GUILDFORD BOROUGH COUNCIL
GUILDFORD PHILHARMONIC ORCHESTRA SEASON 1989/90
Saturday 14 October 1989 at 7.30 p.m.
Sunday 21 January 1990 at 3.00 p.m.
The Crossley Clitheroe Concert
Prelude ‘Die Meistersinger’
Overture ‘Der Freischutz>
Cello Concerto Dvorak
The Chagall Windows McCabe
Symphony No 2 Brahms
Weber
Wagner
Symphony No 7
Beethoven
Sir Charles Groves
Ronald Zollman
Conductor
PRE-CONCERT TALK at 2.15 p.m. in the Civic Hall
Robert Cohen
Cello
Overture ‘Egmont’ Beethoven
Piano Concerto No 21 (K467) Mozart
Mozart
Jean-Bernard Pommier
Director/Soloist
Saturday 11 November 1989 at 7.30 p.m.
Civic Concert
Saturday 3 February 1990 at 7.30 p.m.
Overture ‘Russian & Ludmilla’ Glinka
Violin Concerto Sibelius
Symphonie Fantastique Berlioz
Sir Charles Groves
Conductor
Barbara Gorzynska
Violin
IN CONVERSATION at 6.00 p.m. in the County Room
Sir Charles Groves discusses Berlioz’ ‘Symphonie Fantastique.’
Saturday 10 March 1990 at 7.30 p.m.
For the Fallen from
‘The Spirit of England’
Elgar
Enigma Variations Elgar
Intimations of Immortality
Sir Charles Groves
Ian Partridge
Conductor
By Sir Charles Groves and John McCabe.
Sunday 29 October 1989 at 3 p.m.
Symphony No 40
Finzi
Conductor
Tenor
Messiah
Handel
Sir David Willcocks
Hosted by the Mayor of Guildford
Sponsored by BOC
IN CONVERSATION 6 p.m. in the County Room Sir Charles
Groves and Mrs Joy Finzi discuss ‘Intimations of Immortality’.
Conductor
Tracey Chadwell Soprano
Nigel Short Alto
Andrew Murgatroyd
Alastair Miles
Philharmonic Choir
Tenor
Bass
Philharmonic Choir
Sunday 25 March 1990 at 3.00 p.m.
Sinfonie Concertante Haydn
for Violin, Cello, Oboe & Bassoon
Siefried Idyll
Wagner
Sunday 26 November 1989 at 3.00 p.m.
Concert for the 100th Anniversary of the RSPB
Symphaey No§ -~ Sibelivs
Martyn Brabblqs Conductor.
On Hearing the First Cuckoo in Spring Delius
Competition Winner 1365)
The Birds
Respighi
The Lark Ascending
Symphony No 5
Tasmin Little
Vaughan Williams
Vaughan Williams
Vernon Handley
L,
Conductor
Violin
View Vernon Handley’s display of bird
photographs after concert in the County Room.
(Leeds I'n'ternat'lonal Conducting
Saturday 7 April 1990 at 7.30 p.m.
Overture ‘Semiramide’
Rossini
Piano Concerto No3 Beethoven
Symphony No 8 Dvorak
Brian Wright
Conductor
Ronan O’Hora
Piano
IN CONVERSATION at 6.00 p.m. in the County Room
Saturday 9 December 1989 at 7.30 p.m.
Four Last Songs Richard Strauss
Symphony No 7
Bruckner
Volker Wangenheim
Alison Hargan
Conductor
Soprano
Brian Wright and Ronan O’Hora give an insight
into Beethoven’s Piano Concerto No 3.
Saturday 28 April 1990 at 7.30 p.m.
Celebration Concert in the Cathedral
Missa Solemnis
Beethoven
Sunday 10 December 1989 at 3.00 p.m.
Family Christmas Carol Concert
Sir Charles Groves Conductor
Anne Dawson Soprano
Pene]ope Walker Mezzo S()prano
Neville Creed
Richard Morton
Conductor
Guildford Philharmonic Orchestra
Guildford Philharmonic Choir
Guildford Cathedral Choristers
In association with Guildford Rotary Club
Tickets: £5.00., £3.00. (Concessions OAP/children)
Tenor
Peter Rose Bass
Philharmonic Choir
A musical treat to celebrate Sir charles Groves’ 75th Birthday,
and Guildford’s 10 year twinning with Freiburg, Germany.
Sunday 4 March 1990 at 3.00 p.m.
Celebrity Recital
Civic Hall
Saturday 6 January 1990 at 7 p.m.
Kyung-Wha Chung
Grand Viennese Evening
Phillip Moll (accompanist)
with the
Programme to include:
Guildford Philharmonic Orchestra
Sonata No 13 in D major
Conducted by Vilem Tausky
Sonata No 1
A concert of popular Viennese music for all the family with a
conductor renowned for his interpretations of the favourite
waltzes and polkas of the Strauss family.
\
Violin
Handel
Bartok
Sonata No 1 in G major
Brahms
Tickets £8.50, £7.50, £6.50 from Civic Hall.
(£1 off with Virtuoso Cards)
BOOKING OFFICE: TEL: GUILDFORD 444555 FOR CONCERT INFORMATION TEL: GUILDFORD 444666
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[( UNIVERSITY OF SURREY @
DEPARTMENT OF MUSIC
Members of the public are most welcome at all
our concerts, which take place during term-time
in the Performing Arts Technology Studios on
campus. Wednesday Lunchtime Recitals start
at1.15 pm and are admission free. Concerts are
also held on selected Thursday and Sunday
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PROVIDE
A COMPREHENSIVE SERVICE
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GUILDFORD, GU1 3XA.
Tel: (0483) 65244
evenings and afternoons.
Please call the Department if you would like to be
placed on our mailing list.
Further information is available from: -
The Secretary
Department of Music
University of Surrey
Guildford, GU2 5XH
(Tel: Guildford 509317)
1989-90 Term Dates
Autumn Term: 9 October to 15 December 1989
Spring Term: 8 January to 16 March 1990
Summer Term : 23 April to 29 June 1990
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GUILDFORD BOROUGH
Sir Charles Groves
COUNCIL CONCERTS 1989/90
Charles Groves was born in London and spent his
boyhood as a chorister at St. Paul’s Cathedral.
GUILDFORD CATHEDRAL
(By kind permission of the Dean and Chapter)
SATURDAY 28 APRIL 1990
at 7.30 p.m.
This concert celebrates Sir Charles Groves’ 75th
birthday and the 10th Anniversary of the twinning
of Guildford and Freiburg.
Guildford
Philharmonic
Orchestra
Associate Leaders:
Hugh Bean, John Ludlow
After leaving the Royal College of Music he joined the
BBC Opera Unit. From the age of 28 until he relinquished the English National Opera in 1980 he was
director of his own orchestra or opera company.
