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)
Symphony No 4 (ltalian)
Embassy Hotels Ltd, Leisure/Learning Weekend
Sunday 15 February 1987 at 7.45pm
Walton
Beethoven
Rachmaninov
Saturday 25 October 1986 at 7.45pm
in Guildford Cathedral
Liszt
Bruckner
Civic Concert
Shostakovich
Schumann
Tchaikovsky
Philip Fowke Soloist
Saturday 14 March 1987 at 7.45pm
Haydn
Elgar
Stravinsky
Mass in F minor (Grosse Messe)
Saturday 8 November 1986 at 7.45pm
Richard Strauss
Mahler
6.15 pm Civic Hall Restaurant
“Consultthe Conductor” Pre-concert
Sunday 29 March 1987 at 7.45pm
Moeran
Walton
Elgar
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
Overture fora Masque
Viola Concerto
Symphony No 2in Eb
Vernon Handley Conductor
Rivka Golani Soloist
Sunday 12 Aprii 1987 at 3pm
An afternoon with Nigel Kennedy
Bach
Bach
Vivaldi
Violin Concerto in 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
Serenade for Strings
Symphony of Psalms
Mark Peterson Bass
Philharmonic Choir
Overture ‘Faust’
Burleske for Piano and Orchestra
SymphonyNo 1inD
Norman Del Mar Conductor
Angela Hewitt Soloist
Mass in Bb (Harmoniemesse)
Simon Halsey Conductor
Charlotte de Rothschild Soprano
Gaynor Keeble Alto
Joseph Cornwell Tenor
Brian Wright Conductor
Wagner
Festival Overture
Piano Concertoin Aminor
Symphony No 5in E minor
Vernon Handley Conductor
Psalm 13
Wendy Eathorne Soprano Susan Mason Alto
John Mitchinson Tenor Peter Rose Bass
Philharmonic Choir
Goldsmiths Choral Union
Symphony No 2in E minor
Saturday 28 February 1987 at 7.45pm
Howard Shelley Conductor/Soloist
Recital: Holywell Piano Quartet
to Subscription Ticket Holders,
Admission free
£1.00 GPS members and £1.50 non members,
obtainable from the GPO Office and at the door
Crown Imperial: Coronation March
Triple Concerto for Piano, Violin & Cello
John Forster Conductor
Music Group of London
Embassy Hotels Ltd, Leisure/Learning Weekend
Saturday 11 October 1986 at 11am
in the Civic Hall
“Rosamunde”
Violin ConcertoNo 1inD
Symphony No 7 in D minor
Nicholas Cleobury Conductor
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 2 MAY 1987
at 7.45 p.m.
GUILDFORD CATHEDRAL
Guildford
Philharmonic
Orchestra
Leader: HUGH BEAN
SIR DAVID WILLCOCKS
Conductor
JACK BRYMER
Soloist
ANNE-MARGARET CAMERON
Mezzo Soprano
GERALD FINLEY
Baritone
PHILHARMONIC CHOIR
THIS CONCERT IS PROMOTED BY GUILDFORD
BOROUGH COUNCIL WITH FINANCIAL SUPPORT
FROM THE SOUTH EAST ARTS ASSOCIATION.
Sir David Willcocks began his musical training as a
chorister at Westminster Abbey, later winning scholarships at Clifton College and King’s College,
Cambridge. After a five-year period of war service he
was elected a Fellow of King’s College, Cambridge
and Conductor of the Cambridge Philharmonic
Society. Subsequently he became Organist of Salisbury
Cathedral, and later of Worcester Cathedral,
conducting at the Three Choirs Festival from 1950 to
1957. During this time he was also Conductor of the
City of Birmingham Choir and conducted many
concerts with the City of Birmingham Symphony
Orchestra. From 1957 to 1974 he was Director of Music
at King’s College, Cambridge, University Lecturer in
Music and Conductor of the Cambridge University
Musical Society; and from 1974 to 1984 he was Director
of the Royal College of Music. He has been Musical
Director of The Bach Choir since 1960.
Under his direction, The Bach Choir, King’s College
Choir and the Royal College of Music Chamber Choir
have made many recordings with leading orchestras
of great choral and orchestral works. He holds
honorary degrees in the USA and Canada as well as
at the Universities of Bradford, Bristol, Exeter,
Leicester and Sussex. He is an Honorary Fellow of
King’s College, Cambridge.
