1986/87 Concert Season
Sunday 1 February 1987 at 3pm
Crossley Clitheroe Concert
Sunday 21 September 1986 at 3pm
Brahms
Haydn
Sibelius
Academic Festival Overture
Cello ConcertoinC
Lemminkainen Legends
Lemminkainen and the Maidens of Saari
The Swan of Tuonela
LemminkaineninTuonela
The return of Lemminkainen
Schubert
Paganini
Dvorak
Mendelssohn
Mozart
Mozart
Mendelssohn
Hebrides Overture (Fingal’s Cave)
Piano Concerto No 20 in D minor (K466)
Concert Rondoin A (K386)
Nicholas Cleobury Conductor
Embassy Hotels Ltd, Leisure/Learning Weekend
Sunday 15 February 1987 at 7.45pm
Walton
Beethoven
Rachmaninov
Saturday 28 February 1987 at 7.45pm
Howard Shelley Conductor/Soloist
Civic Concert
Embassy Hotels Ltd, Leisure/Learning Weekend
Recital: Holywell Piano Quartet
Admission free to Subscription Ticket Holders,
£1.00 GPS members and £1.50 non members,
obtainable from the GPO Office and atthe door
Saturday 25 October 1986 at 7.45pm
in Guildford Cathedral
Liszt
Bruckner
Shostakovich
Schumann
Tchaikovsky
Saturday 14 March 1987 at 7.45pm
Haydn
Elgar
Stravinsky
Wagner
Richard Strauss
Mahler
Sunday 29 March 1987 at 7.45pm
Moeran
Walton
Elgar
6.15 pm Civic Hall Restaurant
“Consultthe Conductor” Pre-concert
Hindemith
Beethoven
Schumann
Symphonic Metamorphosis of Themes by
Carl Maria von Weber
Piano ConcertoNo 4in G
Symphony No 3in Eb (Rhenish)
Sir Charles Groves Conductor
Lucy Parham Soloist
Sponsored by Friary Meux
Symphony No2in Eb
Sunday 12 April 1987 at 3pm
An afternoon with Nigel Kennedy
Bach
Bach
Vivaldi
Violin Concertoin Aminor
Violin Concertoin E
The Four Seasons
Nigel Kennedy Director/Soloist
conversation with Norman Del Mar.
Sunday 23 November 1986 at 3pm
Friary Meux Young Musician’s Concert
Overture foraMasque
Viola Concerto
Vernon Handley Conductor
Rivka Golani Soloist
Overture ‘Faust’
Burleske for Piano and Orchestra
SymphonyNo 1inD
Norman Del Mar Conductor
Angela Hewitt Soloist
Mass in Bb (Harmoniemesse)
for Strings
Serenade
Symphony of Psalms
Simon Halsey Conductor
Charlotte de Rothschild Soprano
Gaynor Keeble Alto
Joseph Cornwell Tenor
Mark Peterson Bass
Philharmonic Choir
Brian Wright Conductor
Wendy Eathorne Soprano Susan Mason Alto
Saturday 8 November 1986 at 7.45pm
Festival Overture
Piano Concertoin Aminor
Symphony No 5in E minor
Vernon Handley Conductor
Philip Fowke Soloist
Psalm 13
Mass in F minor (Grosse Messe)
John Mitchinson Tenor Peter Rose Bass
Philharmonic Choir
Goldsmiths Choral Union
Crown Imperial: Coronation March
Triple Concerto for Piano, Violin & Cello
Symphony No 2in E minor
John Forster Conductor
Music Group of London
Symphony No 4 (ltalian)
Saturday 11 October 1986 at 11am
in the Civic Hall
“Rosamunde”
ViolinConcertoNo 1inD
Symphony No 7 in D minor
Jean-Jacques Kantorow Soloist
Bramwell Tovey Conductor
Raphael Wallfisch Soloist
Saturday 11 October 1986 at 7.45pm
Overture, Entr’acte and Ballet music
Saturday 2 May 1987 at 7.45pm
in Guildford Cathedral
Holst
Mozart
Duruflé
Hymn of Jesus
Clarinet Concertoin A (K622)
Requiem
Sir David Willcocks Conductor
Jack Brymer Soloist
Margaret Cameron Mezzo Soprano
Gerald Finley Baritone
Philharmonic Choir
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Programmes and artists may be subject to alteration. These concerts are promoted by Guildford Borough Council with financial support from South East Arts Association.
