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A992/1993 SEASON
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GUILDFORD
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JUNE 1993
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CIVIC HALL
SUNDAY 25 APRIL 1993
at 3.00 p.m.
Guildford
Philharmonic
Orchestra
Associate Leaders:
HUGH BEAN, JOHN LUDLOW
EILEEN HULSE
Soprano
WENDY VERCO
Alto
NEVILLE CREED
Conductor
PHILIP SHEFFIELD
Neville Creed began his conducting career whilst a
choral scholar at Trinity College, Cambridge. He then
Tenor
became Director of Choral Music at Tiffin School in
Kingston-upon-Thames, providing choirs for several
highly acclaimed recordings for radio, television and
WILLIAM DAZELEY
disc. The Tiffin Boys’” Choir recording of Mahler’s 8th
Bass
GUILDFORD PHILHARMONIC CHOIR
Symphony with the London Philharmonic Orchestra
under Klaus Tennstedt gained a nomination for a
‘Grammy’ Award. During this time he became
conductor of the Milton Keynes Chorale and Assistant
Chorus Master of the London Philharmonic Choir.
NEVILLE CREED
In 1986 he was awarded a scholarship to study
conducting at The Guildhall School of Music where he
Conductor
won
This Concert is promoted by Guildford Borough 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
& the financial assistance received
Foundation.
from
The
Bax
The Guildford Philharmonic Orchestra & South East
Music Trust acknowledge the generous support of
the
Musicians’ Union.
The Orchestra is pleased to acknowledge the Corporate
Memberships of:
BOC
HART BROWN & CO, Solicitors
HUTSON POOLE WILLIAMSON, Solicitors
KNOX CROPPER
S|
SOUTH-EAST ARTS
MUSICANE 5\5R,
UNION
(~
the
Ricordi
Conducting Prize.
Whilst at the
Guildhall he conducted the second British staging of
the opera ‘Julietta’ by Martinu. Since completing his
studies, he has founded the London Musici Singers,
been appointed Chorus Master of the Bournemouth
Symphony Chorus and the Guildford Philharmonic
returned to the Guildhall to conduct and
worked as Associate Chorus Master with the PhilharChoir,
monia Chorus. In 1988 he won the second prize in the
First International Choral Conducting Competition
held in Italy and in 1991 won a Semi-Final prize in the
Leeds competition for Orchestral Conducting.
He has conducted the European Community Chamber
Orchestra in France and regularly conducts in
Denmark.
He
has
given
concerts
with
the
Bournemouth Sinfonietta, Bournemouth Symphony
Orchestra, Guildford Philharmonic Orchestra, The
Royal Philharmonic ‘Pops’ Orchestra and The Royal
Philharmonic Orchestra.
Neville Creed will be conducting Rossini’s ‘Petite
Messe Solennelle’ at 7.30 pm in Holy Trinity Church,
Guildford, on Friday 2 July 1993.
EILEEN HULSE
Soprano
Eileen Hulse studied at the National Opera Studio and
rapidly made her mark as one of Britain’s leading
coloratura sopranos.
Her operatic engagements have taken her to La Fenice
in Venice, the Chatelet in Paris, Frankfurt Opera, the
Music Centre Los Angeles, Lucerne Opera, Glyndebourne Festival and Glyndebourne Touring Operas,
English National Opera and the Miinchen Biennale, in
repertoire ranging from Constanze in ‘Die Entfiihrung
aus dem Serail’ and the Queen of the Night, to
Fiakermilli in ‘Arabella’ and Max in ‘Where the Wild
Things Are’.
A distinguished concert artist, Eileen Hulse has
appeared with most major British orchestras; with the
Royal Philharmonic Orchestra and the Philharmonia,
Since making her home in England her career has
expanded throughout the United Kingdom and
Europe where most recent engagements have included
performances of the Mozart Requiem with The
London Mozart Players and with the Angelicum
Orchestra in Milan, Verdi’s Requiem with the Ulster
Orchestra, Tippett’s “A Child of our Time” in Basel,
Mahler’s Symphony No 8 at the Royal Festival Hall
and Haydn’s “Harmoniemesse” in Antwerp.