His years with the BBC Northern Symphony Orchestra
(now the BBC Philharmonic), the Bournemouth
Symphony, Welsh National Opera and Royal Liverpool
Philharmonic Orchestras were full of tremendous
achievement, many first performances and much encouragement of young composers, conductors and soloists.
Under his direction the RLPO made some fine recordings
and undertook foreign tours. Sir Charles accepted the
title of ‘Conductor Laureate’ in 1985.
Charles Groves is loved by choirs the world over and has
a large choral repertoire. He regularly conducts all the
London Orchestras and many in Europe and America.
Since 1967 he has been Associate Conductor of the Royal
Philharmonic Orchestra appearing with them regularly in
London, abroad and in the recording studio. In 1987 he
accepted the position of Principal Conductor of the
Guildford Philharmonic Orchestra. His schedule is very
full and adventurous including many new works and
constant travel around the world.
He still finds time to show a great interest in the training
of young musicians and is proud to be President of the
National Youth Orchestra of Great Britain. He serves on
the Councils of a number of colleges.
JANE EAGLEN
Soprano
Sir Charles Groves was knighted in 1972.
PENELOPE WALKER
Mezzo Soprano
Jane Eaglen
RICHARD MORTON
Jane Eaglen was born in Lincoln. She is a graduate of the
Royal Northern College of Music and she still continues
to work with Joseph Ward. Whilst at the RNCM, her
awards included the Peter Moores Foundation Scholarship, Countess of Munster Award and the Carl Rosa
Trust Award, which enabled her to study with Tito Gobbi
Tenor
PETER ROSE
Bass
PHILHARMONIC CHOIR
in Italy.
On leaving college she became a principal member of the
English National Opera where her roles have included
Leonora (Il Trovatore), Queen Elizabeth I (Mary
Stuart), Sinaida (Moses), Donna Elvira (Don Giovanni,
FREIBURGER CHOIR
SIR CHARLES GROVES
Micaela (Carmen) and Santuzza (Cavalleria Rusticana).
Conductor
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, and BOC
THE GUILDFORD PHILHARMONIC ORCHESTRA &
SOUTH EAST MUSIC TRUST ACKNOWLEDGE THE
GENEROUS SUPPORT OF THE MUSICIANS’ UNION
The
Orchestra
is
pleased
Memberships of:
BOC
Hutson Poole & Co
Plastic Coatings Ltd
Sterling-Winthrop Group Ltd
to
acknowledge
the
Corporate
Other operatic roles include First Lady (The Magic
Flute) and Bertha (Barber of Seville) at the Royal Opera
House, Covent Garden, First Lady in Geneva, Tosca
with the Western Australian Opera in Perth, Madam
Butterfly with the Lyric Opera of Queensland in Brisbane
and Mimi (La Boheme) and Donna Anna (Don
Giovanni) with Scottish Opera. Most recently Jane
Eaglen sung her first Eva in Meistersinger with the
English National Opera.
She is an experienced recitalist and concert singer, having
sung frequently at the Wigmore Hall, Royal Festival Hall
and the Barbican Centre. She was invited to sing
Wagner’s Liebestod for the Prince and Princess of Wales,
conducted by Sir Reginald Goodall and recently she sang
in a performance of Verdi’s Requiem in aid of the
Lockerbie Disaster Appeal. She has also given recitals
for the Wagner Societies of London and New York.
Future engagements include Fata Morgana in Prokofiev’s
Love of Three Oranges for ENO, which will also be
televised, Fiordiligi in Cosi Fan Tutte for Scottish Opera,
roles in Covent Garden’s Ring Cycle, Verdi’s Attila in
Geneva, Lohengrin in Venice and Brunnhilde in the new
Scottish Opera Ring Cycle. Future concert work includes
her Prom debut singing Sieglinde in Act Three of Die
Walkure and opera gala concerts with the National
Symphony
Orchestra and the
Scottish National
Orchestra.
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 and she studied
with Myra Ross from 1980-86.
Miss Walker has appeared at 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). Engagements in 1989 include concerts at the
Royal Festival Hall, St David’s Hall with the Cardiff
Polyphonic Choir, and with the Leeds Festival Chorus,
the Norwich Philharmonic Society, and appearances at
the Fishguard Festival and the Three Choirs Festival.
In March 1983, Penelope Walker appeared in the
Camden Festival with Opera Rara in the title role of
Maria Tudor by Pacini. Other operatic appearances have
included the roles of Antonia’s Mother in The Tales of
Hoffmann for Paris Opera and Siegrune in Die Walkure
in the new production for English National Opera.
More recently she has appeared with English National
Opera and Opera North as Sosostris in their productions
of Midsummer Marriage. Penelope Walker recently
appeared in the highly acclaimed Welsh National Opera
Ring as Fricka and appeared as Anna in their production
of Berlioz’s The Trojans in the spring of 1987. In the 1988/
89 season she sang the part of Sosostris in Scottish
Opera’s production of A Midsummer Marriage and also
the part of Erda in their new production of Das
Rheingold.
Abroad, Penelope Walker has appeared in Germany,
France, Italy, Norway, Israel, Belgium, Greece, Spain,
Switzerland and Austria and has broadcast for Austrian
and German Radio.
Miss Walker has appeared extensively throughout Great
Britain with the major orchestras including the Halle, the
Scottish National, the London Symphony, the Royal
Liverpool Philharmonic, the Royal Philharmonic, the
Philharmonia and the City of Birmingham Symphony
Orchestras. In July 1988 Miss Walker appeared with the
Royal Choral Society at the Royal Albert Hall in a
performance of Mendelssohn’s Elijah. She returned to
the Albert Hall in August 1989 for a BBC Promenade
Concert with the National Youth Orchestra and Mark
Elder in a performance of Die Walkure Act III.
Engagements in 1989 included concerts with the Cardiff
Polyphonic Choir, the Leeds Festival Chorus, the
Fishguard Festival, the Three Choirs Festival, the
Brighton Festival and the Dream of Gerontius in both the
Royal Albert Hall and Royal Festival Hall. Future and
recent engagements in the 1989/90 season include
Beethoven’s Mass in C with the Scottish National
orchestra conducted by Jane Glover and Oedipus Rex in
the Royal Festival Hall and Miss Walker will tour Britain
with Welsh National Opera in ‘Tornrak’, a new opera by
Judith Weir. In the 1990/91 season Penelope Walker will
appear in Britten’s ‘Midsummer Night’s Dream’ at
Sadler’s Wells with Richard Hickox and she makes her
debut in the United States singing with the Philharmonia
Orchestra in Florida and James Judd.
Richard Morton
Richard Morton was born in Yorkshire and gained a
degree in modern languages, after winning a choral
scholarship to King’s College, Cambridge. He subsequently studied with Helga Mott and in 1978 was
awarded a scholarship to study with Tito Gobbi in Italy.
