1987/88 SEASON
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We know that what matters most
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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.
Clive Pinkham has given recitals at The Purcell Room of the
Royal Festival Hall, The Wigmore Hall and has appeared on
American and British Television. Meet him in his shop where he
is always pleased to give help and advice.
MANUFACTURERS OF PIANOS
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At ORPHEUS & BACCHUS we share with you a love of classical music.
We are a new, privately owned, business, dedicated to serving the
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0QOG9i1
An emphasis on the best performances
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A fast ordering service for recordings not in stock
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GUILDFORD BOROUGH
COUNCIL CONCERTS 1987/88
GUILDFORD CATHEDRAL
(By Kind Permission of The Dean and Chapter)
SATURDAY 12 MARCH 1988
at 7.30 p.m.
Guildford
Philharmonic
Orchestra
Associate Leaders:
HUGH BEAN and JOHN LUDLOW
BRIAN WRIGHT
Conductor
WILLIAM KENDALL
Tenor
PHILHARMONIC CHOIR
GOLDSMITHS CHORAL UNION
THIS CONCERT IS PROMOTED BY GUILDFORD
BOROUGH COUNCIL WITH FINANCIAL SUPPORT
FROM THE SOUTH EAST ARTS ASSOCIATION.
THE GUILDFORD PHILHARMONIC ORCHESTRA
GRATEFULLY ACKNOWLEDGES THE SUPPORT OF
ITS SPONSORS OF INDIVIDUAL CONCERTS
THROUGHOUT THIS SEASON.
is especially wide, from Bach, Mozart and Beethoven
to Lutoslawski, Tippett and Maxwell Davies. He has
a special affinity with the late romantics, but has
conducted many premieres. In 1984/5 he gave 1st per-
formances of Symphonies by Robert Simpson and
Wilfred Josephs,
UK premieres of works by
Furtwangler and Penderecki and the 2nd performance
of Hugh Wood’s Symphony.
Brian Wright has performed on several previous
occasions with the Guildford Philharmonic Orchestra
and Choir, and we are delighted to welcome him to
Guildford again.
Brian Wright is recognised as one of Britain’s finest
younger conductors. During 1988 he will conduct in
the
three “thematic” festivals at London’s Royal
Festival Hall - Tippett’s “The Mask of Time” in “End
Games”, a series of composers’ late works, and in
“Beethoven plus” and “Brahms/Schoenberg”.
A Gulbenkian scholar in London, he furthered his
studies in Munich and with George Hurst and Jascha
Horenstein. In 1974/5 he won 2nd prizes in the Rupert
Foundation competition in London and the Guido
Cantelli competition in Milan. As a result,he spent a
year as Assistant to André Previn and the London
Symphony
Orchestra.
In
1976
he was
appointed
Conductor to the BBC Symphony Chorus. His 8 years
with the BBC were as notable for his orchestral work,
including 40 broadcasts with the BBC Symphony
Orchestra, as for his choral performances. He toured
Switzerland and Belgium and conducted the final
London concert of the BBCSO’s 50th anniversary
season in 1981. His Proms debut was the much
The tenor William Kendall is regularly heard in the
major concert halls of Britain. His busy and varied
schedule
has
recently
included
working
with
Penderecki and Sir Michael Tippett, broadcasts for
BBC Radio 3 and Radio France and performances of
Handel’s Theodora with Nikolaus Harnoncourt in
Brussels, Paris, Amsterdam and Vienna.
William Kendall was educated at the King’s School,
Canterbury and was a choral scholar at St John’s
College, Cambridge. He graduated there in music in
acclaimed revival of Liszt’s “Christus”, and in 1982 he
won particular praise for his interpretation of Berlioz’s
“Grande Messe des Morts”.
1973. After a year’s study with Robert Tear at the
Royal College of Music, London, he made his first
appearances at national and international festivals,
Brian Wright appears as guest with Britain’s major
orchestras. Engagements in 1985/7 included the
including Saintes, Innsbruck, The Flanders Festival,
and in the 1979 BBC Promenade Concert season.
