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Tippet Child of our Time [1986-05-08]

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Subject:

Tippet: Child of our Time

Classification:

Concert

Sub-classification:

Programme

Location:

A1 Programmes

Year:

1986

Date:

May 8th, 1986

Text content:

St david’s Hall

Neuadd Oewi Sant

Guildford Philharmonic
Orchestra

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St Oavid’s Hall
Neuadd Oewi Sant
Director: Michael V. Tearle TMA. FILAM

Thursday 8 May 1986

7.30pm

GUILDFORD PHILHARMONIC
ORCHESTRA
Conductor
SIR CHARLES GROVES
Soprano

Contralto

JO ANN PICKENS

LINDA STRACHAN

Tenor

Bass

IAN CALEY

MATTHEW BEST
PHILHARMONIC CHOIR

GOLDSMITH'S CHORAL UNION
BEETHOVEN
Symphony No 1in C Op 21
Interval

TIPPETT
A Child of Our Time
A Spring '86 Subscription Concert
Next Subscription Concert:
SATURDAY 10 MAY — THE DRESDEN PHILHARMONIC
St David's Hall is owned, managed and funded by the City of Cardiff.
Acknowledgement is given to the Welsh Arts Council for support of the serious music programme.
Programme 50p

Programme Notes

The third movement is a minuet in name
only, and is really the first of the Beethoven

scherzi. Nobody ever danced to a minuet as

Symphony No 1in C, Op 21

fast as this. Berlioz thought it to be the only

BEETHOVEN (1770-1827)

original stroke in the work, but even Berlioz

1. Adagio molto: allegro con brio
2. Andante cantabile con moto
3. Minuet: allegro molto e vivace
4. Finale. Adagio: allegro molto e vivace
Beethoven's nine symphonies, taken
collectively, are among music's fundamental

experiences, the episode within which the
symphony expands musically and
intellectually, and becomes capable of a
whole new range of expression, an act of
liberation, a process of evolution.
Consider the overpowering humanity of the
Eroica and its architectural span. Consider

the steadily mounting drama of the fifth, the
poetry of the Pastoral, the rhythmic impulse
of the seventh, the noble apotheosis of the

Choral.
But does the first of them really belong to this

catalogue? Does not revolution really start
with the Symphony No 2, where Beethoven

seems to slam the door shut on the preceding
century? Is not the first just a conventional
classical symphony? So it might be argued.
But the proposition must be resisted. The last

three symphonies of Mozart and at least two of
the last dozen of Haydn are possibly finer
works in themselves, but Beethoven's
Symphony No 1 is right in its place, the base
from which the revolution started, with
sufficient classical precedents to announce
its debt to tradition and enough prophesy of
things to come to suggest the giant flexing

his muscles and testing his strength.

There is much to strike us as original if we
can adjust ourselves to listen with the ears of
an audience of 1800.
Beethoven's career as a symphonist starts
with a discord and its resolution. He is
demanding our serious attention at once.

The accompaniment of drums, marked
piano, in the slow movement was unusual in

its time and is a foretaste of Beethoven's

ingenious use of the instrument to create

could be wrong. What on earth could he have
meant when he called the last movement

"‘clear and alert, but slightly accentuated,

cold and sometimes mean and shabby''?
Had he lost his sense of humour? At the start

of this movement, Beethoven shows he can

enjoy a joke as much as Papa Haydn. The

dashing away with the dancing tune which
is the movement's main subject. And there is
plenty of bright invention in Beethoven's
handling of the development argument
which follows.
Admittedly a slighter work than its
successors, but its nature at the start of the
cycle makes us realise forcibly how
revolutionary were the abrupt gestures of the
second symphony which followed two years

later.

Generally, the origins of Beethoven's most
important works are easily traced. Those of

the Symphony No 1 are more obscure. He
had arrived in Vienna from Bonn in 1792 to
study counterpoint under Haydn, and
decided quite soon that the greatest living
composer had little to teach him. Haydn

agreed. Beethoven began to study under
Albrechtsberger in 1794, and it seems likely
that he made the first sketches of this

symphony in that year. He probably put it on‘
one side until 1799 and then re-wrote most of ~

it. It was heard for the first time at a concert

of his music in Vienna on April 2, 1800.
Critics complained that the wind
instruments were too prominent, the

orchestra found it difficult to play, and in any
event, the musicians were bad friends with
Paul Wranitzky, the conductor, and were
unlikely to do their best for him.
What was heard could hardly have been an
intelligent performance, or a propitious start
to Beethoven's momentous career as a
symphonist. How many there could have

foretold what this symphony was starting?

tension in the later symphonies. The adagio
of the Symphony No 4, the dark foreboding at

the end of the scherzo of the fifth symphony,
the sustained pedal note to which Weber
objected so strongly in the seventh, have
their roots here.

violins make a number of false starts before

INTERVAL

A Child of Our Time

The oratorio, completed in 1942, balances the

SIR MICHAEL TIPPETT (born 1905)

particular against the universal. Sir Michael
wrote his own text and has explained that

That Sir Michael Tippett is the greatest living

Part One deals with “‘the general state of

British composer is beyond dispute. When he

affairs in the world today as it affects all

celebrated his 80th birthday last year the

individuals, minorities, classes or races who

commemorations reached far beyond his

are felt to be outside the ruling conventions —

native land, confirming his status in world

man at odds with his shadow."’ Part Two

music.

introduces the child, his action and the

But, we had to ask ourselves, could the man

resulting vengeance, but Part Three ends

really be 807 Spritely of step, bright of eye,

with a message of consolation, perhaps even

always abreast of events in conversation, Sir

of hope.

Michael's enduring youth defies statistics.