From 1980-85 he was a principal tenor with Welsh
National Opera singing a variety of roles, including
Tamino (Magic Flute), Ottavio (Don Giovanni), Count
Almaviva (Barber of Seville), Jacquino (Fidelio),
Bajazet (Tamerlano), Steva (Jenufa) and Froh (Das
Rheingold). Since leaving the company he has returned
to sing Froh in their first complete Ring cycle, which was
also performed at the Royal Opera House, Covent
Garden.
Since 1985, he has divided his time successfully between
the operatic stage and the concert platform with a
repertoire of music which extends across five centuries.
For Opera North he has sung the roles of Ramiro (La
Cenerentola), Tamino (Magic Flute), Des Grieux
(Manon) and Bazazet (Tamerlano). He has also returned
to W.N.O. to sing Roderigo in Peter Stein’s highly
acclaimed production of Otello.
Abroad, he has recently sung the leading roles of Alfredo
(La Traviata) and Delmonte (Il Seraglio) in France,
Roderigo (Othello) in Brussels. He also has a busy
concert career in Europe and has been a soloist in
Germany, Italy, Holland, Israel, Poland and Spain.
Richard has sung in all the major concert venues in
Britain including the Royal Festival Hall and the Queen
Elizabeth Hall, the Cheltenham, Edinburgh and Three
Choirs Festivals. He sings regularly for BBC Radio and
Television and has to his credit a number of prestigious
recordings, one of the most recent being “Dr Arne at
Vauxhall Gardens” sung with Emma Kirkby.
Future plans include performances of Martinu’s “Greek
Passion” in Prague with Sir Charles Mackerras, a revival
of W.N.O’s Othello, the Messiah at St David’s Hall,
Cardiff and Bach’s “St Matthew Passion” in Coventry
Cathedral.
Peter Rose
Peter Rose was born in Canterbury. He read music at the
University of East Anglia and studied with Ellis Keeler at
the Guildhall School of Music and at the National Opera
Studio. He won the 1985 Kathleen Ferrier Memorial
Scholarship, the Guildhall Gold Medal and the 1986
Glyndebourne John Christie Award.
He made his operatic debut in 1986 with Glyndebourne
Festival Opera in Hong Kong. For Glyndebourne
Touring Opera he has sung Commendatore, Don Inigo
(L’'Heure Espagnole), Osmin (Seraglio), and Basilio
(Barbiere) and Trulove (Rake’s Progress) for the
Festival.
He was principal bass with Welsh National Opera (1986
89) where roles included Basilio, Bartolo (Figaro),
Angelotti, Gremin (Onegin) and Osmin. He returns
there in 1991 as a guest, to sing Tutor (Elektra) and
Nightwatchman (Meistersinger). For English National
Opera he has sung Angelotti and King of Clubs (Love of
Three Oranges).
Other engagements include the Damnation of Faust
(with Solti), Commendatore with Zubin Mehta at the
Maggio Musicale, Florence, and Narbal (Trojans) for
Scottish Opera.
Plans include Mozart’s Requiem with Zubin Mehta and
the IPO, Zaide with Leopold Hager and the ECO,
Mozart’s Requiem with Sir Charles Mackerras, Com-
mendatore
with
San
Francisco
Opera
and
Kecal
(Bartered Bride) for Lyric Opera of Chicago. For Glyndebourne Festival Opera next season he will sing Commendatore, Publius (La Clemenza di Tito) and Voice of
Neptune (Idomeneo).
Peter Rose appeared with the Guildford Philharmonic
Orchestra and Choir in a performance of Bruckner’s
Mass in F minor in 1986.
Freiburger Bachchor
We are delighted to welcome a section of the Freiburger
Bachchor to Guildford this evening.
The
“Freiburger Bachchor”
scholar at Cambridge. He then became a Director of
Choral Music at Tiffin School in Kingston-upon-Thames,
providing choirs for several highly acclaimed recordings
on radio, TV and disc. The Tiffin Boys’ Choir recording
of Mahler’s 8th Symphony with the London Philharmonic under Klaus Tennstedt gained a nomination for a
“Grammy” award. During this time, Neville Creed was
also conductor of the Milton Keynes Chorale and became
Assistant Chorus Master of the London Philharmonic
Choir. In 1986 he was awarded a scholarship to study
conducting at the Guildhall School of Music where he
won the Ricordi Conducting Prize. Whilst a student he
conducted the second British staging of the opera
‘Julietta’ by Martinu and various orchestral concerts.
Since completing his studies at the Guildhall he has
founded the “London Music Chamber Choir”, gained the
posts of Conductor of the Bournemouth Symphony
Chorus and the Guildford Philharmonic Choir, as well as
being invited to return to the Guildhall as a conductor.
Last year he conducted in Denmark and Italy, as well as
conducting the Royal Philharmonic “Pops” Orchestra on
two occasions. In September 1988 he won the second
Choral
Conducting
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.
The Guildford Philharmonic Choir will appear in the
opening concert of the Guildford Festival on 4 July this
year in a programme which includes Bernstein’s
Chichester Psalms and Britten’s ‘Rejoice in the Lamb”.
a very
to perform St
Matthew Passion in the Cathedral of Freiburg on March
5th 1944 after profound rehearsing with a group of
enthusiastic university students and Freiburgian citizens.
Due to Theodor Egel’s hard work and zest the choir soon
became a highly qualified representative of choral music
in Freiburg and abroad.
Though focused on Johann Sebastian Bach its repertoire
comprises the most important choral music up to the 20th
century.
Several reviews of performances in Berlin, Frankfurt,
Basle, Vienna, Paris, Milano, and recordings of the
“Siidwestfunk” praised the high standard of the choir.
Freiburger
several
Neville Creed began his conducting career whilst a choral
originates from
courageous project of Theodor Egel
The
Neville Creed — Chorus Master
prize in the First International
Competition held in Italy.
This concert takes place in Holy Trinity Church, High
Street, Guildford.
Bachchor
European
successfully
international
music
took
part in
festivals
like
Settimane musicali di Stresa and — lately — the international Bach Festival of Strasburg, and even went on a tour
to the USA.
In 1983 Theodor Egel retired, handing the choir over to
Hans Michael Beuerle, professor of the Freiburgian con-
servatoire. Hans Michael Beuerle’s performances in
Germany and abroad have proved that he is able to
continue the demanding tradition of “Freiburger
Bachchor”. He performed e.g.: Bach’s St Matthew
Passion, St John Passion, Mass in B minor, Christmas
Oratorio,
Beethoven’s
Missa
Solemnis,
Brahms’
Requiem, Mozart Mass in C minor, Handel Messiah and
Israel in Egypt, C.P.E. Bach Magnificat and the Creation
by Haydn.
At the moment the choir is rehearsing Monteverdi’s
Vespera della beata Vergine and the St John Passion by
J.S. Bach, which is to open this year’s Settimane musicali
di Stresa.