London Symphony, London Philharmonic, Philharmonia, Royal Philharmonic, National Philharmonic,
BBC
Symphony, Bournemouth Symphony, Hallé,
Ulster, Scottish National, Royal Liverpool Philharmonic, BBC Philharmonic, BBC Scottish Symphony
and BBC Welsh Symphony Orchestras. His repertoire
Abroad,
William
Kendall
has
toured
Canada
(including concerts in Vancouver, Edmonton and
Winnepeg). He has worked with the London Mozart
Players and with the English Chamber Orchestra,
conducted by Sir Charles Mackerras, in Barcelona, at
the Ansbach Bach Festival, the Flanders Festival,
Innsbruck Festival and with
Ensemble: Intercontemporain.
the
Pierre
Boulez
His recordings include Handel’s Messia
h and Dixit
Dominus for ASV, and Israel in Egypt
and Bach
Cantatas with the Monteverdi Choir under
John Eliot
Gardiner for Erato.
Goldsmiths Choral Union
Goldsmiths Choral Union was founded in 1932
by the
late Frederick Haggis and now ranks
as one of
London’s finest amateur choirs. Under
its present
conductor, Brian Wright, it performs at
the capital’s
major concert venues, and has broadcast frequent
ly.
In 1981 the choir appeared in Tony Palmer’
s awardwinning documentary about Sir William Walto
n,
At the
Haunted End of the Day. Last year saw
a successful
performance of Dvorak’s Mass in D
and Durufle’s
Requiem at St James’ Church, Piccadilly,
and two
appearances with the National Centre
for Orchestral
Guildford Philharmonic Cheir
Guildford Philharmonic Choir (formerly the
Festival
Choir) was formed in order to perform the
major
choral repertoire with the Guildford Philhar
monic
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 Orchestr
a,
both recordings being conducted by Vernon Handley
.
The Choir has been trained for tonight’s perform
by Neville Creed who was appointed Chorus
ance
Master
to the Philharmonic Choir in September this
season,
when Lynette Newman, the Choir’s accompanist,
was
also appointed.
The next performance by the Philharmonic
season is Beethoven’s Choral Symphony
Choir this
with Richard
Armstrong in the Civic Hall on 23 April. The
Philharmonic Choir will also be taking part in
a concert
entitled The Tudor Connection in this year’s
Guildford
Festival in Holy Trinity Church on 15 July
with the
Guildford Philharmonic String Ensemble.
Studies Orchestra at Goldsmiths College: Liszt’s
Solemnis and Britten’s Cantata Academica.
The choir also gave two performances of
Tippett’s A
Child of Our Time in collaboration with
Guildford
Philharmonic Choir and Orchestra conduc
ted in
Guildford and Cardiff by Sir Charles Groves.
The choir returned to Guildford in Octobe
r for a joint
performance of Bruckner’s Mass in F Minor
and Liszt's
The 13th Psalm.
Last March GCU sang Holst’s Choral Sympho
ny at
Greenwich Borough Hall with the NCOS
Orchestra,
and gave a concert of Mozart’s Last Choral
Works at
the Royal Festival Hall in June. The popular
series of
GCU Summer Sings evenings again attract
ed many
enthusiasts this year, and the choir’s most
recent South
Bank appearance took place in Octobe
r with a
performance of Rossini’s Petite Messe Solenne
lle and the
premiere of a new work for choir by Peter
Skellern,
Weathers.
FORTHCOMING CONCERTS
31 May 1988
A Public Workshop with Sir Michael Tippett
Mask of Time
Neville Creed — Chorus Master
Greenwich Borough Hall
Neville Creed began his conducting career
whilst a
choral scholar at Trinity College, Cambri
dge where he
1 June 1988
Tippett: The Mask of Time
Royal Festival Hall
music.
