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Walton Gloria [1989-03-11]

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Subject:

Walton: Gloria

Classification:

Concert

Sub-classification:

Programme

Location:

A1 Programmes

Year:

1989

Date:

March 11th, 1989

Text content:

1988/89 SEASON

GUILDFORD PHILHARMONIC ORCHESTRA SEASON 1988/89
Saturday 1 October 1988 at 7.30pm

Debussy Prelude a L’Apres-Midi D’un Faune
Manuel de Fall El Amor Brujo
Ibert

Flute Concerto

Rhapsodie Espagnole

Ravel

Conductor
Flute

QOdaline de la Martinez

Ingrid Culliford

Mezzo Soprano

Cynthia Buchan

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

Dvorak

Symphony No 8in G

Wieniawski

Violin Concerto No 2 in D minor

Conductor John Forster
Violin Bradley Creswick

Sunday 22 January 1989 at 3.00pm
The Crossley Clitheroe Concert

Fantasy Overture ‘Romeo and Juliet’

Tchaikovsky

Violin Concerto No 1in D

Prokofiev

Act II from the Nutcracker (Ballet)

Tchaikovsky

Barry Wordsworth

Conductor

Stoika Milanova

Violin

Leisure Learning Weekend

Saturday 4 February 1989 at 7.30pm

Symphony No 85 in B flat (‘La Reine’)

Haydn

Das Lied Von Der Erde

Mahler

Conductor Sir Charles Groves
Contralto Linda Finne
Jeffrey Lawton

Tenor

CONSULT THE CONDUCTOR

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

County Room.

Saturday 5 November 1988 at 7.30pm

Sunday 26 February 1989 at 3.00pm

GUILDFORD CATHEDRAL

Brahms

Mozart
Mozart

Symphony No 25 in G minor (K183)
Requiem

Conductor Wilfried Boettcher
Soprano Melanie Armitstead
Alto Yvonne Howard
Tenor John Mark Ainsley
Bass 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

Sir Charles Groves

Gyorgy Pauk

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Further information is obtainable from:—
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Department of Music

GUILDFORD

TUNSGATE SQUARE
(0483) 578711

University of Surrey

Guildford, Surrey
L

(Tel: Guildford 509317)

The Best Selection of Classical Music
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3 CHAPEL STREET, GUILDFORD
Tel 576277

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

GUILDFORD BOROUGH

COUNCIL CONCERTS 1988/89
CIVIC HALL

SATURDAY 11 MARCH 1989
at 7.30 p.m.

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

Guildford
Philharmonic
Orchestra
Leader: HUGH BEAN

VERNON HANDLEY

Conductor
AMERAL GUNSON
Mezzo Soprano
ADRIAN MARTIN
Tenor

ANDREW SHORE
Bass

PHILHARMONIC CHOIR
Chorus Master: Neville Creed

GUILDFORD PHILHARMONIC ORCHESTRA
THE LODGE

ALLEN HOUSE GROUNDS
CHERTSEY STREET

GUILDFORD GU1 4HL
TEL: 0483 573800

has sold 25,000 copies. Handley and the Royal
Liverpool Philharmonic Orchestra are recording all
the Vaughan Williams symphonies. Handley has now
been presented with two silver discs for his recordings
with EMI; the Elgar Violin Concerto with Nigel
Kennedy and the London Philharmonic Orchestra and
a record of Delius orchestral music also with the
London
Philharmonic
Orchestra.
Handley’s
recordings with the Ulster Orchestra for Chandos have
received high praise. The coupling of Handley and the
Ulster Orchestra to record the three concert overtures
by Dvorak was described by Gramophone as an
‘inspired idea’ and Handley himself was described as ‘a
true Dvorakian’.

Vernon Handley is a keen amateur ornithologist and
devotes several weeks a year to studying and photographing birds in their natural habitat.

