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PRINTED MUSIC
We supply schools, choirs, teachers and individuals all over the U.K. and abroad.
Large modern shop. Extensive stocks. Rapid order service for non-stock items.
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MUSICAL INSTRUMENTS
We stock all leading makes — Boosey and Hawkes, Yamaha, Bundy, Aulos,
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UTTON PLACE
Built between 1520 and 1530 by Sir Richard Weston, Sutton Place is one of the finest examples of
the English Renaissance Period. The Mansion now contains a magnificent collection of works of art
of all periods.
A series of Concerts are held throughout the year, offering guests an opportunity to hear both internationally acclaimed and younger talented artists, within the unique setting and atmosphere of
Sutton Place. All tickets prices include Dinner and Wine for evening events, or Tea for afternoon
events.
|
AUTUMN SERIES 1985
[
Gala Evening with GEORGE MALCOLM, harpsichord. Saturday 16 November
Ticket price includes Champagne Reception, Dinner and Firework Display.
Sunday Afternoon Series
Concert Series
BRODSKY STRING QUARTET
Wednesday 2 October and 6 November
KENNETH VAN BARTHOLD
Wednesday 23 October, using a
Clementi forte piano
Wednesday 4 December, using an
Erard grand piano
6 October
13 October
3 November
24 November
1 December
LONDON SERPENT TRIO,
BARRY DOUGLAS, piano,
KRZYSZTOF SMIETANA,
SCHUBERT ENSEMBLE,
PATRICIA ROZARIO
Christmas _ Concert
with
the
PHILIP
JONES BRASS ENSEMBLE, 17 & 18 December
Contact Sutton Place for details of Concerts in 1986.
For further information and reservations contact: The Bookings Manager
Tel. Guildford (0483) 504455, 10am-5pm, Weekdays.
The Sutton Place Heritage Trust, Sutton Place, Guildford, Surrey, GU4 7QV.
GUILDFORD BOROUGH COUNCIL
CONCERTS 1985/86
GUILDFORD CATHEDRAL
(By kind permission of the Dean & Chapter)
SATURDAY 8 MARCH 1986
at 7.45.p.m.
Guildford
Philharmonic
Orchestra
Leader: JOHN LUDLOW
SIMON HALSEY
Conductor
SHEILA ARMSTRONG
Soprano
CHRISTOPHER GILLETT
Tenor
Simon Halsey was born in 1958 and educated as a
Choral Scholar at King’s College Cambridge before
going on to the Royal College of Music as a Conducting
Scholar. Whilst still a student he was asked to become
conductor of Scottish Opera-Go-Round and this was
followed by his appointment at the age of 23 as
Director of Music at the University of Warwick.
He works extensively in opera having founded
Cambridge Opera Group in 1980 after graduating in
Cambridge. He worked on production at Aix en
MICHAEL GEORGE
Provence and Lyon, France. As a choral conductor he
Bass Baritone
of Birmingham Symphony Orchestra Chorus and
works extensively with Radio Choirs and Symphony
Choruses around the world. In the orchestral field he
is equally busy conducting the City of Birmingham
PHILHARMONIC CHOIR
UNIVERSITY OF WARWICK
CHORUS
is in great demand: he is Chorus Master of the City
Symphony Orchestra, the London Mozart Players and
the London Bach Orchestra. He made his debut with
the Guildford Philharmonic Orchestra last year.
CHORISTERS OF GUILDFORD
Simon has worked with the Philharmonic Choir since
his appointment in September 1984.
CATHEDRAL
He is currently conducting “Tales of Hoffmann” for
Scottish Opera.
Sheila Armstrong
This concert is is promoted by Guildford Borough Council with
financial support from the South East Arts Association.
Sheila Armstrong studied in Newcastle and at the
Royal Academy of Music. She won both the Kathleen
Ferrier Memorial Award and the Mozart Prize in the
same year and from then onwards has become a major
international artist, appearing in almost every
important musical centre.
In
the
operatic
regularly
at
field,
Miss
Glyndebourne
Armstrong
(Zerlina,
has
sung
Pamina),
for
Scottish Opera (Norina, Donna Elvira) and at Covent
Garden (Marcellina, Nanetta). She has also made
frequent
television appearances including a lavish
BBC TV Production of Die Fledermaus — an opera in
which she appeared with Opera North.
Miss Armstrong appears regularly with all the major
Canada. Recent concerts range from Messiah at the
performances
of
Fidelio
with
Barenboim in Paris, Haydn’s Creation with the Boston
Symphony and Ozawa, and a tour of the Far East with
the Bach Choir. Her major London appearances in
recent seasons include concerts with Haitink, Dorati,
Rozhdestvensky,
Ozawa,
Previn
Pangbourne College. In 1976, after a year of study at
the Guildhall School of Music, he became a choral
scholar at Kings’ College, Cambridge, where he read
economics
and
music.
