1987/SEAON
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GUILDFORD BOROUGH
COUNCIL CONCERTS 1987/88
CIVIC HALL, GUILDFORD
SATURDAY 23 APRIL 1988
at 7.30 p.m.
Tonight’s concert is featured in Embassy Hotels
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For information telephone 0283-66587/9.
Guildford
Philharmonic
Leader:
HUGH BEAN
PHILHARMONIC CHOIR
Chorus Master Neville Creed
RICHARD ARMSTRONG
Conductor
WOLFGANG MANZ
Pianoforte
ELIZABETH COLLIER
Soprano
PENELOPE WALKER
Mezzo Soprano
JOHN TRELEAVEN
Tenor
Richard Armstrong was Music Director of Welsh
National Opera from 1973-1986. He was born in
Leicester and in 1961 went to Corpus Christi College
Cambridge as an organ scholar. In 1966 he joined the
music staff of the Royal Opera House Covent Garden
and during his time there worked with Solti on the RING,
with Giulini on TRAVIATA, and with Klemperer on
his famous production of FIDELIO.
In 1968 he left the Royal Opera House to become Head
of Music Staff at Welsh National Opera, becoming Music
Director in 1973. His years with the company were a
period of remarkable achievement and he conducted
many new productions. Richard Armstrong’s last year
with the Company was a triumph — marked by his collaboration with Peter Stein on a remarkable new OTELLO,
a new production of WOZZECK, and the Company’s
first complete RING Cycles — including a cycle at the
Royal Opera House Covent Garden. Welsh National
Opera, under Richard Armstrong, made several
successful overseas visits in recent years including
Barcelona, Lisbon, Wiesbaden, East Berlin, Dresden
and Leipzig.
Baritone
Recent engagements overseas have included ELEKTRA
for the Netherlands Opera and the Australian Opera,
OTELLO with Peter Stein in Brussels and PETER
GRIMES (with Joachim Herz) for the Komische Oper
Berlin.
THIS CONCERT IS PROMOTED BY GUILDFORD
Richard Armstrong also has an active concert career and
has worked with many of Great Britain’s leading
orchestras and recent concerts overseas have included
performances of Mahler’s 6th Symphony in Brussels.
PHILLIP JOLL
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.
Current and future commitments in 1988 include a new
production of ELEKTRA in Frankfurt, DON CARLOS
in Geneva and a new production of FALSTAFF with
Peter Stein for Welsh National Opera. Richard
Armstrong will return again to the Royal Opera House
Covent Garden in 1989 for DON CARLOS.
Wolfgang Manz
Wolfgang Manz first came to prominence in Britain when
he was awarded the second prize at the Leeds International Piano Competition in 1981. Since then, he has
been in considerable demand throughout Great Britain
and Europe, having already appeared four times on the
South Bank at the Royal Festival Hall and the Queen
Elizabeth Hall. In April of 1983 he was awarded the
Gold Medal of the Government of Belgium at the Queen
Elisabeth Competition in Brussels. Viewers to BBC
television will have seen him taking part in the Jorge
Bolet masterclasses, working on Rachmaninov’s Third
Piano Concerto. In the last few seasons he has appeared
with the Royal Philharmonic Orchestra, the Royal
Liverpool Philharmonic Orchestra, the Halle Orchestra,
the English Chamber Orchestra and the London Mozart
Players. In August 1984 he made his debut at the
Promenade season where he performed Brahms’ First
Piano Concerto with the BBC Symphony Orchestra.
Wolfgang Manz was born in Dusseldorf in 1960 and
began to play the piano at the age of 6. He has studied
with Walter Puettmann in Wuppertal, Drahomir Toman
in Prague and since 1979 with Karl Heinz Kammerling
in Hannover. He has also studied composition.