The Guildford Philharmonic Orchestra is pleased to
welcome Vernon Handley to the rostrum this evening.
Vernon Handley was the Orchestra’s Director of
Music from 1962 to 1983. He is now the Orchestra’s
Conductor Emeritus.

Vernon Handley is one of Britain’s most popular and
distinguished conductors. A regular guest conductor
with all the British Orchestras, he is currently Principal
Conductor of the Ulster Orchestra and in September
this year he becomes Principal Guest Conductor of the
Royal Liverpool Philharmonic Orchestra.

Last July he made his debut in Japan with the Yomiuri
Nippon Symphony Orchesetra to great acclaim. In
January this year he successfully launched the
Jeunesses Musicales World Orchestra residency in
Berlin, under the aegis of the Berlin Philharmonic
Orchestra, giving concerts in East and West Berlin and
Bonn. In April he will tour the United Kingdom with
the Ulster Orchestra and in March next year he tours
here with the Helsinki Philharmonic Orchestra. Other
orchestras he is conducting include the Polish National
Radio Orchestra, the Oslo Philharmonic and Royal
Philharmonic Orchestras.

Ameral Gunson pursues a highly successful career
both in this country and in Europe and is equally at
home in oratorio, opera and recitals. Her wide
repertoire demonstrates her versatility and enthusiasm
for works from the Baroque to the 20th Century.

Vernon Handley’s championship of British music has
led him to make many memorable recordings. Most
recently, he won the British Record Industry Award
for his performance for EMI of Vaughan Williams
Symphony No 5 with the Royal Liverpool Philharmonic Orchestra which in the first year of its release

This season she has taken part in Vivaldi’s Gloria at the
Royal Festival Hall with the Philharmonia Orchestra,
and The Messiah at baroque pitch with The Sixteen at
Oxford. Oratorio work has mainly been the Elgar
repertoire of Sea Pictures, The Dream of Gerontius,
and The Kingdom. She has appeared at Wells

Cathedral in a televised concert with Andrew Davis
and the BBC Welsh Symphony Orchestra, and in the

televised broadcast of Berthold Goldschmidt’s opera
Beatrice Cenci from the Queen Elizabeth Hall,
conducted by Odaline de la Martinez. She also sang
Marguerite in The Damnation of Faust by Berlioz in

Helsinki with the Helsinki Philharmonic conducted by

David Shallon.
Recitals have included a broadcast of duets with
Martyn Hill, Haydn’s Arianna a Naxos with The
Songmakers’ Almanac, and a York University recital

of Russian song, accompanied by Paul Hamburger.
Forthcoming

engagements

include

Les

Noces

Stravinsky, another Russian song recital, the first
performance of Eve dreams in Paradise by Alexander
Goehr, with the CBSO and Simon Rattle (also to be
broadcast) and the first British performance of Sancta
Susanna by Hindemith with the Scottish National

included Camille in Merry Widow, Cassio in Otello,
in Die Fledermaus, Steersman in Flying
Dutchman, Anatol in War and Peace, Tamino in Magic
Flute, Rodolfo in La Boheme and Spirit of the Masque
in Britten’s Gloriana.
Alfred

Adrian Martin has sung at Glyndebourne, for Opera
North, with Scottish Opera and at the Welsh National
Opera he made his debut singing Lensky in Eugene

Onegin.

He has appeared abroad with the Hamburg State
Opera, Zurich Opera where he sang Hoffman in The

Tales of Hoffman. He recently made his debut at the

Paris Opera and with the Lyric Opera of Queensland in

Australia.

In 1990 Adrian Martin will make his American debut

when he sings Alfredo in La Traviata for the Pittsburg

Opera.

Orchestra.
Ameral Gunson performed the Walton Gloria with
Vernon Handley and the Guildford Philharmonic

Orchestra and Choir in 1982.

Andrew Shore

Andrew Shore studied at Bristol University, the Royal
Northern College of Music and the London Opera
Centre before spending two years touring with Opera

For All. He then joined Kent Opera where his
outstanding potential for the buffo repertoire was
quickly recognised and encouraged.