In
1979
he
won
an
open
scholarship to the Royal College of Music to study
orchestras and festivals both in Europe, the USA and
Concertgebouw,
Christopher Gillett was born in 1958 and educated at
and
Ashkenazy.
with Robert Tear. In 1982/3 he was a member of the
National Opera Studio.
Christopher Gillett’s numerous operatic engagements
have included roles for new Sadlers Wells Opera, the
Royal Opera, Covant Garden, as well as Kent Opera.
He has also performed in Mozart and Salieri at the
Brighton Festival. Other operatic performances have
included leading roles for Cambridge Opera Group.
Engagements last season took her to Paris, Madrid,
Engagements this season include performances of LA
San
Her
TRAVIATA, a video production of KING PRIAM,
London appearances this season include concerts and
LE NOZZE DI FIGARO and Arnalta in the new
recordings with the London Philharmonic Orchestra
production of CINCORONAZIONE DI POPPEA for
Francisco,
Toronto,
Bergen
and
Rome.
under Haitink and Tennstedt and Strauss Four Last
Kent Opera and Ralph in HMS PINAFORE for New
Songs with the Royal Philharmonic Orchestra under
Sadler’s Wells Opera, as well as numerous concert and
Walter
oratorio
Weller.
Other
major
concerts
this
season
appearances
throughout
include a tour with the Israel Philharmonic Orchestra
Engagements
with Raymond Leppard, Beethoven 9th with Gary
Athens, Israel and Batignano Festivals.
Bertini in Turin and Britten’s Spring Symphony with
the Los Angeles Philharmonic conducted by Andre
Previn.
Shelia Armstrong is also an accomplished recitalist
and has given many recitals both in the UK and abroad,
including one at L’Athenee in Paris. Last season she
gave recitals in Lisbon and at the Divonne Festival
and undertook a short recital tour in the UK with
John Shirley-Quirk.
Miss Armstrong is a prolific recording artist and has
recorded
with
conductors
such
as
Barenboim,
Bernstein, Boult, Guilini, Haitink, Leppard, Previn,
Karl Richter, Mackerras and Stokovsky.
abroad
include
the
appearances
country.
at
the
Guildford Philharmonic Choir
Guildford Philharmonic Choir (formerly the Festival
Choir) was formed in order to perform the major
choral repertoire with the Guildford Philharmonic
Orchestra. The choir made its first recording in 1973
of
Finzi’s
Guildford
“Intimations
of
Philharmonic,
Immortality”
and
in
1976
with
the
recorded
Hadley’s “The Trees So High” with the Philharmonia
Orchestra, both recordings being conducted by Vernon
Handley. The Philharmonic Choir (in collaboration
with the Goldsmiths Choral Union) made its debut
with the Guildford Philharmonic Orchestra in the
Festival Hall in March last year in a performance of
Verdi’s
Requiem,
conducted
by
Brian Wright.
A
further collaboration with this Choir will take place
in May this year in a performance of “A Child of Our
Time” by Sir Michael Tippett to be conducted by Sir
Charles Groves. The Philharmonic Choir joined forces
with
the
University
of
Warwick
Chorus
for
a
performance of Britten’s War Requiem last night in
Warwick Arts Centre. This performance was also
conducted
by
Simon
Halsey,
who
was
appointed
Chorus Master to the Choir in 1984 and in the training
of the Choir he acknowledges the assistance of the
Michael George began his musical training as a
chorister at King’s College, Cambridge. He later won
an exhibition to the Royal College of Music where he
studied with Gordon Clinton and Ruth Packer and
was a major prizewinner. His repertoire now covers
an exceptionally wide field, ranging from the 12th
century to the present day. He works frequently with
Choir’s accompanist Christopher Mabley.
The Philharmonic Choir welcomes young singers with
good sight reading ability and applications for audition
should be made to the Choir’s Office at The Lodge,
Allen House Grounds, Chertsey Street, Guildford,
Surrey GU1 4HL Tel. 0483 573800.
several leading early music ensembles, including The
Hilliard Ensemble, Pro Cantione Antiqua and the New
London Consort. As a soloist Michael George has
appeared with choral societies throughout the British
Isles, at many of the country’s leading venues, and in
festivals such as Aldeburgh, Bath, the Proms, Three
Choirs, King’s Lynn, Swansea, the City of London and
Spitalfields.
His operatic roles have included God in the world
premiere of ‘The Tower of Babel’ by David Neald in
1982, which was repeated last year at the Edinburgh
Festival, Jupiter in Rameau’s ‘Castor et Pollux’ in an
English Bach Festival production at Covent Garden,
Paris
and
Monte Carlo opera houses, and Don
Antonio in an opera by Kaiser at the Barber Institute,
Birmingham.
