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Mozart Requiem [1988-11-05]

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Subject:

Mozart: Requiem K.626

Classification:

Concert

Sub-classification:

Programme

Location:

A1 Programmes

Year:

1988

Date:

November 5th, 1988

Text content:

GUILDFORD PHILHA ~viestvic URCHESTRA SEASON 1988/89
Saturday 1 October 1988 at 7.30pm

Sunday 22 January 1989 at 3.00pm

Debussy

The Crossley Clitheroe Concert

Prelude a L’Apres-Midi D’un Faune

Manuel de Fall

El Amor Brujo

Ibert

Flute Concerto

Ravel

Rhapsodie Espagnole

Conductor

Flute

Odaline de la Martinez

Ingrid Culliford

Mezzo Soprano

Cynthia Buchan

Tchaikovsky
Prokofiev

Fantasy Overture ‘Romeo and Juliet’

Violin Concerto No 1in D

Tchaikovsky

Conductor
Violin

Act II from the Nutcracker (Ballet)

Barry Wordsworth

Stoika Milanova

Leisure Learning Weekend

CONSULT THE CONDUCTOR
Pre-concert conversation with Odaline de la Martinez. 6.00pm in the
County Room.

Sunday 23 October 1988 at 3.00pm
Walton

Spitfire Prelude and Fugue

Wieniawski

Dvorak

Violin Concerto No 2 in D minor

Symphony No 8in G

Conductor

John Forster
Bradley Creswick

Violin

Saturday 5 November 1988 at 7.30pm
GUILDFORD CATHEDRAL

Saturday 4 February 1989 at 7.30pm
Haydn

Symphony No 85 in B flat (‘La Reine’)

Mahler

Das Lied Von Der Erde

Conductor

Sir Charles Groves

Contralto

Linda Finne

Tenor

Jeffrey Lawton

CONSULT THE CONDUCTOR

Pre-concert conversation with Sir Charles Groves 6.00pm in the

County Room.

Sunday 26 February 1989 at 3.00pm

Brahms

Piano Concerto No 2 in Bb

Karelia Suite

Mozart

Symphony No 25 in G minor (K183)

Mozart

Sibelius

Requiem

Stravinsky

Firebird (1919)

Conductor

Peter Stark

Conductor

Soprano
Alto

Melanie Armitstead

Piano

Peter Donohoe

Yvonne Howard

Tenor

Bass

Wilfried Boettcher

John Mark Ainsley

Alastair Miles

Guildford Philharmonic Choir
Sunday 20 November 1988 at 3.00pm

Civic Concert

Smetana

Overture ‘The Bartered Bride’

Bartok

Violin Concerto No 2

Brahms

Symphony No 4 in E minor

Conductor

Violin

Saturday 11 March 1989 at 7.30pm
Rachmaninov

North Country Sketches

Gloria

Conductor

Ameral Gunson

Tenor

James Martin

Bass Andrew Shore
Guildford Philharmonic Choir
Sunday 16 April 1989 at 3.00pm

Schubert
Mozart

Sunday 3 December 1988 at 7.30pm

The Orpheus & Bacchus Concert
Beethoven

Overture ‘Leonara’ No 3

Beethoven

Piano Concerto No 5 in E flat ‘Emperor’

Beethoven

Symphony No S in C minor

Conductor

Volker Wangenheim

John Lill

Sponsored by Hart Brown & Co Solicitors

Saturday 29 April 1989 at 7.30pm
Wagner

Bliss

Prelude and Liebestod from ‘Tristan and Isolde’

Morning Heroes

Conductor
Orator

Sir Charles Groves

Richard Baker

Guildford Philharmonic Choir
IN CONVERSATION

Lady Bliss and Richard Baker discuss “Morning Heroes with
Sir Charles Groves. 6.00pm in the County Room.

Howard Blake
Roy Castle

Programme includes Saint Saéns ‘Carnival of the Animals’ and ‘The
Snowman’ by Howard Blake narrated by multi-talented TV star Roy

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GUILDFORD

TUNSGATE SQUARE
(0483) 578711

performance. Members of the public are
most welcome at all our concerts — these
take place during term-time every
Wednesday at 1.15 pm and on selected
Sunday evenings.

Further information is obtainable from:—
The Secretary
Department of Music

University of Surrey

Guildford, Surrey
(Tel: Guildford 509317)

The Best Selection of Classical Music
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Whatever your needs in classical music and wine, you will
find them in our shop at 3 Chapel Street Guildford,

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will find sheet music, scores, books, and superb wine

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are sure you will also find ideal presents.

Experience Orpheus & Bacchus
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3 CHAPEL STREET, GUILDFORD
Tel 576277

GUILDFORD BOROUGH

COUNCIL CONCERTS 1988/89
GUILDFORD CATHEDRAL
(By kind permission of the Dean & Chapter)
SATURDAY 5 NOVEMBER 1988
at 7.30 p.m.