Sir Michael's design resembles that of Bach

This zestful spirit also characterises the

in the St Matthew Passion. The soloists

music, which has always been notable for its

sometimes narrate, sometimes comment, the

stimulating joy of discovery. Ideas proliferate

chorus do the same, and sometimes

but discipline ensures logic in their

participate in the drama.

succession. One senses a razor-sharp

Bach interspersed the St Matthew Passion

intellect progressing from one point to the

with the chorales of his day. Sir Michael

next, yet Sir Michael is never out of touch

provides a parallel in negro spirituals, five of

with his audience.

which are blended into the score with

There is a line towards the end of
A Child of

hauntingly beautiful and tenderly poignant

Our Time which itself is a clue to much of Sir

effect.

Michael's work. The tenor sings ‘I would
know my shadow and my light, so shall I at

PART ONE

last be whole''.

1. Chorus

These words in an early Tippett success

The harsh opening bars suggest the cruelty

surely describe the self-examinations of The

out of which events arise, the answering

Midsummer Marriage (staged so splendidly

strings tell us we shall learn about

by Welsh National Opera in 1976) and the

compassion as well. Sir Michael's pattern is

dilemmas of The Knot Garden. It surely

characteristically rich as the chorus sings

foretells the motivations of Jennifer and

““The world turns on its dark side . . . it is

Mark, of Thea and Faber. So Sir Michael's

winter''.

music seems to follow a charted road.

2. Contralto. The argument

He has never been a composer in the ivory

““Man has measured the heavens with a

tower, or an artist watching events from the

telescope, driven the gods from their

sidelines. He is intensely involved in the

thrones'’.

world around. It was, then, natural that he

3. Chorus and contralto

should be deeply disturbed by the

Following a trio for two flutes and a viola, the

increasingly cruel persecutions which

chorus demand, almost in desperation ‘‘Is

darkened the 1930s. A Child of Our Time was

evil then good? Is reason untrue?’’ The

based on an actual incident, but that

contralto answers ‘‘Reason is true to itself,

incident is simply the basis from which

but pity breaks open the heart’’. The choral

springs a general protest against man's

outburst ““We are lost'’ cuts dramatically

inhumanity to man.

across the tranquillity of the repetition of the

In 1938, a young Jewish boy who had found

flutes-viola trio.

refuge with an uncle and aunt in Paris, driven

4. Bass. The narration

to distraction by the appalling treatment of

A recitative describing how in all nations the

his people by the Nazis at home in Germany,

outcast is the scapegoat, made to suffer for

shot and killed the German diplomat von

the general wrong . . . ‘pogroms in the east,

Rath. In France, he was sent to prison. In

lynchings in the west’’ . . . ' A great cry went

Germany, the Nazis seized on the murder as

up from the people’” . ..

an excuse for even more savage treatment of

5. Chorus of the oppressed

the Jews and wreaked a terrible vengeance.

... and that cry asks '‘When shall the

So his action unwittingly increased the

usurer's city cease’’, and is treated fugally.

dreadful oppression of a whole community.

6. Tenor

17. Bass and contralto

An agitated aria in tango rhythm describes
the plight of the poor child. “'I have no money
for my bread, I have no gift for my love. I am

Recitatives describe how the boy becomes

caught between my desires and my

official”".

frustrations as between the hammer and the
anvil. How can I grow to a man's stature?"’

“desperate in his agony'’ and when authority

meets him with hostility ‘‘he shoots the
18. Bass. The narration

7. Soprano

A single comment tells the result of his
action. ‘'They took a terrible vengeance."’

The plea is echoed. 'How can I cherish my
man in such days, or become a mother in a

19. Chorus. The terror
An almost hysterical fugue tells us what the

world of destruction?”’

vengeance was. ‘'Burn down their houses.

8. Chorus, soprano and tenor
Here Sir Michael introduces the first of the
spirituals. The luminous line of the soprano

Beat in their heads. Break them in pieces on

soaring over the chorus in Steal Away makes
this one of the most beautiful episodes in a

Sorrow is implicit. ‘*‘Men were ashamed of
what was done. There was bitterness and

score which contains many.

horror".

PART TWO

The third spiritual, this time combining a
dignified plea with mounting anger. "'Go
down Moses, way down to Egypt land. Tell

9. Chorus

In Part Two we move to the specific, and the
scapegoat already prophesied in No.4
appears. The chorus tells us "' A star rises in
mid-winter. Behold the man. The scapegoat.
The child of our time!"’
10. Bass. The narration

““And a time came when in the continual
persecution, one race stood for all'’.

11. Chorus of persecutors and persecuted
The music becomes more agitated as the
persecutors demand ‘‘Away with them . . .
curse them . . . killthem . . ."" and the
victims cry ‘‘Why, why?"'

12. Bass. The narration

“Where they could, they fled from the terror.
And among them, a boy escaped secretly,
and was kept in hiding in a great city'’.
13. Chorus of the selfrighteous
““We cannot have them in our empire . . . let
them starve in No-Man's Land''.
14. Bass. The narration
“And the boy's mother wrote a letter
saying'' . ..

15. Quartet

The mother (soprano) ‘O my son, in the
dread terror, they have brought me near to

death'’. The boy (tenor) declares he will defy
the world to save her. His aunt (contralto) and
uncle (bass) urge caution, but he is
determined.

16. Chorus, soprano and tenor
The second spiritual ‘‘Nobody knows the

trouble I see, Lord.” In a jaunty rhythm.
Again, the setting of the solo voices against
the chorus is most effective.

the wheel'".