Missa Solemnis in D, Opus 123
Ludwig Van Beethoven 1770-1827
Towards the end of 1818 or early the following year —
there is doubt about the precise date — it came to
Beethoven’s knowledge that the Archduke Rudolf of
Austria, brother of the Emperor, was to be made
Archbishop of Olmiitz in Moravia. Rudolf, an excellent
pianist, had long been the composer’s friend, patron and
pupil, and Beethoven resolved to compose a Mass for the
enthronement ceremony. The election to the archbishopric was officially announced in June 1819, and Beethoven
wrote to Rudolf: ‘“The day on which a Mass composed by
me will be performed during the ceremonies solemnized
for Your Imperial Highness will be the most glorious of
my life, and God will enlighten me so that my poor talents
may contribute to the glorification of that solemn day.’
Notwithstanding the fulsome terms of his letter,
Beethoven was not a man to toady to royal personages. In
this instance there was a true bond of affection and
respect between the two men; the Archduke had
provided the composer with an annual pension since
1809, and Beethoven had not only given his royal patron
composition lessons but dedicated to him some of his best
works, among them the Les Adieux and Hammerklavier
Sonatas, the Fourth and Fifth Piano Concertos, the
Archduke Trio and the opera Fidelio.
The Mass was intended to be the glorious crown of their
relationship. Beethoven’s thoughts had already been
turning again towards religious music in 1818 when he
noted in his diary: ‘In order to write true church music....
look through all the monastic church chorales and also
the strophes in the most correct translations, and the
perfect prosody in all Christian-Catholic psalms and
hymns generally.” This he did before setting to work on
the Mass. He also copied out some of the choruses from
Handel’'s Messiah to familiarise himself further with
sacred choral writing, and had the Latin text of the Mass
translated into German to ensure that he did not misunderstand any point. By the middle of 1819 the sketching
of the Missa Solemnis was well under way in the
composer’s summer quarters in Modling, a village near
Vienna. Anton Schindler reported that he had never seen
the composer so oblivious to all earthly matters. Visiting
the house with a friend that August they found that both
the servants had fled after a noisy midnight quarrel and
that Beethoven had had nothing to eat for 24 hours. ‘In
the living-room, which was locked, we heard the master
singing parts of the fugue in the Credo —singing, howling,
stamping. After listening to this almost terrifying
performance for a long time, we were about to leave
when the door opened and Beethoven stood before us,
his features so distorted that it was enough to inspire
fear.’
Trouble with servants was the least of Beethoven’s
worries at that time. He was in poor health, which limited
the time he could devote to composition, he was in
financial difficulties and everything was overshadowed by
a pending lawsuit concerning his nephew and ward, Karl.
Moreover, the Mass itself did not take shape quite as
Beethoven had expected. Great works of art are apt to
dictate their own terms, and in this case the composer
found that each movement as he came to it took on much
greater dimensions than had been originally planned.
Consequently, the Mass was not finished in time for the
Archbishop’s enthronement in March 1820. In fact it
took until December 1822 to complete, by which time
Beethoven had also composed the Diabelli Variations,
the last three piano sonatas, the overture The Consecration of the House and several lesser pieces. He had also
begun the Opus 127 String Quartet and resumed work on
the Ninth Symphony.
Having despatched a dedicated score of the Missa
Solemnis to Archduke Rudolf, he offered further copies
for sale to various European sovereigns and nobles and
entered into negotiations with several rival publishers.
One of the subscribers was the Russian prince, Nicholas
Galitsin, who had just commissioned three string
quartets from Beethoven, and he organised the first
performance of the Mass, which took place in St.
Petersburg on 26 March 1824. The Kyrie, Credo and
Agnus Dei were performed in Vienna on 7 May in the
concert in which the Ninth Symphony received its first
performance, the Missa Solemnis movements being
billed as ‘Three Grand Hymns’ because the church
authorities objected to a Mass being sung in a theatre.
Beethoven was present but, of course, was too deaf to
hear a note. The first complete performance of the Mass
in Vienna did not take place until after his death.
Beethoven was born into a Catholic family and never
formally renounced the faith. We know that he taught his
nephew to pray and that he received the last rites on his
deathbed. But he was not a churchgoer. As an exemplar
of the 18th-century Enlightenment he had little liking for
organised religion, and churchmen in his day responded
by being suspicious of his Missa Solemnis, which was illsuited in certain respects to liturgical use. He was,
however, a religious man. He believed in God as an allpowerful, loving Father, a universal presence in nature
and influence on human aspirations, real beyond any
question yet not to be truly comprehended by mankind.
There was no need for him to make an intellectual case
over this or that debatable point of theology; he felt
instinctively the immense majesty of a personal God and
the dependence of inadequate humanity upon God’s
love. These feelings, which may be sensed by the listener
throughout the Mass, contribute to the awesome effect
that the work makes in a worthy performance. Unlike
Bach’s B minor Mass, which merely uses a Roman
Catholic text, this Mass in D is thoroughly Catholic. Yet
the music far transcends the requirements of a particular
division of the Christian church. It is a sublime work of art
expressing the personal faith of one confessedly
imperfect Christian. At the head of the first movement
Beethoven wrote: ‘From the heart — may it in turn go to
the heart!’
In striving to give his ideas musical form Beethoven
resorted to many sharp dynamic contrasts, strongly
marked rhythms and extremes of pitch. He did not
demand the impossible of voices and instruments, but he
could not study the performers’ convenience. Not only
are the choral sopranos taken repeatedly up to A and
even B but all four sections of the choir are put under
strain at the bottom of their compass. The singers are
required to phrase with the rhythmic precision and attack
of an instrument, to sustain long passages at uncomfortable pitches and to get their tongues round many syllables
and marked rhythms at the extremes of pitch. However,
it could be argued that provided the singing remains
coherent some sense of physical strain enhances rather
than detracts from the music’s effect. As Tovey pointed
out, for the choirs that do grapple with these technical
problems the rewards are commensurate with the effort
expended.
© Eric Mason
Kyrie
Whereas Bach and Mozart subdivided the sections of the
Mass into separate numbers, Beethoven composed the
Missa Solemnis as five essentially symphonic movements.
Soloists and choir alternate within each movement
according to the needs of the text, the former usually
standing as individuals making personal utterances and
the chorus representing the mass of humanity. The text
largely determines the shape of each movement. Thus,
the three-part text of the opening Kyrie, comprising
prayers to the Holy Trinity of God the Father, God the
Son and God the Holy Spirit, dictates a ternary musical
scheme. The first Kyrie is an Assai sostenuto in the key
of D and 4/4 time, and is marked ‘With devotion’.