University of Warwick Chorus
The University of Warwick Chorus is the largest of
several choirs on the campus. Over the past years it
has performed virtually all the major choral works and
has taken part in a number of first performances,
including that of Leonard Bernstein’s Mass in the
Royal Albert Hall in 1976. In recent years the choir
has performed the Berlioz Requiem in York Minster
with the
University of York Chorus and sung in
Guernsey, Ireland and also in Paris, where it will be
returning in November to perform Berlioz’ Te Deum
in the church of Saint Roch.
Michael
George’s recordings include Monteverdi’s
Vespers, Handel’s Dettingen Te Deum, Holst’s ‘At the
Boar’s Head’, Purcell’s ‘Yorkshire Feast Song’, Charpentier’s Magnificat, Schutz’s ‘Fili Me Absalon’ and
Stainer’s Crucifixion. He broadcasts frequently for the
Choristers of Guildford Cathedral
BBC and many foreign radio stations.
The Cathedral choir was founded in 1961 by Barry
Engagements last year included work with the Royal
Master of the choristers at Guildford since January
Liverpool Philharmonic Society, a series of performances of Handel’s newly-discovered Carmelite
Vespers all over Europe with the European Baroque
Orchestra, a week of concerts with the Scottish
Chamber Orchestra, a performance of Bach’s B minor
Mass in Turku,
Finland,
and concerts in Bruges,
Holland, Italy, Denmark and France.
Rose.
Andrew
Millington
has
been
organist
and
1983. There are eighteen choristers and twelve men
in
the
choir. The
choristers
attend Lanesborough
Preparatory School and The Royal Grammar School
as day boys. The choir sings eight services a week and
rehearses every day. They frequently broadcast, have
made several recoradings, also give concerts and go
on tour every summer.
Programme Notes
has preserved the tension by an uneasy ambiguity of
by John Andrews (author’s copyright)
key, into an unambiguous chord of F major; a deeply
moving solution of unexpected simplicity.
War Requiem, Op. 66
Benjamin Britten (1913-1976)
The
above
description
of the
way
in
which the
‘My subject is War, and the pity of War.
composer has carried out his literary-poetic idea of
The Poetry is in the pity . . .
Latin text and English commentary in the music of
All a poet can do today is warn.’
the first movement is just one example of the musical
These words, written by Wilfred Owen in a preface
intended for a volume of poems composed in the
trenches during the first world war, are inscribed on
the first page of the autograph full score of WAR
REQUIEM. Owen was killed seven days before the
armistice while crossing his men over the Sambre
canal.
Two
decades
later,
Coventry
bore
terrible
witness to the way in which his warning was heeded.
Two decades later still, the new St. Michael’s cathedral
was built and dedicated — as remarkable an example
of the unquenchable faith of man as the destruction
was of man’s stupidity.
treatment that he has applied to the whole work. The
simple
G
major
triad
with
which
the
trombone
introduces ominously quiet fanfares at the start of the
Dies Irae, becomes, after the climax of the ‘Tuba
mirum’, the motif sung by baritone solo to the words
‘Bugles sang . . .” in Owen’s sad poem Voices. And,
much later in the movement, the 7/8 rhythm of the
Dies Irae is retarded to provide a choral accompanying
figure for the Lachrymosa, sung by solo soprano. The
Lachrymosa
is
interspersed
with
quasi-cinematic
‘flashbacks’ to a scene after battle, with the tenor solo
singing some of Owen’s most compassionate verses:
‘Move him into the sun . . .” The justification for this
Faced with a commission to write a large-scale work
unusual treatment is the vividness of the picture it
to celebrate the dedication, it was a stroke of poetic
gives of one man’s personal sorrow for his recently
inspiration, akin to Owen’s own, that gave Britten the
slain friend thrown into relief against the more formal
idea of setting alongside the solemn ritual consolations
background of general lamentation of soprano solo
of the Requiem Mass, Owen’s bitter and savage war
and chorus.
poems — poems that are frequently anti-authoritarian,
sometimes anti-clerical, but always deeply Christian
and imbued with pity and a sense of humanity.
The
music
of the
plainsong-like
Offertorium,
recitative
from
introduced
the
boys’
by
a
choir,
is
eventually established as a gay fugue to the words
Musically, the work is built on three different planes:
‘Quam olim Abrahae promisisti et semini ejus’. Again
the chorus and soprano solo sing the Latin text of the
the composer uses the weapon of musical parody to
Mass and are accompanied by the main orchestra; the
point the story of Abraham and Isaac and its grim
tenor and baritone solos, accompanied by the chamber
sequel. The movement is completed by a return to the
orchestra, sing the English poems; while the boys’
choral fugue, but this time chastened into a submissive
choir, accompanied by a chamber organ, provide a
pianissimo.
distant,
impersonal
element.