28 October 1988
Beethoven: Choral Fantasia Op 80
conducted a variety of opera, choral
and orchestral
Since 1981 he has been Director of Choral
Music at
School, providing choirs for several
highly
acclaimed recordings on radio, televisi
on and disc.
During this time he was also Conductor of
the Milton
Keynes Chorale and the Tudor Singers of
London.
Tiffin
Hummel: Piano Concerto in A Minor Op
85
Beethoven: Mass in C Major Op 86
In 1986 he decided to pursue a conducting
career and
in that year he was awarded a scholarship
to study
conducting at the Guildhall School of
Music, where
he was awarded the Ricordi conducting prize.
Whilst
a student he conducted the second British
staging of
the opera Julietta by Martinu and various
orchestral
concerts. He now works on the staff
as a conductor
at the Guildhall.
As well as taking up his new appointment
in Guildford
he has recently been appointed conductor
of the
Bournemouth Symphony Chorus. He also
frequently
conducts many of the main London choirs
and will be
conducting in Denmark this summer.
Missa
THERE IS NO INTERVAL DURING
THIS PERFORMANCE
on The
Requiem op 5 ‘Grande Messe des Morts’
he wrote, ‘I should crave mercy for the Messe des Morts.
Berlioz 1803-1869
This Requiem expresses no deep personal faith and
gives no voice to spiritual experience. Berlioz lacked
the former and hence denied the possibility of the
latter. Christian ritual forms the basis of the music and
Berlioz did not hesitate to revise the liturgical phrasing
where it suited his purpose. Nor did he have any
ecstatic visions. All he saw was the graveyard; all he
felt was the melancholy of mortality.
It has become fashionable to consider Berlioz as the
prototype of romanticism but even specifically he was
a man of classic stature, morally and spiritually as well
as musically and artistically, and it is no accident that
Paganini called him publicly the successor to
Beethoven. To Berlioz life made sense, but he was
also well aware that in his own age forces had been
unleashed, for the first time in history, which
imperilled the old moral and social values: the
Industrial
Revolution,
mass
civilisation,
the
dominance of science. He was much too wise,
however, to turn his back on the new forces and set
out to capture this whole intermingled world of old
and new in the sounds of his music.
During his lifetime his music was denegrated in France,
when it was not ignored, yet the establishment was so
impressed by the Requiem that he received the cross
of the Legion d’Honeur.
Berlioz was born at Dauphine in December 1803, the
son of a country doctor. His father formed his taste
in literature — Virgil, La Fontaine and Shakespeare
were his favourite authors — but did nothing to
encourage his musical gifts. At 18 he studied the
principles of harmony and learned several instruments,
eventually becoming a student at the Paris Conservatoire and winning the Prix de Rome.
He fell in love with the English actress Harriet
Smithson and his passion for her led him to write the
Symphonie Fantastique. Love died, however, soon after
their marriage in 1833 but despite a new attachment
Berlioz waited until her death in 1852 before marrying
again. He enjoyed a European reputation, touring
widely and counting amongst his friends and admirers
Liszt and Wagner. Although his works were less
successful in France he continued to live in Paris until
his death.
The
Requiem,
commissioned
by
the
French
Government in 1836, was to have been performed at
Les Invalides on the next anniversary of 1830
Revolution. Berlioz completed the score in the spring
of 1837 but the performance, fixed for July 28th, was
abandoned - there is a suggestion that Cherubini, who
enjoyed a better reputation, ‘conspired’ to have one
of his own works substituted — although it was
eventually premiered in December 1837 at a memorial
service for General Damremont and the French
soldiers who had fallen during the seige of Constantine
in the Algerian campaign.
The function was a great success: the newspapers, with
very few exceptions, gave favourable accounts. Berlioz
said of the ‘Tuba Mirium’ with its five orchestras, that
the ‘grandeur was “incroyable’”’. In passing he
mentioned that one of the choristers had a nervous
seizure at this point!