20. Bass. The narration

21. Chorus and bass

old Pharaoh to let my people go''.
22. Tenor. The boy sings in his prison

An eerie figure high in the violins gradually
descends. The boy's music is heavy with
disillusionment. ‘‘My dreams are all
shattered in a ghastly reality.”” The high
violins return. Despairingly, he cries
““Mother!"
23. Soprano

The mother mourns. ‘‘What have I done to
you my son!"’'

24. Contralto

““The dark forces rise like a flood. Men's
hearts are heavy. They cry for peace’'.
25. Chorus and soprano
Hope answers despair. Soprano (another
glorious line) and chorus sing the fourth
spiritual ‘'O by and by, I'm going to lay down
my heavy load’".
PART THREE

26. Chorus

““The cold deepens. The world descends into
the icy waters wherein lines the jewel of
great price."”

27. Contralto
The music quickens and becomes

syncopated. ‘' The soul of man is impassioned
like a woman. Her face will be illumined like
the sun. Then is the time of his deliverance."”
28. Chorus and bass
Questions and answers between chorus and
bass culminate in the choral demand “‘What

of the boy, then?'’ The bass replies ‘‘He, too,

30. Chorus and soloists

is outcast, his manhood broken in the clash

Now the oratorio climbs to its radiant peak,

of powers’’. God overpowered him, the child

as tragic lamentation gives way to

of our time."’

consolation and hope. The soloists continue

29. Chorus and soloists

to weave patterns over the chorus in the fifth

A peaceful interlude for two flutes and a cor

and last spiritual, Deep River, the soprano

anglais begins the build-up to the oratorio’s

line is ecstatic, then the music fades on a

climax. The tenor sings ‘I would know my

final whispered choral ‘‘Lord’.

shadow and my light”’, and after the chorus

have dealt with this music, the soloists have
an elaborate wordless passage.

SIR CHARLES GROVES
Charles Groves was born in London and
spent his boyhood as a chorister at St Paul's

Cathedral. His exceptional musicianship was
early recognised as a pianist, organist and
conductor, and while still a student at the
Royal College of Music he accompanied

Toscanini's choral rehearsals for the BBC.

On leaving the Royal College of Music he
joined the BBC Opera Unit and when 29 was

appointed conductor of the BBC Northern

Symphony Orchestra. In 1951 he left
Manchester to become Music Director of the

Bournemouth Symphony Orchestra and after
ten years he became Music Director of Welsh

National Opera, with whom he had been

associated for many years.

In 1963 he moved to the Royal Liverpool
Philharmonic Orchestra where he spent 14
productive years including the first complete

cycle of Mahler's symphonies by a British
conductor, and conducting much
contemporary music as well as encouraging

many young conductors and artists. He made
numerous records for EMI with the

Orchestra, and took them on regular foreign
tours.

In 1977 he became Music Director of English
National Opera, a post he relinquished in

1980 to devote more time to freelance opera
and orchestral concerts both here and

abroad.

Since 1967 he has had an affectionate
relationship with the Royal Philharmonic
Orchestra as their Associate Conductor and
early in the 1983/84 season conducted a

complete cycle of the Beethoven symphonies

with them in London.

Sir Charles enjoys a regular association with
the Los Angeles Philharmonic Orchestra, and
other forthcoming overseas engagements

include concerts in West and East Germany,
Holland, Israel, Hungary, Japan and Hong

includes The Countess, Donna Elvira,
Fiordiliga, Madame Lidoine, the Leonoras in
Forza and Trovatore, and various roles in
Porgy and Bess.

Since winning the Concours International de
Chant deParis, the Benson & Hedges Gold

Award for Concert Singers and the
Metropolitan Opera Regional Auditions in
New York, she has become recognised as a

world-class artist in both her native USA and

month who are delighted that he is

particularly in Europe. Important concerts in
the USA include a performance of Elijah at
the Carnegie Hall;, Britten's War Requiem
also in New York; arecital at the Merkin
Concert Hall and an appearance with the
Chicago Symphony Orchestra under the
direction of Sir Georg Solti. In France she
gave a highly praised series of Verdi
Requiem performances with Michael Plasson
after winning the Concours International,
and is now much in demand as a recitalist.
She made her German debut in 1984 with

orchestra.

the Verdi Requiem.

Kong.

In 1985 Sir Charles celebrated his 70th
birthday and during the weeks surrounding
this anniversary he appeared in London with
the Royal Philharmonic Orchestra, the
London Symphony Orchestra, the
Philharmenia, the BBC Symphony Orchestra
and for the Royal Philharmonic Society.
Sir Charles Groves conducted the Guildford
Philharmonic Orchestra in Guildford last
continuing his association with the

concert performances of Porgy and Bess and

In Britain she has appeared at the Benson &
Hedges Festival, replacing Teresa Berganza
in Rossini's Petite Messe Solonelle; the
Aldeburgh Festival in Britten's War Requiem
conducted by Simon Rattle; Britten's War
Requiem again, with Richard Hickox and the
Bournemouth Symphony Orchestra at the
Portsmouth Festival, London's Barbican
Centre in a Beethoven programme and the
Rovyal Festival Hall, Verdi Requiem, this latter
performance with the Guildford Philharmonic
Orchestra, Philharmonic Choir and
Goldsmiths Choral Union.