Last season, Wolfgang Manz again appeared throughout
Europe and he was seen frequently in Britain where he
made his second recording for EMI. His first recording
for EMI of two Beethoven sonatas was released in
October 1984. The second recording, the Beethoven
Triple Concerto with Frank Peter Zimmermann, Robert
Cohen and the English Chamber Orchestra under
Seraste, was released in the spring of 1986. He has also
recently appeared with the BBC Scottish Symphony
Orchestra and the Bournemouth Symphony Orchestra.
Other recent engagements took him to Belgium,
- appearances with the radio and television orchestra in
Liege, Sweden, Italy and Spain, as well as several
appearances in his native Germany. The most notable
of these was the invitation from the Dusseldorf
Symphony Orchestra to replace the late Emil Gilels after
his sad death in October 1985, as well as recitals in all
the major cities throughout West Germany.
Elizabeth Collier attended the Royal Northern College
of Music as a post-graduate student where she studied
with Frederick Cox and Nicholas Powell. She is a winner
of the Sir Robert Mayer award sponsored by the Royal
Society of Arts.
In 1979, she joined Glyndebourne Festival Opera and
in 1980 their touring Opera. Later that year she joined
Opera North. In 1982 she sang for Opera 80, and during
that season she also appeared as a Flower Maiden in
Welsh National Opera’s Parsifal, which she also
recorded.
In 1983/84 she attended the National Opera Studio, and
in April 1984 she made a television recording of Britten’s
War Requiem in Belgrade.
Miss Collier sang the role of Frasquita in Peter Hall’s
production of Carmen at the 1985 Glyndebourne
Festival, and the role of Violetta in La Traviata at Sadlers
Wells. She also sang the role of Donna Anna in Don
Giovanni on the Glyndebourne tour of Hong Kong and
repeated it on the 1986 Glyndebourne tour of the UK.
In 1987 Miss Collier sang with the Welsh National Opera
and English Touring Opera as well as appearing at the
Barbican and Queen Elizabeth Hall, South Bank with
the Chelsea Opera Group. This March she sang in a
performance of Mahler Symphony No 8 in the Royal
Albert Hall where she returns in 1989 to sing in a
performance of Handel’s Messiah.
Penelope Walker
Winner of the Kathleen Ferrier Memorial Scholarship
in 1980, Penelope Walker was born in Manchester and
studied at the Guildhall School of Music and at the
National Opera Studio. Scholarships have enabled her
to
undertake
further study with both Brigitte
Fassbaender in Munich and Gerard Souzay in Paris. Miss
Walker studied with Myra Ross from 1980-86 and now
studies with Nicholas Powell.
In June 1979, she won the Young Welsh Singer’s Competition, singing Elgar’s Sea Pictures with the BBC Welsh
Symphony Orchestra conducted by Bryden Thomson.
She has since sung with them on many occasions,
including two tours of North Wales.
Penelope Walker has appeared extensively throughout
Great Britain with the major orchestras and has sung at
major music festivals both at home (such as City of
London,
Three
Choirs,
Edinburgh,
Harrogate,
Spitalfields and Llandaff) and abroad (Athens Festival
with the Royal Philharmonic Orchestra and the English
Bach Festival, the Lausanne and Istanbul Festivals).
In March 1983, Penelope Walker appeared in the
Camden Festival with Opera Rara in the title role of
Maria Tudor by Pacini. She has made other operatic
appearances for English National Opera and Opera
North.
Penelope Walker broadcasts regularly for the BBC and
has appeared on BBC TV and HTV.
John Treleaven, who was born in Cornwall, is securely
estalished as one of Britain’s leading tenors.
After completing his studies in London and Naples, John
Treleaven joined Welsh National Opera.
He has subsequently enjoyed a successful association
with English National Opera and made his debut at the
Royal Opera House Covent Garden in a new production
of Mozart’s DIE ZAUBERFLOTE and subsequently
returned as froh in DAS RHEINGOLD.
Recent overseas engagements have included the
Adelaide Festival and for the Bolgna Opera, Paris
Opera, a concert performance of Verdi’s ATTILA at
the Concertgebouw Amsterdam, the title role in PETER
GRIMES at the Teatro Colon in Buenos Aires and Dick
Johnson at Artpark New York.
