at the Proms of which he has
conducted over 60 including the epic Last Night. In
1960
the
he
BBC
was
appointed
Scottish
Chief
Symphony
Conductor
Orchestra
and
of
was
largely responsible for creating its reputation for excellence — a reputation which ensured that recent
attempts to close it raised a storm of protest resulting in
its survival. He later became Principal Conductor of the
Academy of the BBC. In September 1982 Norman Del
Mar was appointed Principal Guest Conductor of the
Bournemouth Sinfonietta, an orchestra with which he
has long had a close connection and with which he has
for some time been recording a series of 20th century
English music for EMI. In September 1985 he will take
up
the
appointment of Principal Conductor of the
Aarhus Symphony Orchestra in Denmark.
Norman Del Mar is not simply a conductor: he is a
musical authority. Among his writings are ‘Anatomy of
the Orchestra’ and the definitive three-volume work on
In spite of his international success, Norman Del Mar
Richard Strauss. He is a Professor at the Royal College
remains typically English. Indeed, he is one of those who
of Music and in 1979 and 1982 was Artistic Director of
the Norfolk and Norwich Triennial Festival.
since the Second World War have played a major part
in shaping Great Britain’s outstanding role in the world
of music today.
Norman Del Mar was originally a French horn player in
the Royal Philharmonic Orchestra, which had been
founded in 1946 by Sir Thomas Beecham. Beecham
made him his assistant, a post held by only one other
man. They worked closely on all aspects of conducting
and
shared
Sibelius,
a
Delius
particular love of Richard Strauss,
and Mozart. In 1947 Norman Del
Mar’s London debut was engineered by Beecham in the
grand manner; it consisted of a Strauss festival and Del
Mar conducted ‘Macbeth’ in front of Strauss himself.
Norman Del Mar’s evolution, first as a player and then
as a composer in his own right, produced an unusually
adventurous conductor who attempted to ‘do something
new’ every time he mounted the rostrum. He rapidly
became well-known and introduced a whole host of
composers and works to England for the first time,
among them Mabhler’s 6th and 9th symphonies, Bartok’s
Ist violin concerto (with Yehudi Menuhin and
Prokofiev’s 4th symphony; but the traffic has not been
all one way. Countless tours abroad, particularly with
the
Philharmonia, English Chamber Orchestra,
Northern Sinfonia and in 1981, the BBC Symphony
Orchestra on its tour of China and Korea, have in-
troduced the world to works by Britten, Tippett and
A list of over 70 recordings, together with frequent BBC
broadcasts, have made his name a household word. He
holds honorary doctorates from several British universities. In 1975 the Queen conferred on him the honour
of C.B.E. for his services to music, and in 1980 he
received the Audio Award administered by Hi-Fi News
for his outstanding musicianship.
Andrew Millington
1984 is an important year for Philip Langridge who is
internationally recognised as one of the world’s leading
tenors.
This is born out by his activities during the year which
have included (or will include), the title role in Mozart
‘Idomeneo’ at La Scala Milan, his debut at the
Metropolitan Opera New York as Ferrando in Mozart
‘Cosi fan Tutte’, further debuts with the Vienna Philharmonic Orchestra (conducted by Previn) and with the
English National Opera as Quint in Britten’s “Turn of
the Screw’ — performed in London and in the USA,
three appearances with the Chicago Symphony
Orchestra conducted by Abbado (‘Boris Godunov’ and
‘Wozzeck’) and Solti (Aaron in Schoenberg ‘Moses and
Aaron’, also recorded for Decca), a major concert tour
of Australia during which he sang the role of Aeneas in
Berlioz’ ‘The Trojans’ with Mackerras, and Janacek
‘Osud’ for the ENO.
Important future engagements include Mozart ‘Don
Giovanni’ in Paris and Washington with Daniel Barenboim and Pierre Ponnelle, a Stravinsky recording for
Erato with Pierre Boulez, a revival of ‘Idomeneo’ at
Glyndebourne with Bernard Haitink, the title role in
Birtwistle’s new opera ‘The Mask of Orpheus’ for ENO
and a major role in a new production at the Royal
Opera House after his successful debut there last year in
the Hockney/Dexter Ravel/Stravinsky double bill. 1985
also sees some important concert engagements in Paris,
Munich, Vienna and Chicago with Mehta, Colin Davis,
Harnoncourt and Leonard Slatkin.