In 1985 alone she appeared with the City of
Birmingham Symphony Orchestra in Berlioz'

Nuits d’Eté under the direction of Okko Kamu
— the concert was such a success that she
was immediately re-invited to take part in a
Grand Opera Gala; at the Festival Hall; in
Leicester for a performance of Elijah; in
Guildford, a Verdi Requiem; Malvern
Festival, A Child of Our Time; return visits to
the Aldeburgh Festival, St John's Smith

Jo Ann Pickens started her singing career in

Chicago where she was associated with the
Chicago Lyric Opera, presenting roles such
as Mimi in La Boheme and Annina in La
Traviata. She also participated in the Sante
Fé Opera Program. Her operatic repertoire

Square; another recital recording for the BBC;
and a return visit to the Bournemouth
Symphony Orchestra for performances of the
A Child of Our Time. In
Verdi Requiem and
addition to these engagements in Britain, Jo
Ann Pickens gave recitals in Canada,
Brittany and Rossini's Petite Messe Solonelle
in Paris. Further engagements this season for
Jo Ann Pickens include a War Requiem in

Bournemouth; Verdi Requiem performances

Alexander Nevsky with the Scottish National

at the Royal Albert Hall (the Malcolm Sargent

Orchestra and Chorus in the City Hall,

Birthday Concert) and Fairfield Hall.

Glasgow. She returned to the Scottish

Engagements abroad include a series of

National Orchestra in 1984 for performances

Beethoven Ninth Symphony concerts with

of Mahler's Leidereines Fahrenden Gesellen

Kurt Sanderling and the Los Angeles

conducted by Sir Charles Groves.

Philharmonic Orchestra; a series of Mozart

Linda Strachan has appeared in the Queen

Requiems in France, and appearances at the

Elizabeth Hall with the Chelsea Opera Group

Aréne at Nimes in Verdi's
Il Corsaro. In this

and other recent engagements have included

country, most exciting is the forthcoming

a broadcast recital in Jerusalem and concerts

complete performance of Berlioz' The Trojans

for both 1982 and 1983 Dartington Summer

zf’ at the Portsmouth Festival, in which she will
take the role of Cassandra.

Schools. Her interpretation of the role of
Lucretia in Britten's The Rape of Lucretia has
been broadcast on BBC Radio London.
Linda Strachan won first prize in the 1983
Grimsby International Competition for

Singers.

Engagements in 1984/85 included a series of
London concerts with the Orchestra of St

John's Smith Square and concerts with the
Scottish National Orchestra, the City of
Birmingham Symphony Orchestra and the

Royal Liverpool Philharmonic Orchestra.
Amongst the forthcoming engagements in

1986 she has been invited to take part in
Benjamin Britten's Spring Symphony at the
Aldeburgh Festival.

LINDA STRACHAN
Linda Strachan was born in Dundee and
studied with Marjorie Blakeston at the Royal
Scottish Academy of Music and Drama. In

1980 a Countess of Munster award enabled
her to take a postgraduate course at the
Guildhall School of Music and Drama and the
following year, she undertook the Opera
Course there. It was at the Guildhall that
Linda Strachan began her work with

Margaret Lensky with whom she still studies.
She was a finalist in the 1981 Kathleen Ferrier
Memorial Scholarship and in 1982 a Peter

Stuyvesant Scholarship enabled her to

further her studies at the National Opera

IAN CALEY

Studios.

Since making his debut at the Glyndebourne

Linda Strachan has given many concerts

Festival of 1972, in Monteverdi's
Il Ritorno

throughout Scotland including Prokofiev's

d'Ulisse in Patria, lan Caley has become one

of Britain's most versatile and wide-ranging
tenors.

Born in Preston, he studied at the Royal
Manchester College of Music, entering as a
pianist and turning subsequently to singing.

Ian Caley’'s work covers opera and operetta,
concerts, recitals and recordings and his
repertoire covers music ranging from the

pre-classical to the contemporary.
Ian Caley sings as a guest with a numbez of
opera companies. In Britain, he made his

Royal Opera House debut in 1978 in Verdi's

Otello and sings regularly with the English
National Opera, Opera North and Scottish
Opera. Abroad he has been acclaimed for his
performances in the title roles of Tom
Rakewell in Paris, Benedict in Beatrice et
Benedict at the Festival Berlioz in Lyon,
Idomeneo in Palermo and Albert Herring in
Geneva. He has also performed in many other
major houses including La Fenice, Venice,

and the operas of Rome, Lyon and Marseilles.
His concert work has taken him to most
European countries, to Israel and Japan, and
to Eastern Europe, and has led to his working
with many distinguished conductors,
including Barenboim, Boulez, Giulini,
Groves, Ozawa and Rattle. Ian Caley sings
regularly with the London and provincial

orchestras and has taken part in important
recitals series in the Paris Opera and the

Theatre de la Monnaie in Brussels.
As well as regular television and radio
broadcasts, both in Britain and abroad, Ian
Caley has made several recordings, the most
important being Hippolyte et Arcie (Rameau)
conducted by Jean-Claude Malgoire and The

Seven Deadly Sins (Weill) conducted by
Simon Rattle.

Current and future engagements include
major productions in Bordeaux and Luzern
and in May 1986, he will make his German
operatic debut by singing the leading tenor
role in the world premiere of Hans Zenders

opera Stephen Climax at the Frankfurt Opera.

MATTHEW BEST — Bass
Matthew Best was born in 1957 and
educated as a choral scholar at King's
College Cambridge and at the National Opera
Studio where he worked with Elisabeth

Schwarzkopf and Tito Gobbi among others.
Between 1977 and 1980 he was a pupil of the
late Otkar Kraus and at present studies with
Robert Lloyd.

While at University Matthew Best made his
opera debut as Seneca in the Coronation of

Poppea which brought him immediate
recognition in the national press. After

appearing in the 1980 Aldeburgh Festival
production of A Midsummer Night’'s Dream,
he joined the Royal Opera as a Principal Bass
in September of that year and has since
appeared in many productions under such
conductors as Muti, Davis, Mackerras,

Mehta, Haitink and Svetlanov. In 1982 he
made his debut with the WNO as Count

Ribbing in Un Ballo in Maschera and
returned there in spring 1984 to sing Colline

in La Bohéme. In 1983 he made his debut
with Glyndebourne Touring Opera as Don

Fernando in Fidelio and the King in Love of
Three Oranges. In addition he has been bass
soloist in several performances of Les Noces
with the Royal Ballet and has recorded for

EMI, Decca and Phonogram working with
Ashkenazy and Neville Marriner.