John Treleaven has an active concert career and made
his Festival Hall debut in 1981. During the summer of
1984 he took part in performances of the Verdi Requiem
under Nello Santi during the Festival de la Mediterranaee.
Future commitments include engagements for the San
Francisco Opera.
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 was appointed Chorus 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 Choir this
season is 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.
Neville Creed — Chorus Master
The Guildford Philharmonic Orchestra is very grateful
to Phillip Joll for standing in at very short notice for
Roderick Kennedy.
Phillip Joll was born in Merthyr Tydfil in 1954 and studied
at the Royal Northern College of Music with Nicholas
Powell and Frederick Cox. On leaving the RNCM,
Phillip Joll spent a year at the National Opera Studio in
London, leaving in 1979 to join English National Opera.
Phillip Joll has subsequently been closely associated with
Welsh National Opera and his roles with the company
have included Wotan in the company’s first RING Cycle
(including the triumphant cycles at the Royal Opera
House Covent Garden), Kurwenal (TRISTAN UND
ISOLDE - which he has also recorded for Decca,
Amfortas (PARSIFAL - RECORDED FOR EMI),
Chorebas (THE TROJANS), The Forester (CUNNING
LITTLE VIXEN), Onegin (EUGENE ONEGIN),
Oreste (ELEKTRA) and Don Fernando (FIDELIO).
Phillip Joll made his Royal Opera House debut in 1982
in SALOME and has subsequently returned to Covent
Garden for DER FREISCHUTZ, DAS RHEINGOLD
and DIE FRAU OHNE SCHATTEN.
Other operatic engagements in this country have
included Scottish Opera and the Edinburgh Festival, and
for Opera North.
This season Phillip Joll made his American debut as
Donner in a new production of DAS RHEINGOLD at
the Metropolitan Opera, New York, and forthcoming
commitments include SALOME and DIE FRAU OHNE
SCHATTEN for Welsh National Opera.
Neville Creed began his conducting career whilst a choral
scholar at Trinity College, Cambridge where he
conducted a variety of opera, choral and orchestral
music.
Since 1981 he has been Director of Choral Music at Tiffin
School, providing choirs for several highly acclaimed
recordings on radio, television and disc. During this time
he was also Conductor of the Milton Keynes Chorale
and the Tudor Singers of London.
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 Demark this summer.
Piano Concerto No. 1 in C major
Beethoven 1770 — 1827
Allegro con brio
Largo
Rondo — Allegro scherzando
Although the Piano Concerto in C Major, Op. 15, is
called No. 1, it was, in fact, the second of Beethoven’s
five to be written. The Concerto in B flat Major, known
as No. 2, is, in fact, the first. This Concerto begins
quietly, and the opening phrases are repeated by the full
orchestra before a short development. As well as a
second subject which makes for a surprise, being the key
of D flat, Beethoven also gives us some material that
will become part of the short coda. A further suprise
occurs when the solosist enters because he does so with
new material, and it is the orchestra that wins him back
to the first subject. In fact, this first subject is used as a
binding element in the movement and, although quiet,
gives the impression of a firmness around which much
of the development is decorative.
Beethoven loved moving to a key a third away from the
main key of the work, and the slow movement, which
in style is like some of his early piano sonatas, is in A
flat. The movement contains two sections and a lengthy
coda. The first section comprises a lovely tune and a
dotted passage; then comes an aria-like invention, and
then the coda. The clarinet has a very important part in
this movement.
The last movement, a typical rondo of the composer,
has the main theme announced by the piano. The
orchestra repeats it almost as if to confirm to the audience
that the soloist hadn’t got it wrong, and then moves
towards the first episode. The piano, while recognising
that the orchestra had introduced the first episode,
establishes its importance by plunging into E flat before
the return of the main tune. In this way the rondo pitches
from one episode to another, and unwinds itself until
the last gesture is effectively held up by the oboes and
horns in a brief adagio.