Guildford
Philharmonic
Orchestra
Associate Leaders:

HUGH BEAN,

JOHN LUDLOW

WILFRIED BOETTCHER
Conductor

MELANIE ARMITSTEAD
Soprano

YVONNE HOWARD
Alto
Born in Bremen, Wilfried Boettcher received a com-

JOHN MARK AINSLEY
Tenor

ALASTAIR MILES
Bass

Guildford Philharmonic Choir
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
MAJOR SPONSORS: HART BROWN & Co., Solicitors,

BOC, ORPHEUS & BACCHUS, AND LLOYDS BANK, ITS
SPONSORS OF INDIVIDUAL CONCERTS THROUGHOUT
THIS SEASON.

THE GUILDFORD PHILHARMONIC ORCHESTRA &
SOUTH EAST MUSIC TRUST ACKNOWLEDGES THE
GENEROUS SUPPORT OF THE MUSICIANS’ UNION
The Orchestra is also pleased to acknowledge the Corporate
Memberships of:
BOC
The College of Law

The Pirbright Research Institute Social Club
Plastic Coatings Ltd

Sterling-Winthrop Group Ltd

prehensive education as a cellist with Arthur Troester,

Pablo Casals and Pierre Fournier. His career naturally
gravitated towards conducting and he subsequently
founded the chamber orchestra, Wiener Solisten.
In 1967 he was appointed music director of the Hamburg
Symphony Orchestra and in 1974 principal guest
conductor of the RAI Symphony Orchestra in Turin. As
much at home in Haydn as Lutoslawski, he is particularly
renowned for his mastery of the Austro-German classical
and romantic symphonic repertoire. Other orchestras he
has worked with include the Zurich Tonhalle, Santa
Cecilia and Maggio Musicale Orchestras, the Orchestre
de Paris, Vienna Symphony, Tokyo Philharmonic and
Detroit Symphony Orchestras and with the radio
orchestras in Munich, Berlin, Frankfurt, Hamburg and
Cologne. His operatic work has taken him to the Vienna
State Opera, Hamburg State Opera and the Deutsche
Oper (Berlin).
Wilfried Boettcher is a frequent visitor to Great Britain
where he has conducted the London Symphony, London
Philharmonic, Philharmonia, BBC Symphony, BBC

Philharmonic,

Royal

Liverpool

Philharmonic,

Bournemouth Symphony, Halle, Scottish Chamber and
English Chamber Orchestras and the Northern Sinfonia
where he holds the position of Principal Guest
Conductor.
He
has
recorded
for
Deutsche
Phonogram and EMI among others.

Grammophon,

Yvonne Howard

Mezzo Soprano

Melanie

Armitstead

graduate

from

Durham

University where she read Russian and French.
After a post-graduate year at the Guildhall School of
Music and Drama, she studied privately with Esther
Salaman while building her reputation as a recitalist.

Yvonne Howard was born in Stafford. While studying at

the Royal Northern College of Music under David
Johnston and Joseph Ward, Yvonne was awarded the
James Martin Onken Prize for English Song and the
Curtis Gold Medal for Singing. She has worked in masterclasses with Helen Watts, Thomas Hemsley, Marjorie

In 1985 Melanie turned to the field of opera and took the
roles of both Micaela and Frasquita in the Scottish

Thomas,

Opera-Go-Round production of Carmen. Subsequently

Chamber

Orchestras

and

Germany,

Italy

Finland,

she studied at the National Opera Studio in London and

in 1987 sang Venus Pygmalion and First Lady The Magic
Flute for Kent Opera. Operatic work last season also
included five weeks at the Paris Opera understudying the
role of Cleopatra in their new production of Julius Caesar
and her debut as Tatiana Eugene Onegin for Scottish
Opera for whom she will sing Fiordiligi Cosi Fan Tutte
this Autumn.

Melanie’s concert work continues to play an important
part in her career. She has appeared several times with
the Bournemouth Orchestras and was recently featured
on the Dutch television series Young Musicians on the
Concert Platform singing Mozart’s “Ch’io mi scordi di te”

and Elisabeth Schwarzkopf, sung with the

Halle, the Royal Liverpool Philharmonic and Northern
and

performed
building

Holland,

large

repertoire and establishing herself as a soloist with many
leading choirs and orchestras. She recently made her
debut in the Royal Festival Hall in a performance of the
Bruckner

Deum

with

the

London

Philharmonic

Orchestra and the Royal Choral Society.
In 1984 Yvonne sang Marcellina in Mozart’s Le Nozze di
Figaro

for

following

Glyndebourne

year

sang

the

Touring
title

role

Opera
in

and

the

Rossini’s

Cenerentola for English Touring Opera when the press
acclaimed her as the “star of the show. With rich tone and

phenomenal vocal agility, Yvonne sang with a captivating
mixture of brilliance and tenderness”. This year she has

and operatic arias by Bellini and Puccini.

appeared as Suzuki in the Birmingham Music Theatre’s

revival of their most successful production of Madam

February

1987 Melanie gave a warmly received

London debut recital at the Wigmore Hall accompanied

Butterfly.

by Martin Isepp, and in November 1987 gave a much
praised recital at the Purcell Room.