The
cardinal
idea
expressed by the music is the anguish of grief (rep-
resented throughout the work by the uncomfortable
interval of the tri-tone F Sharp — C natural) and its
final resolution in acceptance and resignation. The
tritone is heard at the beginning of the first movement
as a solemn tolling of bells above the muttered prayer
of the chorus: ‘Requiem aeternam dona eis, Domine’,
to the same notes.
A cadenza for soprano solo begins the Sanctus; this
is supported by a carillon of all the pitched percussion
instruments on F sharp and C natural. This finally
evolves into a movement in simple ternary form, A-B-
A, a form suggested by this section of the Mass:
Hosanna — Benedictus — Hosanna. The optimism of
the
final
Hosanna
is
shattered
by
the
desolate
pessimism of the poem which succeeds it, a mood that
has to wait until the end of the last movement for its
A rising ‘dotted” motif on the orchestra forms the main
contradiction, for in the ‘Agnus Dei’ the Lamb of God,
subject,
more
of whom the chorus is asking forgiveness, is crucified
consolatory second subject distantly changed by the
anew in this war (the poem linked with the Agnus Dei
which
eventually
gives
way
to
a
boys’ choir. This is a twelve-note theme beginning on
is entitled: ‘At a Calvary near Ancre’). The musical
the C natural and ending on the F sharp of the same
structure of this arietta-like movement is of the utmost
tritone, first sung by the trebles and answered in
inversion by the altos.
simplicity: the descending melody of the tenor solo is
The return of the ‘dotted’ motif and prayer of the
chorus
is
roughly
interrupted
by
the
solo
tenor,
accompanied by chamber orchestra in a parody of the
first subject, fiercely demanding: ‘“What passing bells
for these who die as cattle’? and supplying his own
ironic answer.
accompanied by an ostinato composed of a descending
and ascending scalic phrase, the former starting on F
sharp, the latter on C natural — the by now familiar
tritonus diabolus.
A remarkable, but meaningful, interpolation in the
Latin text occurs in the final bar, where the tenor solo
sings on a quietly rising phrase: ‘Dona nobis pacen’,
The Kyrie, instead of being accorded a movement of
words which do not appear at all in the Requiem Mass.
its own, as in most masses, is here used as a coda of
The significance of this phrase is further underlined
three short series of chords, the last of which resolves
by its being the only occasion in the entire work on
the tritone, which throughout the whole movement
which either tenor or baritone sings in Latin.
The final movement is a vast apotheosis to the whole
work.
It falls into three main sections: A prayer,
‘Libera me’, builds slowly up into the most passionate
climax of the work. This is followed by a duet of recon-
cilliation of enemies in death in Owen’s poem Strange
Meeting, which leads most simply and naturally into
the divine peace and resignation of ‘In paradisum’. At
the end, the tritone is once more heard in the distance
and is quietly resolved in the final chords of the chorus.
There will be no interval during this performance.
[. REQUIEM AETERNAM
Chorus
Requiem aeternam dona eis, Domine: et lux perpetua
luceat eis.
Boys
Te decet hymnus, Deus in Sion: et tibi reddetur votum
in Jerusalem; exaudi orationem meam, ad te omnis
caro veniet.
Baritone solo
Bugles sang, saddening the evening air,
And bugles answered, sorrowful to hear.
Voices of boys were by the river-side,
Sleep mothered them; and left the twilight sad.
The shadow of the morrow weighed on men.
Voices of old despondency resigned,
Bowed by the shadow of the morrow, slept.
Soprano solo and chorus
Liber scriptus proferetur,
In quo totum continetur,
Unde mundus judicetur.
Judex ergo cum sedebit
Quidquid latet apparebit:
Nil inultum remanebit.
Quid sum miser tunc dicturus?
Quem patronum rogaturus
Cum vix justus sit securus?
Rex tremendae majestatis,
Qui salvandos salvas gratis,
Salva me, fons pietatis.
Requiem . . .
Tenor and baritone solos
Out there, we've walked quite friendly up to Death;
Tenor solo
What passing-bells for these who die as cattle?
We've sniffed the green thick odour of his breath —
Chorus
Only the monstrous anger of the guns.
Only the stuttering rifles’ rapid rattle
Can patter out their hasty orisons.
No mockeries for them from prayers or bells,
Nor any voice or mourning save the choirs —
The shrill, demented choirs of wailing shells;
And bugles calling for them from sad shires.-
What candles may be held to speed them all?
Not in the hands of boys, but in their eyes
Shall shine the holy glimmers of good-byes.