INTERVAL
Symphony No. 9
Beethoven 1770-1827
Allegro ma non troppo, un poco maestoso
Molto vivace
Adagio molto e cantabile.
Choral Finale Presto Allegro assai
‘I am that which is. I am all that was, that is, and that
shall be’. Beethoven kept this quotation from Eastern
literature framed on his desk, and the sentiments implied
therein are crucial to an understanding of the composer’s
last period. For about fifteen years up to his death in
1827, Beethoven was completely deaf. He could no
longer perform in public (for he had been a great
virtuoso), and he had to have the legs removed from his
own piano so that he could appreciate its sound through
vibrations while he lay on the floor. In his compositions,
he therefore withdrew into himself, producing music of
a spiritual depth scarcely found elsewhere in the whole
of music.
If we compare the Ninth symphony with the Fifth, we
can see how greatly Beethoven had grown in spiritual
stature. The earlier, almost boyish idea of fate has
become a much profounder conception, embracing, in
the choral finale, the brotherhood of all mankind. But
it is a common failing of critics to allow the finale to
eclipse the preceding three movements in importance.
Indeed, the very title ‘Choral Symphony’ is in itself
misleading, since the proper title of the ninth is
‘Symphony with final chorus on Schiller’s Ode to Joy’.
In this symphony, the composer’s language is unlike that
of his earlier works. The sheer sound of the Ninth is
new: the atmosphere it creates, the way Beethoven deals
with his thematic ideas, and the expanded technical and
expressive range of the music. Yet instruments are not
treated in a deliberately individual or virtuoso way; solo
passages quickly merge again into the whole, with the
effect that the orchestral writing directs the attention
towards the musical argument and meaning rather than
towards effects.
The opening of the first movement is an immediate
revelation of Beethoven’s power. It is as if the listener
is brought into direct contact with the process of creation;
the music grows out of nothing, and one senses this
growth. Tovey has gone so far as to say that the first
subject of this movement has had the deepest and widest
influence of any single theme upon later music, and those
who know, say, the symphonies of Bruckner, can scarcely
disagree. Symphonic music at its best is intensely
dramatic, and here Beethoven achieves a gigantic drama
through the emergence of power. The innate power of
idea enlarges the size of the sonata form structure, and
therefore the whole symphony as well. And its
compression of style enhances the feeling of power. The
development, despite its great length and variety, is
effectively a single vast crescendo, leading to a
restatement of the opening material, and in the coda the
self-sufficiency of the great theme is displayed in the way
in which it firmly brings the movement to an end.
By contrast, the second movement is all energy. The
chord of D minor is thrown at us and the basic rhythm
sharply outlined. Then the strings begin a very regular
five-part fugue, with the woodwind pointing the start of
every bar. But we have not left sonata form; the
woodwind soon get a broad second subject over a furious
string accompaniment. The trio, with its sense of delight,
is the ideal foil to the demoniac nature of the scherzo.
Thus far, cosmic power, creation and energy. The
growing warmth of the adagio will lead us thence to the
humanity of the finale. The third movement begins with
motion virtually suspended; out of this mystical Adagio
a more amiable andante moderato emerges, and the
alternation
between these two moods grows in
complexity, while at the same time the element of
contrast between the themes is lessened. Then it is time
for a grand statement for brass and drums. This comes
twice, and on each occasion there is a searching, and a
different, response.
Beethoven had known and loved Schiller’s ‘Ode to Joy’
since he was a young man of twenty-two (i.e. when he
first arrived in Vienna), and he had longed to set it to
music for some time. Indeed, there is every reason to
believe that the Fantasia for Piano, Chorus, and
Orchestra, Opus 80, was a trial run for this finale.
However, it was by no means certain that the symphony
should end in this way, because the composer’s original
intention was to use the theme of the A Minor String
Quartet, Opus 132, in his finale, with what would, of
course, have been very different results. The form
Beethoven chose in the end was a recitative introduction
(Presto), .alternating with quotations from previous
movements, leading to Allegro assai. The choral finale
consists of variations and developments upon the theme
of the allegro. In this way, Beethoven was able to solve
the problem of how to integrate the choral setting into
the whole symphony. The theme of the allegro assai is
eminently suitable for variation treatment. It is not one
of Beethoven’s sublimest themes but its simple contours
allow it to be moulded into a host of different shapes.