During his last years, after his creative career was
ended, the composer looked upon the work as the one
most fitted to represent him. ‘If I were threatened with
the destruction of the whole of my works save one’,
What the Requiem lacks in spiritual depth it atones for
in size. Thoughts of religious ritual always intoxicated
Berlioz’s imagination, leading him on to dreams of the
fabulous. The very cast of the music seems to suggest
mighty spaces and immense celebrations. Undeniably
the Messe des Morts is a work of genius: the vastness
and mood are maintained through section after
section, in terms as different from one another as they
are different from all musical styles.
It is evident that Berlioz strove to emphasise the
remarkable suggestion of vastness which much of the
music conveys. An enormous orchestra is demanded,
although the full strength is reserved for a few
notorious passages. The Requiem has acquired a
reputation for the loudness of its noises. This, however,
does the work an injustice, or at any rate is true only
of a comparatively small part. The great forces are
handled with restraint throughout the major portion.
The original score specifies (chorus) eighty sopranos
and altos, sixty tenors and seventy basses, and (orchestral) fifty violins, twenty violas, twenty cellos,
eighteen double basses, four flutes, two oboes, two
english horns, eight bassoons, four clarinets, twelve
horns, four cornets, twelve trumpets, sixteen
trombones, six tubas (originally the now obsolete
ophicleides), sixteen kettledrums, two big drums, four
gongs and five pairs of cymbals. The composer added
that these numbers are ‘only relative’ and that the
chorus may be doubled or even tripled, with proportionate increases in the orchestra — ‘in the case of a
chorus numbering 700 or 800, however, only 400 need
be employed in most movements, the full strength
being reserved for the great moments’. Apart from the
horns, the brass is divided into four small orchestras,
posted at distances from the various corners of the
main body.
The Messe des Morts is a remarkable work: uneven like
the rest of Berlioz. Much of the music has an unearthly
(almost sepulchral) beauty and cannot be compared
to the devotional works of other composers. It is
simply not ‘religious’ music in the accepted sense. With
a total outlook that is dramatic and materialistic, it is
a work to be acquainted with, not lived with. Its
attractions are too exotic to hold the ordinary man in
constant thrall: he could not remain for long keyed
up to its unique pitch.
No. 1 Requiem et Kyrie
Andante un poco lento
Requiem aeternam dona eis,
Eternal rest give unto them, O Lord: and
Domine: et lux perpetua luceat eis.
let thy perpetual light shine upon them. A
Te decet hymnus, Deus, in Sion,
et tibi reddetur votum in
Jerusalem: exaudi orationem
meam, ad te omnis caro veniet.
hymn, O God, becometh Thee in Sion; and
avow shall be paid toThee in Jerusalem:
hear my prayer: all flesh shall come to
Thee.
Requiem aeternam dona defunctis,
Eternal rest give unto the dead, O Lord,
Domine: et lux perpetua luceat eis.
and let perpetual light shine upon them.
Kyrie, eleison!
Lord have mercy upon us!
Christe, eleison!
Kyrie, eleison!
Christ have mercy upon us!
Lord have mercy upon us!
No. 2 Dies irae
Moderato
Diesirae, diesilla
Day of wrath! O day of mourning,
Solvet saeclum in favilla;
Teste David cum Sybylla.
Heaven and earth in ashes burning.
Quantus tremor est futurus,
Quando judex est venturus,
When from heaven the Judge descendeth,
Cuncta stricte discussurus!
On whose sentence all dependeth!
See fulfilled the prophets’ warning;
O, what fear man’s bosom rendeth,
Andante maestoso — Pui largo
Tuba mirum spargens sonum
Wondrous sound the trumpet flingeth,
Per sepulcra regionum,
Coget omnes ante thronum.
Through earth’s sepulchres it ringeth,
All before the throne it bringeth.
Mors stupebit et natura,
Deathis struck and nature quaking,
Cum resurget creatura,
Judicantiresponsura.
All creation is awaking,
Toits Judge an answer making.