Wendy Verco performs regularly for Welsh National
Opera, Opera North, Opera 80 and Opera Factory.
Wendy also makes regular appearances in Opera Gala
concerts at the Royal Albert Hall.
performances of Mahler’s 4th Symphony, with the City
of Birmingham Symphony Orchestra under Simon
Rattle, Songs of the Fairy Princess by Szymanowski
and with the Royal Philharmonia Orchestra, Gliere’s
Concerto for Coloratura Soprano and Orchestra, a
work she has performed in Sweden, Berlin and
Moscow, and has recently recorded with the City of
London Sinfonia conducted by Richard Hickox for
Both Peter Stein productions of “Otello” and
“Falstaff” have been filmed by the BBC. Wendy has
also filmed for Thames Television and appeared in
Julian Mitchell’s play, “After Aida” at the Old Vic
Future engagements include a new Opera by Michael
Berkley with Opera North, Constanze, in Nantes, and
Elysées in Paris.
Chandos Records.
a Promenade Concert appearance in 1994.
WENDY VERCO
Mezzo Soprano
Wendy Verco was born in Australia and studied at the
Theatre in London.
Wendy Verco has also appeared as Emilia in “Otello”
at the Théatre de la Monnaie in Brussels, Meg in
“Falstaff” in New York, Milan, Tokyo, Royal Opera
House, Covent Garden and at the Théatre des Champs
Future engagements include performances of
Beethoven’s “Missa Solemnis”, Mozart’s “Mass in C
minor”, Haydn’s “Paukenmesse” and Delius’s “Mass
of Life”, Schubert’s “Mass in E Flat” in Antwerp with
De Singel, Cornelia in Handel’s “Julius Caesar” in
Ludwigshafen, Meg Page for Welsh National Opera
and Madame Larina, in “Eugene Onegin” for Scottish
Opera.
Musically educated at Cambridge University and the
Royal College of Music, Philip Sheffield is equally at
home on the concert platform and the operatic stage.
Recent concerts have included performances of
Britten’s ‘Serenade for tenor, horn and strings’ in the
Concertgebouw in Amsterdam with the Sinfonietta of
Amsterdam and also in Gstaad with the English
Chamber Orchestra, Britten’s ‘Nocturne’ with the
Berlin Symphony Orchestra in the Philharmonie in
Berlin, Alexander Goehr’s ‘Eve dreams in paradise’
with the BBC-Philharmonic under Sir Edward
Downes, as well as standard repertoire pieces such as
the Messiah, St. John and St. Matthew Passions in
England, Belgium and Holland.
Recent operatic engagements have included ‘Cosi Fan
Tutte’ (Opera Northern Ireland), ‘Falstaff’ (Royal
Flanders Opera), ‘Die Zauberflote’, ‘Eugine Onegin’,
‘Die Entfuhrung aus dem Serail’ (Lucerne Opera),
‘Der ferne klang’ (Opera North), ‘L’Egisto’ (Berlin
Kammeroper). He is currently appearing as Frederick
in ‘The Pirates of Penzance’ for the Déyley Carte at the
Sadlers Wells Theatre in London.
In the 1992-93 season, for Opera North, William sings
the Novice’s Friend in Billy Budd, The Count in
Marriage of Figaro, and Schaunard in their new
production of La Boheme.
William has given many song recitals in Britain and
abroad, including a French Song Recital with the
pianist Graham Johnson at the London College of
Music, a solo recital at the Purcell Room and has sung
with the Songmakers’ Almanac at the Wigmore hall.
William Dazeley has a very wide ranging concert and
oratorio repertoire.