English Bach Festival in Europe and subsequently sang

This season she has sung with the Bournemouth Sin-

as soloist in Handel’s Messiah and Mozart’s Coronation

fonietta, the Royal Liverpool Philharmonic Orchestra,

L’Orchestre du Mulhouse and made her debut with the
Royal Philharmonic Orchestra under Sir Charles Groves

In the summer of 1987 Yvonne took part in a tour of the

Mass on tour in France and Majorca with the Choeur des
Communautes Europeenes. She also gave a recital at the
1987 Harrogate Festival of Music and the Arts and in the

singing Exsultate Jubilate.

autumn appeared on the prestigious television series in

Forthcoming engagements include appearances with the
Bournemouth Symphony Orchestra and the Ulster

arias by Purcell and Mozart.

Orchestra.

Holland, Young Artists on the Concert Platform, singing
Future engagements include much oratorio and recital

English Concert under Trevor Pinnock (ARCHIV) are
planned for the future.

He recently made his operatic debut at the Innsbruck
Festival and next year will sing the title role in Mehul’s
Joseph with the Radio Kamerorkest under Kenneth
Montgomery in the Netherlands to be recorded by KRO
Radio.

John Mark Ainsley
Tenor

John Mark Ainsley received his early training in his home
town of Worcester. While a member of the choir of
Magdalen College, Oxford he studied singing with Janet
Edmunds and is currently studying with Anthony Rolfe
Johnson.

Alastair Miles

Since leaving Oxford in 1985 he has made many
European tours with the leading Early Music Ensembles
including the Taverner Consert (Andrew Parrott), the
New London Consort (Philip Pickett), London Baroque,
Gothic Voices and the King’s Consort. During that time
he has also undertaken many solo engagements and has
appeared most recently with the Royal Liverpool
Philharmonic
Orchestra,
the
English
Chamber
Orchestra, the Bournemouth Sinfonietta and the
Orquesta Nacional de Espana performing a wide range of
works from Handel and Bach to Stravinsky and Janacek.
He has also worked with the English Concert under
Trevor Pinnock, the Academy of Ancient Music under
Christopher Hogwood and the Steinitz Bach Players with
the late Dr. Paul Steinitz. In 1987 he was invited by
Graham Johnson to take part in the Songmaker’s
Almanac French Series at the Wigmore Hall.

Bass

His recordings include Handel’s Nisi Dominus with
Simon Preston and the Choir of Westminster Abbey
(DGG), Purcell’s Come Ye Sons of Art with Andrew
Parrott (EMI) and a recording of Great Baroque Arias
with the King’s Consort. Recordings of Mozart’s C Minor
Mass with the Academy of Ancient Music under
Christopher Hogwood (Decca) and Purcell Odes with the

Born in Harrow. Alastair Miles was educated at St.

Marylebone Grammar School, London before studying
as a flautist at the Guildhall School of Music and Drama.
Having gained his Performer’s Diploma, he spent the
next two years teaching flute and freelancing with several
orchestras including the RPO. He also sang in the choir of
St. Alban’s Cathedral having had singing lessons as a
second study at the Guildhall.

Alastair’s operatic debut came in 1985 when he sang
Trulove in The Rake’s Progress for Opera 80. In May
1986 he won the Decca Kathleen Ferrier Prize and spent
the summer with Glyndebourne Festival Opera making
his Henry Wood Promenade debut as Pietro in Simon
Boccanegra. He sang the role again for Glyndebourne
Touring Opera and began a year of study at the National
Opera Studio. He also won the Esso Glyndebourne
Touring Opera Singers Award.
Alastair made his first recording last year for Decca
singing Iago in Verdi’s Ernani conducted by Richard
Bonynge.

He won the 1987 John Christie Award from Glyndebourne and made his North American debut for

Vancouver Opera as Colline in La Boheme. In January

character. It is, in fact, outstanding among Mozart’s

1988 Alastair made his debut at the Royal Opera House.

earlier symphonies. The orchestration is for 2 oboes, 4

Covent Garden, singing the Second Knight in Parsifal.