Among his major roles for that company were Figaro,
Antonio, Dr. Bartolo (Barber) and Papageno, as well
as roles in Eugene Onegin, Agrippina, The Seraglio,
The Beggar’s Opera and Robinson Crusoe.

Adrian Martin was born in Oxford and was awarded a
scholarship to the London Opera Centre and joined
Opera For All. He joined the National Opera Studio,

Mr Shore first appeared with Opera North in 1985 as
King Dodon in The Golden Cockerel and then in 1987/

88 as Leandro (The Love of Three Oranges) and
Sagarestano (Tosca). In 1989 he will return as Varlaam

during which time he sang at the Royal Opera House.

in their new Boris.

National Opera in London, where his roles have

In 1987 he went to Scottish Opera as Mr Flint in a new
production of Billy Budd and returned there as the

He went on to join Opera North and then the English

Baron

in their Christmas production of La Vie
Parisienne. In 1988 he was again in Scotland as Don
Alfonso, in the new production of Cosi Fan Tutte.

During 1987/88 Mr Shore made his debut with English
National Opera as A Cappodocean in Salome and
returned in 1988 as Don Alfonso and in the title role of
Falstaff, both new productions. In 1988/89 he appeared
again at the ENO (and in # msterdam January 1989) as
Doeg in the new Phillip Glass opera Planet 8 and he is
considering several offers there for future seasons.
The summer of 1988 saw Mr Shore’s first appearance
with the Glyndebourne Festival, as Baron Duphol in
La Traviata, but he also covered the title role in Verdi’s
Falstaff and this year he will sing his first Dr Bartolo in
Italian and Gedge (Albert Herring), both with the
Glyndebourne company.

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.
Neville Creed was appointed Chorus Master to the
Philharmonic Choir in September 1987, when Lynette
Newman, the Choir’s accompanist, was also
appointed.

On Saturday 29 April the Choir will be joined by
Richard Baker as Orator for a performane of Bliss’s
moving Morning Heroes conducted by Sir Charles
Groves. On 24 June, Neville Creed will conduct
Handel’s delightful work, Acis and Galatea, and the
choir will be joining Goldsmiths Choral Union for a
huge performance of Berlioz Grand Messe des Morts in
the Albert Hall on Saturday 15 July.
Neville Creed

Neville Creed began his conducting career whilst a
choral scholar at Cambridge. He then became Director
of Choral Music at Tiffin School in Kingston upon
Thames, providing choirs for several highly acclaimed
recordings on radio, television and disc. The Tiffin
Boys’ Choir’s recording of Mahler’s 8th Symphony
with the London Philharmonic under Klaus Tennstedt
gained a nomination for a ‘Grammy’ award. During
this time, Neville was also conductor of the Milton
Keynes Chorale. In 1986 he was awarded a scholarship
to study conducting at the Guildhall School of Music

North Country Sketches

Frederick Delius 1862-1934
Autumn

Winter Landscape
Dance

The March of Spring

Delius was born in Bradford, the fourth of 14 children
of a German-born wool merchant. He held firm
opinions, spoke his mind and in general was as
practical and hard-headed as Yorkshiremen are
reputed to be. Having insisted on a musical career, he
could have been, you might think, the very man to
compose numerous bluff pieces about our northern
moors and fells. But he left home and country at 21,
settled eventually in France and never returned save
for short visits. Nature, however, was his abiding inspiration, and his native countryside was not for ever
banished from his thoughts when he left these shores.
One tends too easily to think of Delius as the musical
poet of summer gardens and balmy nights on the river,
but he loved bleak moors — at one time he considered
composing an opera on Wuthering Heights — and
Norwegian mountains, and in his prime he was an indefatigable hill-walker.