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GUILDFORD BOROUGH
COUNCIL CONCERTS 1986/87
CIVIC HALL, GUILDFORD
SATURDAY 14 MARCH 1987
Guildford
Philharmonic
Orchestra
Leader:
JOHN LUDLOW
SIMON HALSEY
Conductor
CHARLOTTE de ROTHSCHILD
Soprano
GAYNOR KEEBLE
Alto
JOSEPH CORNWELL
Tenor
MARK PETERSON
Bass
PHILHARMONIC CHOIR
THIS CONCERT IS PROMOTED BY GUILDFORD
BOROUGH COUNCIL WITH FINANCIAL SUPPORT
FROM THE SOUTH EAST ARTS ASSOCIATION.
Simon Halsey
Simon Halsey has been Chorus Master of the CBSO
Chorus since 1982. He was born in 1958 and educated
at King’s College, Cambridge and the Royal College
of Music, London. Whilst still a student he was asked
to become conductor of the Scottish Opera-GoRound, which was followed by his appointment as
Director of Music at the University of Warwick. The
same year he founded English Touring Opera, now
one of Britain’s leading companies.
Simon Halsey has prepared many concerts and
recordings with the Chorus, notably Simon Rattle’s
recordings of Britten’s War Requiem, Elgar’s Dream of
Gerontius, Mahler’s 2nd Symphony (The Resurrection)
and Mabhler’s Das Klagende Lied. He works extensively
with choirs, orchestras and in opera internationally
and has recently conducted The Tales of Hoffmann for
Scottish Opera and La Bohéme for English Touring
Opera. He has also recently been appointed Associate
Chorus Director of the Philharmonia.
Charlotte de Rothschild studied at the Mozarteum in
Salzburg, Austria and at the Royal College of Music
London, She now studies with Vera Rozsa.
Charlotte has given concerts in many places including
London, Amsterdam, Israel, Austria and Hong Kong,
and has broadcast on Dutch, Austrian and Israeli
radio. Her engagements in 1986 include recitals for
the Schubert Society of Great Britain, in the B’nai
Brith Festival, the Dumfries & Galloway Arts Festival,
and for Sotheby’s in their Schubertiade series.
in
Gaynor Keeble
Gaynor Keeble was born and educated in Warwick.
She was the first choral scholar of the University of
Warwick and went on to win the first Concerto Competition. As a result of this she performed Elgars Sea
Pictures at the Arts Centre Warwick conducted by
Simon Halsey. She gained a B.Ed. (Hons) in Music
at the end of her four years.
In 1985 she was awarded an open scholarship to study
at the Royal Academy of Music with Marjorie Thomas.
She was awarded the Charles Black Award to enable
her to continue her studies this year.
She has performed widely with choral societies over
the country including performances at St. John’s Smith
Square and a tour of Brittany. In May she is due to
make a recording of the Duruflé Requiem.
Joseph Cornwell’s versatility allows him to divide his
time between the operatic stage and oratorio platform.
He has recorded extensively for Decca, Harmonia
Mundi, the BBC and West German Radio, also
appearing on BBC TV and Swiss and independent
television. Joseph made his Proms debut in 1982
singing Monteverdi’s Vespers of 1610 under Andrew
Parrott,
which
he
later
recorded
for
EMI.
Engagements have also included tours of the
Netherlands and France singing Bach’s Passions,
Verdi’s Requiem at the Royal Albert Hall under Sir
David Willcocks, Bruckner’s Te Deum at the Royal
Festival Hall, Lloyd Webber’s Requiem in Bergen,
Norway, and performances of Bach, Haydn and
Monteverdi in the Paris, Bruges, Flanders and Three
Choirs Festivals with such conductors as Ton Koopman
and Roger Norrington. During 1986 he took part in
the Wexford Festival and in performances of Kurt
Weill’s ‘Mahagonny Songspiel’ in San Diego under
David Atherton.
Future engagements include Handel’s ‘Joshua’ at the
Queen Elizabeth Hall under Laszlo Heltay, Bach’s St.
John
Passion at St. John’s Smith Square, his
Amsterdam Concertgebouw and Salzburg Festival
debuts, a tour of Italy as Aeneas in Purcell’s ‘Dido
and Aeneas’ and a series of performances as Achilles
in Gluck’s ‘Iphegenia in Aulis’ at the Queen Elizabeth
Hall. This year Joseph records the tenor solos in a
new edition of Handel’s Carmelite Vespers for EMI.