The pallor of girls’ brows shall be their pall;
Their flowers the tenderness of silent minds.
And each slow dusk a drawing-down of blinds.
Chorus
Kyrie eleison. Christe eleison. Kyrie elsison.
II. DIES IRAE
Chorus
Dies irae, dies illa.
Solvet saeclum in favilla:
Teste David cum Sibylla.
Quantus tremor est futurus,
Quando judex est venturus,
Cuncta stricte discussurus!
Tuba mirum spargens sonum
Per sepulchra regionum,
Coget omnes ante thronum.
Mors stupebit et natura.
Cum resurget creatura,
Judicanti responsura.
Sat down and eaten with him, cool and bland —
Pardoned his spilling mess-tins in our hand.
Our eyes wept, but our courage didn’t writhe.
He’s spat at us with bullets and he’s coughed
Shrapnel. We chorused when he sang aloft;
We whistled while he shaved us with his scythe.
Oh, Death was never enemy of ours!
We laughed at him, we leagued with him, old chum.
No soldier’s paid to kick against his powers.
We laughed, knowing that better men would come,
And greater wars; when each proud fighter brags
He wars on Death - for Life; not men — for flags.
Chorus
Recordare Jesu pie,
Quod sum causa tuae viae:
Ne me perdas illa die.
Quaerens me, sedisti lassus:
Redemisti crucem passus:
Tantus labor non sit cassus.
Ingemisco, tamquam reus:
Culpa rubet vultus meus:
Supplicanti parce Deus.
Qui Mariam absolvisti,
Et latronem exaudisti,
Mihi quoque spem dedisti.
Inter oves locum praesta,
Et ab haedis me sequestra,
Statuens in parte dextra.
Confutatis maledictis,
Flammis acribus addictis,
Voca me cum benedictis.
Oro supplex et acclinis,
Cor contritum quasi cinis:
Gere curam mei finis.
Baritone solo
Be slowly lifted up, thou long black arm,
Great gun, towering toward Heaven, about to curse;
Reach at that arrogance which needs thy harm,
And beat it down before its sins grow worse;
But when thy spell be cast complete and whole,
May God curse thee, and cut thee from our soul!
Soprano solo and chorus
Dies irae . . .
Lacrimosa dies illa,
Qua resurget ex favilla
Judicandus homo reus:
Huic ergo parce Deus.
Tenor solo
Move him into the sun —
Gently its touch awoke him once,
At home, whispering of fields unsown.
Always it woke him, even in France,
Until this morning and this snow.
If anything might rouse him now
The kind old sun will know.
Think how it wakes the seeds —
Woke, once, the clays of a cold star.
Are limbs, so dear-achieved, are sides,
Full-nerved — still warm — too hard to stir?
Was it for this the clay grew tall?
—O what made fatuous sunbeams toil
To break earth’s sleep at all?
Soprano and chorus
Lacrimosa . . .
Chorus
Pie Jesu Domine, dona eis requiem. Amen.
III. OFFERTORIUM
Boys
Domine Jesu Christe, Rex gloriae, libera animas
omnium fidelium defunctorum de poenis inferni, et
de profundo lacu: libera eas de ore leonis, ne absorbeat
eas tartarus, ne cadant in obscurum.
Chorus
Sed signifer sanctus Michael repraesantet eas in lucem
sanctam: quam olim Abrahae promisisti, et semini
ejus.
Tenor and baritone solos
So Abram rose, and clave the wood, and went,
And took the fire with him, and a knife.
And as they sojourned both of them together,
Isaac the first-born spake and said, My Father,
Behold the preparations, fire and iron,
But where the lamb for this burnt-offering?
Then Abram bound the youth with belts and straps.
And builded parapets and trenches there,
And stretched forth the knife to slay his son.
When lo! an angel called him out of heaven,
Saying, Lay not thy hand upon the lad..
Neither do anything to him. Behold,
A ram, caught in a thicket by its horns;
Offer the Ram of Pride instead of him.
But the old man would not so, but slew his son —
And half the seed of Europe, one by one.
Boys
Hostias et preces tibi Domine laudis offerimus: tu
suscipe pro animabus illis, quarum hodie memoriam
facimus: fac eas. Domine, de morte transire ad vitam.
Chorus
Quam olim Abrahae . . .
IV. SANCTUS
Soprano solo and chorus
Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth.
Pleni sunt coeli et terra gloria tua.
Hosanna in excelsis. Sanctus . . .
Benedictus qui venit in nomine Domini.
Hosanna in excelsis. Sanctus . . .
Baritone solo
After the blast of lightning from the East,
The flourish of loud clouds, the Chariot Throne;
After the drums of Time have rolled and ceased,
And by the bronze west long retreat is blown,
Shall life renew these bodies? Of a truth.