Philip Langridge performs regularly with the leading
orchestras and conductors at the world’s major concert
venues and music Festivals, notably, in the UK, for the
Edinburgh Festival, South Bank Summer Music and the
BBC Promenade Concerts. Also at the Royal Festival
and Queen Elizabeth Halls and the Barbican Centre. He
can be seen frequently on television, most recently as
Idomeneo from Glyndebourne and the BBC relay of the
last night of the Proms.
Andrew Millington was born in 1952 and was educated
at the King’s School, Worcester and Downing College,
Cambridge, where he was Organ Scholar. In 1975 he
was appointed Assistant Organist at Gloucester
Cathedral and remained there for seven years, during
which time he featured as an organist in the Three
Choirs’ Festival, playing in several broadcasts and first
performances. He has given recitals in many English
cathedrals, and broadcasts regularly on Radio 3 as a
soloist. In January 1983 he took up his present appointment as Organist and Master of the Choristers at
Guildford Cathedral.
Philharmonic Choir
The Guildford Philharmonic Choir performs regularly
with the Guildford Philharmonic Orchestra in its series
of concerts in Guildford Civic Hall. The Choir made its
first recording of ‘Intimations of Immortality’ by Gerald
Finzi in 1973 with the Guildford Philharmonic
Orchestra and in 1976 recorded Hadley’s ‘“The Trees so
High’ with the Philharmonia Orchestra.
Guildford Borough Council recently appointed Simon
Halsey, currently Director of Music at Warwick University and Chorus Master to the City of Birmingham
Symphony Orchestra, as Chorus Master to the Philharmonic Choir. As well as training the Choir for tonight’s
performance of Berlioz’ ‘Te Deum’, he undertakes a
busy season with the Philharmonic Choir. He will conduct the Choir in a concert of Joyful Music for Christmas in Holy Trinity Church on 12 December. Next
year, in collaboration with the Goldsmiths Choral
Union, the Choir will perform Brahms’ ‘German Requiem’ in Guildford Cathedral (2 March — Conductor
Brian Wright) and Walton’s ‘Belshazzar’s Feast’ in the
Civic Hall (4 May — Conductor Vernon Handley). The
highlight of this season for the Choir will be the perfor-
mance of Verdi’s ‘Requiem’ with the Goldsmiths Choral
Union and the Guildford Philharmonic Orchestra in the
Royal Festival Hall, (18 March 1985 under Brian
Wright).
The Choir’s accompanist is Christopher Mabley.
The Philharmonic Choir has a few vacancies for young
singers with a good standard of sight reading and
welcomes attendance in the Methodist Hall, Guildford
on Monday 15 October when the Choir will commence
rehearsals for Brahms’ ‘German Requiem’. Applications
to the Choir’s Office: The Lodge, Allen House Grounds,
Chertsey
573800).
Street,
Guildford
GU1
4HL
(Tel:
0483-
rest of the movement. The lyrical second subject, introduced by the strings and taken up by the woodwind,
is in the unexpected key of D flat. In the ensuing
development the motto is broken up into pairs of notes
and then reappears in its semiquaver form with its basic
notes simultaneously on the brass below. The main
themes are recapitulated with the second subject now in
the key of F, and the broken-up version of the motto
returns in the short coda, which leads straight on to the
Poco Adagio.
Symphony No 3 in C minor (Organ)
Saint-Saens 1835-1921
The organ now makes its discreet entrance, providing a
quiet accompaniment and punctuation to the main
Adagio
theme, a quasi-religious string melody of unmistakably
French origin. This shows a nice judgement on the com-
Allegro moderato
Poco Adagio
Allegro moderato
Presto
Maestoso
poser’s part by just avoiding falling into sentimentality.
The central episode is a contrapuntal semiquaver
passage for strings, joined later by the organ. Plucked
basses recall the motto, and the rhythm of this continues
Allegro
through the reprise of the principal melody.