His other musical interests include composition, and
he is a co-founder of The Words and Music Company,
which publishes musical comedies for schools.
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 “Intimations of Immortality” with the
Guildford Philharmonic, and in 1979 recorded
Hadley’s “The Trees So High” with the Philharmonia
Orchestra, both recordings being conducted by Vernon
Handley. Simon Halsey, who was appointed Chorus
Master in 1984, acknowledges the assistance of Neville
Creed and the choir’s accompanist Christopher Mabley
in the training of the choir.
In November last year the Philharmonic Choir
performed Berlioz’s “Te Deum” in Paris in collaboration with the University of Warwick Chorus under
Simon Halsey, such performances being received with
tremendous enthusiasm.
Tonight's performance marks Simon Halsey’s last
concert with the Philharmonic Choir as he is relinquishing his post as Chorus Master in order to undertake
his rapidly increasing engagements elsewhere, particularly with the CBSO Chorus, his own Cambridge
Opera Group, and as Associate Chorus Director of
The Philharmonia.
Mark Peterson was born in Basle, Switzerland, and
was a chorister at Guildford Cathedral under Barry
Rose. While studying singing with Jean Bush in
Guildford, he obtained a BMus from the University
of Surrey and went to the Royal Academy of Music
to study with Henry Cummings.
He has sung with most of the leading professional
ensembles in England and with the Dutch Radio Choir,
and at present mostly with the BBC Singers, The
Sixteen and the Raglan Baroque Singers. He has also
been a member of St Pauls Cathedral Choir but now
pursues a fully freelance career.
His solo career has taken him to all parts of England
and to Germany, but a great deal of his solo work is
in London. He made his South Bank debut at the
QEH with the Brompton Choral Society in November
1984 and has made several appearances there since,
including a concert with Nicholas Kraemer as part of
the 1985 Handel Festival. His debut at St Johns Smith
Square also occurred in 1985. Although his repertoire
covers all musical styles and periods he has become
particularly renowned for his performances of Carmina
Burana, one of which took place in Guildford Civic
Hall in January 1986.
Engagements for 1987 include visits to Paris, Frankfurt
and Aix-en-Provence, as well as solo and choral work
in this country.
The Philharmonic Choir’s next appearance with the
Guildford Philharmonic Orchestra will be in Guildford
Cathedral on 2 May in the performances of Holst’s
Hymn of Jesus and Duruflé’s Requiem under Sir David
Willcocks.
The Choir will be choosing a new Chorus Master
during the next few weeks who will take up his position
in September this year.
The Choir welcomes young singers with good sight
reading ability. Applications to the Choir’s Office for
audition: The Lodge, Allen House Grounds, Chertsey
Street, Guildford, GU1 4HL. Telephone: 0483 573800.
Franz Joseph Haydn (1732-1809)
Mass in B flat, Hob XXII:14 (Harmoniemesse)
Kyrie
Gloria
Credo
Sanctus
Benedictus
Agnus Dei
In his compendious study, The Symphonies of Joseph
Haydn (London 1955), H.C. Robbins Landon says of
Haydn’s late High Masses (1796-1802) that they are
“in their fundamental construction symphonies for
voices and orchestra using the mass text”. Evidentially,
he singles out their use of sonata and tripartite forms
within movements, their alternating contrasts of
tempo, character and keys between the same, and their
frequent growth out of thematically germinal introduc-
tions.
He points, additionally, to their “effortless
assimilation of the baroque and the high-classical”. To
(in consequence) Haydn’s prophetic ability to cast his
fugues in such a way that baroque procedure is
channelled
within
classical
architecture
(cf late
Beethoven). And to how in their instrumental and
vocal orchestration, (a) the chorus “is used as the main
staple, the generally static core of the whole structure”
while
(b) the strings and wind provide “forward
motion” and (c) the “brass and drums endorse and
punctuate the whole with... rhythmic impetus”. “The
late masses Landon concludes, in their steadfast unity
of purpose and greatness of expression, are indeed a
transfiguration of (Haydn’s) style, and it is fitting that
these works, Haydn’s true symphonic legacy, should
close the long half-century of his artistic life”. Their
example to, their influence on, the future was to be
immense: the masses, the Ninth Symphony, of
Beethoven, the masses of Schubert, of Bruckner, owed
much to their noble spirit and their unerring sense of
innovation, change and conceptual expansion. No
more supreme a harvest of old age can be imagined.