Soloists and choir are closely integrated, a solitary voice
three times echoing the choir’s ‘Kyrie’ at the beginning as
though to emphasise the personal significance of the
general prayer for Divine mercy. The time changes to 3/2
for the slightly faster Christe eleison in the related key of
B minor. Here the soloists precede the choir. Their parts
pair off after a while in companionable thirds symbolising
the conception of Christ walking with man as friend and
helper. The return to Kyrie eleison brings a recapitulation
of the opening, but the prayer is now addressed to the
Holy Spirit and so the musical material is shown in a
different light, the voices entering in a new key, G major.
The music only gradually works back to the original key
and a peaceful close.
Credo
The Credo sets forth the fundamental beliefs of the
Christian, the text dividing into three sections which
Lord have mercy upon us,
Christ have mercy upon us,
Lord have mercy upon us.
respectively affirm belief in one God, one Lord Jesus
Christ and the Holy Spirit. This suggests ternary form for
a musical setting, but Beethoven divides his three parts
~ Gloria
The second section of the Mass is in three parts; the first
glorifies God, the second is concerned with sinful
mankind seeking Christ’s mercy and the third makes a
synthesis of the first two. Beethoven’s strenuous musical
setting is full of sharply contrasted moods and dynamics,
so determined is he to convey the meaning of every word.
This Gloria begins in D major (Allegro vivace) with a
great shout of praise to a theme that drives irresistibly
forward. The plea for peace on earth is hushed, but the
joyful praise quickly resumes and the phrase glorificamus
te becomes a fugato, ending with a sustained burst of
C major. This enables Beethoven to modulate to B flat
for the lyrical Gratias agimus, which brings in the soloists
for the first time in this movement. The original tempo
and mood return at Domine Deus, and the words Deus
Pater omnipotens (‘God the Father Almighty’) occasions
a triple-forte climax with full organ and the first use of
trombones in this Mass. Dominie Fili, the movement’s
first reference to Christ, is marked by the return of the
thirds from the middle section of the Kyrie.
In the second section of the movement, beginning at Qui
tollis, the prayers to Christ are again set with the soloists’
harmony in thirds. This is a Larghetto in F, its eloquently
expressive word setting suggesting that Beethoven felt
strongly the need for forgiveness of sins. A tempo change
to Allegro maestoso marks the start of the final section,
beginning at Quoniam. This is another great hymn of
praise, rising to an intensely exultant climax and
culminating in an elaborate four-part fugue on a theme
derived from the Kyrie. At the end the movement’s
opening theme returns at presto tempo and the choir
glorifies God with repeated shouts of the first word.
Gloria in excelsis Deo. Et in terra pax hominibus, bonae
voluntatis. Laudamus te, benedicimus te, adoramus te,
glorificamus te. Gratias agimus tibi propter magnam
gloriam tuam. Domine Deus, Rex coelestis, Deus Pater
omnipotens.
Domini Fili unigenite, Jesu Christe. Domine Deus.
Agnus Dei. Filius Patris. Qui tollis peccata mundi,
miserere nobis. Qui tollis peccata mundi, suscipe depre-
nostram.
miserere nobis.
For Thou only art holy. Thou only are the Lord. Thou
only art most high, Jesus Christ, with the Holy Spirit, in
the glory of God the Father. Amen.
Kyrie eleison,
Christe eleison,
Kyrie eleison.
cationem
of the world, have mercy upon us. Thou that takest away
the sins of the world, receive our prayer. Thou that sittest
at the right hand of the Father, have mercy upon us.
Qui
sedes
ad
dexteram
Patris,
Quoniam tu solus sanctus. Tu solus Dominus. Tu solus
altissimus. Jesu Christe, cum Sancto Spiritu, in gloria Dei
Patris. Amen.
Glory be to God on high, and on earth peace to men of
goodwill. We praise Thee, we bless Thee, we adore Thee,
we glorify Thee. We give thanks to Thee for Thy great
glory, O Lord God, heavenly King, God the Father
Almighty.
O Lord, the only begotten Son, Jesus Christ. Lord God,
Lamb of God, Son of the Father, that takest away the sins
differently to provide two massive assertions of faith
enclosing a more intimate, personal account of Christ’s
birth, crucifixion and resurrection. The Credo is the core
of the Mass and Beethoven makes it stand out musically
between the D major movements on either side by
setting it in the key of B flat. It opens with a sturdy, even
aggressive theme for the proclamation of belief in one
God, the choral sopranos rising to a sustained fortissimo
B flat at the word omnipotentem. When the choir
proceeds to consider Christ, only-begotten Son ‘and born
of the Father’, the singers pause after the ‘and’, then
repeat that word as if to emphasise the wonder of the fact.
For Et incarnatus est, which opens the central section of
the movement, the tempo changes from Allegro to
Adagio and the key to D minor, and the composer resorts
to an archaic modal harmony. The first vocal entry is
given in the published score to the tenor soloist with
pianissimo
viola
accompaniment,
but
Beethoven
originally allotted this to the choral tenors. As all four
soloists sing of the Virgin birth, the strings are reduced to
a few players and a solo flute flutters high above, representing the dove which was a symbol of the Holy Spirit in
religious paintings. At Et homo factus est the music
moves into the warm light of D major and the tenor
soloist and choir dwell on the word homo, filled with
wonderment at the thought of Christ made man. Without
pause the music proceeds to a moving meditation on
Christ’s crucifixion, suffering and burial and the choir’s
unaccompanied proclamation — in the old Mixolydian
mode — of the resurrection. Mention of the Second
Coming when Christ shall ‘judge both the quick and the
dead’ brings an unmistakable reference by the trombones
to the Last Trump.
We are now in Allegro tempo, and soon the opening
Credo theme is recapitulated to the concluding words of
the movement. Yet Beethoven is by no means finished.
What especially seizes him here is the expectation of ‘the
life of the world to come’, and he makes these words — Et
vitam venturi — the basis of a mighty double fugue (Allegretto) on two complementary themes, a fugue still more
complex and technically ingenious than its counterpart at
the close of the Gloria.
Credo in unum Deum, Patrem omnipotentem. Factorem
coeli et terrae, visibilium omnium et invisibilium.
Credo in unum Dominum Jesum Christum, Filium Dei
unigenitum, et ex Patre natum ante omnia saecula. Deum
de Deo; Lumen de Lumine; Deum verum de Deo vero;
genitum non factum; consubstantialem Patri, per quem
omnia facta sunt. Qui propter nos homines, et propter
nostram salutem, descendit de coelis.
Et incarnatus est de Spiritu Sancto, ex Maria Virgine; et
homo factus est. Crucifixus etiam pro nobis; sub Pontio
Pilato passus et sepultus est.
Et resurrexit tertia die secundum Scripturas; et ascendit
in coelum; sedet ad dexteram Patris; et iterum venturus
est cum gloria judicare vivos et mortuos; cujus regni non
erit finis.