GUILDFORD PHILHARMONIC CHOIR
The Guildford Philharmonic Choir was formed by
Baritone
Guildford Borough in order to perform the major
choral repertoire with the Guildford Philharmonic
Orchestra. As well as performing well-known choral
works, the choir specializes in twentieth century
British music and this has led to recordings of Gerald
Finzi’s ‘Intimations of Immortality’ with the Guildford
Philharmonic Orchestra and Patrick Hadley’s ‘The
Trees So High’ with the Philharmonia Orchestra, both
recordings being conducted by Vernon Handley.
William Dazeley was born in Warwickshire in 1966 and
The choir is conducted by some of the most eminent
is a graduate of Jesus College, Cambridge. With the
musicians, and as well as giving frequent concerts in
Guildford, the choir occasionally visits other British
cities. In 1988 the Guildford Philharmonic Choir
visited Paris and in 1990 joined forces with the
Freiburger Bach Choir in Freiburg Munster.
WILLIAM DAZELEY
assistance of awards from the Countess of Munster
Trust and the Wolfson Foundation he studied singing
at the Guildhall School of Music and Drama, where he
won several prizes, including the prestigious Gold
—
e
The Choir is trained by Neville Creed, who was
appointed Chorus Master in 1987 and he is assisted by
Peter White. Jeremy Filsell is the Choir’s accompanist.
The choir’s future plans include a summer concert in
the Guildford Festival in July and next season a return
visit to Freiburg.
Further details about the choir may be obtained from:
Kathleen Atkins, Millmead House, Millmead,
Guildford GU2 5BB Tel: 0483 — 444666
Ave Verum Corpus
Mozart 1756 - 1791
The autograph is owned by the State Library of
Vienna. It was completed during Mozart’s last year of
life. The title reads as follows: “Ave Verum Corpus di
Wolfgango Amadeo Mozart mp. Baaden II 17 di
giunnio 1791”. The composition was most likely a
token of gratitude towards Stoll, the schoolmaster and
choir master of Baden whose enthusiastic admiration
for Mozart had prompted him to show himself most
helpful and friendly towards the master’s wife,
Konstanze, during the latter’s summer sojourn at
Baden. The popular, song-like character of the Motet
and its simplicity suggest that the piece was intended
for performance through the Baden church choir on
Corpus Christi day. The supreme mastery with which
this piece, notwithstanding its small proportions and
simple four-bar structure, exhausts all poetic possibilities of the subject — pious devotion, exaltation and
heavenly aposteosis — renders this small Motet one of
the greatest musical compositions of all ages.
Ave Verum corpus
Ave verum corpus natum,
de Maria Virgine;
vere passum immolatum
in cruce pro homine,
cujus latus perforatum
unda fluxit sanguine;
esto nobis praegustatum
in mortis examine.
Hail true body,
born of the Virgin Mary,
which truly suffered and was sacrificed
on the cross for man,
and whose pierced side
flowed with a wave of blood;
may we have tasted of you when
we come to the hour of death.
Symphony No.41 in C, K551 (Jupiter)
Mozart 1756-1791
Allegro vivace
Andante cantabile
Menuetto: Allegretto
Finale: Molto allegro
This Symphony No.41 in C, completed during the
period that he composed the symphonies 39 and 40,
has been given the nickname ‘Jupiter’, bestowed by
person or persons unknown. This might be considered
apt for the Symphony in C. Although this is not what
most of us would call ‘jovial’ music, its perfect
proportions might well call a Roman god to mind. That
it proved to be Mozart’s last symphony may mean only
that he had no practical reason to compose more. It
would be wrong to assume that the three last
symphonies were consciously valedictory, but the
Jupiter does make an apt climax to the canon of
Mozart’s symphonies in that it welds ideas from diverse
sources into a triumphant statement of the position
attained by the symphony as a musical form at that
point in history.
The opening movement has a three-part first-subject
group; the first two parts provide a forte-piano
alternation — C major flourish and soft answer — that
looks back to J.C. Bach, and the third element is
woven into the fabric by the woodwind after a pause.
The second-subject section has two themes, both
introduced by the violins with a solo bassoon joining in
later. The second of these, which Mozart borrowed
from an earlier buffo operatic aria, plays the leading
part in the development.