In North Country Sketches, which he began in 1913 and
completed the following year, he called back the
feelings aroused in him in his youth by the Yorkshire
scenery through the seasons of the year. The score was
published in 1923 with a dedication to the conductor
Albert Coates. Perhaps the most striking feature of the
work is the subtle and original mastery with which
Delius at the peak of his powers uses the orchestra to
express his many-sided response to nature. The
sketches are scored for a fairly normal orchestra with
piccolo and cor anglais added to the double woodwind
but with a third tenor trombone required and two
harps.

Autumn, the first sketch, is sub-titled ‘The Wind
soughs in the Trees’ and is the most directly pictorial of
the four. The orchestra is reduced to woodwind, horns
and mostly muted strings. The sighing of wind in
treetops is suggested at the outset by the softest strings
and a horn figure. Then the strings (divided into up to
12 parts) weave chromatic quaver lines, against which
horns and woodwind pose various motives. Long-held
pedal points underpin the music through its changing
metres and melodic patterns, arguably a musical
metaphor for the contrast between firmly-rooted treetrunks and their moving branches. After a brief climax
for unmuted strings and a rising sequence of horn
chords

the

movement

winds

slowly

down

pianissimo close.

where he won the Ricordi Conducting Prize. He is now

Winter Landscape, another slow movement but
shorter, has an almost unbroken background of

Italy.

muted cello.

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. In
September 1988 he won the second prize in the First
International Choral Conducting Competition held in

woodwind and harp quaver patterns and held string
chords. In the foreground a descending motive is
played in turn by the cellos, violas, a horn, and
clarinets with divided violas, then extended in fourpart harmony by the violins. Cor anglais, solo clarinet
and bassoons in succession reiterate the same motive,
which makes its final appearance on bassoon and

Dance, which brings in the full orchestra, suggested to

Philip Heseltine (Peter Warlock) musing by a winter
fireside. A dance tune in mazurka tempo is variously
treated, repeatedly changing mood, tempo and
instrumentation.

After

massive

climax

descending phrase related to the winter motive, it ends
quietly.

The

March

Spring,

sub-titled

‘Woodlands,

to another, with imitational devices abounding. The
speed increases, culminating in a great flourish at the
repeated words ‘Domine Deus, Rex coelestis’. The
rising notes with which the work opened are thundered
out, after a silent pause, by chorus and orchestra in
octaves (‘Deus Pater omnipotens’), and orchestrally,
these notes also bring this section of the work to a
close.

Meadows and Silent Moors’, is no conventional march

So far the setting has been almost continuously full-

but another kaleidoscopic succession of moods and

blooded. Now Walton grasps the opportunity which

fancies expressed through several motives scored often
with marvellous delicacy. The sense of vernal
awakening and renewal is strengthened by woodwind
suggestions — not direct quotations — of birdsong. The
dance theme is recalled in march-like guise before the
music gradually dies away into the distance.
© Eric Mason

the text offers of creating a completely contrasted,
extended central section, with music of great depth of
feeling and originality. It starts with a hushed semichorus (‘Domine Fili unigenite Jesu Christe’) leading
to a sudden dramatic outburst (full chorus, unaccompanied) at ‘Agnus Dei, Filius Patris, qui tollis peccata
mundi’. The agitation continues with the words
‘miserere nobis’ (chorus and orchestra), subsiding to
introduce the first entry, expressive and virtually unaccompanied, of the tenor solo. The setting of the
repeated ‘Qui tollis peccata mundi’ which follows,
after a few bars of orchestra, is also initially given to the
tenor with a murmured semi-chorus background. This
section, with the sustained plangency of the wideranging solo voice parts, must be accounted one of
Walton’s outstanding inspirations, of a character that
sets it apart from anything else in his entire vocal

Gloria

Walton 1902-1983
Bearing in mind Sir William Walton’s background and
training as a chorister and his international reputation
as a master of 20th century choral writing,

it is

surprising to find that his total output of works for
chorus, even including the smaller pieces and liturgical

output. ‘Qui sedes ad dexteram Patris’ brings in the full
chordal weight of the chorus: the ensuing declamatory

hundred

repetition (ff) of ‘miserere nobis’ is abruptly broken off

minutes — thus far less than his orchestral repertoire.