Liber scriptus proferetur,
Lo! the book exactly worded,
In quo totum continetur,
Unde mundus judicetur.
Wherein all hath been recorded;
Thence shall judgement be awarded.
Judex ergo cum sedebit,
When the Judge his seat attaineth,
Quidquid latet apparebit;
And each hidden deed araigneth,
Nil inultum remanebit.
Nothing unavenged remaineth.
No. 3 Quid sum miser
Andante un poco lento
Quid sum miser tunc dicturus?
What shall I, frail man, be pleading,
Quem patronem rogaturus,
Who for me be interceding,
Cum vix justus sit securus?
When the just are mercy needing?
Recordare, Jesu pie,
Think, good Jesu, my salvation
Quod sum causa tuae viae;
Caused thy wondrous Incarnation,
Ne me perdasilla die.
Leave me not to reprobation.
Oro supplex et acclinis,
Low
I kneel, with heart submission; -
Cor contritum quasi cinis;
Gere curam mei finis.
Help me in my last condition.
See, like ashes my contrition;
No. 4 Rex tremendae
Andante maestoso
Rex tremendae majestatis,
Qui salvandos salvas gratis,
King of majesty tremendous,
Who dost free salvation send us,
Salva me, fons pietatis.
Fount of pity, then befriend us.
Recordare, Jesu pie,
Think, good Jesus, my salvation
Quod sum causa tuae viae;
Ne me perdasilla die.
Leave me not to reprobation.
Caused thy wondrous Incarnation.
Confutatis maledictis, (Jesu),
While the wicked are confounded,
Doomed to flames of woe unbounded,
Flammis acribus addictis
Vocame...
Callme...
Et de profundo lacu, Libera me
de ore leonis, ne cadem in
obscurum, ne absorbeat me tartarus.
And from the deep pit, Deliver me
from the lion’s mouth, that I may not fall into
darkness, that hell may not swallow me up.
No. 5 Quarens me
Andarte sostenuto
Quarens me, sedisti lassus:
Redemisti crucem passus:
Tanto labor non sit cassus.
Faint and weary Thou hast sought me,
Juste judex ultionis.
Righteous Judge! for sin’s pollution
On the cross of suffering bought me;
Shall such grace be vainly brought me.
Donum fac remissionis
Grant Thy gift of absolution.
Ante diem rationis.
Ere that day of retribution.
Ingemisco tamquam reus:
Guilty, now I pour my moaning.
[Culpa rubet vultus meus:]
[All my shame with anguish owning;:]
Suplicanti parte, Deus.
Spare, O God, Thy suppliant groaning.
Preces meae non sunt dignae;
Worthless are my prayers and sighing;
Sed tu bonus fac begnigne,
Ne perenni cremer igne.
Yet, good Lord, in grace complying,
Rescue me from fires undying.
Qui Mariam absolvisti,
Thou the sinful women savedst;
Etlatronem exaudisti,
Thou the dying thief forgavest;
Mihi quoque spem dedisti.
Add to me a hope vouchsafest.
Inter oves locum presta,
With Thy favoured sheep O place me,
Et ab haedis me sequestra,
Nor among the goats abase me,
Statuens in parte dextra.
But to Thy right hand upraise me.
No. 6 Lacrymosa
Andante non troppo lento
Lacrymeosa diesilla,
Ah! that day of tears and mourning!
Qua resurget ex favilla
From the dust of earth returning
Judicandus homo reus.
Man from judgement must prepare him!
Pie Jesu Domine,
Lord, all pitying, Jesu blest,
Dona eis requiem aeternam.
Grant them Thine eternal rest.