The friendship between Liszt and Saint-Saéns was based
A new theme derived from the motto supplies the main
on a deep admiration of each other’s work. The French
composer, who was also an excellent pianist and con-
ductor, championed Liszt’s music in France and abroad,
while Liszt became the younger man’s most influential
patron and once wrote: ‘While I am composing, I often
material of the energetic scherzo, which launches what
Saint-Saéns calls the second movement. The tempo increases to Presto for the second part of this section, a
brilliantly-scored episode which adds a piano to the
orchestra. The Allegro and Presto are then repeated, but
ask myself “Would this please Saint-Saéns? So it is no
upon
last and most ambitious symphony, he adopted Liszt’s
principle of thematic transformation, using a basic or
the strings have quietly considered it, the basses remind
motto theme in various guises throughout the work. In
addition, although the symphony really contains four
enters imposingly to launch the finale.
surprise to find that when in 1886 Saint-Saéns wrote his
movements, Saint-Saéns made them into two by linking
the first movement with the Adagio and the scherzo with
the finale. The incorporation of an important part for
organ was inspired by Liszt’s use of that instrument in
the symphonic poem Hunnenschlacht (Battle of the
Huns). The two composers met for the last time in April
that year in Paris; Liszt died in Bayreuth in July, and
when the symphony was published it appeared with a
the
latter’s
After a vigorous fugato treatment of the first subject,
punctuated
chords,
the
organ
and
carrying the symphony to a triumphant climax in C ma-
Copyright Eric Mason.
too much for the impecunious Society, which asked him
to agree to £30 and at the same time mitigated the com-
poser’s disappointment by inviting him to write a work
for the Society. Saint-Saéns at once set to work on the
Third Symphony, which he already had in mind to
motto theme is heard for the first time at the start of the
Allegro moderato, presented in turn by strings and
woodwind in restless semiquavers which permeate the
organ
jor.
as pianist and conductor. Saint-Saéns
suggested a modest fee of £40, but this was apparently
Wales, the future Edward VII.
loud
which leads into a fugue on the motto theme. The
galloping rhythm of the fugue persists from here on,
concerts
A brief Adagio related to the following material ushers
in the first movement, which is cast in sonata form. The
by
orchestra combine to transform the motto into a chorale
commission from the Royal Philharmonic Society. At
first the Society had invited him to appear at one of its
the evening the composer was presented to the Prince of
the composer
us of the motto and after a short pause the organ re-
Saint-Saéns music was popular in England, and the
Symphony in C minor was composed in response to a
same concert he appeared as soloist in his Fourth Piano
Concerto. The concert was a huge success, and during
appearance
scherzo. This is to be the first subject of the finale. When
dedication ‘To the memory of Franz Liszt’.
write, and on 19 May 1886, at the St. James’s Hall in
London, he conducted the first performance. At the
second
superimposes a new theme related to the Adagio and
INTERVAL
Te Deum
Te Deum laudamus, Te Dominum confitemur.
Berlioz 1803—1869
Te aeternum Patrem omnis terra veneratur.
This work was written for the opening of the Paris Exhibition of 1855 and belongs therefore to a mature
period of its composer’s creative activities. It is scored
for three choirs, orchestra and organ. The third choir
consists of sopranos and altos, and was originally intended to be composed of children only.
Tibi omnes Angeli, Tibi Coeli et universae Potestates:
Tibi Cherubim et Seraphim incessabili voce proclamant,
Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth;
Pleni sunt coeli et terra majestatis Gloriae Tuae,
Te gloriosus Apostolorum chorus,
Te Prophetarum laudabilis numerus,
Te Martyrum candidatus laudat exercitus.
Te per orbem terrarum sancta confitetur Ecclesia,
Patrem immensae Majestatis:
There are eight numbers in the work, two of which, the
third (‘Praeludium’) and the eighth (‘Marche pour la
présentation des drapeaux’) are entirely instrumental,
and the composer has directed that the ‘Praeludium’
should be omitted unless the work is being performed
for a thanksgiving after a victory or for another like
military occasion.
The opening number, ‘Te Deum’, is a double fugue,
written for the most part in a solid and downright style
which we hardly associate with Berlioz and which is
doubtless an echo of his studies at the Conservatoire. It
leads straight into the next number, “Tibi omnes’, which
opens with a flowingly melodious organ solo. The
words, ‘Sanctus, Sanctus, Sanctus’ are first accompanied by arpeggios for flutes, oboes and clarinets. At
the conclusion of this number the opening organ solo is
repeated very quietly on the strings, the woodwind
entering at the tenth bar.
The ‘Praeludium’ has been already referred to.
No 4 (‘Dignare’) is called a Prayer. It is mostly subdued
in style, and part of it is accompanied by short, broken
figures suggesting entreaty.
In the fifth number (‘Christe rex gloria’) the organ is
silent. The opening theme, given out by the voices, is a
descending scale passage with a counter-subject in contrary motion on the violins. A change of mood occurs at
the words, ‘ad liberandum suscepturus’ but the quicker
tempo is resumed at ‘Tu ad dexteram Dei sedes in gloria’
and the movement ends in triumph.