to give way to a smoothly flowing section for the three

settings,

amounts to

little more

than

That being so, it is perhaps even more surprising that

solo voices in turn, elaborating the same text, each

his

entry characterised by an upward octave leap. The

Gloria,

his

most

substantial

and

important

composition for choir and orchestra following Belshaz-

soloists are joined briefly by semi-chorus, and this

zar’s Feast, is a far less familiar work.

whole central section of the work is brought to a quiet

It was written to ‘celebrate the 125th anniversary of the

Huddersfield Choral Society and the 30th year of Sir
Malcolm Sargent as its conductor’, and was first given

under these auspices in Huddersfield in November
1961. At its launching there it was coupled with The
Dream of Gerontius, hence Walton’s use of the same
three solo voices. The composition followed on that of
the 2nd Symphony and the first part of the work was in
rehearsal during the summer of 1961. Characteristi-

close.

Then with the vigorous return of the trumpet/
trombone’s opening theme and the full chorus’s entry
at ‘Quoniam tu solus sanctus’, all is energy and
exaltation right up to the end, where Walton cements,
as it were, the final ‘Amen’ by reintroducing the words
‘Gloria in excelsis Deo’.
© Alan Frank

cally, Walton wrote from his home in Italy to the
secretary of the Huddersfield choir in July: “I am
pleased to hear that the chorus is taking to the first
instalment of the ‘Gloria’. It gets better as it goeson”.

Chorus
Gloria in excelsis Deo
Et in terra pax hominibus bonoe voluntatis

The setting, which uses normal full orchestra and

Laudamus

mostly divides the chorus into eight parts, is essentially

Glorificamus te.

a dramatic one, often Italianate in the Verdian sense.
What,

indeed,

could be more dramatic than the

upward thrust of its pentatonic opening (trumpets and
trombones) — as emphatic a call to attention as the
repeated trombone B flats which open Belshazzar’s
Feast. The exuberance and rhythmic bite are fully

maintained by the chorus’s first entry, interrupted only

te;

benedicamus

Gratias agimus tibi
Gloriam tuam propter magnam
Gloriam tuam
Domine Deus; Rex coelestis
Deus Pater omnipotens
Domine siliuni genite Jesu Christe
Domine Deus Agnus Dei Filias Patris

‘Glorificamus te’: it is one of Walton’s most extrovert

Qui tollis peccata mundi
Miserere nobis.
Tenor soli
Qui tollis peccata mundi

melodic ideas and is buoyantly tossed from one voice

Chorus

temporarily by the expressive setting of ‘Et in terra

pax’. A striking theme, still in the six-eight rhythm of
the opening, is enunciated by the basses at the words

te;

Adoramus

te;

two short notes and a long one. The final phrase is a
repetition of two short notes and a long one but rising
instead of falling. A recapitulation of the first material
follows this grave beauty until we reach a heart rending
statement on all the strings of a smoothed out version
of the savage step-wise idea from the introduction. The
cor anglais and the second violins say goodbye to the
movement with the phrase which opened it.

Miserere Nobis
Tenor:

Suscipe deprecationem nostrum
Chorus and soloists:
Qui sedes ad dexteram Patris

Miserere nobis
Chorus:

Quoniam tu solus sanctus tu solus dominus
tu solus attissimus Jesu Christe
Cum sancto Spiritus in Gloria
Dei Patris Amen
Gloria in excelsis Deo