After its orchestral presentation, there is a recapitulation
of the presto recitative with a baritone solo calling for
brotherhood. Then follow the variations.
Allegro assai: theme and two variations, for quartet and
chorus.
Allegro assai vivace, alla marcia: variation with tenor
solo and male chorus; fugal episode; variation with full
chorus.
Andante maestoso: new theme with full chorus.
Allegro energico, sempre ben marcato: double fugue on
the two themes.
Allegro ma non tanto (with changes of tempo) leading
to Prestissimo: coda with quartet and chorus.
Terry Barfoot.
An Die Freude
Ode to Joy
O Freunde, nicht diese Tonel
Sondern lasst uns angenehmere
anstimmen und freudenvollere
Oh friends, not this tone!
Freude! Freude!
Freude, schoner Gotterfunken,
Tochter aus Elysium,
wir betreten fauer trunken,
Himmlische, dein Heiligtum,
Deine Zauber binden wieder,
was die Mode streng geteilt;
alle Menschen werden Bruder,
wo dein sanfter Flugel weilt.
Deine Zauber binden wieder, usw.
Rather let us sing more pleasantly,
and more joyfully.
Bass Solo and Chorus
Joy! Joy!
Oh joy, thou lovely spark of God,
daughter of Elysium,
we enter, drunk with fire,
immortal goddess, thy holy shrine!
Thy magic doth unite once more
what custom has strictly set asunder;
all men shall be brothers
where thy gentle wing is spread.
Thy magic doth unite once more, etc.
Quartet and Chorus
Wem der grosse Wurf gelugen
eines Freundes Freund zu sein,
wer ein holdes Weib errungen,
mische seinen Jubel ein!
Ja, wer auch nur eine Seele
sein nennt auf dem Erdenrund!
Und wer’s nie gekonnt, der stehle
weinend sich aus diesem Band!
Ja, wer auch nur eine Seele, usw
Freude trinken alle Wesen
an den Brusten der Natur,
alle Guten, alle Bosen
folgen ihrer Rosenspur.
He who has known the great good fortune
of being bosom friend to friend,
he who has won a tender wife,
let him mingle his rejoicing!
yea, even he who but one soul
calls his own upon this earth!
And he who never could do that, steal
away weeping from this band!
Yea, even he who but one soul, etc.
All creatures drink joy
at Nature’s breast,
good and bad alike
follow her rosy trail.
Kisses she gave us, and the vine,
a friend proved unto death;
Kusse gab sie uns, und Reben,
einen Freund, gepruft im Tod;
Wollust ward dem Wurm gegeben,
und der Cherub steht vor Gott!
pleasure was given to the worm,
Kusse gab sie uns, usw.
Kisses she gave us, etc.
Froh, froh wie seine Sonnen fliegen
durch des Himmels pracht’gen, Plan,
laufet, Bruder, eure Bahn,
freudig wie ein Held zum Siegen;
Happily, gladly as His suns speed
through the glorious plain of heaven,
and the cherub stands before God!
Tenor Solo and Chorus
wie ein Held zum Seigen,
laufet, Bruder, eure Bahn! usw.
brothers, run your course,
joyful as hero to victory;
like a hero to victory,
brothers, run your course! etc
Chorus
Freude, schoner Gotterfunken, usw.
Deine Zauber bindet wieder, usw.
Seid umschlungen, Millionen!
Diesen Kuss der ganzen Welt! usw.
Bruder, uber’m Sternenzelt
muss ein lieber Vater wohnen, usw
lhr sturzt nieder Millionen?
Ahnest du den Schopfer, Welt?
Such ihm uber’'m Sternenzelt!
Uber Sternen muss er wolnen.
Oh joy, thou lovely spark of God, etc.