The
Harmoniemesse,
so-called
because
of the
dominance of its wind-band (“harmonie”) sound, was
Haydn’s last large-scale work for any medium. Scored
for four-part solo and choral voices, a full classical
wind complement of oboes, clarinets, bassoons and
horns in pairs, together with a single flute, trumpets
and
kettle-drums,
strings and continuo (usually
it was written in 1802 to mark (like its
companions) the Name Day of Princess Maria Herorgan),
menegild, Nicolaus Esterhazy II’s consort. Heard at
Eisenstadt on 8 September of that year, it was first
published by Breitkopf & Hirtel of Leipzig in the late
summer of 1808, unusually (for that period) in full
score rather than parts. The autograph manuscript
survives in the Library of the Paris Conservatoire, a
treasured possession.
An offering of lofty vision, the Harmoniemesse stands
as a work of enormous freshness, strength and vigour
that belies at every turn Haydn’s conviction (in a letter
to his Prince, June 1802) that he was “labouring
WEARILY”. This sense of power is nowhere more
apparent than in the great fugues of Bachian majesty
from all but one of the twelve London symphonies.
Tonally,
Haydns sense of key is something else
similarly rooted in the “absolute” world of symphony,
quartet and sonata. Chromaticism attracted him (the
Hosanna is one moment that looks back to the Mozart
of the late G minor Symphony). Without doubt, the
interplay of remote keys, the tensions of enharmonic,
mediant
and
submediant
relationships,
the
chameleon-like
possibilities
of
pivotal
linking,
delighted him. No finer a demonstration of this can
be found than in the Agnus Dei, a movement that
begins in G, half-cadences in D, and then, with “Dona
nobis pacem”, comes home to full-close in B flat. How
the return to B flat is managed — via a fanfare trinity
compounded of (a) a unison D, (b) a diad of D and
F, and (c) a triad of B flat, D and F, strengthened by
drums — makes for a pendulum-like swing from the
constellation of one key to the cosmos of another that
is remarkable not only for its blazing simplicity but
also for its resolute rejection of any suggestion of con-
ventional modulatory preparation. Such a stroke was
long a part of Haydn’s symphonic vocabulary. It was
to have repercussions reaching right across the 19th
century.
Texturally, the character of this mass is both distinctive
and personal. That the vocal quartet is preferred to
the vocal aria... that the orchestra is frequently
independent of the choral parts (listen to its elaborate
counter theme réle in the “Gratias” and “Qui tollis”
of the Gloria)... that the ensemble is so often treated
in a classico-romantically innovative rather then
rococco-classically utilitarian fashion (the unique soft
brass and timpani of “Et incarnatus” in the Credo, for
example).... that the wind have a a primarily obbligato
function.... makes for a sound palette at once never
less than original.
The Harmoniemesse was a last offering, an offering of
imagination and antique breadth, a devotional celeb-
ration, a complexus of the most beautifully interlaced
simplicity and intricacy. It is a work without
pretension, a swan-song of the whitest clarity. In its
pages are laid to rest the goodness, the fantasy, the
genius, the muse of Haydn’s art. Fine laus Deo.
© Ates Orga 1987
Music Dept.,
University of Surrey
that close the Gloria and Credo: “Haydn,” Landon
reminds us provocatively, “was perhaps the last
composer whose contrapuntal knowledge was inborn,
immediate, and intrinsically part of his musical expres-
sion”.
Kyrie
Symphonic facets inform at many levels. Structurally,
Christe eleison
for instance, the opening Kyrie (exceptionally, like
that of the Nelson Mass, a single rather sub-divided
movement) is full of ideas of clearly expositional,
developmental and recapitulational sonata thrust. An
Adagio statement of late Beethoven anticipation, of
a gravity bordering on the Brucknerian... With the
slow introduction to the Agnus Dei (a
lengthy
movement of autumnal serenity where, for Rosemary
Hughes, Haydn “seems to say ‘Hail and Farewell’ both
to Mozart’s genius and his own”), we find a good
example of Haydn taking over a formal feature familiar
Kyrie eleison
Kyrie eleison
Gloria
Gloria in excelsis Deo; et in terra pax hominibus bonae
voluntatis. Laudamus te; benedicimus te; adoramus te;
glorificamus te.