All death will He annul, all tears assuage? —
Fill the void veins of Life again with youth,
And wash, with an immortal water, Age?
When I do ask white Age he saith not so:
‘My head hangs weighed with snow’.
And when I hearken to the Earth, she saith:
‘My fiery heart shrinks, aching. It is death.
Mine ancient scars shall not be glorified,
Nor my titanic tears; the sea, be dried’.
V. AGNUS DEI
Tenor solo
One ever hangs where shelled roads part.
In this war He too lost a limb,
But His disciples hide apart;
And now the Soldiers bear with Him.
Near Golgotha strolls many a priest,
And in their faces there is pride
That they were flesh-marked by the Beast
By whom the gentle Christ’s denied.
The scribes on all the people shove
And bawl allegiance to the state,
But they who love the greater love
Lay down their life; they do not hate.
Chorus
Agnus Dei, qui tollis peccata mundi: dona eis requiem.
Agnus Dei, qui tollis peccata mundi: dona eis requiem
sempiternam.
Tenor solo
Dona nobis pacem.
VI. LIBERA ME
D
Soprano solo and chorus
Libera me, Domine, de morte aeterna, in die illa
tremenda:
Quando coeli movendi sunt et terra:
Dum veneris judicare saeculum per ignem. Tremens
factus sum ego, et timeo, dum discussio venerit, atque
ventura ira. Dies illa, dies irae, calamitatis et miseriae,
dies magna et amara valde.
Tenor and baritone solos
It seemed that out of battle I escaped
Down some profound dull tunnel, long since scooped
Through granites where titanic wars had groined.
GUILDFORD SINGERS
HOLY TRINITY CHURCH
GUILDFORD HIGH STREET
7.30 p.m.
SATURDAY MARCH 15th
) ‘;' G
¢ fi
9% B4
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Yet also there encumbered sleepers groaned,
Too fast in thought or death to be bestirred.
Then, as I probed them, one sprang up, and stared
With piteous recognition in fixed eyes.
Lifting distressful hands as if to bless.
And no guns thumped, or down the flues made moan.
‘Strange friend’, I said, ‘here is no cause to mourn’.
‘None’, said the other, ‘save the undone years’,
The hopelessness. Whatever hope is yours,
Was my life also: I went hunting wild
After the wildest beauty in the world,
For by my glee might many men have laughed,
And of my weeping something had been left,
Which must die now. I mean the truth untold,
The pity of war, the pity war distilled.
Now men will go content with what we spoiled,
Or, discontent, boil bloody, and be spilled.
An a capella concert of Italian
French and English music
from the 16th to the 20th century
for mixed voice choir
Admission by programme £3.50
from choir members or at the door
£2.50 O.A.P’s*and Students
ENQUIRIES GUILDFORD 63462
They will be swift with swiftness of the tigress,
None will break ranks,
though nations trek from
progress.
Miss we the march of this retreating world
Into vain citadels that are not walled.
Then, when much blood had clogged their chariot-
wheels
I would go up and wash them from sweet wells.
Even from wells we sunk too deep for war,
Even the sweetest wells that ever were.
I am the enemy you killed, my friend.
I knew you in this dark; for so you frowned
Yesterday through me as you jabbed and killed.
I parried; but my hands were loath and cold,
WOKING SOROPTIMIST
PRESENT:
FOR THEIR FIRST
PERFORMANCE IN THE U.K.
ABBATIALE
Let us sleep now . . .
J.M. JARRE
Boys soprano solo and chorus
J.S. BACH
In paradisum deductant te Angeli: in tuo adventu
suscipiant te Martyres, et perducant te in civitatem
ST PREUX
ALBINONI
sanctam Jerusalem. Chorus Angelorum te suscipiat,
et cum Lazaro quondam paupere aeternam habeas
requiem.
M. LEGRAND
Boys
CLAYDERMAN
Requiem aeternum dona eis, Domine: et lux perpetua
luceat eis.
Chorus
Requiescant in pace. Amen.
The
poems of Wilfred Owen are reprinted by
permission of Mr. Harold Owen and Chatto & Windus
Ltd.
VANGELIS
AT STOKE CHURCH, GUILDFORD.
TUESDAY MARCH 18th 1986
at 8.30pm
TICKETS £5.00
FROM WOKING 63626.
Violas:
Sunday 23 March 1986 at 3.p.m.
Civic Hall, Guildford.
Stephen Wright
Kathy Burgess
Jean Burt
Crossley Clitheroe concert.
Rimsky Korsakov
Prokofiev
Rachmaninov
Overture ‘A May Night’
Piano ConcertoNo 3in C
Symphony No 1 in D Minor
Conductor
Pianoforte
Vernon Handley
Yukie Nagai
Frederick Campbell
Celi Azulek
Robert Winquist
Paul Morris
Leonard Lock
Cellos:
Steven Milne
John Stilwell
Christina Macrae
Sunday 6 April 1986 at 3.p.m.
