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BURCHATTS
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SURREY
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FUNCTIONS
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RECEPTIONS
Members of the pubhcare most welcome at all
our concerts, which take place during term-time
in the Performing Arts Technology Studlos on
campus,
free and start at 1.15pm. Concerts are also held
on selected Thursday and Sunday evenmgs and
afternoons.
.
- Please‘call theDepartment for further details or if
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The Secretary
;
Departmentof Music
University of Surrey
Guildford, GU2 5XH
(Tel: Guildford 509317)
For full details on Burchatts Farm Barn contact
Miss J Boothroyde
Guildford Borough Council, Millmead House, Millmead,
Guildford, Surrey GU2 5BB.
Telephone 0483 - 444701.
CGUILDFORD
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QO
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O
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G.H
1993-94 Term Dates
Autumn Term: 11 October to 17 December 1993
Spring Term:
10 January to 18 March 1994
Summer Term: 25 April to 1 July 1994
W
If'you enjoy musicjoin the
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PHILHARMONIC
s
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SEASON 1993/94
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Contact
Peter and Iris Bennett
Applegarth, The Drive,
Details from:
Cranleigh. GU6 7LY
Mrs Kathleen Atkins,
TEL: 0483-276131 ————
£9.00
Annual subscription
Joint sub. Husband & Wife
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£15.00
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Millmead House
G
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Guildford GU2 5BB
Tel: 0483 444666
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CIVIC HALL, GUILDFORD
SATURDAY 5 MARCH 1994
at 7.30 p.m.
Guildford
Philharmonic
Orchestra
Associate Leaders
HUGH BEAN, JOHN LUDLOW
JOANNA MACGREGOR
One of Britain’s best known and popular conductors,
Piano
Vernon Handley has been a constant champion of
British music throughout his career. His recordings
MERVYN COLLINS
regularly receive the highest acclaim from the music
Tenor
critics, and he has won several major awards, including
the Gramophone Award in 1989 for his recording of
BRIAN RAYNER COOK
Robert Simpson’s 10th Symphony, and a British
Record Industry Award for Vaughan Williams’ 5th
Baritone
CHORISTERS OF GUILDFORD
CATHEDRAL
Symphony; the latter is part of a complete cycle which
he is recording with the Royal Liverpool Philharmonic
Orchestra. The review of the recording in Hi-Fi News
GUILDFORD CHAMBER CHOIR
stated that ‘his tempo are somehow always the right
GUILDFORD PHILHARMONIC CHOIR
expressive ease which comes only from long and
tempi — unhurried,
possessed of an
intimate communion with the piece (and, of course,
good
VERNON HANDLEY
free-flowing,
honest
musical
instinct)’.
Other
recent
recordings include The Dream of Gerontius for EMI,
Conductor
with the Royal Liverpool Philharmonic Orchestra and
This Concert is promoted by Guildford Borough with
including Anthony Rolfe Johnson; of his recording,
Choir, the Huddersfield Choral Society and soloists
financial support from the South East Arts Association.
Stephen Johnson wrote in The Independent: ‘does any
The Guildford Philharmonic Orchestra gratefully
conductor understand the Elgar sound better than
acknowledges with thanks the support of its major
Sponsors:
Since 1989 Vernon Handley has been Principal Guest
HART BROWN & Co., Solicitors
BOC
and the financial assistance received from
the Sir Charles Groves Endowment Fund and the
Guildford Philharmonic Society
The Guildford Philharmonic Orchestra & South East
Music Trust acknowledge the generous support of the
Musicians’ Union.
The Orchestra is pleased to acknowlege the Corporate
Memberships of:
of
Orchestra
and,
the
Royal
appointed
Principal
in
Liverpool
addition,
Guest
has
Philharmonic
recently
Conductor
of
been
the
Melbourne Symphony Orchestra. This year he takes
up the post of Chief Conductor of the West Australian
Symphony Orchestra. Handley is an honorary member
of the Royal Philharmonic Society.
Handley
has
recently
been
appointed
Associate
Conductor of the Royal Philharmonic Orchestra with
together
at the 1992 BBC Promenade Concerts.
Handley also works regularly with the BBC National
Smith System Engineering
University of Surrey and
Orchestra of Wales and for the last two years has
Record Corner
SOUTH-EAST ARTS
Conductor
whom he regularly appears in London; they appeared
Knox Cropper Chartered Accountants
()
Vernon Handley?’
MUSICANH e
=
=
o
appeared with them at the Malvern Festival. In 1994 he
=
will appear twice at the BBC Promenade Concerts,
with the BBC Philharmonic Orchestra and the BBC
Symphony Orchestra.
Vernon Handley is a keen amateur ornithologist and
devotes several weeks a year to studying and photographing birds in their natural habitats.
Future plans include music by Bach, Messiaen and
Vernon Handley was Musical Director of The
Guildford Philharmonic Orchestra for 21 years. He is
now the Orchestra’s Conductor Emeritus.
In addition Miss MacGregor is well-known to
television audiences following her appearance in the
Omnibus at the Proms series, in masterclasses for
Young Musician of the Year and in a Granada
documentary charting the progress of her early career
after being selected by the Young Concert Artist’s
Trust in 1985 and at present she is working on a series
of programmes for BBCTV. She has also written a
fantasy play for radio entitled Memoirs of an Amnesiac
based on the life of Erik Satie and nominated for the
Bartok.
Prix d’Italia.
Contemporary music is a strong influence on Joanna
MacGregor and she works very closely with many
composers including Gary Carpenter, Alasdair
Nicholson, Michael Finnissy, Hugh Wood — whose
piano concerto she premiered last year at the Proms
and will play again this year at the Royal Festival Hall
with the BBC Symphony Orchestra and Andrew
Davies. In 1991 she founded Platform 1, a contemporary music festival the success of which has led to
Platform 2 which took place last year at the ICA.