In No 6 (‘Te ergo quae sumus’) a tenor soloist is
employed. The sopranos enter quietly at the words, ‘Fiat
super nos misericordia, Domine’ which are immediately
taken up by the soloist. This movement ends very quietly with an unaccompanied passage for chorus.
The seventh number (‘Judex crederis’) opens with six
bars for organ followed by the entry of brass instruments and a kind of fugal subject given out by the
basses of the chorus. A new and quieter melodybegins at
the words, ‘Salvum fac populum’, the opening phrase of
which (a descending scale) being subsequently made
much use of in the orchestra as a figure of accompaniment. The original ‘Judex crederis’ theme is soon
heard sung quietly by the basses and worked up to a big
climax, ‘Speravi’, and the music thenceforward becomes
ever more dramatic and exciting, ending with a real
flourish of trumpets.
Venerandum Tuum verum et unicum Filium:
Dignare Domine die isto sine peccato nos custodire.
Aeterna fac cum Sanctis Tuis in Gloria numerari.
Miserere nostri Domine: miserere nostri.
Tu Rex Gloriae, Christe:
Tu Patris sempiternus es Filius.
Tu ad liberandum suscepturus hominem non horruisti
Virginis uterum.
Tu devicto mortis aculeo aperuisti credentibus regna
coelorum.
Tu ad dexteram Dei sedes in Gloria Patris.
Te ergo quaesumus, famulis Tuis subveni, quos pretioso
sanguine redemisti.
Fiat misericordia Tua Domine super nos, quemadmodum speravimus in Te.
Judex crederis esse venturus.
Salvum
fac
populum
Tuum
Domine,
et
benedic
haereditati Tuae.
Per singulos dies benedicimus Te:
In Te Domine speravi: non confundar in aeternum.
Guildford Philharmonic Orchestra
Thursday 18 October at 7.00 p.m.
On Thursday 18th October the Guildford Philharmonic
LEAS CLIFF HALL — FOLKESTONE
Orchestra will appear in the opening concert of
Shepway District Council’s 1984/85 season of concerts.
The programme opens with Mozart’s Marriage of
Figaro Overture and is followed by Beethoven’s Second
Symphony.
The mighty Second Piano Cpncerto of
be performed by John Lill whose
collaborations with the Guildford Philharmonic
Brahms
will
Orchestra are always enthusiastically received. John Lill
will be giving a Celebrity Recital in Guildford’s Civic
Hall on the 11 November at 3 p.m. Tickets are now
available from the Civic Hall and the Orchestra’s Office.
Overture ‘Marriage of Figaro’
Mozart
Symphony No 2in D
Beethoven
Piano Concerto No 2 in Bb
Brahms
Christopher Seaman, Conductor
John Lill, Pianoforte
Sunday 28 October 1984 at 3 p.m.
Civic Hall, Guildford
Arrival of the Queen of Sheba
Sinfoniain D
J C Bach
Piano Concerto No 9 in E flat
Handel
Mozart
The Orchestra’s next concert in Guildford Borough
Council’s series will be conducted by John Forster who
is highly esteemed by the Guildford audiences. The
Symphony No 43 in E flat (Mercury
Roberts who provides the Guildford concertgoers with
John Forster, Conductor
soloist in Mozart’s Piano Concerto No.9 will be Bernard
their first opportunity this season to hear Guildford
Borough Council’s newly acquired Steinway Concert
Grand Piano. The popular Exsulate, Jubilate of Mozart
will
be
sung by soprano Ann-Marie Connors and
‘Mercury’ Symphony concludes the afternoon’s music.
Exsultate, Jubilate
Haydn
Bernard Roberts, Pianoforte
Ann-Marie Connors, Soprano
Saturday 3 November 1984 at 7.45 p.m.
Haydn’s
Civic Hall, Guildford
The programme on 4 November to be conducted by
Vernon Handley is in complete contrast to that of 28
Tintagel
Bax
Facade
Walton
October. Vernon Handley, who excels in his interpretations of British 20th century music, will conduct
Bax’s Tintagel and Elgar’s First Symphony. Christopher
Gable
will
narrate
the
Sitwell
poems
comprising
Walton’s Facade. This concert is featured in Embassy
Hotels Leisure Learning Series and a workshop on the
Bax and Elgar works will be presented by Vernon
Handley and the Guildford Philharmonic Orchestra’s
players at 11.30 a.m. in the Civic Hall.