Other engagements this year include Ferrando in /L
TROVATORE

Dublin

and

the

Poacher

The

Cunning Little Vixen for English National Opera.

horns, and strings, although the second pair of horns is
replaced by 2 bassoons in the second movement and in

the trio of the third.
The

first

movement

opens

immediately with

the

principal theme played in octaves by the oboes and all

Guildford Philharmonic Choir

Choir) was formed in order in perform the major choral

the strings in three different ways: violins and violas
have the syncopation, the lower strings play in
crotchets on the beat, while the oboes have it in

repertoire with the Guildford Philharmonic Orchestra.

sustained semibreves. The second subject is soon

Guildford Philharmonic Choir (formerly the Festival

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.

started by the first violins over a vigorous tremolo
accompaniment and a heavily marked rhythmic horn

figure. The short development section opens with a
kind of canon treatment of a new idea and then the
thread of the principal theme is picked up. The

Neville Creed was appointed Chorus Master to the

movement ends with an expressive coda from the first

Philharmonic

three notes of the principal theme.

Choir

September

last

year,

when

Lynette Newman, the Choir’s accompanist was also
appointed.
The Philharmonic Choir will appear with the orchestra
again under Neville Creed in a concert of Christmas

Carols on Sunday 11 December. On Saturday 11 March
1989, Vernon Handley will conduct the Philharmonic
Choir in a performance of Walton’s ‘Gloria’ and on
Saturday 29 April 1989 the Choir will be joined by
Richard Baker as Orator for a performance of Bliss’s
moving ‘Morning Heroes’ conducted by Sir Charles

Groves.

The brooding slow movement is worked out on similar
lines. The first theme is a free canon between muted
violins and bassoons in thirds. The second theme is a
graceful

tune

energetic,

marked

almost

repeated

combative

notes.

minuet

The

curiously

anticipates the mood of the equivalent movement in
the great G minor Symphony, while the trio, in which
the strings are silent, is an idyllic interlude — the only
one in the whole symphony. The fine, passionate
Finale is built on precisely the same formal pattern as
the first and second movements, and returns to the
mood of the first. The unison opening theme with its

Neville Creed

violin syncopations bears a relationship to the new idea

Neville Creed began his conducting career whilst a choral

introduced in the development section of the first

scholar at Cambridge. Since 1981 he has been Director of
Choral Music at Tiffins School, providing choirs for

movement. One of the outstanding moments of the
Finale is that in the development section where 2nd

several acclaimed recordings on radio, TV and disc. The

violins, violas, cellos, and basses in octaves break in

Tiffin Boys’ Choir’s recording of Mahler’s 8th Symphony

with a powerful and tragic new chromatic theme

with the London Philharmonic under Klaus Tennstedt

against a repeated note on the first violins in octave. As

was nominated for a ‘Grammy’ award in 1987. In 1986

in the first movement, there is a brief coda which is

Neville decided to pursue a conducting career and in that

tense and epigrammatic.

year he was awarded a scholarship to study conducting at
the Guildhall School of Music where he won the Ricordi
Conducting Prize. He is now conductor of both the
Guildford Philharmonic Choir and the Bournemouth
Symphony Chorus and is often employed as a conductor
at the Guildhall. He has conducted many of the main
London choirs and also conducted in Denmark and Italy
last Summer. Neville was one of the prizewinners in the
first International Choral Competition held in Trento,

INTERVAL

Northern Italy.

Symphony No. 25 in G minor (K.183)
Mozart (1756-1791)
Allegro con brio

Andante

Minuetto

Wolfgang Amadeus Mozart

Allegro

(1756-1791)

This Symphony, probably written at Salzburg in 1773

Requiem, K.626 (Franz Beyer edition)

or 1774, is usually known as “the little G minor” to

The origins of Mozart’s Requiem, his last work, might

distinguish if from the “great” G minér Symphony

be related as a mystery story under the title of The
Man in Grey, but the plain facts need no colouring.

(K.550). Like the latter, it is fiery and passionate in

In July 1791 Mozart was visited by a grey-clad stranger

who bore a commission from an anonymous third party

for a Requiem Mass. Mozart was to have complete
artistic freedom but must on no account divulge that

he had composed the work. The stranger was the agent
of Count Franz von Walsegg, a Viennese nobleman
who commissioned music in this secretive fashion so

that he could pass it off as his own, but this was not
revealed

Mozart.

Although

still

had

Die

Zauberflote to complete, Mozart started work on the
Requiem. Then another commission arrived, this time

for an opera to celebrate the coronation of Leopold

IT as King of Bohemia. Taking his wife Constanze and

his

pupil

Franz

Siissmayr

(1766-1803)

with

him,

Mozart went to Prague and produced La Clemenza

di Tito in two-and-a-half weeks. On returning to
Vienna he put the finishing touches to Die Zauberflite,
completed the Clarinet Concerto and resumed work

on the Requiem. By this time he was seriously ill, and
on

December

died,

leaving

the

Requiem

unfinished.
Constanze, fearing that the commissioning fee would
be forfeited, asked Joseph Eybler, another of Mozart’s

pupils, to complete the work in secret, but he soon
gave up and the task eventually fell to the 25-year-old

Siissmayr, who had been the composer’s constant
companion during his last months and was the best
fitted to undertake it. Stissmayr was preoccupied with
his own grand opera, Moses (produced May 1792) and
two other compositions, but in due course Constanze
was able to deliver a complete Requiem, passing it off
as all Mozart’s work.