As well as his regular appearances in the UK, his
recent conducting engagements have taken him to
USA, Canada, Australia, New Zealand, Hong Kong
and many European countries.
Jack Brymer was born in Co. Durham. He spent his
early adult years as a school master and after war
service with the RAF he returned to that profession
until 1947, when he was invited by Sir Thomas
Beecham to take the post of Principal Clarinet with
the Royal Philharmonic Orchestra, a post he occupied
for sixteen years. During this time he extended his
activities to chamber music and solo playing both here
and abroad, and was a founder member of several
well known ensembles such as The Wigmore, The
London Baroque and The Prometheus Ensemble. He
was also a Professor at the Royal Academy of Music.
Between 1963 and 1972 he was principal clarinet with
the BBC Symphony Orchestra and he now holds the
same position with the London Symphony Orchestra.
Jack Brymer is often on television and radio, not only
as a performer but as a talker on musical topics, and
his two lecture films in the educational series, “We
Make Music”, are viewed the world over. He has
recorded most of the important works for the clarinet
and is Director of the London Wind Soloists. He was
awarded the OBE in 1960 and received the honorary
degree of M.A. from the University of Newcastle in
1973. He recently contributed the Clarinet volume in
the Menuhin Guides series of books. His autobiography, “From Where I Sit”, is now published.
Gerald Finley came from Canada to study at the Royal
Anne-Margaret
Cameron
was
born
in
Kent
and
College of Music. He then became a Choral Scholar
studied at Trinity College of Music and the Royal
at King’s College, Cambridge before returning to the
College of Music Opera School. She has performed
Royal College of Music Opera School on a grant from
extensively on the concert platform, venues including
the Countess of Munster Musical Trust. He is currently
the Royal Albert Hall, Fairfield Hall, Wells Cathedral
a member of Glyndebourne Festival Opera, as well
and most recently the Queen Elizabeth Hall where
as combining concert and recital work throughout the
she was the mezzo-soprano soloist in Rossini’s Stabat
UK. He sang in Guildford Cathedral last Christmas
Mater.
in the Messiah, and in November will be soloist in
Operatic roles include Eduige in Handel’s Rodelinda
Bach’s Christmas Oratorio.
at the Aldeburgh Festival in 1985, the title-role in
Rinaldo and Rosina in La Vera Costanza by Haydn. She
participated in the Buxton Opera Festival in 1986 and
is currently a member of Kent Opera, performing the
role of the Spirit in Dido and Aeneas.
She had been awarded scholarships by the Countess
of Munster Musical Trust and the Knights of the Round
Table enabling her to continue her studies privately.
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.
The choir has been trained for tonight’s performance
by Neville Creed, who worked as assistant to Simon
Halsey during his period as the choir’s Chorus Master.
The choir acknowledges with thanks his assistance,
together with that of Christopher Mabley, accompanist.
The Philharmonic Choir appreciates the collaboration
of those members of the Guildford Chamber Choir
who form the semi-chorus in Holst’s Hymn of Jesus.
During the 1987/88 season the Choir will be giving
performances of Elgar’s The Music Makers with Sir
Charles Groves, Berlioz’ Grande Messe des Morts
under Brian Wright and Beethoven’s Chorai Symphony
with Richard Armstrong.
The choir welcomes young singers (particularly tenors
and basses) with good sight reading ability. Further
information about the Philharmonic Choir can be
obtained from the Choir’s Office at The Lodge, Allen
House Grounds, Chertsey Street, Guildford, GU1
4HL. Telephone: (0483) 573800.