Civic Hall, Guildford.
Variations on a theme of Haydn
(St Anthony Chorale)
Cello Concerto in E Minor
Symphony No S inD
Sir Charles Groves
*Robert Cohec
Brahms
Elgar
Vaughan Williams
Conductor
Cello
*Please note change of soloist
Tickets: £5.50., £4.50., £3.70., £3.10., £2.50.,
(Children aged 16 and under half price).
Box Office: Civic Hall, Guildford. Tel: 67314
A & N Travel, Guildford. Tel: 68171
John Franca
John Hursey
John Macrae
John Kirby
Basses:
Stephen Williams
Mary Scully
Michael Fagg
Jeremy Gordon
Martin Myers
James Hamilton
Flutes:
Henry Messent
Alexa Turpin
GUILDFORD PHILHARMONIC ORCHESTRA
Artistic Adviser — Vernon Handley
Piccolo:
Simon Hunt
Oboes:
Andrew Cauthery
Chamber Orchestra:
First Violin:
Second Violin:
Viola:
Cello:
Double Bass:
Flute:
Oboe:
Clarinet:
Bassoon:
Horn:
Percussion:
Harp:
John Ludlow
Nicholas Maxted-Jones
John Graham
Geoffrey Thomas
Michael Lea
Katharine Hill
Deirdre Dods
Wilfred Goddard
Nicholas Hunka
David Clack
Christopher Nall
Miriam Keogh
First Violins:
Leader: Arthur Price
Sheila Beckensall
Philip Augar
Ann Greene
Cor Anglais:
Janice Knight
Clarinets:
John Stenhouse
Colin Courtney
Rosemary Roberts
Bassoons:
Hywel Jones
David Chatterton
Julie Andrews
Contra Bassoon:
Marilyn Downs
Peter Fields
Martin Frewer
Martin Gill
Ruth Knell
Alan Pook
Nicholas Reader
Andrew Thurgood
Brian Newman
Lyn Evans
Trumpets:
Simon Ferguson
Andrew Mitchell
Colin Moore
Gary Bimpson
Trombones:
Ian White
Christopher Guy
Bass Trombone:
Martin Nicholls
Tuba:
David Morgan
Timpani:
Roger Blair
Percussion:
Nigel Charman
John Cave
Rodney Newton
Peter Fry
Gerald Kirby
Felicia Lane
Organ:
Timothy Venvell
Administrator:
Kathleen Atkins
Concerts Assistant:
Paul Hilliam
Second Violins:
Stephen Dinwoodie
Aaron Tighe
Ronald Harris
Duncan Hollowood
Gordon Carr
Bass Clarinet:
Paul Allen
Charlotte Edwards
Peter Jenkins
Susan Thomas
George Woodcock
Victor Slaymark
Guy Bebb
Philip Sutton
Peter Clack
E flat Clarinet
Susan Borrett
Peter Newman
Alec Suttie
Horns:
Ruth Dawson
Rosemary Van Der Werff
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.
Guildford Philharmonic Society
(Charity Registration 288295)
Wilks Head & Eve
INCORPORATING
William Eve & Sons
of Guildford
®
The Guildiford Philharmonic Society is the ‘Supporters Club of the
Guildford Philharmonic Orchestra and was originally founded
with the prime object of encouraging not only its members but
also the general public in the awareness of and to attend the
season of concerts in the Civic Hall by the Guildford Philharmonic
Orchestra. It still has this main object but also the Society assists
with the provision of the fiances for considerable extra publicity
for the concert season. The Society is a registered charity and
welcomes the payment of subscriptions by a Deed of Covenant, as
the Society can claim from the Inland Revenue tax at the basic rate
for the time being in force. Payment by this method also ensures
that the subscription is not raised for four years but members also
receive certain benefits in return for a very modest minimum
annual subscription and these facilities include:
Rating & Valuation Consultants
to Local Authorities
® Priority booking at the beginning of each conceért season
® An Additional discount on Subscription Series Tickets
® The Society’s newsletter
® Special Events such as visits to other concert venues, musical
evenings in members’ homes and certain social gatherings
during the season
e The opportunity to attend rehearsals of the Orchestra by
applying to the Orchestra’s Office
e New Members to the Society are always welcome and by being
a member you are also helping to ensure the continued success
of the Guildford Philharmonic Orchestra.