In fact Mozart completed only the Introitus in every
detail. However, he also composed the vocal parts
from the Kyrie to the eighth bar of Lacrimosa and
those of the Offertorium, and for all these sections he

indicated the instrumentation he had in mind together
with certain motives and figurations and in some
sections a figured bass. Siissmayr completed these
movements, incorporating some orchestral contribu-

tions by Eybler, and supplied three movements —
Sanctus, Benedictus and Angus Dei — which he later
claimed were all his own work. In the light of his other
compositions and from internal evidence it has
nevertheless been generally concluded that he must

have had detailed sketches of Mozart’s (now vanished)

to work up into finished movements. To end the work

as Mozart himself had suggested, he adapted music
the Introitus and the Kyrie fugue to the
concluding words.

from

Thus posterity was enabled to hear a poignant and
impassioned work imbued with a sombre beauty.

Mozart must have felt himself near death at times
during its composition; the music itself suggests as
much, though it also tells us that he was far from

resigning himself to it.

Stissmayr, of course, was no Mozart; many times in
the past two centuries he has been severely criticised
for his technical errors and for a general coarseness

and lack of imagination in the orchestral parts. This
evening

shall

hear

the

work

the

edition

completed in Munich in 1979 by Franz Beyer who,

‘on the basis of a life-long preoccupation with Mozart’,
has sought to rid the score of impurities and clarify

the orchestral parts. As Beyer remarks in his preface,
although we do not know how Mozart would have
worked these out, an overall view of his total output

shows how he certainly would not have orchestrated
the Requiem.

Beyer’s edition accepts most of the results of research
undertaken by Leopold Nowak for his 1965 edition
and frequently overlaps the Stiissmayr/Eybler additions
and completions. The vocal parts of the Sanctus,

Benedictus and Angus Dei and the completion of the

Lacrimosa have been retained in their familiar form

(except

for

minor

technical

alterations)

but

the

orchestration of these has been adapted to match that

of the earlier movements. Numerous changes of detail
in the vocal parts have been necessary where Siissmayr
tampered with Mozart’s own writing.

The Requiem is written for four soloists, four-part
chorus and an orchestra consisting of two pairs of

woodwind (basset horns and bassoons), two trumpets,
three trombones, timpani, organ and strings. The
basset horns and bassoons predominate in the

Introitus, a movement of solemn beauty employing a

theme used previously by both Mozart and Handel.
At the words ‘Exaudi orationem meam’ (Hear my
prayer) the jagged accompaniment suggests a spirit of

rebellion rather than prayer. The tempo changes from
Adagio to Allegro for the Kyrie, a formal, distinctly
Handelian double fugue on a theme used by C.P.E.
Bach and by Handel in Messiah.

Brief as it is, Dies irae is intensely dramatic; the music
evoked by the idea of wrath is not unlike the wrathful

music of the Queen of the Night in Die Zauberflite.

The

Last

Trump

—

Tuba

Mirum

- is

solemnly

announced by a trombone solo (Mozart’s own idea),

which ushers in and accompanies the bass soloist, the
following text being divided between the four soloists
in concertante manner. The choir re-enters in the

powerful Rex Tremendae,

quartet’s

gentle

which leads to the solo

Recordare.

Confutatis is another
dramatic movement, contrasting the male chorus’s
references to the wicked with the female voices’
prayer, ‘Call me among the blessed’. The Lacrimosa

rises to a troubled climax at the eighth bar, where
Mozart broke off. Siissmayr’s continuation adds a

further twenty bars.

Mozart treats the Offertorium (Domine Jesu and
Hostias) in motet fashion, the first contrapuntally and

the second homophonically, and concludes each with
a chromatic fugue at the words ‘Quam olim Abrahae’.

The

following

mentioned,

are

three

movements,

simply

too

have

good

already

been
Siissmayr’s unaided work; the Sanctus and Benedictus
particularly breathe the spirit of Mozart in their vocal
writing. Music from the opening of the work, now

matched to slightly different words, brings the Mass
to its conclusion.

Introitus and Kyrie

Chorus and Soprano

Grant them enternal rest, Lord,
and let perpetual light shine on them.
A hymn becometh Thee, O God, in Sion,
and a vow shall be paid to Thee in Jerusalem.

Introitus and Kyrie

Chorus and Soprano

Requiem aeternam dona eis, Domine,

et lux perpetua luceat eis.
Te decet hymnus, Deus, in Sion,
et tibi reddetur votum in Jerusalem.