Gratias agimus tibi propter magnam gloriam tuan, Domine
Deus, Rex coelestis, Deus Pater omnipotens. Domine Fili
unigenite Jesu Christe; Domine Deus, Agnus Deli, Filius
Patris
qui tollis peccata mundi, miserere nobis; qui tollis peccata
mundi,
suscipe deprecationem nostram: qui sedes ad
dexteram Patris, miserere nobis.
For only thou art holy: thou only art the Lord:
thou only, O Jesus Christ, with the Holy Ghost, art
most high in the glory of God the Father.
Amen.
Quoniam tu solus sanctus: tu solus altissimus, Jesu Christe,
cum Sancto Spiritu, in gloria Dei Patris Amen.
Credo
Credo in unum Deum, Patrem omnipotentem, Factorem
coeli et terrae, visibilium omnium et invisibilium... et ex
Patre natum ante omnia saecula. Deum de Deo; Lumen
de Lumine; Deum verum de Deo vero; genitum non
Jactum; consubstantialem Patri, per quem omnia facta sunt.
Qui propter nos homines, et propter nostram salutem,
descendit de coelis et incarnatus est de Spiritu Sancto, ex
I believe in one God, the Father almighty, Maker of
heaven and earth, and of all things visible and invisi-
ble... born of the Father before all ages. God of God;
Light of Light; true God of true God; begotten not
made; consubstantial with the Father, by whom all
things were made. Who for us men, and for our
salvation, came down from heaven and was incarnate
by Holy Ghost of the Virgin Mary; and was made man.
He was crucified also for us, suffered under Pontius
Pilate and was buried.
Maria Virgine: et homo factus est. Crucifixus etiam pro
nobis: sub Pontio Pilato passus et sepultus est.
The third day he rose again according to the Scriptures;
Et resurrexit tertia die secundum Scripturas; et ascendit in
of the Father: and he shall come again with glory to
and ascended into heaven and sitteth at the right hand
coelum, sedet ad dexteram Patris: et iterum venturus est
cum gloria judicare vivos et mortuos: cujus re gni non erit
finis.
Et in spiritum Sanctum Dominum et vivificantem, qui ex
patre filioque procedit. Qui cum patre et Filio simul adoratur
judge both the living and the dead: of whose kingdom
there shall be no end.
And I believe in the Holy Ghost, the Lord and Giver
of life. who proceedeth from the Father and from the
et conglorificatur; qui locutus est per Prophetas; et in unam
Son; who together with the Father and the Son is
adored and glorified; who spake by the Prophets. And
sanctam catholicam et apostolicam Ecclesiam. Confiteor
in one holy Catholic and Apostolic Church. I confess
unum baptisma in remissionem peccatorum. Et expecto
resurrectionem mortuorum
one baptism for the remission of sins, and I look for
the resurrection of the dead
et vitam venturi saeculi. Amen.
and the life of the world to come. Amen.
Sanctus
Holy, holy holy, Lord God of Sabaoth. Heaven and
earth are full of thy glory. Hosanna in the highest.
Sanctus, sanctus, sanctus, Dominus Deus Sabaoth. Pleni
sunt coeli et terra gloria tua. Hosanna in excelsis.
Benedictus qui venit in nomine Domini.
Blessed is he that cometh in the name of the Lord.
Hosanna in the highest.
Benedictus
Hosanna in
excelsis.
Agnus Dei
Agnus Dei, qui tollis peccata mundi, miserere nobis. Angus
Dei, qui tollis peccata mundi; miserere nobis. Agnus Dei,
Lamb of God, who takest away the sins of the world,
have mercy upon us. Lamb of God, who takest away
the sins of the world, have mercy upon us. Lamb of
God, who takest away the sins of the world, grant us
thy peace.
qui peccata mundi, dona nobis pacem.
Lord, have mercy.
Christ, have mercy.
Lord, have mercy.
Glory be to God on high, and on earth peace to men
of good will. We praise thee; we bless thee; we adore
thee; we glorify thee.
We give thee thanks for thy great glory, O Lord God,
heavenly king, God the Father Almighty.
O Lord Jesus Christ, the only-begotten Son:
O Lord God, Lamb of God, Son of the Father
who takest away the sins of the world, have mercy on
us; thou who takest away the sins of the world, receive
our prayers: thou who sittest at the right hand of the
Father, have mercy on us.