Mozart
Leisure Learning Weekend
Symphony No 1in A flat
Elgar
Vernon Handley, Conductor
Narrator
WORKSHOP with Vernon Handley and members of
the Guildford Philharmonic Orchestra at 11.30 a.m.
Tickets: £5.00, £4.00, £2.80.
Box Office: Civic Hall, Guildford. Tel: 67314
A & N Travel, Guildford. Tel: 68171
Incidentally this programme will be repeated in Ipswich
on the following day.
Tickets for the concert on 28th October are now on sale
from the Civic Hall, Guildford, tel: 67314 and A & N
Travel (68171).
Information
concerning the Orchestra’s concerts is
available from the Orchestra’s office: The Lodge, Allen
House
573800.
Grounds,
Chertsey
Street,
Guildford,
tel:
Sunday 11 November 1984 at 3.00 p.m.
Civic Hall, Guildford
CELEBRITY RECITAL
JOHN LILL
Beethoven Sonato Op. 10 No 3
Schumann: Carnaval
Chopin: Ballade in F minor Op. 52 No 4
Prokofiev: Sonata No 8 in B flat Op. 84
Tickets: £5.50, £4.50, £3.50 & £2.50 available from the
Civic Hall and the Orchestra’s Office: The Lodge, Allen
House Grounds, (0483) 573800
Guildford Philharmonic Orchestra
Artistic Adviser — Vernon Handley
First Violins:
Associate Leaders: Hugh Bean, John Ludlow
Camilla Allison
Christopher Bearman
Sheila Beckensall
Imogen East
Ché}rlotte Edwards
Judith Edwards
Barbara Moore
Alec Suttie
Philip Sutton
Susan Thomas
Andrew Thurgood
Basses:
Trumpets:
Michael Lea
Clifford fiaines
COlm Paris
Patricia Reld
Jeremy Gordon
Fiubert Dovwns
Clive Brown
Ian Eyres
f{'lutes:M
;
Ginny Wr.ast
Agrtl}ga Ce;:en
Second Violins:
Deborah Davis
Arthur Price
Harold Nathan
Cornets:
Dennis Egan
Peter Goy
Trombones:
Henry Hardy
David Hissey
Bass Trombone:
.
Martin Nicholls
Piccolo:
Andrew Bentley
Callaghan
Timothy
Roth Dawson
Finuis Weororii
Simon Hunt
Oboes:
Tubas: .
Steghen Wick
Marilyn Downs
Deirdre Lind
Timpani:
gzlsl::l:/r[;ylggberts
A
Tish
Janice Knight
Co': Anglais:
i,
e Millington
sie
Andrew
Howard Walsh
Clarinets:
Ruth Knell
aron
Tighe
Rosemary Van Der Werff
s
Yook
John Meek
Ann Green
Kevin Morgan
Roger Blair
Piano:
Hale Hambleton
John Forster
Michael Farnham
Harp:
Victor Slaymark
Callum Ross
Peter Lale
Bass Clarinet:
Jean Burt
Terry Busby
Julius Bannister
Robert Jordan
Stephen lees
Susan Dench
Celi Azulek
Anna Meadows
Sebastian New
George Vass
Peter Fry
Cellos:
Con.tra Bassoon:
Frederick Campbell
Leonard Lock
Geoffrey Thomas
Bassoons:
Administrator:
Kathleen Atki;xs
Aileen MacArdle
Percussion:
Bill Lockhard
Jackie Kendle
David Lock
Pefer Esswood
Horns:
Christina Macrae
John Hursey
Robert Hoppe
Charlotte Ward
John McCrae
Peter Clack
Dennis Scard
Ronald Harris
George Woodcock
Lyn Evans
The audience may be interested to know that the violin
sections are listed in alphabetical order after the first
desk because a system of rotation of desks is adopted in
this orchestra so that all players have the opportunity of
playing in all positions in the section.