This season Matthew Best has sung
Sparafucile in the Welsh National Opera’'s
production of Rigoletto and in Covent

Garden's productions of Turandot, Salome
and Barber of Seville. Future engagements

-Include Arabella, Eugene Onegin, Fidelio,

and concert performances of Semiramide at

the Royal Opera House.

Matthew Best also appears regularly on the
concert platform and concerts last season

included Missa Solemnis with the London

Philharmonic Orchestra conducted by Jesus

Lopez-Cobos, the Messiah also with the LPO
in the Royal Albert Hall, the Verdi Requiem

THE GUILDFORD PHILHARMONIC
ORCHESTRA
The Guildford Philharmonic Orchestra is
the °
professional ‘‘Orchestra of the South East’’

Founded in 1945 by Guildford Borough

Council, it has a regular playing strength
of
75 Musicians led jointly by Hugh Bean and

John Ludlow.

The Guildford Philharmonic Orchestra gives

a winter season of concerts in Guildford's

Civic Hall, promoted by Guildford Borough

Council with financial assistance from the
South East Arts Association and with the
support and goodwill of the Guildfo

with the Brighton Philharmonic conducted
by Heltay and the Messiah and Petite Messe

Philharmonic Society (the orchestra’s active

Istanbul.

industry. This series has attracted nationa

Solenelle with the Philharmonia Chorus in
Future concert engagements included
performances of The Trojans at the

Portsmouth Festival, and the Missa Solemnis
in Salisbury Cathedral.

Also involved in conducting and composing,
Matthew Best founded the Croydon Singers

concertgoers society), local commer

ce and

n of

works by British composers, and its
performances of ‘Enterprising’ works as

as the standard repertoire. Since 1972,

extending from Salisbury — Canter

bury to

Ipswich. The Guildford Philharmonic

performances and commercial recordings
including a concert of the St Matthew

venues as a chamber orchestra.

also conducted two performances of his own
opera Alice at the 1979 Aldeburgh Festival.

well

under

the sponsorship of the South East Music
Trust, concerts have been given over
an area

and Chamber Orchestra in 1973 and has
since directed them in numerous

Passion in the 1983 Sevenoaks Festival. He

attention owing to the regular inclusio

Orchestra also performs in smaller concert

The Orchestra's first Musical Director,
Crossley Clitheroe, was succeeded in
1962 by
Vernon Handley, who remained with the
Orchestra until 1983 and who is now the

Orchestra’s Artistic Adviser. Other

conductors appearing with the orchest

during the current season include Sir

Charles

Groves, Wolker Wangenheim, Brian Wright
and Sir David Willcocks.

The Orchestra has recorded works by
Bax,
Liszt, Chopin, Moeran and Finzi, and further

records are planned.

GUILDFORD PHILHARMONIC CHOIR
Guildford Philharmonic Choir ( formerl
y 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
Intimations of Immortality with the
Guildford
Philharmonic, and in 1976 recorded Hadley'
s
The Trees So High with the Philharmonia

Orchestra, both recordings being conduc
ted
by Vernon Handley. Simon Halsey was
appointed Chorus Master in 1984 and

in this

he acknowledges the assistance of Neville
Creed and the choir's accompanist,

Christopher Mabley.

During 1985 the Guildford Philharmonic

At the Haunted End of the Day. In 1982 the

Choir and Guildford Philharmonic Orchestra

Goldsmiths Choral Union celebrated its

joined forces with the Goldsmiths Choral

Golden Jubilee and made its first appearance

Union for a performance of Verdi's Requiem

at the Barbican Centre. In 1983 the Choir

at the Royal Festival Hall, London.

gave Royal Festival Hall performances of

Concert programmes given during the

Beethoven's Mass in D, Carl Orff's Carmina

1985/86 season have included works by

Burana and Constant Lambert's Rio Grande,

Bach, Handel, Britten, Holst and Tippett,

and Barbican performances of Beethoven's

with conductors, Sir David Willcocks, Simon

Mass in C and Bruckner's Mass in E Minor.

Halsey, Brian Wright and Sir Charles Groves.

In January 1984 the Goldsmiths Choral Union

In November 1986 the choir will perform

were invited by the Royal Philharmonic

Berlioz's Te Deum in Paris, under Simon

Society to take part in a performance of

Halsey.

Delius’'s Requiem at their Sir John Barbarolli
Concert.

GOLDSMITHS CHORAL UNION
Goldsmiths Choral Union was founded by the

late Frederick Haggis and now ranks as one
of London's finest amateur choirs. Under its
present conductor, Brian Wright, it has

performed at all the capital's major concert
venues and has broadcast frequently.

In 1981 the Choir won the United Kingdom
final of the Large Choirs Section in the BBC
Let the People Sing Competition and

appeared in Tony Palmer’'s award-winning
ITV documentary about Sir William Walton

Recent concerts have included performances

of Handel's Messiah at the Fairfield Halls,
Croydon, two performances of Elgar's The
Dream of Gerontius, one of which was in
celebration of the 100th anniversary of the

Brompton Oratory, Delius's Sea Drift with
Brahms's
A Germany Requiem at the Royal
Festival Hall and a Barbican performance of
Bach's Mass in B Minor.
Sir Charles Groves currently holds the
position of Patron of the Goldsmiths Choral
Union.