For the F major slow movement the strings are muted.
The principal theme is a long, serene melody, but soon
the calm is disturbed by a C minor theme with
throbbing syncopations that suggest a 2/4 motion
within the basic 3/4 time. When the first subject
returns, it is in more ornate guise, exquisitely
ornamented with semiquavers and demi-semiquavers
for wind and strings.
The Minuet reintroduces the soft-loud alternations of
the first movement’s opening. Founded on a
descending scale, it has a stately bearing in keeping
with its formal dance origins. The Trio section offers a
variation on this material rather than a contrast with it.
In the Finale, a sonata-form structure, Mozart treats us
to a consummate display of his technical mastery, in
which all manner of fugal and contrapuntal devices are
brought into brilliant play. The first four notes, which
will pervade and dominate the movement, are the
ancient theme of the Gregorian Credo. Mozart used it
again and again as a kind of personal motto, and here
employs it for the last and most famous time. As in the
first movement there are three themes in the firstsubject group and two in the second. Listeners in an
analytical frame of mind might notice, among other
things, how themes are placed in canon with
themselves or combined with their inverted forms.
Most marvellous of all is the passage in the final coda
where all five themes come together simultaneously
and make a perfect fit. Yet we need know nothing of
the supreme skill that went to its making to recognise
this as some of the most glorious music that even
© Eric Mason
Mozart ever penned.
INTERVAL
Paukenmesse (Mass in the time of war)
This is the second of six masses written between 1796
Joseph Haydn 1732 - 1809
and 1802 and its first performance was given on St.
Mary’s Day 1796 in Eisenstadt. Haydn enlarged the
Kirie
orchestration for later performances, expanding the
clarinet and horn parts and adding a flute. It is this
fuller version which is heard this afternoon.
Gloria
Credo
Sanctus
Benedictus
Agnus Dei
Haydn enjoyed tremendous success during his second
visit to England in 1795 and he would have probably
stayed had it not been for Nicolaus II becoming the
new Prince of Esterhazy. With Haydn in charge, music
at Esterhazy had flourished under Nicolaus I until his
death in 1790 and although Haydn was still Capellmeis-
ter under his successor, there was very little musical
activity, and Haydn travelled widely. On becoming
Prince in 1795, Nicolaus II reinstated the Esterhazy
choir and orchestra and invited Haydn to return.
Haydn knew he would be well looked after and
therefore returned to spend his final years in comfort:
the Esterhazy household paying his doctor’s bills and
providing him with his favourite Tokay wine. The only
demand on Haydn was to compose a mass each year for
St. Mary’s Day — the name day of the Prince’s wife, the
Princess Maria Hermenegild. St. Mary’s Day is in
September, so Haydn generally spent the summers
writing a new mass for performance in the autumn.
In 1796 Austria was in the middle of the disastrous war
with France and Napoleon was advancing on all fronts.
In August the Viennese government called for general
mobilization and Haydn must have been composing
the “Mass in Time of War” at that moment. The
famous timpani part in the stirring ‘Agnus Dei’ is
apparently a slowed down version of the French army
The late masses display a fusion of various stylisic
elements that Haydn had acquired during his long and
fruitful life. Particularly apparent is his mastery of
symphonic technique which underpins the structure of
the masses. Added to this is his free use of Handelian
counterpoint which gives the works their rhythmic
vitality.
The Kyrie opens with a slow and solemn introduction,
but this soon gives way to an allegro section based on a
single graceful melody. The Gloriais divided into three
sections; relief from the exuberance of the outer parts
is provided by a ravishing setting of the “Qui tollis”,
which is almost a duet for the bass soloist and ‘cello.