Credo in Spiritum Sanctum, Dominum et vivificantem;
qui ex Patre Filioque procedit; qui cum Patre et Filio
simul adoratur et conglorificatur; qui locutus est per
prophetas. Credo in unam Sanctam Catholicam et
Apostolicam Ecclesiam. Confiteor unum Baptisma in
remissionem peccatorum et expecto resurrectionem
mortuorum, et vitam venturi sacculi. Amen.
I believe in one God, the Father Almighty, Maker of
heaven and earth, and of all things visible and invisible.
I believe in one Lord Jesus Christ, the only-begotten Son
of God, and born of the Father before all ages. God of
God: Light of Light: true God of true God; begotten not
made; consubstantial with the Father, by whom all things
were made. Who for us men and for our salvation came
down from heaven.
And was incarnate by the Holy Spirit, out of the Virgin
Mary: and was made man. He was crucified also for us;
He suffered under Pontius Pilate, and was buried.
And the third day He rose again according to the
scriptures; and ascended into heaven; and sitteth at the
right hand of the Father; and He shall come again with
glory to judge both the quick and the dead; of whose
Kingdom there shall be no end.
I believe in the Holy Spirit, the Lord and Giver of life;
who proceedeth from the Father and the Son; who
together with the Father and the Son is adored and
glorified; who spoke by the Prophets. I believe in one
holy Catholic and Apostolic Church. I confess one
baptism for the remission of sins and I look for resurrection of the dead, and the life of the world to come. Amen.
Sanctus
The conception of God as Lord God of Hosts inspired
Bach to compose a weighty hymn of praise and Verdi,
later, to write an outburst of joy. For Beethoven this is an
occasion for reverent obeisance and quiet awe. Soft
trombones emphasise the solemnity of the moment; the
bright sound of flutes, oboes and violins is banished and
the words are given to the soloists rather than the choir.
This opening B minor passage is marked ‘Adagio with
devotion’. But joy breaks out in a brilliant D major
fugato at Pleni sunt coeli (‘Heaven and earth are full of
Thy glory’) and the following Presto fugato for Osanna.
The initial solemnity returns in an orchestral prelude to
the Benedictus, which Beethoven incorporates in the
movement instead of treating separately.
At this point in the Roman Catholic church service the
bread and the wine of the Host are held to be transformed
into the body and blood of Our Lord. Beethoven’s
musical illustration of this introduces a solo violin and
two flutes, which enter high aloft and descend as it were
to the altar. ‘Blessed is he that cometh in the name of the
Lord’, intone the basses of the choir, and the violin
symbolises the Divine presence in a lyrical G major
Andante solo which continues through the subsequent
entries of soloists and choir. After a repeat of Osanna the
violin solo resumes and at the end ascends again to the
lofty regions whence it came.
Sanctus, Dominus Deus Sabaoth.
Pleni sunt coeli et terra gloria Tua.
Osanna in excelsis.
Benedictus qui venit in nomine Domini.
Osanna in excelsis.
Holy, Lord God of Hosts.
Heaven and earth are fully of Thy glory.
Hosanna in the highest.
Blessed is he that cometh in the name of the Lord.
Hosanna in the highest.
Agnus Dei
The final section of the Mass begins with a prayer to Jesus
Christ for forgiveness of our sins. As was noted at the
appearance of the same words in the Gloria, this prayer
seemed to hold a strong personal significance for
Beethoven. Here he adopts the dark key of B minor, a
slow tempo (Adagio) and sombre instrumental colours
with bassoons and horns especially prominent. The bass
soloist begins the threefold prayer, soon joined by the
male voices of the choir in four parts, and gradually the
other solo and choral voices join in. This leads to Dona
nobis pacem, which the composer names as a prayer for
inward and outward peace. The key turns to D major and
the tempo quickens for this double fugue, bringing a
sense of greater confidence. But drums and trumpets
break in with ominously martial sounds, and the singers
reiterate their first prayer with a sudden desperate
urgency. Beethoven knew the horror of war at first hand
when Vienna was under bombardment, and peace meant
for him, as it does for us, freedom from war as well as the
achievement of spiritual serenity. The Dona nobis is
resumed, but again the noise of war interrupts it in a contradicting B minor, prompting an anguished cry of Agnus
Dei. Once move the prayer for peace is offered up. The
trumpets have now fallen silent, but there is a reminder of
distant war drums just before the close, a sufficient threat
to make the end of the movement and the Mass truly
though calmly prayerful.
Agnus Dei,
Qui tollis peccata mundi,
miserere nobis.
Dona nobis pacem.
O Lamb of God,
Who takest away the sins of the world,
have mercy upon us.
Grant us peace.
GUILDFORD PHILHARMONIC CHOIR
Soprano 1
Louise Barnfield
Sheila Hendy
Marion Blackburn
Ruth Joad
Jilly Bradshaw
Kate Ker
Steffi Brenner
Sue Maddox
Mary Broughton
Elizabeth McCracken
Kathryn Busby
Alison Munro
Claire Butcher
Elaine Chapman
Rachel Crookenden
Jill Davies
Maura Dearden
Celia Embleton
Josephine Field
Rita Frith
Jenny Hakim
Rosemary Munro
Susan Norton
Robin Onslow
Margaret Parry
Jean Radley
Judy Smith
Marie Sprott
Enid Weston
Caroline Winfield
Bass 1
Soprano 2
Kathleen Aldridge
Caroline Bennett
Sue McCloughry
Evelyn Macmillan
Mary Brown
Alexandra Palmer
Isobel Charsley
Margaret Dare
Fiona David
Rosalind Plowright
Gillian Rix
Andrea Dombrowe
Elaine Harre
Susan Hinton
Rita Horton
Nora Kennea
Jean Shail
Maureen Shortland
Corinne Sinclair
Kathy Stickland
Margaret Strivens
Christine Wilks
Graham Barwick
Norman Carpenter
Walter Chattaway
Neil Clayton
Douglas Corr
Paul Crossfield
Peter Pearce
Roger Penny
David Ross