INTERVAL

Symphonic Dances (1941)
Rachmaninov 1873-1943

Non allegro
Andante con moto (tempo di valse)
Lento assai — allegro vivace
Melodic invention and an ability to rhapsodise are
never

denied
Rachmaninov.
But,
like
many
composers, the need to compose in extended form
satisfactorily nagged at him. The Third Symphony of
1936 has never been given its due as a fine symphonic
structure, but perhaps most critically neglected is the
Symphonic Dances. Rachmaninov’s last orchestral
work, its moods only occasionally reveal the composer
as a sick man; indeed all three movements have the
sweep and drive of a man at the height of his powers.
When we do glimpse his heart near the end of the first
dance, and in the central section of the last, the
moments are so brief that they come as sudden stabs.
Why ‘symphonic’? Because no matter how rich the

The second dance is a grand sweeping waltz, but it has
a very doubting introduction. The muted brass
reiterate two notes; the rest of the orchestra get the
rhythm of a waltz going, but have not got a tune to
accompany. A solo violin thinks it has a good idea but
cannot escape from the narrow intervals given out by
the brass, and indeed before it dies away has to
complete its phrase with two short notes followed by a
long. This material is found to have kinship with the
last phrase of that second subject from the first
movement. The cor anglais swings away with the tune
thus provided. The whole orchestra takes it up, and
this tune produces all the material necessary for a
symphonic development within the movement. All the
comments from the swirling woodwind are made from
the solo violin’s first outburst, and a second section of
the waltz, somewhat faster than the first, discovers that
the rising phrase of two short notes and a long one can
have alilt that the violence of the first movement would
not allow. The impatience of this constantly recurring
figure exerts itself towards the end of the movement
and shows that it could be expanded into nine-eight
instead of the six-eight of the waltz. Such orchestral
quarrels cannot go on within the mood of a waltz, and
so the movement ends with the two short notes and the
longer ones as repeated notes.
It is these repeated notes on the violins and violas
which announce the last movement. Flutes and oboes

follow them with a plaintive phrase, step-wise again,
but this time shallow and always downwards. It is as if
during

the

work

Rachmaninov

had

controlled

symphonic metamorphosis of his original material so
that we are constantly presented with developments of

it which carry on their backs the original snippets to
remind us where they have come from. The moment
the last dance gets going, the first bar has the repeated
notes and the downward plaintive intervals now joined

together as one vigorous tune. Nothing can halt the
tremendous impetus of this phrase which is tossed
about the orchestra with great abandon. All sorts of
rhythms are found to be implied by it, and it gradually
burns itself out. We enter the second subject group, a
mysterious bass clarinet solo turns out to be a
threatening version of the second subject of the first
movement, an inversion of part of the waltz forms its
accompaniment. The downward phrase is expanded

staccato chords on the full orchestra. It is as if he says,

with this developed material to form a poignant

‘there’s the material of my first subject group, now let’s

melody. But not for long; then the material proper of

colouring,

matter

how

lengthy

the

melody,

everything in the work satisfies the most stringent
formal examination of the material. The first dance

gives us straight away in the second bar one of the main
elements the composer is to employ: two short notes
followed by a longer one, dressed in the colours of the
cor anglais, the clarinet, the bassoon and the bass
clarinet.

Next,

savage

step-wise

movement

get going’. The two short notes and the long one

this last movement begins to redevelop. As it does, the

receive an extensive development, the cor anglais, the

bass clarinet, bassoons and horns produce unobtrusively a rather more angular step-wise idea which we
have heard before. It is the Dies Irae, now discovered
to be so very like that vicious attack in the introduction
to the very first dance. As the excitement mounts,

clarinet and the bass clarinet finish this off and we are

ready for the second subject — a beautiful slow dance
first sung by the saxophone. How extraordinary that
the first two phrases should include a falling phrase of

these instruments gather a few supporters, especially
amongst the brass, but this is one work where that

SUNDAY 23 APRIL 1989 at 3.00 pm
Civic Hall, Guildford

frightening tune is not going to prevail. The rhythms of

Classical Road Show presents

the last dance subdue it. At the top of the score, over
the approach to the coda of the piece is written the
word ‘Alliluya’. With tremendous spirit, and great
affirmation Rachmaninov drives his last symphonic
work to its conclusion. When he was very ill and near
to death only a couple of years later, he complained
that he could no longer compose. When a friend
reminded him of the Symphonic Dances, he said, ‘Yes,
I don’t know how that happened. That was probably
my last flicker’. A few months later he died of cancer.