After a majestic opening, the Credo offers a very
intense and beautiful setting of “Et incarnatus est”,
before
returning
to
a
faster tempo
for
the
“Et
resurexit”. The Credo ends with a glorious fugue to the
words “Et vitam venturi saeculi”. The Sanctus is in two
short parts; the first stately and the second tempestuous. The Benedictus opens in C minor and seems rather
ominous, but towards the end it moves into C major
and offers a sense of optimism. The Agnus Dei is one of
Haydn’s most famous movements. The timpani solo
enters unexpectedly in the tenth bar and the mass ends
with a powerful fanfare-driven ‘Allegro’ to the words
“Dona nobis pacem”. It is as if Haydn is demanding
peace rather than pleading.
drum-roll.
KYRIE
KYRIE
Lord have mercy upon us,
Kyrie eleison,
Christ have mercy upon us,
Christe eleison,
Lord have mercy upon us,
Kyrie eleison,
GLORIA
GLORIA
Glory be to God on high, and on earth peace to men of
Gloria in excelsis Deo. Et in terra pax hominibus
bonae voluntatis. Laudamus te, benedicimus te
adoramus te, glorificamus te. Gratias agimus tibi
goodwill. We praise Thee, we bless 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, O Lord,
propter magnam gloriam tuam. Domine Deus, Rex
coelestis. Deus Pater omnipotens.
Lamb of God, Son of the Father.
Domine Fili unigenite, Jesu Christe. Domine Deus.
That takest away the sins of the world, have mercy
Agnus Dei Fillius Patris.
upon us. Thou that takes away the sins of the world,
receive our prayer. Thou that sittest at the right hand
of the Father, have mercy upon us.
Qui tollis peccata mundi, miserere nobis. Qui tollis
peccata mundi, suscipe deprecationem nostram. Qui
For Thou only art holy. Thou only art the Lord. Thou
only, O Jesus Christ, with the Holy Spirit, art most
high in the glory of God the Father.
sedes ad dexteram Patris, miserere nobis,
Quoniam tu solus sanctus. Tu solus Dominus. Tu solus
altissimus, Jesu Christe, cum Sancto Spiritu, in gloria
Dei Patris.
Amen.
Amen.
CREDO
CREDO
I believe in one God, the Father Almighty, Maker of
heaven and earth, and of all things visible and invisible.
Factorem
Credo
in
unum
coeli
invisibilium.
Deum,
et
terrae,
Patrem
omnipotentem,
visibilium
omnium
et
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 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
Credo in unum Dominum, Jesus 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. Crucifuxus etiam pro nobis; sub
Pontio Pilato passus et sepultus est.
Et resurrexit tertia die secundum Scriptures; et
ascendit in coelum: sedet ad dexterum Patris; et iterum
glory to judge both the quick and the dead of whose
Kingdom there shall be no end.
venturus est cum gloria judicare vives et mortuos;
And (I believe) in the Holy Spirit, the Lord and Giver
Etin Spiritum Sanctum, Dominum et vivificantem; qui
of life; who spoke by the prophets. And in one Holy
cujus regni non erit finis.
locutus
est per prophetus, Et unam Sanctam
Catholicam et Apostolicam Ecclesiam. Confiteor
Catholic and Apostolic Church. I confess one baptism
for the remission of sins and I look for the resurrection
of the dead.
unum Baptisma in remissionem peccatorum et expecto
And the life of the world to come.
Et vitam venturi saeculi.
resurrectionem mortuorum.
Amen.
SANCTUS
SANCTUS
Holy, holy, holy, Lord God of Hosts.
Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth,
Pleni sunt coeli et terra-gloria Tua.
Heaven and earth are full of Thy glory,
Osanna in the highest.
Osanna in excelsis.
BENEDICTUS
BENEDICTUS
Blessed is he that cometh in the name of the Lord.
Benedictus qui venit in nomine Domini.
Osanna in the highest.
Osanna in excelsis.
AGNUS DEI
AGNUS DEI
O Lamb of God,
Who takest away the sins of the world, have mercy
Agnus Dei,
upon us.
nobis,
Grant us peace.
Amen.
Qui tollis peccata mundi, miserere
Dona nobis pacem.
IS YOUR COMPANY INTERESTED IN
SPONSORING THE PHILHARMONIC?