INTERVAL
Serenade for Strings
The first Psalm is ‘Hear my Prayer, O Lord’ and,
Elgar (1857 — 1934)
according to the composer, was conceived in a state
of religious and musical ebullience. The second and
Allegro piacevole
third movements, Psalm 40 followed by Psalm 150,
Larghetto
are more interdependent emotionally (though not
Allegretto
With the exception of the Overture “Froissart” the
Serenade for Strings is the most important of Elgar’s
early works. Consisting of three short movements, it
is a little masterpiece of pure melody and beautiful
and delicate writing. The slow movement is based on
an exquisite theme that anticipates the Elgar of the
slow movement of the A flat Symphony. “It is one of
the finest and most sustained that ever came from
Elgar’s pen”, says Ernest Newman.
At the end of the finale there is a return of the opening
figure for the violas and of the two phrases upon which
the middle of the first movement is based.
musically), for Psalm 40 is a prayer that a new canticle
may be put into our mouths and the beginning of
Psalm 150 — Alleluia — is that new canticle. The second
movement is fugal; the last
a number of sections.
Stravinsky
using the
is
not
averse
to
thoroughly
romantic device of the cycle in his last movements
and, after the final slow and poised Hymn of Praise,
the reference to the beginning of the movement seems
inevitable.
The
affirmative
nature
of
this
religious
work
is
undoubtedly one of the reasons for the impact it has
made. Whether it is divided from other settings of
these Psalms by as great a gap as Stravinsky would
Elgar was one of the greatest masters of all time in
have us believe is doubtful. It is hard to cast aspersions
the difficult art of writing for a string orchestra. His
on other composers’ sincerity merely because of their
command of colour and nuance as exemplified in the
harmonic idiom. Its sincerity is undoubtedly the thing
Serenade, and later in the great Introduction and
that will make it live.
Allegro, is prodigious. That he could use the string
orchestra and its resources for two works so different
I
Exaudi orationem meam, Domine, et deprecationem
in mood is the measure of his mastery.
mea : auribus percipe lacrymas meas. Ne sileas :
quoniam advena ego sum apud te, et peregrinus,
sicut omnes patres mei.
Symphony of Psalms
Remitte mihi, ut refrigerer prius quam abeam, et
Stravinsky 1882 — 1972
amplius non ero.
Stravinsky wrote his Symphony of Psalms in 1930 and
the
score
bears
the
message
that
the
Symphony
‘composed to the glory of God’ is dedicated to the
Boston
Symphony
Orchestra’.
It
won
immediate
recognition and recently a reviewer in a London
magazine said that he felt it might in future come to
be regarded as Stravinsky’s greatest work. Other critics
feel that, dramatic and individual though it is, a great
deal
of
the
so-called
development
is
not
really
I
Expectans expectavi Dominum, et intendit mihi.
Et exaudivit preces meas
pedes meos : et direxit gressus meos.
Et immisit in 0os meum canticum novum, carmen Deo
nostro. Videbunt multi, et timebunt : et sperabunt
in Domino.
apparent to the listening ear and the connections
between the movements are, therefore, sometimes
justifiable on paper, but in fact do not lead to any
aural connection. For instance, the fugal subject of
the second movement is based on the sequence of
thirds used as an ostinato in the first movement but
as the thirds themselves are not an unusual basis for
ostinato, the strength of the ‘development’ of them to
a fugal subject does not seem to be an advance when
one is listening to the work as an experience.
There can be no doubt, however, about the dramatic
impact
of the
work.
Stravinsky’s
employment
of
strange forces (flutes, oboes, bassoons — no clarinets
— horns,
trumpets, trombones,
harp,
two pianos,
"cellos and basses, but no violins and violas) is masterly
and his integrity of expression remarkable. He feels
rightly annoyed with the composers ‘who have abused
these majestinial “feelings”
’. He knows that the
Psalms are expressions of exaltation, anger, judgment
and even curses. The three movements, the first two
of which are quite short, are all positive statements
of Stravinsky’s eagerness to challenge the composers
referred to in the above quotation.
: et eduxit me de lacu
miseriae, et de luto faecis. Et statuit super petram
III
Alleluia. Laudate Dominum in sanctis ejus : laudate
eum in firmamento virtutis ejus.
Laudate
eum
in
virtutibus
ejus
laudate
eum
secundum multitudinem magnitudinis ejus.
Laudate eum in sono tabae : laudate eum in psalterio,
et cithara.
Laudate eum in tympano, et choro : laudate eum in
chordis, et organo.
Laudate eum in cymbalis bene sonantibus : laudate
eum in cymbalis jubilations :
Omnis spiritus laudet Dominum. Alleluia.