Thy magic doth unite once more, etc.
Be embraced, ye millions!
This kiss to all the world etc.
Brothers, above the starry heavens
a loving Father must surely dwell, etc.
Fall ye prostrate, oh ye Millions?
Dost thou sense the Creator, world?
Seek Him above the starry heavens!
He must dwell above the stars.
The Guildford Philharmonic Orchestra in association
Guildford Philharmonic Orchestra
with The Guernsey Tourist Board
Tonight’s concert marks the end of the successful
1987/88 season and Guildford Borough Council
acknowledges with very grateful thanks the help
in the organisation and promotion of the concerts
received from the South East Arts Association,
the Guildford Philharmonic Society, pupils of the
County School and members of the Red Cross
organisation.
MUSIC FOR SPRING TIME
During this season the Orchestra undertook a
large number of engagements throughout the
South East. This was made possible with financial
assistance from the South East Art Association
and the Musician’ Union, and the Orchestra would
like to express its appreciation to these bodies.
In June this year the orchestra will make a further
appearance in the Royal Festival Hall in a
performance of Elgar’s ‘The Dream of Gerontius’
with the
London Philharmonic Choir and
conductor Richard Cooke. Also in June, the
Orchestra travels to Cardiff to perform the Berlioz
Grande Messe des Morts with a massed choir of
over 300 voices and the Band of the Welsh Guards
and conductor Sir Charles Groves.
The Orchestra acknowledges with thanks the
sponsorships received this season from Lloyds
Bank,
BOC
Limited.,
Lovell
Construction
(Southern) Ltd and Orpheus & Bacchus. The last
mentioned three companies as first-time sponsors
of the arts, received an award from the Association
for Business Sponsorship of the Arts. As a result
of the award the orchestra performed a chamber
concert in Holy Trinity Church and launched The
Classical Road Show — an educational project for
children. The orchestra looks forward to a
continuing association with its sponsors.
Details
of
programmes
next
season’s
are
enclosed.
Boyce
Concerto for Violin in A Minor
Bach
Symphony No 10 in B Minor
Mendelssohn
Eine Kleine Nacht Musik
Mozart
Serenade for Strings
Elgar
Rumanian Dances
Bartok
GUILDFORD
David Le Page
Soloist
Conductor
Friday 27 May 1988 at 7.30 pm.
Holy Trinity Church, Guildford
Tickets £5.00., (Half price senior citizens and students/
school children under 21)
Available from GPO Office, The Lodge, Allen House
Grounds, Chertsey Street, Guildford, GU1 4HL. Tel:
(0483) 573800 and from Orpheus and Bacchus, Chapel
Street, Guildford, Tel: (0483) 576277.
Friday 15 July 1988 at 7.30 pm
Holy Trinity Church, Guildford.
THE TUDOR CONNECTION
Philharmonic Choir
Conductor: Neville Creed
Programme includes Britten’s Gloriana Dances, Three
Shakespeare Songs, Vaughan Williams and Songs of
Springtime, Moeran
series
citizens).
Subscribers will be issued with a card offering
additional benefits: receptions, reductions at
recitals, etc., plus a 10% discount on wine,
records, books, CDs etc., available at Orpheus &
Bacchus! Several of this season’s concerts were
sold out. Book Now to secure next season’s attractions!
ORCHESTRA
John Forster
subscription
package offers 12 concerts for the price of 9. But,
because the subscription price is based on the
cheaper Code A concert charges, next season’s
subscription tickets will save you a third of the
total cost!
PHILHARMONIC
ENSEMBLE
Tickets:
subscription
The
Overture No 1 in B flat
Available
£5.00.,
(half
from
Civic
price
children
Hall Box
and
Office,
senior
Guildford.
Telephone: 67314/5 and Orpheus & Bacchus, Chapel
Street, Guildford. Telephone: 576277.