Hymn of Jesus
For two choruses, semi chorus and orchestra
Holst 1874-1934
The story behind this astonishing work is a strange
one. Whenever Holst felt the need to compose a work
of original form,he immersed himself absolutely in the
subject of the work long before he started to compose,
and it was in August 1917 that he began work on the
Hymn of Jesus, taking his text from the Apocryphal
Acts of St. John. Just as he had worked at Sanskrit
for the Rig-Veda Hymns, and as later he was to work
at Keats for his Choral Symphony, so now he copied
out each Greek word separately, adding the pronunciation and the literal English equivalent. Then, as his
daughter tells us, he made his own translation, keeping
as near as possible to the spirit of the original. The
Hymn of Jesus is nothing like nineteenth century
oratorio, and although uncompromisingly of the
twentieth century has recourse to older music and
mediaeval chants for some of its material. The prelude
is tranquil and almost cold; built on two plainsong
hymns, the Pange lingua and Vexila Regis. Although
we hear these chants, the way the orchestra discusses
them gives us an almost timeless back-cloth for the
outburst of the Hymn itself. At this outburst one
realises that this is called the Hymn of Jesus and not
a Hymn to Jesus. Although many critics have drawn
attention to important and dazzling passages in the
piece, for example, the setting of “Ye who dance not,
know not what we are knowing’, the extraordinary
radiance of ‘To you who gaze, a lamp am I’, and the
quivering harmony of ‘Know in me the word of
wisdom!’, these wonderful examples of Holst’s musical
originality and detail are of secondary importance to
his mastery of a completely tight form, for after the
outburst of the Hymn one assumes that the material
of the introduction has been left behind, and yet those
plainsong chants recur in unexpected circumstances,
but do not shock with their return because they seem
so inevitable. Inevitable also, and perfectly placed in
the span of the work, is the return to ‘Glory to Thee,
Father’. After this second outburst, Holst, with characteristic economy, compresses the musical ideas that
have gone before in order to finish the work, and he
brings together as one choir the two choruses, while
the semi chorus, who throughout the piece have linked
the ideas of the other choirs with their floating
‘Amens’, also join the rest of the singers and the
orchestra for the final cadence.
Holst is a much neglected composer whose highly
original music should be known the world over. If the
‘Planets’ is his most extrovert piece, the Hymn of Jesus
is one of his most religiously exalted. If he had written
only these two works he would have deserved a place
in the world repertoire.
Vexila regis prodeunt
Fulget Crucis mysterium
Quo came camis Conditor
Suspensus est patibulo
Pange lingua gloriosi praelium certaminis
Et super crucis trophaeum
Dic triumphum nobilem qualiter Redemptor orbis
Immolatus vicerit. Amen.
Glory to Thee, Father! Amen. Amen.
Glory to Thee, Word! Amen.
Glory to Thee, O Grace! Amen.
Glory to Thee, Holy Spirit! Amen.
Glory to Thy Glory!
We praise Thee, O Father; we give thanks to Thee,
Concerto in A Major for clarinet and orchestra
Mozart 1756-1791
Allegro
Adagio
Rondo Allegro
O shadowless light. Amen.
Fain would I be saved; and fain would I save. Amen.
Mozart’s Clarinet Concerto was completed in 1791,
shortly before the composer’s death. It was written for
Fain would I be released; and fain would I release.
Fain would I be pierced; and fain would I pierce.
the Clarinettist Stadler, as was the Clarinet Quintet.
As in all the later concertos of Mozart, the first
movement is packed with development. The ritornello
Fain would I be borne; fain would I bear.
of the movement bristles with themes, although the
Fain would I eat; fain would I be eaten.
Fain would I hearken; fain would I be heard.
main theme of the second group is not represented.
The clarinet, in fact, develops a transition theme which
Fain would I be cleansed, fain would I cleanse.
has not previously been heard and this leads to the
Amen.
I am Mind of All! Amen.
new
Fain would I be known.
movement
Divine Grace is dancing: fain would I pipe for you.
becomes a further development, only the final bars of
the movement remaining almost as intact as they were
Dance ye all! Amen.
Fain would I lament: mourn ye all! Amen.
The Heavenly Spheres make music for us. Amen.
The Holy Twelve dance with us —
All things join in the dance!
Ye who dance not, know not what we are knowing.
Amen.
Fain would I flee; and fain would I remain. Amen.
Fain would I be ordered; and fain would I set in order.
Fain would I be infolded; fain would I infold.
I have no home; in all I am dwelling.
I have no resting place; I have the earth.
I have no temple; and I have Heav’n.
To you who gaze, a lamp am 1. Amen.
To you that know, a mirror. Amen.
To you who knock, a door am I.
To you who fare, the way. Amen. Amen.
Give ye heed unto my dancing.
In me who speak, behold yourselves. Amen.
And beholding what I do, keep silence on my
second
is
group.
For yours is the passion of man that I go to endure.
Ah! Ah! Ah!
Ye could not know at all what thing ye endure,
the
after
the
material
of the
development it
earlier in the work.
The Adagio melody has two parts and the clarinet
plays each part before it is repeated by the orchestra.
The relief section from this beautifully moving melody
contains a great deal of elaboration for the Soloist.