GUILDFORD PHILHARMONIC ORCHESTRA
Principal Conductor: Sir Charles Groves CBE
Sunday 29 March 1987 at 7.45.p.m.
CIVIC HALL, GUILDFORD
Overture for a Masque
Viola Concerto
Symphony No 2 in Eb
Vernon Handley
Rivka Golani
Conductor Emeritus: Vernon Handley
Moeran
Walton
Elgar
First Violins:
John Ludlow
Donald Weekes
Sheila Beckensall
Conductor
Soloist
Hywel Davies
Charlotte Edwards
Tickets: £6.50., £5.50., £4.60., £4.00., £3.20.
(Children aged 16 and under half price)
Box Office: Civic Hall, Guildford. Tel: 67314
Army and Navy (A & N Travel), Guildford. Tel: 68171
Rosemary Fraser
Linda McLaren
Peter Newman
-
BRAHMS
ST. ANTHONY VARIATIONS
SONG OF DESTINY
:|
Brian Sewell
STABAT MATER
ELAINE BARRY
\;
JEAN TEMPERLEY
JOHN NOBLE
f
GUILDFORD PHILHARMONIC ORCHESTRA
Conductor: HILARY DAVAN WETTON
CIVIC HALL, GUILDFORD
Saturday, 21st March, 1987, at 7.45 p.m.
TICKETS: £6, £4, £3, £2 (Students £1)
Available from:
Civic Hall, A & N (Guildford),
Guildford Choral Society
Enquiries: Guildford 61289 and Godalming 24087
Peter Fields
Adrienne Sturdy
Anna Meadows
Contra Bassoon:
John Hargreaves
Howard Walsh
Violas:
John Meek
John Graham
David Stobbard
Frederick Campbell
Geoffrey Thomas
SZYMANOWSKI
Bassoons:
Rosemary Roberts
Cellos:
TE DEUM
Fergus Morrison
Victor Slaymark
Joanna Graham
Celi Azulek
DVORAK
Clarinets:
Second Violins:
Nicholas Maxted Jones
Ruth Dawson
ZyGuildford Choral Society
Cor Anglais:
Janice Knight
John Stilwell
Christina Macrae
John Hursey
John Kirby
Mark Sheridan
Christine Jackson
Marion Balkwill
Basses:
Michael Lea
Colin Paris
Martin Myers
Horns:
Peter Clack
George Woodcock
David Clack
Duncan Hollowood
Trumpets:
Patricia Reid
William O’Sullivan
Clifford Haines
Andrew Mitchell
Trombones:
Ian White
Christopher Guy
Bass Trombone:
Martin Nicholls
Tuba:
Martin Knowles
Percussion:
Peter Box
George Vass
Duncan Allen
Harp:
Rupert Ring
Flutes:
Henry Messent
Katie Thomas
Katharine Hill
Jane Parry
Piccolo:
Christopher Bain
Oboes:
Deirdre Dods
Ann Greene
Delyth Wynne
Pianos:
Christopher Mabley
Jeremy Filsell
Timpani:
Roger Blair
Concerts Manager:
Kathleen Atkins
Concerts Assistant:
Paul Hilliam
Harriet Bell
Sara Barrington
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.
y
(Charity Registration 288295)
The Guildford 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 finances
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 payment by this method also
ensures that the
subscription is not raised for four years. Members
receive certain
benefits in return for a very modest minimum annual
subscription
and these facilities include:
Concerts the GUILDFORD PHILHARMONIC
ORCHESTRA will perform in Canterbury,
Eastbourne, Dorking, Folkestone, Kingston,
etc. under the management of the SOUTH
EAST
MUSIC TRUST. In this the Trust
acknowledges with gratitude the generous
support of the MUSICIANS" UNION.
If you wish to support the further activities of
the Orchestra please enquire for details from
the Guildford Philharmonic Orchestra, The
Lodge, Allen House Grounds, Chertsey
Street, Guildford, Surrey GU1 4HL.
Priority booking at the beginning of each concert
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
The opportunity to attend rehearsals of the Orchestra
by applying
to the Orchestra’s Office
Certain discount facilities at Record Corner, Godalming
on records
and cassettes
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:
Annual Subscription (minimum)
Husband/Wife-Joint Subscription (minimum)
Persons under the age of 18 (minimum)
Retirement Pensioner (minimum)
£5.50
£9.00
£3.75
£3.75
If you 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
Alternatively you may enrol at the Society’s stand
in the foyer of the
Civic Hall on concert days.