A tull range of opportunities
available for the 1993/94 Season.
Contact:
Kathy Atkins,
Guildford Philharmonic Orchestra,
The Lodge, Allen House Grounds, Chertsey Street, Guildford
Telephone: 0483 - 444666
GUILDFORD PHILHARMONIC CHOIR
First Tenors
C. Blatchford
B. Cowell
First Sopranos
L. Barnfield
R. Edmondson
J. Bradshaw
J. Radley
M. Broughton
S. Ranft
E. Chapman
J. Robinson
J. Hakim
J. Smith
C. Robinson
J. Trigg
M. van Koetsveld
D. Wilkinson
P. Lemmon
J. Young
E. Lyon
A. Reid
C. Morris
A. Ross
S. Maddox
M. Sprott
E. McCracken
Second Tenors
M. Mylchreest
E. Weston
A. Buxton
S. Longo
S. Norton
G. Forster
E. Willis
N. Lamb
G. Fordham
M. Laver
R. Onslow
F. Worpe
M. Mackie
A. Lyon
M. Parry
J. Baker
Second Sopranos
J. Alderton
K. Aldridge
M. Shortland
K. Stickland
P. Baxter
M. Strivens
S. Bevan
D. Smith
S. Hendy
C. Wilks
S. Hinton
T. Wilkinson
R. Horton
A. Hand
N. Kennea
J. Lewy
O. Ames-Lewis
L. Harfield
First Basses
N. Carpenter
N. Martin
W. Chattaway
P. Pearce
N. Clayton
R. Penny
M. Dawe
D. Ross
M. Dudley
J. Schlotel
V. Escribano
P. Stanford
L. James
D. Walden
S. Jepson
A. Whitehouse
S. Lyon
R. Whitehouse
M. Longford
L. Wilson
R. Plowright
P. Walker
G. Rix
P. Smith
First Altos
J. Brown
G. Eason
J. Butler
C. Wyllyams
M. Clayton
J. Shail
J. Critchley
B. Buck
F. Davis
K. Plackett
Second Basses
P. Andrews
P. Herbert
M. Bradbeer
M. Jeffrey
J. Britten
M. New
H. Carew
J. Parry
R. Coe
N. Pollock
R. Cuff
D. Hendy
N. Gough
R. Barrett
S. Davidson
A. Clayton
I. Hardiman
V. Edwards
M. Hill
A. Newell
CIVIC HALL, GUILDFORD
J. Hunter
K. Macmanus
H. Lavin
SLAVONIC DANCES Op 72No 7. and
R. Greenwood
C. Medlow
L. Jackson
Op46Nos3 & 8
Dvorak
L’ARLESIENNE SUITE
Bizet
RITUAL DANCES FROM MIDSUMMER
S. Pope
C. Pepler
SATURDAY 8 MAY 1993 AT 7.30.pm
MARRIAGE
C. Shacklady
A. Perez De Leon
G. Sharpe
C. Embleton
SUITE No.2: DAPHNIS AND CHLOE
J. A. Smith
P. Vince
VERNON HANDLEY
H. Trigg
E. Beastal
E. A. Bosley
L. Haugh
I. Bennett
J. Brooks
S. Bailey
L. Searle
C. Edwards
P. Charlwood
C. Hobbs
M. Freeman
S. Hodson
C. Sinclair
B. Moore
P. Harman
J. Munro
M. Moon
A. Philps
P. Usher
P. Smith
E. Snell
R. Smith
J. Frampton
J. Whitehouse
M. Wong
B. Wood
A. Lofts
J. Windle
Ravel
Conductor
Pre-concert talk at 6.15 pm in the Civic Hall with Vernon
Handley.