No. 7 Offertorium
Moderato
Domine Jesu Christe, Rex
O Lord Jesus Christ, King of
gloriae, liber animas omnium
fidelium defunctorum de poenis;
Domine, libera eas de poenis
ipferm et de profundo lapu;
11.ber_a eas! Et sanctus Ml(;hael
signifer repreasentet eas in
,
Glory, deliver the souls of all
the faithful departed from the
pains, O Lord, deliver them from the pains
of hell and from the deep pit;
deliver them! And the holy standard-bearer Michael
lead them into the holy light;
lucem sanctam; Quam olim Abrahae
which thou didst promise to Abraham
et semini ejus promisisti,
and to his seed,
Domine Jesu Christe. Amen.
O Lord Jesus Christ. Amen.
No. 8 Hostias
Andante non troppo lento
Hostias et preces tibi laudis
offerimus: suscipe pro animabus
illis quarum hodie memoriam
facimus.
We offer to thee sacrifices and
prayers: do thou receive them on
behalf of those souls whom we
commemorate this day.
No. 9 Sanctus
Andante un poco sostenuto e maestoso
Sanctus, Sanctus, Sanctus,
Holy, Holy, Holy
Deus Sabaoth,
Lord of hosts,
Pleni sunt caeli et terra gloria tua.
Heaven and earth are full of Thy Glory.
Allegro non troppo—Tempo 1 —
Allegro non troppo
Hosanna in excelsis.
Hosanna in the highest!
No. 10 Agnus Dei
Andante un poco lento
Agnus Dei, qui tollis peccata
Lamb of God, who takest away the
mundi, dona eis requiem
sin of the world, give them rest
eternal.
sempiternam.
Te decet hymnus, Deus, in Sion,
et tibi reddetur votum in
Jerusalem: exaudi orationem
meam, ad te omnis caro veniet.
Ahymn, O God, becomethThee in Sion:
and a vow shall be paid toThee in
Jerusalem: Hear my prayer: all flesh shall
come toThee.
Requiem aeternam dona defunctis.
Eternal rest give unto the dead, O Lord.
Domini, et lux perpetua luceat
and let perpetual light shine upon them.
eis. Requiem aeternam dona eis.
Eternal rest give unto them, O Lord; and
Domine: et lux perpetua luceat
let perpetual light shine upon them. With
eis. Cum sanctis tuis in
Thy saints forever. O Lord, for thou art
Thy saints forever, O Lord, for thou art merciful.
Amen.
aeternam. Domine, quia pius es.
Amen.
Wednesday 16 March 1988 at 7.30 pm
CHARTERHOUSE SCHOOL HALL,
GODALMING
(Promoted by the Guildford Philharmonic Society)
Recital — East Meets West
The Park Lane Sextet
Admission free to Subscribers/Guildford Philharmonic
Society members. Guest tickets £2 (including wine and
cheese). From the Guildford Philharmonic Orchestra
Office, The Lodge, Allen House Grounds, Chertsey
Street, Guildford GU1 4HL. Tel: 573800.
Sunday 10 April 1988 at 3.00 pm
Civic Hall, Guildford
Symphony No. 3 ‘Pastoral’
Vaughan Williams
Violin Concerto
Elgar
Vernon Handley
Conductor
Nigel Kennedy
Soleist Soprano
Janice Watson
Soprano
Tickets: £7.00, £6.00, £5.00, £4.40
(Children aged 16 and under half price)
Box Offices: Civic Hall, Guildford. Tel: 67314/5
Orpheus & Bacchus, Chapel Street, Guildford
Tel: 576277
Sunday 20 March 1988 at 3.00 pm
Civic Hall, Guildford
Concertone for Two Violins K190 Mozart
(with John Ludlow)
Violin Concerto No.4in D K218
Mozart
Haffner Serenade in D K250
Mozart
Sascho Gawriloff
Director/Soloist
Tickets: £6.50, £5.50, £4.40, £3.70
(Children aged 16 and under half price)
Box Offices, Civic Hall, Guildford. Tel: 67314/5
Orpheus & Bacchus, Chapel Street, Guildford
Tel: 576277