Telephone 0483-573800
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 , GODAL
TELEPHONE GODALMING 6552
MING, SURREY
jointhe
GUILDFORD
PHILHARMONIC
CHOIR
* TAKE PART IN TOP QUALITY CONCERTS WITH THE GUILDFORD PHILHARMONIC ORCHESTRA —
THE PROFESSIONAL ORCHESTRA OF THE SOUTH EAST
* ENJOYPERFORMING IN FIRSTCLASS VENUES INCLUDING GUILDFORD CIVIC HALL, GUILDFORD
CATHEDRAL AND, IN NOVEMBER THIS YEAR, TWO CONCERTS IN PARIS
* WORKWITH CONDUCTORS SIMON HALSEY, SIR DAVID WILLCOCKS, AND BRAINWRIGHT
ON SUCH
CELEBRATED WORKS AS BERLIOZ, TE DEUM; BRUCKNER, MASS
IN FMINOR; DURUFLE, REQUIEM;
HAYDN, MASS IN Bb; HOLST, HYMN OF JESUS LISZT, PSALM 13; STRAVINSKY SYMPHONY OF
PSALMS; ALSO A CHRISTMAS CAROL CONCERT
* CHORUS MASTER, SIMON HALSEY, IS ALSO DIRECTOR OF MUSIC, WARWICK UNIVERSITY AND
CHORUS MASTER OF CITY OF BIRMINGHAM SYMPHONY ORCHESTRA CHOIR.
REHEARSALS MONDAY EVENINGS (7.15pm — 9.45pm)
AT METHODIST HALL, WOODBRIDGE ROAD, GUILDFORD
Further details from the Choir’s Office:
The Lodge, Allen House Grounds
Chertsey Street, Guildford
Surrey GU1 4HL
With financial support from
Guildford Borough Council
Tel: 0483 573800
r
UNIVERSITY
OF SURREY
i
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)
B
bl
Aren,t
you luCky
~
Robert Shaw & Partners
CHARTERED SURVEYORS
Bryan R. D. Yendole, ER.I.C.S.
Alex K. Nyazai, ER.I.C.S., EEB.
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Consultant: Robert O. Shaw, ER.I.C.S.
3TUNSGATE
COMMERCIAL HOUSE
GUILDFORD. GU1 3RF
CHAPEL STREET, WOKING. GU21 1BY
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We in our 50th Anniversary year, wish Guildford Philharmonic Orchestra,
Choir, Society and audiences another inspiring and enjoyable season
N
)
HELP ONHAND
\
Guildford’s new
emergency alarm system
for the elderly and
disabled living at home is
available now.
Guildford Borough Council
Millmead House, Millmead, Guildford GU2 5BB
@
d;.‘ mnds\
Castle
&
Museum
\
f'com
leasurce &
w5
gaildfo'cd oBo'coug/z Council
Sports
Centre
For sauna, solarium,
squash, swimming, keep
fit and much more! Open
now new 50 metre water
shute. Tel: G. 571651/3
Bedford Road
Varied art exhibitions
155 High Street
503406 after 5pm and
London Road
GPo_
GUIL}?EI?AI% NIC
HIL
ORCHESTRA
dating from prehistory to
Castle Arch,
Admission free. Tel: G.
Quarry Street
Guildford
House
‘Givic
Hall
Guildford
Museum
throughout the year.
Open 10.30am to 4.50pm
Mon-Sat. Admission
free. Tel: G. 505050 or
weekends.
Parks &
Open
Spaces
The
For all kinds of family
entertainment — plus
facilities to hire for your
own events. Tel: G.
67314
The top professional
orchestra of the South
East performing a full
range of concerts and
recitals at the Civic Hall.
Tel: G. 573800.
10910l
Stoke Road
Ash Manor
Sports
Centre
Items relating to Surrey
the present day. Open
Mon-Sat 11am - 5pm.
503497.
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.
Open air heated
swimming pools set in
rolling lawns and
beautiful gardens. Open
May to September 11am
- 7pm. Tel: G. 505207.
At Manor Road Ash. For
all types of dry sports.
Tel: Aldershot 25484 for
full details.
For full details of these and other places and events, contact:
Tourist Information Centre, Civic Hall, Guildford. Tel: G. 67314.
(Open 9.30am - 5pm Mon - Fri; 9.30 - 4.30pm Sat. Closed 12.30 - 1.30pm Mon - Sat.)