The first tune comes back but the recapitulation is
shortened, the orchestra only repeating the second
part of it. A very short Coda for the clarinet concludes
the movement.
Although the pulse of the final Allegro may vary very
slightly in performances, the movement itself never
stops moving. As each theme appears, the orchestra
or the clarinet add many slight variations or subsidiaries. The recapitulation has many differences from
the exposition and the work comes to an end with a
good humoured battle for the soloist who has to punch
widely separated notes through a full ensemble.
INTERVAL
mysteries.
Divine ye in dancing what I shall do,
When
repeated
Requiem Op. 9 (1947)
Maurice Duruflé 1902-1986
Vera Scherr
Mezzo Soprano
Malcolm Arthur
Baritone
Beholding what I suffer, ye know me as the Sufferer.
Stephen Banfield
Organ
And when ye had beheld it, ye were not unmoved,
Durufl€ is one of the last of a curiously fastidious
school of French composers, all born within 50 years
Had not the Father sent me to you as a Word.
But rather were ye whirled along, ye were kindled to
be wise.
Had ye known how to suffer, ye would know how to
suffer no more.
Learn, and ye shall overcome.
Behold in me a couch; rest on me! Amen.
When I am gone, ye shall know who I am.
For I am in no wise that which I now seem.
When ye are come to me, then shall ye know.
What ye know not will I myself teach you.
Fain would I move to the music of holy souls.
Know in me the word of wisdom! And with me cry
again:
Glory to Thee, Father!
Amen. Amen.
Glory to Thee, Word! Amen.
Glory to Thee, Holy Spirit!
~ Amen. Amen.
or so and all beginning with the letter D. Duparc, the
eldest, left thirteen songs, Dukas, (with whom Duruflé
studied) burnt half a lifetime’s work in a fit of selfdisgust; Dupré left organ music; the output of
Dutilleux (the other survivor) runs to about twenty
works while Duruflé himself, lifelong Paris organist
and academic, has reached Opus 11 — some organ
music, a mass for “chceeur de barytons”, four motets,
two pieces for orchestra, one for flute, viola and piano
and a Requiem. This last exists in three versions, one
with organ accompaniment alone, one with strings,
trumpets, timpani and organ, and tonight’s version
with large orchestra.
The shadow of Fauré’s Requiem looms large. Neither
composers language nor taste suits the blood and
thunder of the Dies Irae and both omit it. The use of
soloists in the two works is almost identical; Fauré
gives the Pie Jesu to a soprano, Duruflé gives it to a
mezzo with obligato cello; both give the Hostias and
one other passage (Fauré the Libera Me, Durufié the
following section Tremens Factus) to a baritone; both,
above all, emphasise the promise of eternal rest over
the threat of eternal fire.
I. INTROITUS Chorus
Duruflé has other sources of inspiration, of course.
Ravel is discernible in one of the few fast passages —
Libera me de ore leonis — and even the added-note
harmony of Messiaen (11 years Duruflé’s junior) in
the rapt In Paradisum. The main spring of the piece
is Gregorian chant, however, and the sinuous lines
and supple rhythms of plainsong permeate every bar.
Te decet hymnus, Deus, in Sion
EtTibi reddetur votum in Jerusalem.
Grant them eternal rest, O Lord,
And may perpetual light shine upon them.
Ahymn is fitting Thee, O God, in Zion,
And let vows be rendered to Thee in Jerusalem.
AdTe omnis caro veniet.
To Thee shall all flesh come.
Requiem aeternam dona eis, Domine,
Etlux perpetua luceat eis.
Exaudi orationem meam.
II. KYRIE Chorus
Kyrie eleison, Christe eleison,
Kyrie eleison.
I11. OFFERTORIUM Chorus
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 cadent in obscurum
Sed signifer sanctus Michael repraesentet
Easinlucem sanctam
Quam olim Abrahae promisisti
Et semini ejus
(Baritone Solo)
Hostias et preces Tibi, Domine,
Laudis offerimus.
Tu suscipe pro anamabus illis
Quarum hodie memoriam facimus
Fac eas, Domine, de morte transire ad vitam,
Hearken to my prayer.
O Lord have mercy;
Christ have mercy;
Christ have mercy.
O Lord Jesus Christ, King of glory,
Deliver the souls of all the faithful departed
From the pains of Hell and from the deep pit;
Deliver them out of the lion’s mouth:
Let not Tartarus devour them
May they fall not into darkness.
But may St. Michael the standard-bearer
Lead them into the holy light.