SPANISH FIESTA
GUILDFORD PHILHARMONIC ORCHESTRA
Norman Del Mar
Conductor
Hugh Tinney
Pianoforte
Capriccio Espagnol
Rimsky Korsakov
Nights in the Garden of Spain
De Falla
Evocation and El Puerto
from Iberia
Albeniz
Rapsodia Sinfonica for Piano
and Strings
Espana
Turina
Chabrier
Civic Hall, Guildford
Saturday 23 July 1988 at 7.30 pm
Tickets: £7.50., £6.50., £5.50., £4.50.,
Available from Civic Hall Box Office, Guildford.
Telephone: 67314/5 and Orpheus & Bacchus, Chapel
Street, Guildford. Telephone: 576277 Concessions for
children and senior citizens.
Guildford Philharmonic Choir
Sopranos
Kathleen Aldridge
Susan Austin
Louise Barnfield
Jilly Bradshaw
Mary Brown
Mary Broughton
Elaine Chapman
Isobel Charsley
Sylvia Coghill
Louise Compton
Rachel Crookenden
Margaret Dare
Jill Davies
Andrea Dombrowe
Barbara Doyle
Valerie Edwards
Celia Embleton
Mary Fox
Rita Frith
Sophie Goodchild
Jenny Hakim
Elaine Harre
Susan Hinton
Rita Horton
Elaine Inglis
Nora Kennea
Judith Lewy
Evelyn Macmillan
No6el Monier-Williams
Alison Munro
Rosemay Munro
Christine Nicholson
Susan Norton
Robin Onslow
Alexandra Palmer
Margaret Parry
Vicky Payne
Margaret Perkins
Rosalind Plowright
Jean Radley
Jean Shail
Maureen Shortland
Corinne Sinclair
Judy Smith
Adrienne Warrilow
Enid Weston
Miranda White
Barbara Williams
Christine Wilks
Patricia Wood
Altos
Marion Andrews
Iris Ball
Juliana Baxter
Veronica Bennett
Iris Bennett
Alison Bosley
Jean Brown
Amanda Clayton
Philippa Copp
Eleri Davies
Sheila Davidson
Elizabeth Down
Ruth Durbridge
Mary A Edgar
Jane George
Maggie Guilfoyle
Ingrid Hardiman
Jean Hassell
Lesley Haugh
Marilynn Hill
Carol Hobbs
Sheila Hodson
Rosemary Huntley
Joy Hunter
Kathleen Isaac
Helen Lavin
Hilary Marsden
Christine Medlow
Brenda Moore
Sheila Morris
Angela Moxom
Penny Muray
Cherry Nurse
Maureen O’Shaughnessy
Angela Parry-Davies
Cynthia Pepler
Anne Philps
Grace Price
Sylvia Reilly
Fay Richardson
Carol Rodford
Carol Rowe
Helen Skinner
Jacqui Smith
Rosemary Smith
Prue Smith
Margaret Tingley
Hilary E Trigg
Pauline Vince
Katharine Wedgbury
Jean Whitehouse
Tenors
Chris Anderson
Brian Avery
Bob Bromham
Adrian Buxton
Martin Coslett
Toby Crowe
Geofrey Edge
George Fordham
Geoff Forster
Leslie Harfield
Tim Jones
Alfred Knowles
Maggie M van Koetsveld
Nick Lamb
Peter Lemmon
Elizabeth Lyon
Christopher Morris
Roy Price
Christopher Robinson
Jeni Young
Basses
Michael Allen
Peter Andrews
Graham Barwick
Andrew Baxter
Michael Beacham
David Bowman
Peter Brackfield
Michael Bradbeer
John Britten
Stephen Bryer
Henry Carew
Walter Chattaway
Neil Clayton
Douglas Corr
Peter Herbert
Michael Jeffery
Michael D Longford
Martin Monier-Williams
Maxwell New
Roger Penny
John Parry
John Schlotel
Don Skipper
Richard Smith
Philip Stanford
Tony Theobald
Donald Walden
Ralph Whitehouse
Andrew Whitehouse
Martin Wilks
Stephen Wright
GUILDFORD PHILHARMONIC ORCHESTRA
First Violins:
Hugh Bean
Jack Macguire
Philip Augar
Christopher Bearman
Suzie Borrett
John Clarkson
Hywel Davies
Alex Suttie
Susan Thomas
Andrew Thurgood
Phillip Winter
Mathias Wait
Second Violins:
Nicholas Maxted Jones
Rosemary Roberts
Timothy Callaghan