John Schlotel
Don Skipper
Philip Stanford
Donald Walden
Michael Dawe
Andrew Whitehouse
Ralph Whitehouse
John Yeomans
Laurie James
Michael Longford
Neil Martin
Martin Monier-Williams
Judith Lewy
Bass 2
Alto 1
Marion Andrews
Helen Archibald
Iris Bennett
Jean Brown
Amanda Clayton
Janet Critchley
Sheila Davidson
Ruth Durbridge
Diana Forder
Maggie Guilfoyle
Ingrid Hardiman
Karen Hart
Lesley Haugh
Marilynn Hill
Joy Hunter
Claire Ingram
Anne Joyce
Helen Lavin
Mary Laws
Christine Medlow
Noel Monier-Williams
Brenda Moore
Sheila Morris
Cynthia Pepler
Grace Price
Grace Rose
Catherine Shacklady
Gillian Sharpe
Judy A. Smith
Margaret Tingley
Hilary Trigg
Pauline Vince
Carol Wyllyams
Fiona Yeomans
Alto 2
Iris Ball
Pandina Kwong
Evelyn Beastal
Hilary Marsden
Alison Bosley
Jean Munro
Jane Davison
Anne Philps
Fay Richardson
Carol Rowe
Sally Donaldson
Gina Eason
Beth Gilham
Diana Hammans
Pamela Harman
Carol Hobbs
Sheila Hodson
Kathleen Isaac
Prue Smith
Rosemary Smith
Jean Whitehouse
Margaret Wilson
Beatrice Wood
Tenor 1
Brian Avery
Roy Price
Chris Blatchford
Robert Bromham
Christopher Robinson
Bob Cowell
Andrew Ross
Maggie van Koetsveld
David Wilkinson
Jeni Young
Peter Lemmon
Andrew Reid
Michael Allen
Peter Herbert
Michael Jeffery
Roy Miles
Maxwell New
Barry Norman
John Parry
Nigel Pollock
Bernard Preston
Peter Andrews
Roger Barrett
Geoff Boyt
Michael Bradbeer
Peter Brackfield
John Britten
Henry Carew
Arthur Croker
A
FREIBURGER BACHCHOR
Conductor: Michael Beuerle
Soprano
Alto
Christine Bauer
Susanine Brenner
Manika Coeze-Krahl
Irmgard Claben
Esther Gumpper
Rena Hadji-Cheykh
Hanna Heinbockel
Margrit Heise
Margrit Modersheim
Irene Saltesz
Carmen Scheide
Tharen Schirdewahn
Tinka Schmidt
Gudrun Wawsersig
Cordula Witte
Gisela Fischer
Cornelia Grisebach
Christine Gronski
Dr Irmgard Muser
Elisabeth Hier Holzer
Helga Sacherer-Anderst
Dagmar Sartorius
Brigitte Schneider
Ingeborg Selinger
Dagmar Thalman
Evamaria Wagner
Gisela Wohlfarth
Bass
Werner Bauer
Neifeld Carsten
Stephen Glink
Martin Goeze
Krahl Heiner
Dr Peter Herfort
Tenor
Marc Banmgart
Fritz Gunter
Dr Reinhold Hartmann
Hertmut Schlau
Albrecht Veubeek
Hans U Weltzien
Elizabeth Lyon
Christopher Morris
SUNDAY 20 MAY 1990 at 3.00 pm
Civic Hall, Guildford
CELEBRITY RECITAL
Tenor 2
Chris Anderson
David Bennett
Adrian Buxton
Toby Crowe
George Fordham
Geoffrey Forster
Leslie Harfield
Alfred Knowles
Nick Lamb
John Palmer
Peter Wilford
JOHN LILL piano
Sonata No 14 in C sharp minor
Beethoven
(Moonlight)
SonataNo 21inC
Beethoven
(Waldstein)
Sonata No 29 in B flat
(Hammerklavier)
“Beethoven
Tickets: £8.50, £7.50, £6.50 from Civic Hall, Guildford
(0483) 444555 (£1 off with Virtuoso cards)
GUILDFORD PHILHARMONIC ORCHESTRA
Support the County’s leading Youth Orchestra
Principal Conductor: SIR CHARLES GROVES
SURREY COUNTY YOUTH ORCHESTRA
First Violins:
Hugh Bean
) Associate Leaders
John Ludlow
)
Conductor — John Forster
Leader — Cathy James
Last year the Orchestra played in the Royal Festival Hall as
Philip Augar
part of the National Festival of Music for Youth and in the
Christopher Bearman
Sheila Beckensall
Royal
Serg‘ei' Beszkorvany
Flutes:
Patricia Lovell
Linda
McLaren
Stephanie Niemiera
Jane Pickles
Simon Hunt
Albert Hall at the Schools Proms. Two of the
Orchestra’s principals were finalists in this year’s BBC TV
“Young Musician of the Year” Competition.
Forthcoming Concerts:
Thursday 12 July: Civic Hall, Guildford at 8.00 p.m.
Alex Suttie
Rosemary Van der Werff
Philip Winter
Oboes:
Delfire D(_)ds
Janice Knight
Massenet: Ballet Music “Le Cid”
Saint-Saens: ’Cello concerto in A minor
Second Violins:
Clarinets:
Tchaikovsky: Symphony No.2 in C minor
Desmond Bradley
Rosemary Roberts
Julia Atkinson
Timothy Callaghan
Ruth Dawson
Stephen Dinwoodie
Karen Downs
Peter Hemborough
Andrew McCullough
Victor Slaymark
Hasscous:
Anna Meadows
Peter Bennett
Ruth Knell
Peter Clack
David Clack
Violas:
Lyn Evans
John Meek
Trumpets:
Ben Pollani
Andrew Crowley
Colin Moore
Frederick Campbell
Trombones:
Paul Appleyard
Peter Thorley
Stephanie Williams
Bass Trombone:
Joun Burt
Ian White
Cellos:
Martin Nicholls
Geoffrey Thomas
John Stilwell
Christina Macrae
Timpani:
Roger Blair
Organ:
;gfi;‘ II_(I;;:)S;Y
Charles MacDonald
David Boswell Brown
Nicholas Boothroyd
General Manager:
Kathleen Atkins
Basses:
Music Administrator:
Michael Lea
Peter Holt
John Cooper
Mar'tlln Myers
Concerts Assistant/SEMT:
Linda Mowat
Cecilia Brittenmyer
Simon Oliver
Matthew Colman
Mr
P Gorman,
Head of the Surrey County
Department, on Woking 727634
Music
GUIDED WALKS of GUILDFORD
Philip Thorne
Sarah Walton
Peter Collyer
Carl Orff : Carmina Burana
For further information about the Orchestra, please telephone
Harold Forshaw
Horns:
Justin Ward
Saturday 13 October: Dorking Halls at 7.30 p.m.
Wednesday 19 December: Royal Albert Hall at 7.30 p.m.
Contra Bassoon:
Christopher Horner
Elizabeth Ovenden
Soloist: Emma-Jane Murphy
Held in the centre of town from
20 May — 30 September.
Your Guide will bring buildings and streets alive with tales
from Guildford’s historic past.
A range of private walks is available for pre-booked groups.
Contact: Guildford Tourist Information Centre
5.
&
Dept. GPO, The Undercroft, 72 High Street
Guildford GU1 3HE. Tel. 0483 444007
Guildford Borough Council
STOP PRESS!!
SEASON 1990/91
Sir Charles Groves, the orchestra’s principal conductor, will
conduct five of the subscription concerts. He will open the
season
with one of the most moving and magnificent
symphonies ever, Rachmaninov’s Symphony No 2, and end
the season in May 1991 with Mahler’s First Symphony. In
between, Sir Charles will take charge of the Verdi Requiem,
conduct the Festival *91 concert in March (when Nigel
Kennedy will display his inimitable talent playing Elgar’s
Violin Concerto) and conduct Mozart’s bi-centenary concert
(Symphonies 38, 39 and 40) on 14 April 1991.