The membership rates are as follows:
9 Harley Street
London W1N 2AL
Telephone 01-637-8471
TELEX 27157 WIHEVE G
Annual Subscription (minimum)
Husband and Wife—Joint Subscription (minimum)
Persons under the age of 18 (minimum)
Retirement Pensioner (minimum)
£5.00
£8.50
£3.50
£3.50
Ifyou would like to join the Society, Covenant forms are obtainable
from the General Administrator below or you may send a cheque
for your subscription together with your name and address to:
Mr R A Forrow
Flat No 3, 6 Mareschal Road
Guildford Surrey GU2 5JF Tel: Guildford 575274
SUPPORT YOUR
ORCHESTRA!
IT
NEEDS YOU!!
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 1985/86 SEASON:
12 October 1985
Schubert Songs
Conductor: Simon Halsey
Guildford Civic Hall
24 November 1985
Handel Dixit Dominus
Bach Magnificat
Guildford Civic Hall
15 December 1985
Carol Concert
Conductor: Simon Halsey
Guildford Civic Hall
1 February 1986
Holst’s The Planets Suite
(Ladies Chorus)
Guildford Civic Hall
Holst's The Planets Suite
Leas Cliff Hall
(Ladies Chorus)
Conductor: Vernon Handley
Folkestone
Britten War Requiem
Warwick
Conductor: Sir David Willcocks
Conductor: Vernon Handley
9 February 1986
7 March 1986
Conductor: Simon Halsey
8 March 1986
Britten War Requiem
Conductor: Simon Halsey
Guildford Cathedral
3 May 1986
TippettA Child of Our Time
Guildford Cathedral
Conductor: Sir Charles Groves
The Philharmonic Choir meets on Monday evenings from 7.15
young singers (all voice parts) with good
p.m. The Choir welcomes applications from
sight reading ability.
Enquiries: Administrator, Guildford Philharmonic Choir Office,
The Lodge, Allen House Grounds, Chertsey Street, Guildford, GU1 4HL. Tel: Guildford 573800.
ooy
UNIVERSITY
OF SURREY
DEPARTMENT OF MUSIC
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)
Aren’t
you ]“Cky
& Robert Shaw & Partners
R.
=
nics
e
Andrew D. Macvean, B.Sc. (Est.mMaN) F.R.I.C.S. pip.coN.
Consultant: Robert O. Shaw, F.R.I.C.S.
3TUNSGATE
COMMERCIAL HOUSE
GUILDFORD. GU13RF
CHAPEL STREET, WOKING. GU21 1BY
(0483) 572915
(04862) 61026
An independent firm established in 1936 offering consultancy especially in
BUILDING SURVEYING & DESIGN
PLANNING APPLICATIONS & APPEALS
COMMERCIAL PROPERTY
—
)
We wish Guildford Philharmonic Orchestra, Choir,
Society and audiences an inspiring and enjoyable season
J
HELP ONHAND
available now.
If you think that this system could be of assistance to you or your family then call
David Thew on
GUILDFORD 505050
who will be happy to talk to you about HELP ON HAND
Guildford Borough Council
Millmead House, Millmead, Guildford GU2 5BB
“
@
Grounds
Museum \
i <
* »
feldute for dfleasure
Tom
P
R %
5u£ldfo'cd oBo’coug/z Council
For sauna, solarium,
squash, swimming, keep
fit and much more! Tel:
G. 571651/3 or 505027
after 5 pm and
House
155 High Street
g
London Road
the present day. Open
Mon-Sat 11am - 5pm.
Admission free. Tel: G.
Quarry Street
503497.
Parks, gardens and open
spaces throughout the
weekends.
Parks &
Open
Spaces
For all kinds of family
The
Varied art exhibitions
throughout the year.
Open 10.30am to 4.50pm
Mon-Sat. Admission
free. Tel: G. 505050 or
503406 after 5pm and
entertainment — plus
facilities to hire for your
own events. Tel: G.
67314 or 502866 eves
and weekends.
The top professional
Guildford
orchestra of the South
Philharmonic
range of concerts and
Orchestra
Items relating to Surrey
dating from prehistory to
Castle Arch,
weekends.
Guildford
Guildford
Museum
East performing a full
recitals at the Civic Hall.
Tel: G. 573800.
16l
borough for all tastes
and interests. Tel: G.
505050 ext. 3501 for full
details and to book
outdoor sports facilities.
Open air heated
swimming pools set in
rolling lawns and
beautiful gardens. Open
May to September 11am
Stoke Road
- 7pm. Tel: G. 505207.
Yeoman’s
all types of dry sports.
Bridge
full details.
At Manor Road Ash. For
Tel: Aldershot 25484 for
Sports Hall
g (Open 9.30am - 5pm Mon - Fri; 9.30 - 4.30pm Sat. Closed 12.30 -1 .30pm Mon - Sat.)
For full details of these and other places and events, contact:"
Tourist Information Centre, Civic Hall, Guildford. Tel: G. 67314.