Second Altos
I. Ball
Tippett
Tickets: £9.50., £8.50., £7.50. available from
Civic Hall Box Office (0483) 444555
FRIDAY 14 MAY 1993 AT 12.30.pm
GUILDHALL, GUILDFORD
LUNCHTIME RECITAL
CAMARADA ENSEMBLE
(String Trio, Harpsichord, Oboe, Mezzo Soprano)
Tickets: £4.00. available from Guildford
Guildhall Tel: (0483) 444035
JOIN THE GUILDFORD
PHILHARMONIC SOCIETY
— the Orchestra’s supporters’ Club —
Apply to: Mrs. Iris Bennett,
Applegarth, The Drive, Cranleigh GU6 7LY.
Telephone: 0483 276131
GUILDFORD PHILHARMONIC ORCHESTRA
First Violins:
Hugh Bean
g
John Ludlow
.
Sheila Beckensall
.
Hywel Davies
Flute:
Asseietty Ladclis
Jane Pickles
i,
Piccolo:
:
Simon Hunt
Rachel Ives (Guildford Philharmonic
Oboes:
Patricia Lovell
Janice Knight
Clarinets
Society Playing Scholar)
Avril Maclennan
Linda McLaren
;
Alex Suttie
Rosemary Van Der Werff
5 s
Second Violins:
Nicholas Maxted Jones
Rosemary Roberts
Vicky Walpole
i
Hale Hambleton
Victor Slaymark
y
Bassoons:
Wicholas Hanka
Anna Meadows
Carl Beddow
Timothy Callaghan
Horns:
Peter Clack
Peter Hembrough
Trumpets:
Ruth Dawson
David Clack
Prunella Sedgwick
Gareth Bimson
Adrienne Sturdy
Patricia Reid
Violas:
John Meek
Timpani:
Roger Blair
Justin Ward
Organ:
John Graham
Anne Rycroft
David Swinson
Jean Burt
Paul Appleyard
Cellos:
General Manager:
=,
Dennis Vigay
Kathleen Atkins
Martin Thomas
Music Administrator:
Christina Macrae
Peter Holt
John Hursey
Secretary:
John Fr'anca
John Kirby
Shirley Ewen
Basses:
Maurice Neal
David Jones
Peter Box
The audience may be interested to know that the violin
sections are listed in alphabetical order after the first
desk because a system of rotation of desks is adopted in
this orchestra so that all players have the opportunity of
playing in all positions in the section.
For further information contact:
GUILDFORD PHILHARMONIC ORCHESTRA
MILLMEAD HOUSE
MILLMEAD, GUILDFORD
GU2 5BB. Tel: (0483) 444666
RECORD CORNER
POUND LANE, GODALMING
Tel: Godalming 422006
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DEPARTMENT OF MUSIC
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GORDONBHAKIM
C
HARTERED
A
CCOUNTANTS
Members of the public are most welcome at all
our concerts, w_hich take place during term-time
TUNSGATE SQUARE
in the Performing Arts Technplogy St.udlos on
98/110 HIGH STREET
campus.
Wednesday Lunchtime Recitals start
at1.15 pm and are admission free. Concerts are
GUILDFORD - SURREY
also held on selected Thursday and Sunday
GU13HE
evenings and afternoons.
TELEPHONE: 0483304147 - FAX: 0483303635
Please call the Department if you would like to be
placed on our mailing list.
Further information is available from: -
The Secretary
THE MICHAEL JEFFERY PARTNERSHIP
Department of Music
i
Chartered Architects
i
Orchard Cottage
gm-\lldeerI;y gu%ug)?m
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(Tel: Guildford 509317)
Tel. (0483) 62007
MG,
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Tel. 071-978 5318
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34333;33 ;-::r? ?gt(e)sctoberto 18 December 1992
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CHARTERED
ACCOUN TANTS
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CROPPER
The Partners of Knox Cropper, Chartered Accountants,
of London and Haslemere
offer their good wishes to the Guildford Philharmonic Orchestra
for their 1992/93 season.
16
24
NEW BRIDGE STREET LONDON
PETWORTH ROAD HASLEMERE
EC4V
6AX
GU27
2HR
YOUR COMPLETE MUSIC SERVICE
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Established 1950
i
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Telephone: (0483) 440188
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. . . proudly supporting
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