Hear my prayer,

Exaudi orationem meam,
ad te omnis caro veniet.

Lord, have mercy upon us.
Christ, have mercy upon us.

Kyrie eleison.
Christe eleison.

Dies Irae

to Thee all flesh shall come.

Chorus

Day of wrath, that day
shall dissolve the world in ashes,

Dies irae, dies illa
Solvet saeclum in favilla,
Teste David cum Sybilla.

when the Judge has come

to weigh all things exactly.

Quantus tremor est futurus,
Quando Judex est venturus
Cuncta stricte discussurus.

Tuba Mirum

as David and the Sybil testify.
How much trembling there will be,

Bass

The trumpet scattering wondrous sound
through the graves of every land
will drive all before the throne.
Tenor

Bass

Tuba mirum spargens sonum

Per sepulchra regionum
Coget omnes ante thronum.
Tenor

Death and nature will be astounded

Mors stupebit et natura
Cum resurget creatura
Judicanti responsura.

containing everything

A book of writings shall be brought
for which the world will be judged.

Liber scriptus proferetur,
In quo totum continuetur,
Unde mundus judicetur.

Alto

when creation rises again
to answer the Judge.

Therefore when the Judge sits,
whatever is hidden will appear,
nothing will go unavenged.

Judex ergo cum sedebit,
Quidquid latet apparebit,
Nil inultum remanebit.

Soprano

whose patronage shall I ask

Quem patronum rogaturus

when the righteous are hardly safe?

Cum vix justus sit securus?

Rex Tremendae

Chorus

What shall I, wretch that I am, say then,

Quid sum, miser, tunc dicturus,

who freely savest the redeemed,
save me, fount of pity.

Rex tremendae majestatis,
Qui salvandos salvas gratis,
Salva me, fons pietatis.

Recordare

Quartet

King of dread majesty,

Remember, merciful Jesus,

Recordare, Jesu pie,
Quod sum causa tuae viae,
Ne me perdas illa die.

Seeking me Thou didst weary Thyself,
to redeem me didst suffer on the Cross,
let not such travail be in vain.

Quaerens me sedisti lassus,

that I am the cause of Thy journey,
let me not be lost on that day.

Just Judge of vengeance,
grant me the gift of remission
before the day of reckoning.
I groan as one guilty,

my countenance blushes with guilt,
spare the suppliant, O God.
Thou who didst absolve Mary
and listen to the robber
hast given me hope also.

My prayers are unworthy,

Redemisti crucem passus,
Tantus labor non sit cassus.

Juste Judex ultionis,
Donum fac remissionis
Ante diem rationis.
Ingemisco tamquam reus,
Culpa rubet vultus meus,

Supplicanti parce, Deus.
Qui Mariam absolvisti
Et latronem exaudisti
Mihi quoque spem dedisti.

Preces meae non sunt dignae,

but Thou, good Lord, have mercy

Sed tu bonus fac benigne,

lest I burn in everlasting fire.

Ne perenni cremer igne.

Allow me a place among the sheep,

Inter oves locum praesta,

and from the goats divide me,

Et ab haedis me sequestra,

setting me upon Thy right hand.

Statuens in parte dextra.

Confutatis

Chorus

When the wicked are confounded
call me with the blessed.

Confutatis maledictis,
Flammis acribus addictis,
Voca me cum benedictis.

I pray, a kneeling suppliant,

Oro supplex et acclinis,

my heart contrite as ashes,

Cor contritum quasi cinis,

and consigned to bitter flames,

take into Thy care my end.

Gere curam mei finis.

Lacrimosa

Chorus

Sorrowful that day

Lacrimosa dies illa,

when rising from the ashes

Qua resurget ex favilla

sinful man goes to be judged.

Judicandus homo reus.

Therefore spare him, O God.

Huic ergo parce Deus.

Good Lord Jesus,

Pie Jesu Domine,

grant them rest. Amen.

Dona eis requiem. Amen.

Offertorium

Chorus and Quartet

Lord Jesus Christ, King of glory,

Domine Jesu Christe, Rex gloriae,

deliver the souls of all the faithful

libera animas omnium fidelium

departed from the pains of hell

defunctorum de poenis inferni

and from the deep pit;

et de profundo lacu;

deliver them from the lion’s mouth,

libera eas de ore leonis,

lest hell swallow them,

ne absorbeat eas tartarus,

lest they fall into darkness;

ne cadant in obscurum;

and let the standard-bearer, St. Michael,

sed signifer sanctus Michael

bring them into the holy light;

repraesentet eas in lucem sanctam;

which Thou didst promise of old

quam clim Abrahae promisisti

to Abraham and his seed.

et semini ejus.