AsThou of old promised to Abraham
And to his seed.
Sacrifices and prayers of praise
We offer toThee, O Lord.
Receive Thou them for the souls of those
Whom we commemorate today.
Make Them, O Lord, pass over from death to life,
Quam olim Abrahae etc.
IV. SANCTUS Chorus
Sanctus Dominus Deus Sabaoth
Pleni sunt coeli et terra gloria tua
Holy Lord God of hosts
Heaven and earth are full of Thy glory
Hosanna in excelsis!
Hosanna in the highest!
Benedictus qui venit in nomine Domini.
Blessed is he who comes in the name of the Lord.
V. Mezzo Soprano Solo
Pie Jesu Domini
Blessed Lord Jesus,
Dona eis requiem
Dona eis requiem sepiternam
VI. AGNUS DEI Chorus
Grant them rest,
Grant them eternal rest.
Agnus Dei, qui tollis peccata mundi,
O Lamb of God, who takest away the sins of the world,
Dona eis requiem sempiternam.
Give them everlasting rest.
VII. LUX AETERNA Chorus
Lux aeterna luceat eis, Domine
Cum sanctis Tuis in aeternum
May eternal light shine upon them, O Lord,
Quia piuses.
Requiem aeternam dona eis, Domine,
Etlux perpetua luceat eis.
With Thy saints for ever,
Because Thou art holy.
Grant them eternal rest, O Lord,
And may perpetual light shine upon them.
VIII. LIBERA ME Chorus
Libera me, Domine, de morte aeterna.
Deliver me, O Lord, from eternal death
In dieilla tremenda
In that terrible day.
Quando coeli movendi sunt et terra
When heaven and earth are shaking,
Dum veneris judicare saeculum per ignem
When Thou comest to judge the world by fire.
(Baritone Solo)
Tremens factus sum et timeo
Dum discussio venerit, atque venturaira,
(Chorus)
I am trembling and afraid
At the approaching wrath and destruction
When heaven and earth are moving.
Quando coeli movendi sunt et terra
Diesilla, diesirae, calamitatis
Day of wrath, day of calamity
Et miseriae, dies magna et amara valde,
And misery, that great and exceedingly bitter day.
Dum veneris judicare saeculum perignem
When Thou comest to judge the world by fire.
Requiem aeternam dona eis, Domine,
Etlux perpetua luceat eis.
Libera me etc.
And may perpetual light shine upon them.
Grant them eternal rest, O Lord,
IX. IN PARADISUM Chorus
In Paradisum deducant Angeli;
May the angels lead thee to Paradise;
In tuo adventu suscipiant te Martyres,
At thy coming may the martyrs receive thee,
Et perducant te in civitatem
And guide thee into the holy city of Jerusalem.
Chorus angelorum te suscipiat,
May the chorus of the angels receive thee,
Et cum Lazaro quondam paupere
And with Lazurus the one-time pauper
Aeternam habeas requiem.
Mayst thou have eternal rest
SUPPORT YOUR ORCHESTRA ON THESE
PRESTIGIOUS AWAY DATES!!
GUILDFORD PHILHARMONIC ORCHESTRA
Tonight’s concert marks the end of the 1986/87 season
and Guildford Borough Council acknowledges with
very grateful thanks the help in the organisation and
GUILDFORD PHILHARMONIC ORCHESTRA
promotion of the concerts received from the South
Saturday 13 JUNE 1987 at 7.30 p.m.
East Arts Association, the Guildford Philharmonic
CHICHESTER CATHEDRAL
Society, pupils of the County School and members of
the Red Cross organisation.
CHICHESTER FESTIVAL
THE DREAM OF GERONTIUS
ELGAR
During this season the Orchestra undertook its largest
JONATHAN WILLCOCKS, Conductor
ever number of engagements throughout the South
DAME JANET BAKER
East. This was made possible with financial assistance
MALDWYN DAVIES
from
RODNEY McCANN
Musicians’ Union and the Orchestra would like to
Tickets: £10.00, £8.00, £5.00
the
South
East
Arts
Association
and
the
express its appreciation to these bodies. The Orchestra
welcomed Sir Charles Groves as its principal conductor
in November last year and looks forward to regular
appearances with him during the forthcoming season.
MONDAY 6 JULY 1987 at 7.30 p.m.