Ruth Dawson
Stephen Dinwoodie
Peter Fields
Peter Hemborough
Christopher Horner
Ruth Knell
Claire Sansom
Ingrid Sellschop
Adrienne Sturdy
Violas:
John Meek
Nigel Goodwin
Griff Owen
Jean Burt
Celi Azulek
Malcolm Williamson
Paul Appleyard
Louisa Koziol
Cellos:
Geoffrey Thomas
John Stilwell
Christina Macrae
John Hursey
John Kirby
Ian Pressland
Charlotte Ward
Basses:
Michael Lea
Timothy Ambherst
Peter Box
Duncan Allen
Celia Johnson
Nicki Street
Flutes:
Henry Messent
Alexa Turpin
Piccolo:
Simon Hunt
Oboes:
James Brown
Deirdre Dods
Ann Greene
Clarinets:
Wilfred Goddard
William Green
Victor Slaymark
Bassoons:
Nicholas Hunka
Anna Meadows
Contra Bassoon:
David Lock
Horns:
Peter Clack
George Woodcock
David Clack
Duncan Hollowood
Peter Kane
Trumpets:
Michael Hinton
Colin Moore
Trombones:
Ian White
Christopher Guy
Bass Trombone:
Martin Nicholls
Timpani:
Roger Blair
Percussion:
Christopher Nall
Steven Lees
Felicia Lane
Concerts Manager:
Kathleen Atkins
Concerts Assistant:
Paul Hilliam
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)
£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.
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 14
3 Statiom 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
* Take partin top quality concerts with The Guildford
WE
Philharmonic Orchestra — The Professional
Orchestra of the South East
PROVIDE
*
A COMPREHENSIVE SERVICE
Enjoy performing in First Class venues including
Guildford Civic Hall, Guildford Cathedral
* 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
Tel: 65244
With financial support from
Guildford Borough Council
Surrey GU1 4HL
Tel: 0483 573800
:
for cfleasure ;.
- feisure
R
%
The top professional
orchestra of the South
East performing a full
e
otG.e
GUIDFONONIC | Tel:
573800.
PH](;HESTRA
f
ORD
and
Varied art exhibitions
Guildford
throughout the year.
Open 10.30am to 4.50pm
Mon-Sat. Admission
House
free. Tel: G. 505050 or
155 High Street
‘Givic
rts
503406 after Spm and
weekends.
| ~oveoem
For all kinds of family
Londoh Réad
s pO rts
Quarry Street
503497.
Parks &
Open
Spaces
The
O
jl
now new 50 metre water
C
shute. Tel: G. 571651/3
SpOrts
el
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
@
Ash Manor
Bedford Road
v
Mon-Sat 11am - S5pm.
For sauna, solarium,
Centre
the present day. Open
Admission free. Tel: G.
Stoke Road
squash, swimming, keep
Items relating to Surrey
dating from prehistory to
Castle Arch,
67314
fit and much more! Open
fi =
Museum
facilities to hire for your
own events. Tel: G.
a
Guildford
swimming pools set in
rolling lawns and
beautiful gardens. Open
May to September 11am
- 7pm. Tel:. G. 505207.
all types of dry sports.
At Manor Road Ash. For
Tel: Aldershot 25484 for
full details.
tre
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. )
e
dr
2t
“Do you know that our soul is
composed of harmony?”
Leonardo da Vinci (1452-1519)
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.
>
0
KNOWLE PARK -NURSING HOME:- CRANLEIGH
We welcome your inquiries:
The Director of Nursing, Knowle Park Nursing Home, Knowle Lane,
Cranleigh GU6 8]L. 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