Chorus

We offer Thee, Lord, sacrifice of

Hostias et preces tibi, Domine,

prayers and praise; receive them

laudis offerimus; tu suscipe

for those souls whom this day

pro animabus illis quarum hodie

we commemorate; make them, Lord,

memoriam facimus; fac eas, Domine,

to pass from death to life.

de morte transire ad vitam.

Which Thou didst promise of old

Quam olim Abrahae promisisti

to Abraham and his seed.

et semini ejus.

Sanctus

Chorus

Holy, holy, holy,

Sanctus, sanctus, sanctus,

Lord God of Hosts.

Dominus Deus Sabaoth.

Heaven and earth are full of Thy glory.

Pleni sunt coeli et terra gloria tua.

Hosanna in the highest.

Osanna in excelsis.

Benedictus

Quartet

Blessed is he who cometh in the name of the Lord.

Benedictus qui venit in nomine Domini.

Chorus

Hosanna in the highest.

Osanna in excelsis.

Agnus Dei

Chorus

Lamb of God, who takest away the

Agnus Dei, qui tollis peccata

sins of the world, grant them

mundi, dona eis requiem

eternal rest.

sempiternam.

Cummunio

Communio

Soprano and Chorus

Let eternal light shine upon them,
Lord, with Thy saints for ever,
for Thou art merciful.
Grant them eternal rest, Lord,
and let perpetual light shine on them.
With Thy saints for ever,
for Thou art merciful.

Lux aeterna luceat eis, Domine,
cum sanctis tuis in aeternum
quia pius es.

Sunday 13 November 1988 at 3.00 pm
LEAS CLIFF HALL, FOLKESTONE

GUILDFORD PHILHARMONIC ORCHESTRA
Principal Conductor: SIR CHARLES GROVES
Conductor Emeritus: VERNON HANDLEY
Associate Leaders: Hugh Bean and John Ludlow

Mendelssohn

Ruy Blas

Mozart
Tchaikovsky

Piano Concerto (K467)
Symphony No 5§

Director/Soloist

Howard Shelley

Box Office: 0303-53193

Sunday 20 November 1988 at 3.00 pm
CIVIC HALL, GUILDFORD
CIVIC CONCERT

Smetana
Bartok
Brahms

Overture ‘The Bartered Bride’
Violin Concerto No.2
Symphony No.4 in E minor

Conductor
Soloist

Sir Charles Groves
Gyorgy Pauk

Tickets: £7.50, £6.50, £5.50., £4.50.,
(Children aged 16 and under half price)

Saturday 3 December 1988 at 7.30 pm
CIVIC HALL, GUILDFORD
THE ORPHEUS & BACCHUS CONCERT

Beethoven
Beethoven

Overture ‘Leonora’ No 3
Piano Concerto No 5in E flat

Beethoven

Symphony No 5 in C minor

Conductor
Soloist

Volker Wangenheim
John Lill

‘Emperor’

Tickets: £7.00, £6.00, £5.00, £4.00
Children aged 16 and under half price

Requiem aeternam dona eis, Domine,
et lux perpetua luceat eis.
Cum sanctis tuis in aeternum,
quia pius es.

First Violins:
Hugh Bean
John Ludlow

Christopher Bearman
Sheila Beckensall
Suzie Borrett
Peter Hemborough
Clive Hobday
Rosemary Lock
Patricia Lovell
Stephanie Niemiera
Alex Suttie
Rosemary Van Der Werff

Violas:

John Meek

John Graham
Justin Ward
Christopher Cochrane
Jean Burt
Robert Winquist
Paul Appleyard
Karen Demmel

Horns:

Peter Clack
Brian Sewell
David Clack
Duncan Hollowood
Trumpets:

Michael Hinton

Denis Edwards
Trombones:

John Edney
Jeremy Gough
Bass Trombone:

Martin Nicholls
Timpani:

Simon Archer

Organ:
Stephen Layton

Geoffrey Thomas
John Stilwell

General Manager:
Kathleen Atkins

Christina Macrae

Music Administrator

John Kirby

& Tickets 67314

Bassoons:

Anna Meadows

Information from 573800

Hale Hambleton
Victor Slaymark
Nicholas Hunka

John Hursey

7 January at 6.30 pm

Deirdre Dods
Basset Horns:

Nicholas Maxted Jones
Rosemary Roberts
Andrew Bentley
Timothy Callaghan
Ruth Dawson
Stephen Dinwoodie
Marilyn Downs
Peter Fields
Ruth Knell
Adrienne Sturdy

FAMILY CAROLS at the Civic Hall
11 December at 3 pm

FAMILY NEW YEAR CONCERT
with Roy Castle — featuring Howard Blake’s ‘The
Snowman’ and Saint-Saens — Carnival of the Animals

Oboes:

James Brown

Second Violins:

Cellos:

NOW BOOKING!!