Three major choral works stand out as highlights of next
season — Verdi’s Requiem, St John Passion by Bach and
Elgar’s choral masterpiece, The Dream of Gerontius.
Another special date will be 20 January 1991 when we welcome
Tonight’s concert is the final concert of the Orchestra’s 1989/
90 season and Guildford Borough Council would like to
thank all the people and organisations who have helped in the
promotion of the concerts during the season. The success of
concerts is due to many things seen and unseen; the financial
assistance from the South East Arts Association and the help
provided by the members of the Guildford Philharmonic
Society, pupils of the County School and members of the Red
Cross organisation is much appreciated.
Guildford Borough Council also acknowledges the generous
support of our sponsors, Hart Brown & Co., Solicitors, and
BOC, our Corporate Members BOC, Hutson Poole & Co.,
Plastic Coatings Ltd and Sterling-Winthrop Group Ltd., and
all our subscribers.
back John Forster to conduct “The Rite of Spring”. Appearing
for the first time with the GPO are the talented conductors,
Kees Bakels, who has chosen an all Czech programme
(Smetana, Martinu and Dvorak), Matthias Bamert, who will
present
an
all
Tchaikovsky
concert
with
the
wonderful
Taiwanese pianist, Pi-hsien Chen, and Paul Daniel, who
includes Bartok’s Concerto for Orchestra in his programme.
Volker Wangenheim also continues his association with the
orchestra and will appear with John Lill, a great favourite with
our concertgoers, in a concert which includes Brahms’ First
Piano Concerto and Beethoven’s Pastoral Symphony.
Full details of the forthcoming season are available from the
GPO’s office: The Lodge, Allen House Grounds, Chertsey
Street, Guildford. Tel: 0483 444666.
The Guildford Philharmonic Society is the ‘Supporters Club’ of the Guildford Philharmonic
Orchestra and was
originally founded with the prime object of encouraging not only its members but also the general
public in the
awareness of and to attend the season of concerts in the Civic Hall by the Guildford Philharmonic
Orchestra. It
still has this main object but also the Society assists with the provision of the finances for considerable
extra
publicity for the concert season. The Society is a registered charity and welcomes the payment of
subscriptions
by a Deed of Covenant, as payment by this method also ensures that the subscription is not raised for four
years.
Members receive certain benefits and these include:
Priority booking at the beginning of each concert
season.
opportunity
to
attend
rehearsals
® Certain
The Society’s Newsletter
Special events such
e The
of
Orchestra by applying to the Orchestra’s Office
Members’ Evenings
discount facilities at Record
Godalming, on records and cassettes
as visits to other concert
the
Corner,
venues, musical evenings in members’ homes and
certain social gatherings during the season
New Members to the Society are always welcome and by being a member you are also helping to ensure
continued success of the Guildford Philharmonic Orchestra.
the
The membership rates are as follows:
Annual Subscription (minimum)
£6.00
Husband/Wife—Joint Subscription (minimum) £10.00
Persons under the age of 18 (minimum)
Retirement Pensioner (minimum)
If you would like to join the Society, Covenant forms are obtainable from the General Administrators
you may send a cheque for your subscription together with your name and address
£4.00
£4.00
below or
to:
Iris & Peter Bennett, Applegarth, The Drive, Cranleigh GU6 7LY Tel: Cranleigh 276131
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
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always in stock. Constantly changing “browse” stock. Our mail order service is quick,
helpful and thorough. Non-stock items typically 10 — 14 days.
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.
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Tel. Byfleet 54898 (24 hrs) Mon-Fri 9-5.30
51614
sing with
Guildford
Philharmonic
Choir
SEASON 1989/90
Vivaldi : GLORIA
Vaughan Williams : FIVE MYSTICAL SONGS
Elgar : FOR THE FALLEN
Finzi : INTIMATIONS OF IMMORTALITY
Handel : MESSIAH
Beethoven : MISSA SOLEMNIS
Patterson :@: MASS OF THE SEA
Stanford : SONGS OF THE SEA
* CHRISTMAS CAROL CONCERT *
6552 CRADDOCKS
All concerts with the Guildford Philharmonic Orchestra
CONDUCTORS:
Sir Charles Groves
Sir David Willcocks
CHORUS MASTER:
GODALMING
Neviille Creed
Details from:
Mrs K Atkins, Guildford Philharmonic Choir Office,
The Lodge, Allen House Grounds
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Chertsey Street, Guildford
Surrey GU1 4HL
With financial support from
Tel: 0483 444666
Guildford Borough Council
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PH(;HESTRA
G. 444600
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throughout the
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Openg1 0.30am¥o 4.50pm
Mon-Fri; 10.30am-4.15pm
Saturdays. Admission free.
155 High Street
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Varied art exhibitions
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concert
Tel: G. 444741
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Surreys Premier
Entertainment Centre
Glildford
+ LIVE ENTERTAINMENT % CONFERENCES *
* BANQUETS * EXHIBITIONS *
For Bookings or to Join our Free Mailing List Tel: (0483 ) 444555.
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Spaces
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Tel: G. 444750
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borough for all tastes and
interests. Tel: G.444701
for full details and to book
outdoor sports facilities.
Open air heated
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swimming pools set in
rolling lawns and
beautiful gardens. Open
May to September
}Oigigam - 7pm.
el: G. 444888
For sauna, solarium,
ASh Manor
At Manor Road Ash. For
fit and much more!
SpOI‘lS
full details.
squash, swimming, keep
Tel: G 444777
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all types of dry SDOI"S'<
Tel: Aldershot 25484 for
Bedford Road
For full details of these and other places and events, contact:
Tourist Information Centre, Civic Hall, Guildford. Tel: G. 444007
(Open 9.30am - 5pm Mon - Fri; 9.30 - 4.30pm Sat. )
“Do you know our soul is composed of harmony”
Leonardo Da Vinci (1452—1519)
At Knowle Park Nursing Home we
The wing has been designed to take
know about the harmony of dignity
advantage of some of the finest views in
and lifestyle for all our guests both
the south of England. There are superb
long and short stay.
This beautifully refurbished historic
communal sitting areas for quiet
conviviality or complete relaxation in
house set in eleven acres of parkland
the tranquil surroundings.
now has an additional single storey
Comprehensive clinical facilities are
wing with twelve private rooms and
provided with 24 hour SRN supervision
suites.
by our friendly and attentive staff.
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We welcome your inquiries:
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The Director of Nursing, Knowle Park Nursing Home,
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Knowle Lane, Cranleigh GU6 8]L.
Telephone: Guildford (0483) 275432.
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COMFORT - CARE - COURTESY
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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
Hart Brown House, Victoria Road, Farnham (0252) 737303
and Law Courts Branch, 68 Woodbridge Road, Guildford (0483) 68267