GUILDFORD PHILHARMONIC ORCHESTRA
Artistic Adviser: Vernon Handley

First Violins
Associate Leaders:
Hugh Bean
John Ludlow

Cellos
Geoffrey Thomas
Martin Thomas
Tina Macrae

Horns
Peter Clack
David Clack
George Woodcock

Arthur Price

John McCrae

Sheila Becke.nsall

John Fr.anca

Ronald Harris
Trumpets

Andrew Davies

John Kirby

Patricia Reid

Chgrlotte Edwards

Robert Hoppe

Judith Edwards

Simon Chaney

Barbara Moore

Basses

Philip Sutton

Jeremy Gordon

Peter Newman
Alex Suttie

Matthew Hart-Dyke

Peter Hodges
John Holt

Trombones
Ian White

Susan Thomas

Martin Myers

Bass Trombone

Peter Thomson

Paul Moore

Martin Nicholls

Peter Box

Arthur Wilson

;

)

Second Violins
Nicholas Maxted Jones

Flutes

T}mpanl
Simon Archer

Rosemary Roberts

Henry Messent

Percussion

Andrew Bentley

Simon Hunt

Charles Fullbrook

Stephep Dinwoodie

Ohos

Peter. Flel.ds

Deirdre Dods

Administrator

Martin Gill

Ann Creene

Kathleen Atkins

Jane Platt

Cor Anglais

Concerts Assistant

Alan Pook

Janice Knight

Paul Hilliam

Ruth Knell

Claire Sansom

Geoffrey Smith

Clarinets

Adrienne Sturdy

Hale Hambleton
Victor Slaymark

Violas

John Graham

Bgssoons

Frederick Campbell

Anna Meadows

Paul Appleyard

Contra Bassoon

Celi Azulek

Nicholas Reader

Jotnes Waller

Nicholas Hunka

Justin Ward
Paul Morris
Daniel Lyness

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.

Looking Ahead

Dates for the Diary

Saturday 10 May

Saturday 10 May 7.30pm

DRESDEN PHILHARMONIC

THE DRESDEN
PHILHARMONIC

ORCHESTRA

Jiri Belohlavek conductor

There is one musician who can be assured of
a great welcome at the next subscription

concert at St David's Hall on Saturday.

Christopher Warren-Green is back, this
time as a soloist.

He is a great favourite with the St David's
audience, always among the most popular

Christopher Warren-Green violin
Raphael Wallfisch cello

Philip Fowke piano

MUSIC BY BEETHOVEN
Overture Egmont Op 84
Concerto for Violin, Piano and Cello
Symphony No 3 (Eroica)

£3.00, £5.50, £7.50, £9.00

violinists to appear here. Cardiff remembers

UB40s half price

with gratitude his years as leader of the BBC

A Spring Subscription Concert

Welsh Symphony Orchestra, and the vital
part in their development as one of the

leading instruments in the British regions.

Since then, he has returned, always to
acclamation, as leader of the Philharmonia

and of the Academy of St Martin in the
Fields, and now he returns as one of the

soloists in Beethoven's not often heard Triple
Concerto for Violin, Cello, Piano and

Orchestra.

Tuesday 13 May 1.05pm

LUNCHTIME CONCERT
The Cann Duo

CLAIRE and ANTONIETTE CANN
Duo Pianists

Brahms

Hungarian Dances Set I

Ravel

(arr Harold Noble) Pavane pour une

Infante Defunte

Rachmaninov Suite No 2 Op 17
£1.00 Students, Senior Citizens, UB40s 60p

And there must surely be a warm welcome

too for the Dresden Philharmonic, a
famous orchestra adding a distinguished
contribution to the lively musical life of this

Thursday 15 May 7.30pm

BBC WELSH SYMPHONY
ORCHESTRA

phoenix city proudly risen from the ashes of

Jacek Kasprzyk conductor

war.

Roman Jablonski cello

The programme is all-Beethoven, including

the Eroica Symphony and the Egmont
overture. Jiri Belohlavek conducts, and the
other soloists are Raphael Wallfisch and

Philip Fowke.
Next Thursday our own BBC Welsh

Symphony will be back under Jacek Kaspryzk
with the first of Mahler's symphonies,
christened Titan because of its great power,

Dvorak

Cello Concerto in B minor

Mabhler

Symphony No in D minor

£3.00 £5.50 £7.50 £9.00 UB40s half price
Wednesday 21 May 7.30pm

WELSH CHAMBER

ORCHESTRA
Anthony Hose conductor

Caryl Thomas harp

Sir Geraint Evans narrator

and the greatest of all cello concertos,

Mozart

Dvorak’s beautiful work, generally regarded

Divertimento in D K136

Prokofiev

Peter and the Wolf

as his greatest and most tuneful

Dittersdorf

Harp Concerto

achievement, with Roman Jablonski as soloist.

Hayd

Symphony No 85 in B flat La Reine

£2.50 £4.00 £5.50 £7.00 Children £1 off top 3 prices

Thursday 22 May 7.30pm
Llandaff Restoration Appeal

MESSIAH FROM SCRATCH
Owain Arwell Hughes conductor

Huw Tregelles Williams organ
soloists include:

Penelope Walker

David Gwesyn Smith

Up to 2000 amateur singers required —
contact John Phillips, 6 The Avenue, Llandaff

Restdurdn‘:
LUNCH
Monday-Saturday — 12 noon-2.30 pm

DINNER (a la carte)

Thursday-Saturday — from 6.00 pm
(Other evenings as indicated in the Diary of Events)

SHOWSUDPPERS
Two course concert suppers from £5.75 available most evenings
Special price £5.25 if booked at same time as concert ticket

Our Catering Manager, Derek Price will be
pleased to discuss your Special Function requirements.
Phone him on (0222) 42611.