GUILDFORD PHILHARMONIC ORCHESTRA
Principal Conductor: SIR CHARLES GROVES
Conductor Emeritus: VERNON HANDLEY
First Violins:
Cellos:
Associate Leaders:
Hugh Bean, John Ludlow
Geoffrey Thomas
John Stilwell
Christina Macrae
John Hursey
John Kirby
Ian Pressland
Rhian Isaacson
Phillip Augar
Christopher Bearman
Susan Borrett
Emer Calthorpe
Andrew Davies
Hywel Davies
Christopher Horner
Alex Suttie
Rosemary Van der Werff
Donald Weekes
Ginny Wray
Second Violins:
Nicholas Maxted Jones
Rosemary Roberts
Andrew Bentley
Timothy Callaghan
Ruth Dawson
Stephen Dinwoodie
Marilyn Downs
Peter Fields
Peter Hemborough
Ruth Knell
Alan Pook
Claire Sansom
Violas:
John Meek
Eric Sargon
Justin Ward
Jean Burt
Frederick Campbell
David McCreadie
Paul Appleyard
Karen Demmel
Basses:
Michael Brittain
Jeremy Gordon
Stephen Mair
Peter Box
Domenic Black
Nicky Street
Flutes:
Horns:
Peter Clack
Administrator:
Kathleen Atkins
Geo'r ge Woodcock
Concerts Assistant:
Paul Hilliam
David Clack
Duncan Hollowood
Philip Thorne
Ron Harris
Bass Group 1:
Michael Hinton Cornet
William O’Sullivan Cornet
Michael Crowther Trombone
Stephen Aitken Trombone
Martin Knowles Titba
Brass Group 2:
Colin Moore Trumpet
Dennis Edwards Trumpet
Henry Messent
Malcolm Frammingham Trombone
Philip Rowson
Katie Thomas
Ian Fasham Trombone
Jane Parry
Oboes:
John Barnett
Ann Greene
Cor Anglais:
Janice Knight
Helen McQueen
Clarinets:
Hale Hambleton
Victor Slaymark
Bassoons:
Nicholas Hunka
Anna Meadows
Sandra Hilliam
Olwen Griffin
Brass Group 3:
Simon Smith Trumpet
John Pickles Trumpet
Christopher Guy Trombone
David Gordon Trombone
Brass Group 4:
Andrew Crowley Trumpet
Dick Kauffmann Trumpet
David Hissey Trombone
Allan Gout Trombone
Owen Slade Tuba
Andrew Grappy Tuba
Timpani:
Roger Blair
Chris Nall
Rachel Gledhill
Chris Hind
Percussion:
Keith Bartlett
Felicia Lane
The audience may be interested to know that the violin
sections are listed in alphabetical order after the first
desk because a system of rotation of desks is adopted
in this orchestra so that all players have the opportunity
of playing in all positions in the section.
Guildford Philharmonic Society
(Charity Registration 288295)
The Guildford Pnilharmonic 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:
This Season in addition to its Guildford
Concerts the GUILDFORD PHILHARMONIC
ORCHESTRA will perform in Canterbury,
Rye, Dorking, Folkestone, Chatham, etc.
under the management of the SOUTH EAST
MUSIC
TRUST.
In
this
the
Trust
acknowledges with gratitude the generous
support of the MUSICIANS" UNION.
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)
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.
SUPPORT YOUR
ORCHESTRA!
IT
NEEDS YOU!
FIRST CLASS SERVICE FOR CLASSICS
FROM A FIRST CLASS MUSIC SHOP
PRINTED MUSIC EXPERTS
Large modern shop with printed music wall to wall. 2,000 of the most requested items always
in stock. Constantly changing “browse” stock. Rapid service for non-stock items — typically
7-10 days. Mail Order Dept has moved to new premises to cope with heavy demand.
Ring Dot Freeman on Byfleet 54898.
MUSICAL INSTRUMENTS
We stock all leading makes. Rental scheme with option to purchase. Extensive experience of
school requirements. Sensible advice for parents if needed. Comprehensive accessories. Repairs.