In June this year the GPO appears in the Chichester
ROYAL FESTIVAL HALL
Festival
Programme includes:
Gerontius with Dame Janet Baker, Maldwyn Davies
HOLST’S HYMN OF JESUS
and Rodney McCann, and will make a return visit to
in
a
performance
of
Elgar’s
Dream
of
and
the Royal Festival Hall in July when it will support
ORFF’S CARMINA BURANA
the London Philharmonic Choir in performances of
RICHARD COOKE, Conductor
LONDON PHILHARMONIC CHOIR
Holst’s
Hymn
of Jesus
and
Carl
Orff’s
Carmina
Burana.
Another concert by the GPO in this year’s Guildford
Festival takes place on 11 July. This concert has been
made possible with generous sponsorship from Hays
For information about the above concerts please contact
Guildford Philharmonic Orchestra
Office Tel: Guildford 573800
Group Ltd. The concert follows the theme of “Music
for Royal Occasions” and includes Handel’s Music for
the Royal Fireworks, Mozart’s ‘Coronation’ Piano
Concerto, Walton’s Suite Henry V and Elgar’s Pomp
and Circumstance March No.l. Vernon Handley
conducts the concert with Anthony Goldstone soloist.
Tickets are available from the Civic Hall.
Next season’s programmes have now been completed
and details of the subscription series will be available
early in June from the Orchestra’s office. The concerts
will include Alfreda Hodgson with the Philharmonic
Choir in Elgar’s Music Makers, conducted by the
Orchestra’s Principal Conductor, Sir Charles Groves,
with whom Hugh Bean will give a performance of
Delius’s Violin Concerto; Nigel Kennedy and Vernon
Handley will collaborate in Elgar’s Violin Concerto;
Brian Wright will conduct the massive Grande Messe
des Morts of Berlioz with the combined forces of the
Philharmonic Choir and Goldsmiths Choral Union.
The exciting young conductor, Sian Edwards, will
present an all Russian programme in October. She was
the winner of the first Leeds Conductors Competition
in 1984 and will conduct the ‘original’ version of Mussorgsky’s “Night on a Bare Mountain” and Shostakovich’s Fifth Symphony. Richard Armstrong
conducts an all Beethoven programme including the
great Choral Symphony; John Forster has chosen to
include Holst’s Perfect Fool and Kodaly’s Hary Janos
Suite in his concert. A coup for Guildford will be a
concert featuring the husband and wife team of
Stephen Barlow and Joanna Lumley with a
performance of Peter and the Wolf. Volker
Wangenheim — a conductor who scored a major success
with the Guildford audience a couple of years ago
with his interpretation of Beethovens Seventh
Symphony — returns to conduct Haydn’s Symphony
No.104 and Bruckner’s ‘Romantic’ Fourth Symphony,
with sponsorship from Orpheus & Bacchus. In
December we shall be celebrating 50th anniversaries
of Ravel and Gershwin in a programme which will
comprise Ravel’s La Valse, as well as Gershwin’s Piano
Concerto and his popular “American in Paris”.
Following the popularity of our Director/Soloist
concerts, we have invited Sachko Gawriloff, the
eminent German violinist, to perform with the
orchestra in March next year in a programme of works
by Mozart. Our aim is to please our audiences who
give us support throughout the season. We urge you
to take out a subscription ticket to guarantee your seat
for next season’s exciting series of concerts. It will be
an advantage as not only does it guarantee three free
concerts but the overall price for subscription has been
based on tickets at Code A ticket prices rather than
the combination of Code A and the more expensive
Code B prices.
We thank everyone of our friends in the audience for
their attendance throughout last season and look
forward to seeing you all for the 1987/88 series.