Reservations &(0222) 27211

“
The national concert and conference hall
St baV|sy’
d S Ha of Wales
owned and managed

Neuadd Oewi Sant

Director
General Manager
Senior House Manager
House Managers

Michael V Tearle
Aanthony Woodcock
Gary Iles
Michael Burns

House Supervisor

Nigel Fraser
George Seymour

Administrative

Manager

Box Office Manager

Graham Carbis
Sharon Davies

o e Cuyof carcit

Catering Manager
Derek Price
Technical Manager
Derek Hawker
Stage Manager
Peter Stewart
Senior Plant Technician Bill Gorman
Sponsorship Officer
Publicity Officer

Bob Skinner
David Nelson

Marketing Officer

Anne Bishop

Conference Executive

Sally Hart

BOOKING INFORMATION
Box Office: (0222) 371236
Mon-Sat 10am-8pm (Non-performance days 10am-6pm)
Telephone Bookings will be held for 3 working days

Sun/Bank Holidays 1 hour prior to performance

Creditphone: (0222) 35900 Instant telephone bookings with Visa/Access
Postal Bookings: Cheques/POs should be crossed, made payable to Cardiff
City
Box Office, St David's Hall, The Hayes, Cardiff, CF1 2SH. Please enclose

Visa/Access number to book by post.

Council and sent to

SAE You may also use your

Concessions:

Only one concession applies to any one ticket and must be applied for at time of purchase
All concessions are subject to availability and proof of eligibility may be required

Standby Tickets:

Subject to availability standby tickets at £3.50 (students £2. 50) are available for
selected symphony concerts if purchased within a period of half an hour before the performance
commences.

‘Refunds/Exchanges will only be made at the discretion of the Management

Conditions of Sale available on request at the Box Office
New Theatre Box Office Tickets for St David's Hall are available at the New Theatre (and vice versa)

GENERAL ENQUIRIES (0222) 42611
Guided tours take place most Saturdays at 10.30am and 11.30am. For further information contact

Management (0222) 42611

House

FRIENDS OF ST DAVID'S HALL

If you want to be the first to know when top class artists and orchestras are appearing,
become a Friend of
St David's Hall at a cost of only £6.00 per annum and enjoy:
* PRIORITY BOOKING for most events (up to 4 tickets per householf)
* DISCOUNTS - special ticket concessions on selected performances

* NEWSLETTER - mailed to Friends free of charge each month
* SPECIAL EVENTS - as announced in the Newsletter

* MONTHLY DIARY OF EVENTS - mailed to members at no extra cost

Corporate Membership
In addition a new form of membership has been introduced. For an annual fee of £25, companies,
groups etc receive 5 D-Cards for use by their employees or members. As with individual

entitle the user to up to 4 tickets per event.
Latecomers will not be admitted to the auditorium
event are provided in the St David's

until a suitable break in the event. Closed circuit

Lounge and the Castell Coch Lounge

We gratefully acknowledge the assistance

of St John's Ambulance Brigade who

Neither pa(rjt nor whole of tonight's performance may

appreciate

social clubs,

Friends, each card will

television relays of the

are in attendance at tonight's concert

be recorded on tape, film or video recorder: your co-operati

on would be

Smoking in the auditoriurh is not permitted

In complance with the Theatres Act 1968, all

exats and emergency doors shall be kept clear

and available at all times

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EACELLENCE
& MAKE TONIGHT'S PERFORMANCE
A REGULAR EVENT

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your own home. At Audio Excellence we are concerned with the faithful
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We offer friendly and helpful advice and have comfortable listening
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We can instal the system if necessary and offer a 2-year guarantee
backed by our service department on the premises.

We hope to bring you a little closer to the music— because it’s the music
that matters.
Authorised stockists of

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MW—— to some great nights out
You're in for a treat at Cardiff’s
St David’s Hall this Spring and
Summer. In fact you could
enjoy as many as 16 great
nights out in Britain’s best
concert hall. And our
generously discounted prices
mean you can spoil yourself

without breaking the bank!

Book for 9 concerts in our very best seats and your saving is the same as
TWO FREE CONCERTS (and a handy 27p towards the cost of an interval
drink!)

|
s

When you book for all 14 concerts at top price you’'ll save a massive £37.80
— which means that FOUR of your concerts will be ABSOLUTELY FREE!

So you see, St David’s Hall is a treat you CAN afford.

Treatyourself — to the magical world of music
Our Spring and Summer season is surely the finest we’ve ever presented.

Mw — and save money too!

The line-up includes the Royal Philharmonic Orchestra, the Philharmonia,

the BBC Symphony Orchestra and a first time visit from the Dresden

Philharmonic. And no season at Cardiff's showpiece venue would be

There are concerts galore in our new season, and when you become a

complete without the BBC Welsh Symphony Orchestra. Their Proms

subscriber you get:

appearances last year received national critical acclaim, and St David’s

Hall’s envied reputation owes much to their outstanding performances.

» Huge savings — up to £37.80 off normal prices

* “The best sound in Britain’ — Cambridge University survey
» Special bonus — 2 Chamber Concerts for the price of 1

* As many as 14 magnificent concerts with the world’s top orchestras

MYWW— to the world’s best music and musicians
Kyung Wha Chung

Oscar Shum

sky

» The thrilling sounds and atmosphere of live music
* 4 months’ interest-free credit to make your payments easier
In other words ‘see more, save more — and worry no more!