Over 125 years of service to
Surrey Music Lovers
The Guildford Philharmonic Society is the ‘Supporters Club’
(Established
object of encouraging not only its members but also the
in
Guildford
in
of the Orchestra and was originally founded with the prime
1857)
general public to attend the season of concerts in the Civic
Hall by the Guildford Philharmonic Orchestra. It still has this
prime object but also the Society assists with the provision
of the finances for considerable extra publicity for the concert season, but its members also receive certain benefits in
return for a very modest subscription. These facilities include:
PIANOS
and
@ Priority booking at the beginning of each concert season
® An additional discount on Subscription Series Tickets
® The Society’s newsletter
MUSIC
® Special Events such as visits to other concert venues,
lllustrated — Steinway
See
these
and
other
new
musical evenings in members’ homes and certain social
gatherings during the season
® Discount facilities at Merrow Sound Tunsgate Guildford
Grand
fine
grand
on records and cassettes
® The opportunity to attend rehearsals of the Orchestra by
and
upright pianos, or browse in our unrivalled
sheet
;
music
department.
We
are
app.'y'ng e g
o soiice
By being
always
pieased to heip or advise.
The membership rates are as follows:
Annual Subscription
Husband and Wife-Joint Subscription
Persons under the age of 18
Retirement Pensioner
Pianos for hire, music by post
T
ANDREWS & CO
(]
MEADROW,
§
£5.00
£8.50
£3.50
£3.50
If you would like to join the Society please send your remit-
LTD
o
62
.
a member you are also helping to ensure the con-
tinued success of the Guildford Philharmonic Orchestra.
tance together with your name and address to:
o
Mr R A Forrow
Flat 3, 6 Mareschal Road
Guildford Surrey GU2 5JF Tel: Guildford 575274
GODALMING
s
Tel: 22459 (Planos) or 6414 (MUSIC)
or alternatively you may enrol at the Society’s stand in the
foyer of the Civic Hall on concert days.
SUPPORT YOUR
ORCHESTRA!'
IT
NEEDS YOU!
for
a total service
encompassing typesetting,
artwork, photography, platemaking,
lithographic and letterpress
printing
all under one roof
CRADDOCKS, GREAT GEORGE STREET, GODALMING, SURREY
TELEPHONE GODALMING 6552
Guildford Philharmonic Choir
CHORUS MASTER — SIMON HALSEY
The Choir performs regularly with the fully professional Guildford Philharmonic Orchestra
in its annual series of concerts.
PROGRAMME FOR 1984/85 SEASON:
13 October 1984
Te Deum
Berlioz
Conductor — Norman Del Mar
December 1984
Christmas Concert
Conductor — Simon Halsey
2 March 1985
German Requiem
Brahms
Conductor — Brian Wright
Guildford Cathedral
18 March 1985
Requiem
Verdi
Conductor — Brian Wright
Royal Festival Hall
4 May 1985
Belshazzar's Feast
Walton
Conductor — Vernon Handley
Guildford Civic Hall
Guildford Cathedral
The Philharmonic Choir meets on Monday evenings from 7.15 p.m. t0 9.15 p.m.
The Choir welcomes applications from young singers (all voice parts) with good sight reading ability.
Enquiries: Administrator, Guildford Philharmonic Choir Office,
The lodge, Allen House Grounds, Chertsey Street, Guildford, GU1 4HL.
T
POy
iauget
UNIVERSITY
OF SURREY
DEPARTMENT OF MUSIC
Lol
7
RS
University of Surrey Bookshop
—— =1 Guildford Surrey GU2 5XH tel. 570679
THE UNIVERSITY BOOKSHOP
is open to all members of the general
This Department has gained for itself an
enviable reputation for its high quality of
performance. Members of the public are
most welcome at all our concerts — these
take place during term-time every
Wednesday at 1.15 pm and on selected
Sunday evenings.
Further information is obtainable from:-
The Secretary
Department of Music
University of Surrey
Guildford, Surrey
(Tel: Guildford 571281)
public. We stock a wide range of
general and literary titles, as well as
being H.M.S.0. agents and Open
University stockists.
We are open Monday to Friday from
9.00a.m. t0 5.00 p.m. and are also
open on Saturday mornings during
term-time from 9.00 a.m. to 12.30
p.m.
A classic
collectiono
the classica
Go to Guildford for probably the
finest collection of Classical music,
on tape or record, outside London.
Expert knowledge, advice
and guidance is all freely
available. “Out of the ordinary”
or “out of stock” selections
we’ll order for you.
Sound us out soon. If we
can’t help you no one can.
Merrow Sound
21-22 Tunsgate,
Guildford, Surrey. Tel: 33227
Record Department direct line
MERROW
SOUND
GUILDFORD
for a classical service
Large selection of Compact Discs.
Marks and Spencer is delighted to continue its
support for the Guildford Philharmonic Orchestra
as part of its involvement in the Arts.