GUILDFORD PHILHARMONIC ORCHESTRA
Principal Conductor: Sir Charles Groves CBE
Conductor Emeritus: Vernon Handley
First Violins:
Leader: Hugh Bean
Adrian Levine
Sheila Beckensall
Suzie Borrett
David Burton
Hywel Davies
Christopher Horner
Stuart James
Claire Sansom
Alec Suttie
Susan Thomas
Andrew Thurgood
Philip Winter
The Lodge
Allen House Grounds
Chertsey Street
Guildford GU1 4HL
Tel: (0483) 573800
Deirdre Dods
Ann Greene
Cor Anglais:
Janice Knight
Clarinets:
Colin Courtney
Nicholas Bucknall
Bass Clarinet:
Leslie Walklin
Second Violins:
Brian Smith
Rosemary Roberts
Andrew Bentley
Bassoons:
Timothy Callaghan
Peter Clack
Ruth Dawson
Stephen Dinwoodie
Marilyn Downs
Hywel Jones
Ruth Knell
Alan Pook
Jane Walker
Howard Walsh
Violas:
John Meek
David Stobbard
Leon King
Jean Burt
Frederick Campbell
Julius Bannister
Nicholas Hunka
Anna Meadows
Horns:
George Woodcock
David Clack
Duncan Hollowood
Ronald Harris
Trumpets:
Michael Hinton
Clifford Haines
Patricia Reid
Trombones:
Ian White
Malcolm Frammingham
Bass Trombone:
Martin Nicholls
Paul Morris
Karen Demmel
Tuba:
Cellos:
Percussion:
Stephen Lees
Geoffrey Thomas
Martin Thomas
Christina Macrae
John McCrae
John Kirby
Ian Pressland
Juliet Merz
Basses:
Stephen Wick
Timpani:
Roger Blair
Harp:
Helen Tunstall
Celesta:
Christopher Mabley
Stephen Williams
Piano:
Mary Scully
John Forster
Martin Myers
Dominic Black
Peter Box
Timothy Ambherst
Guildford Philharmonic Orchestra
Oboes:
Flutes:
Henry Messent
Alexa Turpin
Piccolo:
Simon Hunt
Organ:
Andrew Millington
Administrator:
Kathleen Atkins
Concerts Assistant:
Paul Hilliam
Guildford Philharmonic Society
(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:
in
addition
to
its
Guildford
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, GODALMING, SURREY
TELEPHONE GODALMING 6552
jointhe
GUILDFORD
PHILHARMONIC
CHOIR
* TAKE PART IN TOP QUALITY CONCERTS WITH THE GUILDFORD PHILHARMONIC ORCHESTRA —
THE PROFESSIONAL ORCHESTRA OF THE SOUTH EAST
* ENJOYPERFORMING INFIRSTCLASS 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 F MINOR; 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
]
DEPARTMENT OF MUSIC
Aren,t
This Department has gained for itself an
you l“Cky
performance. Members of the public are
lt S your
enviable reputation for its high quality of
most welcome at all our concerts — these
take place during term-time every
Wednesday at 1.15 pm and on selected
Further information is obtainable from:The Secretary
Department of Music
University of Surrey
Guildford, Surrey
(Tel: Guildford 571281)
L=
—
°.)
local
a2
Robert Shaw & Partners
CHARTERED SURVEYORS
)
Bryan R. D. Yendole, ER.I.C.S.
Alex K. Nyazai, FR.I.C.S., FEB.
Andrew D. Macvean, B.Sc. (estMaN) ER.I.C.S. DIP.CON.
Consultant: Robert O. Shaw, ER.I.C.S.
3TUNSGATE
COMMERCIAL HOUSE
GUILDFORD. GU1 3RF
CHAPEL STREET, WOKING. GU21 1BY
(0483) 572915
(04862) 61026
An independent firm offering consultancy especially in
BUILDING SURVEYING, DESIGN & VALUATIONS
PLANNING APPLICATIONS & APPEALS
COMMERCIAL PROPERTY
We in our 50th Anniversary year, wish Guildford Philharmonic Orchestra,
Choir, Society and audiences another inspiring and enjoyable season
\.,
/
HELP ONHAND
. \
{
Guildford’s new
emergency alarm system
for the elderly and
disabled living at home is
available now.
If you think that this system could be of assistance to you or your family then call
Roger Moreley on
GUILDFORD 502334
who will be happy to talk to you about HELP ON HAND
EPSOM ROAD
d\’.‘ (.G\rounds\
&
Castle
Museum
\
ftom
leasurce
btg
guildfo'cd ofio’coag/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
Guildford
House
Varied art exhibitions
throughout the year.
Open 10.30am to 4.50pm
Mon-Sat. Admission
free. Tel: G. 505050 or
155 High Street
‘Givic
Hall
London Road
Gro_
D
GUILDFOR® 1
HILHARM
ORCHESTRA
503406 after 5pm and
weekends.
Guildford
Museum
dating from prehistory to
Castle Arch,
Admission free. Tel: G.
Quarry Street
503497.
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.
190l
Stoke Road
Ash Manor
Sports
Centre
Items relating to Surrey
the present day. Open
Mon-Sat 11am - 5pm.
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.)