HILARY DAVAN WETTON and the
GUILDFORD PHILHARMONIC ORCHESTRA
taking

A FRESH LOOK AT
BEETHOVEN’S SECOND SYMPHONY
A unique opportunity to hear
the conductor explain and demonstrate
in an entertaining way, one of the
most popular symphonies

Concert sponsored by Hart Brown & Co. Solicitors
Tickets: £7.00, £6.00, £5.00 from the
Box Office, Civic Hall, Guildford 444666
and Orpheus & Bacchus, Chapel Street,
Guildford, ’phone: 576277
SPECIAL RATES FOR SCHOOL PARTIES AVAILABLE
Details from Guildford Philharmonic Orchestra
Tel: 0384 444666

SATURDAY 29 APRIL 1989 at 7.30 pm
Civic Hall, Guildford

Wagner

Bliss
SATURDAY 18 MARCH 1989 at 7.30 pm
GUILDFORD CATHEDRAL
(By kind permission of the Dean and Chapter)

GUILDFORD CHORAL SOCIETY
150th ANNIVERSARY SEASON
FAURE - Requiem
POULENC - Gloria

Julia Dewhurst
Glyn Davenport
Wren Symphony Orchestra

Conductors: Hilary Davan Wetton
David Gibson
Tickets: £7.00, £5.00, £4.00 (Students £2.00)
Available from: Cathedral Offices (Monday to Friday)
A & N (Guildford)
Guildford Choral Society
Enquiries: Guildford 61289

SUNDAY 16 APRIL 1989 at 3.00 pm
Civic Hall, Guildford

Schubert

Symphony No 8 in B minor
(Unfinished)

Mozart
Mendelssohn

Horn Concerto No 4in E flat
Symphony No 4 in A (‘Italian’)

Director/Soloist:

BARRY TUCKWELL

Tickets: £7.00, £6.00, £5.00, £4.00
Children 16 and under half price:
Concessions for senior citizens.
Box Office Civic Hall, Guildford T/N 0483 444555
and Orpheus & Bacchus, Chapel Street, Guildford
576277

Conductor:
Orator:

Prelude and Liebestod from
‘Tristan and Isolde’

Morning Heroes

Sir Charles Groves
Richard Baker

Guildford Philharmonic Choir
Tickets: £7.50, £6.50, £5.50

(Children aged 16 and under half price)

Box Office Civic Hall, Guildford T/N 0483 444555
and Orpheus & Bacchus, Chapel Street
Guildford 576277
6 pm IN CONVERSATION with Lady Bliss, Richard
Baker and Sir Charles Groves — County Room

GUILDFORD PHILHARMONIC ORCHESTRA
Principal Conductor: SIR CHARLES GROVES
Conductor Emeritus: VERNON HANDLEY

Associate Leaders: Hugh Bean and John Ludlow

First Violins:
Hugh Bean
Arthur Price

o
Phll.l
Sheila Beckensall
Emer Calthorpe

Janet Goodall
Robert Mackintosh
Avril McLennan
:
Julian Saxl
Alex Suttie
Susan Thomas

Cellos:
Geoffrey Thomas
John Stilwell

Bassoons:
Anna Meadows
Peter Dennis

John Hursey

Mark O’Neil

Rhian Isaacson
John Kirby
Basses:
David Holt
Potar Box
Rachel O’Dell

Horns:
Peter Clack
George Woodcock
.
David Clack
Kevin Abbot
Philip Thorne

LRI Shviie

John Franca

Contra Bassoon:

Pant Kfocre

Rosemary Van Der Werff

. 024 Willis

Michael Hinton

Second Violins:
Nicholas Maxted Jones

Alex Henery
Flutes:

Patricia Reid
Denis Edwards

Héten Biew

Peter Thorley

Rosemary Roberts

Timothy Callaghan

Judith Hall

Brian Lynn

Marilyn Downs
Peter Fields

Oboes:
James Brown

Tul()ia:
Andrew Grappy

Deidre Dods

Percussion:

V'a o ;lm etol?
ISR ARYAL

Stephen Lees
Nicholas Ormrod

Peter Hembrough
Ruth Knell

gl('mim:fi ?)turdg
i
Violas:

i e

John Meek
John Graham

Eric Sargon
Jean Burt
Frederick
Campbell
Applesénd
Priul

Malcolm Williamson
Karen Demmel

Ann Green
Co Anitulet

Clarinets:
H almIl; : bl

Bass Clarinet:
Paul Allen
bomne:
Alto Saxophone:

Kathleen Atkins
Ninilc dmintirator:

Peter Holt

Malcolm Frammingham

Piccolo:

Simon Hunt

Manager:

Trombones:

Ruth Dawson

Stephen Dinwoodie

John Forster

Trumpets:

Paula Tysall

Julia Atkinson

Harp:
Charlotte Seale
Piano:

Timpani:
Christopher Nall

Charles Fullbrook
Glyn Matthews
Chris Blundell
Gregory Knowles
Andrew Martin

Fergus Morrison

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 ini all positions in the section.

Guildford Philharmonic Society
(Charity Registration 288295)

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 GUIIdfOfd n 1857)

concerts in the Civic Hall by the Guildford Philharmonic Orchestra.

Guildford Philharmonic Orchestra and was originally founded with

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

PIANOS

;

MUS'C

modest minimum annual subscription and these facilities include:

;

and

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

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

3
;

®
i

to the Orchestra’s Office
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)
:

Pianos for hire, music by post

T
o

ANDREWS & CO

Persons under the age of

(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
.

Retirement Pensioner (minimum)

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 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

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

CORPORATE CLIENTS

WALTON

GLORIA (Vernon Handley)

BLISS

MORNING HEROES
(SirCharles Groves) April ‘89

BERLIOZ

GRANDE MESSE DES MORTS

March '89

(Brian Wright) July ‘89

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

17/18 QUARRY STREET,

Details from:

GUILDFORD, GU1 3XA.

Mrs K Atkins, Guildford Philharmonic Choir Office,
The Lodge, Allen House Grounds
Chertsey Street, Guildford
With financial support from
Surrey GU1 4HL
Guildford Borough Council
Tel:0483 573800

Tel: 65244

‘

REQUIEM (Wilfried Boettcher)
November ‘88

+ feisure ot dleasure

— T

gutldfo'cd oBo’coug/t Council
The top professional

orchestra of the South
East performing a full
range of concerts and

recitals at the Civic Hall
Tel: G. 573800

Guildford

Varied art exhibitions
throughout the year
Open 10.30am to 4.50pm

House
155 High Street

GIVIC
HALL
London Road

Sports
Centre
Bedford Road

Mon-Fri; 10.30am-4.15pm
Saturdays. Admission free.
Tel: G. 505050 or 503406
after 5pm and weekends.

Guildford
Museum

dating from prehistory to

Castle Arch,

Admission free. Tel: G.

Quarry Street

503497.

Parks &
Open
Spaces

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
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

Uido
Stoke Park Guildford

Ash Manor
Sports
Centre

swimming pools set in

rolling lawns and

beautiful gardens. Open
May to September
10.30am - 7pm.
Tel: G. 505207

At Manor Road Ash.

For

all types of dry sports.
Tel: Aldershot 25484 for
full details

%&: For full details of these and other places and events, contact:
‘¥7:3¥" Tourist Information Centre, Civic Hall, Guildford. Tel: G. 575857
ik

(Open 9.30am - 5pm Mon - Fri; 9.30 - 4.30pm Sat. )

..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 orin 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