Associate Leaders

John Franca
Basses:

Adrian Beers
Ian Eyres

Mary Scully
Duncan Allen
Celia Johnson

Peter Holt

Over 125 years of service to

The Guildford Philharmonic Society is the ‘Supporters Club’ of the

Surrey MUSiC Lovers

the prime object of encouraging not only its members but also the

(EStab“Shed In GUIldfOrd n 1857)

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

PIANOS
an

Guildford Philharmonic Orchestra and was originally founded with

general public in the awareness of and to attend the season of

)

MUSIC

Priority booking at the beginning of each concert season

modest minimum annual subscription and these facilities include:
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

:
R

® Certain
;

discount

facilities

Record

Corner,

Godalming

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)

Pianos for hire, music by post

T
o

ANDREWS & CO

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

LTD
*

62 MEADROW, GODALMING

Tel: 22459 (PianOS) or6414 (MUSiC)

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.

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 1
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

sing with

Guildford
Philharmonic
Choir

HUTSON POOLE
SOLICITORS AND
COMMISSIONERS
FOR OATHS
NOTARY PUBLIC

Conductor: Neville Creed
MOZART

CHRISTMAS CAROLS (Neville Creed)
December '88

PROVIDE

A COMPREHENSIVE SERVICE
TO PRIVATE AND

WALTON

GLORIA (Vernon Handley)
March '89

BLISS

MORNING HEROES
(SirCharles Groves) April ‘89

BERLIOZ

GRANDE MESSE DES MORTS
(Brian Wright) July ‘89

CORPORATE CLIENTS

New Season begins 5 September, Methodist Church Hall,
Wharf Road, Off Woodbridge Road, Guildford

17/18 QUARRY STREET,

Details from:

GUILDFORD, GUI1 3XA.

Mrs K Atkins, Guildford Philharmonic Choir Office,
The Lodge, Allen House Grounds
Chertsey Street, Guildford
With financial support from
Surrey GU1 4HL
Tel: 0483573800
Guildford Borough Council

Tel: 65244

48—
)

feisure
=

(;pi
///

%
O

GU"‘DF
H"‘

ON'C

HESTRA

3
GUIldford

London Road

Sports
Centre
Bedford Road

for leasurce

from

Guildford

Items relating to Surrey

Museum

Dgasle;‘: 11amday.- ?De”
"39on-Sat
5pm.

Tel: G. 573800

Quarry Street

0387

Varied art exhibitions

Pa rks &

East performing a full

range of concerts and

; Hall.
. at the Civic
recitals

Mon-Fri; 10.30am-4.15pm

155 High Street

GIVIC
HALL

The top professional

orchestra of the South

throughout the year
Open 10.30am to 4.50pm

HOUSC

REQUIEM (Wilfried Boettcher)
November ‘88

Saturdays. Admission free.
Tel: G. 505050 or 503406
after 5pm and weekends.

For all kinds of family
entertainment — plus

facilities to hire for your

own events. Tel: G.
67314

For sauna, solarium,

squash, swimming, keep
fit and much more! Tel: G

571651/3

Castle Arch,

open

Spaces

Urdo
Stoke Park Guildford

Ash Manor
Sports
Centre

dating from prehistory to

Admission free. Tel: G.
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

10.30am - 7pm.
Tel: G. 505207

At Manor Road Ash.

Tel: Aldershot 25484 for

full details

For full details of these and other places and events, contact:

For

all types of dry sports.

Tourist Information Centre, Civic Hall, Guildford. Tel: G. 575857
(Open 9.30am - 5pm Mon - Fri; 9.30 - 4.30pm Sat. )

business...'%(
..Jocally
BOC is proud to be assisting the Guildford Philharmonic again
this year by sponsoring the Civic Concert on November 20th.
See how BOC industrial gases can help your business too.
From its base in Guildford, BOC runs the most comprehensive

and efficient gas supply network in the country.
The company supplies industrial, medical and special gases,
in cylinders or in liquid form, for a wide variety of applications.

This complete gas service is built on the most modern
manufacturing plant and the latest technology in systems and
equipment —much of which is designed in Guildford —to
ensure that the BOC customer’s needs are met in the most
cost-efficient manner.

) BOC
Big enough to cope, local enough to care.
BOC Limited,
The Priestley Centre, 10 Priestley Road,

The Surrey Research Park, Guildford, Surrey GU2 5XY
Telephone: (0483) 579857

Hart Brown& Co
SOLICITORS - COMMISSIONERS FOR OATHS

.. proudly supporting

The Orchestra
of the South East

4 Jenner Road, Guildford (0483) 68267

2 Bank Buildings, Cranleigh (0483) 273088
1 South Street, Godalming (0483) 426866
30 High Street, Cobham (0932) 64433
8 Guildford Road, Woking (04862) 29991

and Law Courts Branch, 68 Woodbridge Road, Guildford (0483) 68267