Records/Cassettes/Compact Discs. Yamaha Keyboards stocked and demonstrated.
Access, Visa, American Express, Diners Cards.
Large cheap car parks, free on Saturdays.
SRITTEN’S MUSIC 1t
3 Station Approach, West Byfleet, Surrey KT14 6NG. Tel: Byfleet 51165 (24hrs) and 51614
Open Monday—Saturday 9-5.30 (Saturday close 4.30)
Mail Order Dept now at: 3 Claremont Road, West Byfleet, Surrey KT14 6DY
Tel. Byfleet 54898 (24 hrs) Mon-Fri 9-5.30
jointhe
Guildford
Philharmonic
Choir
HUTSON POOLE AND CO
SOLICITORS
NOTARY PUBLIC
WE
* Take partin top quality concerts with The Guildford
Philharmonic Orchestra — The Professional
Orchestra of the South East
PROVIDE
*
Enjoy performing in First Class venues including
Guildford Civic Hall, Guildford Cathedral
A COMPREHENSIVE SERVICE
*
Work with conductors Sir Charles Groves, Brian
Wright and Richard Armstrong on such celebrated
works as The Music Makers, Elgar: Grande Messe
des Morts, Berlioz: Symphony No 9 in D minor
‘Choral’, Beethoven: also a Christmas Carol Concert
TO PRIVATE AND
CORPORATE CLIENTS
*
Chorus Master, Neville Creed, is also Chorus Master
of the Bournemouth Symphony Orchestra Chorus,
Assistant Chorus Master of The London
Philharmonic Choir and Director of Music of Tiffins
School
Rehearsals Monday Evenings (7.30pm — 9.45pm)
at Methodist Hall, Woodbridge Road, Guildford
10 QUARRY STREET,
GUILDFORD, GU1 3XA.
Further details from the Choir’s Office:
The Lodge, Allen House Grounds
Chertsey Street, Guildford
With financial support from
Surrey GU1 4HL
Tel: 0483 573800
Guildford Borough Council
Tel: 65244
£9—
* = Leisure
L
The top professional
orchestra of the South
East performing a full
range of concerts and
recitals at the Civic Hall
Tel: G.
Varied art exhibitions
Guildford
throughout the year.
Open 10.30am to 4.50pm
House
Mon-Sat.
Admission
free. Tel: G. 505050 or
155 High Street
e
573800.
o
‘vlc
W ll
“
London Road
s po rts
Centre
503406 after 5pm and
weekends.
For all kinds of family -
e
Guildford
Museum
dating from prehistory to
Castle Arch,
Admission free. Tel: G.
Quarry Street
503497.
Parks &
Open
Spaces
The
O
entertainment — plus
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
facilities to hire for your
beautiful gardens. Open
own events. Tel: G.
67314
Stoke Road
For sauna, solarium,
ASh Manor
At Manor Road Ash.
fit and much more! Open
Sports
full details.
squash, swimming, keep
now new 50 metre water
Bedford Road
for S leasure
>
from
shute. Tel: G. 571651/3
May to September 11am
- 7pm. Tel: G. 505207.
all types of dry sports.
Centre
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. )
For
Tel: Aldershot 25484 for
At Knowle Park Nursing Home we know about
the harmony of dignity and lifestyle for all our guests
both long and short stay.
This beautifully refurbished historic house in
lovely grounds has - single and double rooms with
bath en suite, telephone and TV. Every modern
facility, magnificent communal rooms, with lift and
comprehensive clinical facilities.
24 hour SRN supervision by friendly attentive
staff.
Inclusive and affordable fees.
iu'IT
BOT
We welcome your inquiries:
The Director of Nursing, Knowle Park Nursing Home, Knowle Lane,
Cranleigh GU6 8]JL. Telephone: Guildford (0483) 275432.
The Guildford Philharmonic Orchestra
& South East Music Trust
acknowledges the generous
support of the
Musicians’ Union
for the 1987/88 Season