Treat yourself — to as many as 4 free concerts!
Let’s get down to brass tacks. How much is it going to cost you to enjoy
:
5
o

As well as the superb orchestras we’ve lined up for you, there are top

gl;{] esrfzsé(;?egf musical treats? Well, your basic package is our Magoificent

soloists too. World renowned violinists Kyung Wha Chung and Oscar

In the excellent £7.50 seats, for example, you'll enjoy all 7 concerts for

£44.59 — in other words ONE CONCERT IS ENTIRELY FREE.

Mozart Britten Elgar Janacek Bartok Dvorak Berlioz

Shumsky, piano-duo Bracha Eden and Alexander Tamir, new singing star

David Malis, and among the internationally known conductors appearing

|
|

— Sir Charles Groves, Yuri Temirkanov, James Loughran, Owain Arwel

Ravel BSaint-Saens Beethoven Tippett Vivaldi Vaughan Williams Prokofiev
\

TREAT YOURSELF THIS SPRING & SUMMER...
THE MAGNIlICENT SEVEN

GUILDFORD PHILHARMONIC ORCHESTRA

Sir Charles Groves conducté)r

Tuesday 1 April 7.30pm

Jo Ann Pickens soprano Linda Strachan contralto

PHILHARMONIA ORCHESTRA
Andrew Davis conductor
Oscar Shumsky violin

Ian Caley tenor

Matthew

Best bass

Philharmonic Choir

Symphony N6 1 in C Op 21

Beethoven

A Child of Our Time

Tippett

Oscar Shumsky, the ‘reluctant virtuoso’, has established himself in his 60s

as one of the world’s greatest violinists. A notable occasion to hear
Shumksy play Elgar’s violin concerto, one of his favourite works.

Wednesday 4 June 7.30pm

Saturday 26 April 7.30pm

Saturday 7 June 7.30pm

HALLE ORCHESTRA

BBC WELSH SYMPHONY ORCHESTRA

BBC WELSH SYMPHONY ORCHESTRA & CHORUS

Owain Arwel Hughes conductor

Sir Neville Marriner conductor,
Margaret Marshall soprano Aifreda Hodgson contralto

James Loughran conductor

Kyung Wha Chung violin

Vaughan Williams Overture The Wasps
Prokofiev
Violin Concerto No 2 in G minor Op 63
Elgar
Symphony No 1 in A flat Op 55
The long-awaited return visit by Kyung Wha Chung, one of the most

Goldsmith’s Choral Union

Symphony No 29 in A K201
Four Sea Interludes
Violin Concerto in B minor Op 61

Mozart
Britten
Eigar

Thursday 8 May 7.30pm|

'
attractive musical personalities in the world today. Prokofiev's
2nd Concerto shares much of the tunefulness of his Romeo & Juliet

¥,

the 1940s was described by one crific as “taking the oratorio screaming

Janacek
Bartok
Dvorak

Taras Bulba (Rhapsody for Orchestra)
Piano Concerto No 3 in E
Symphony No
7 in D minor Op 70 B141

The 3rd Piano Concerto (Bartok’s last) is full of lyricism and beauty. It is
set between two Slav masterpieces — Janacek'’s brilliant and colourful
portrait of the folk hero Taras Bulba, and Dvorak’s 7th.

This concert will be broadcast live on BBC Radio 3

Overture Egmont Op 84

Beethoven

Concertg

for Violin, Piano and

Cello in C Op 56

Beethoven

Symphony No 3 in B flat Op 55(Eroica)

An all Beethoven programme heralds the first visit to St David’s Hall by
the Dresden Philharmonic Orchestra,

Saturday 31 May 7.307pkk |
Jukke-Pekke Saraste conductor

BBC SYMPHONY ORCHESTRA

Serge Baudo conductor
Huw Tregelles Williams organ
Soloist to be announced
Berlioz
~ Poulenc
Saint-Saens

Beethoven

BBC WELSH SYMPHONY ORCHESTRA

Wednesday 30 April 7.30pm

Romeo & Juliet (Selection)
Concert Champetre for Harpsichord
Symphony No 3 in C minor
Op 78 (Organ)

Iona Brown violin
Vivaldi
Beethoven

The Four Seasons

Symphony No 6 in F Op 68 (Pastoral)

This interesting programme contféists two works inspired by nature. And
Beethoven is thought to have studied the ever popular Four Seasons
before writing the Pastoral Symphony.

will be recorded for BBC Radio 3
This concert

One of the greatest French specialists, Serge Baudo, in a completely French
programme, culminating with Saint-Saens’ symphonic tour-de-force.

Mass in D rminor K626 (Requiem)

Jacek Kasprzyk conductor
Roman Jablonski cello
¥

Dvorak

Cello Concerto in B minor
Op 104 B191

=
David Malis

Mahler

7 MORE MAGNIFICENT CONCERTS

Symphony No 1 in D minor

“Titan" is the nickname associated with Mahler’s 1st Symphony with

This concert will be recorded for BBC Radio 3

Saturday 28 June 7.30pm

Haydn

Symphony No 8 in G (Le Soir)

BBC WELSH SYMPHONY GRCHESTRA

Poulenc

Concerto in D minor for 2 Pianos and Orchestra

Louis Fremaux conductor
Pierre Amoyal violin ~ David Malis baritone

Stravinsky

Pulcinella (complete)

Bizet
Saint Saens

Carmen Suite No 1
Havanaise Dp 83

Saint Saens

Introductioh and
Rondo Capriccioso Op 28

Duparc

Songs

Debussy

La Mer

£5.50 and £3.00. Refer to the booking
guide and select which seating price
you want. Tickets should be in the
same price range for all your

An outstanding programme including one of the most humorous and

accessible of all Stravinsky's scores, his ballet Pulcinella in its complete
performing version.