Since 1985 Joanna MacGregor’s career has developed
apace both in recital and concerto appearances. In
December 1990 Miss MacGregor gave a highly
successful recital in the distinguished International
Piano Series at the South Bank returning to give
another much praised recital in November 1991. Other
recitals last season included a BBC lunchtime concert
at St. John’s Smith Square and recitals at the
Cheltenham, Huddersfield and Greenwich festivals
while this season she will give recitals at the Barbican
Centre, South Bank Centre, in Paris and at the Seville
Joanna MacGregor studied music at Cambridge with
Hugh Wood and later at the Royal Academy of Music
with Christopher Elton where she was made Hodgson
Fellow in 1984.
Festival.
Joanna MacGregor has played with many of the major
orchestras in this country and this season will play with
the Bournemouth Symphony Orchestra, Royal
Scottish Orchestra, Royal Liverpool Philharmonic
Orchestra, City of Birmingham Symphony Orchestra
with Simon Rattle and BBC Symphony Orchestra with
whom she will play Turangalila conducted by Mark
Wigglesworth in the Royal Festival Hall and at the
Proms. Earlier last season she gave a series of concerts
in Glasgow, Birmingham and the Barbican Centre
with the New World Symphony Orchestra and Michael
Tilson Thomas. Miss MacGregor has made several
visits abroad including Singapore, Germany and the
Netherlands where she gave several concerts with the
Rotterdam Philharmonic Orchestra. She will perform
the Ravel Concerto for Piano (Left Hand) with the
Munich Symphony Orchestra later this year and make
a return visit to the Netherlands.
Recording exclusively with Collins Classics Joanna
MacGregor’s outstanding releases to date include
music by Satie, Gershwin, Ives and Barber, Britten’s
Concerto in the original version with the English
Chamber Orchestra and Steuart Bedford and most
recently an acclaimed release of Scarlatti sonatas.
Mervyn Collins, after receiving an honours degree in
music from the University of Surrey, studied at the
Guildhall School of Music and the Rotterdam Conservatoire. When in Holland he was a member of the
Netherlands Chamber Choir, working with many
leading conductors and recording for all the major
record companies. On returning to England he became
a Gentleman of the Queen’s Chapel of the Savoy and
subsequently St. Paul’s Cathedral Choir. With these
and other groups, he has toured many parts of the
globe and taken part in outstanding performances and
recordings.
Mervyn Collins is now in demand as a concert and
recital
singer,
throughout
performing
Britain,
an extensive repertoire
Ireland,
Europe
and
North
America. In London he has sung in all the major
concert halls and has made several appearances in
various
International
Music
Festivals,
including
Belfast, Bath, Canterbury, Guildford and the City of
London.
Notable
broadcasts
have
included
“The
Songs of Tom Moore” with Seamus Heaney (B.B.C.),
Moeran’s English Lyrics (B.B.C. — previously unre-
corded), Howell’s Requiem (B.B.C.), Britten’s St.
Nicolas (American Radio) as well as solo appearances
on Canadian, Dutch and Independent television.
Recent
engagements
include:
Bach,
Christmas
Oratorio, Magnificat and Cantata numbers 44, 33,131,
37; Britten, St. Nicolas; Tippet, A Child of Our Time;
Handel, Messiah; Haydn, Nelson Mass and Creation;
Rossini, Petite Messe. However, it is in the role of
the music of Edvard Grieg; and (in New York) in
Britten’s “War Requiem”.
He has sung “Sancta Civitas” several times before,
including a Festival Hall performance and a BBC
broadcast. Brian Rayner Cook’s previous appearances
in the Guildford Philharmonic season have included
other works by Vaughan Williams: “Five Tudor
Portraits” and (two years ago) “A Sea Symphony”,
both conducted by Vernon Hardley. His discography
includes “A Sea Symphony”, “Dona Nobis Pacem”
and the “Five Mystical Songs”.
His other gramophone recordings range from 17th
century to contemporary music; from Dvorak (in
Czech) to Delius operas (two); from works with chorus
and orchestra by Orff, Faure, Parry and Elgar to a
number of recital recordings.
Evangelist that he is establishing himself as a singer of
note, his interpretation of the the Bach Passions
receiving favourable press notices — an Evangelist of
“tremendous
conviction
and
effect”,
and fine toned”;
“a most
confident
“stylish,
eloquent
Evangelist, clear, articulate, yet full of compassion”.
GUILDFORD PHILHARMONIC CHOIR
The Guildford Philharmonic Choir was formed by
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.
The choir is conducted by some of the most eminent
musicians, and as well as giving frequent concerts in
Guildford, the choir occasionally visits other British
cities.
In
visited
Paris
1988 the Guildford Philharmonic Choir
and in
1990 joined forces with the
Freiburger Bach Choir in Freiburg Munster.
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 made a highly successful visit to Freiburg in
November 1993 where it gave an outstanding
performance of Britten’s ‘War Requiem’. Future plans
include performances of Orff’s ‘Carmina Burana’ with
Sir David Willcocks, and a summer concert in the
Guildford Festival.
Further details of the Choir may be obtained from:
Kathleen Atkins, Guildford Philharmonic, Millmead
BRIAN RAYNER COOK - Baritone
Brian Rayner Cook graduated in Music from Bristol
University, developing his interests as an organist and
House, Millmead, Guildford GU2 5BB.
Tel: 0483 444666.
as a conductor and repetiteur, before devoting himself
wholeheartedly to singing. He won all the major
singing prizes during his postgraduate studies at the
Royal
College of Music,
London;
and was then
awarded a Kathleen Ferrier Memorial Scholarship.
Since then his career in oratorio, opera, music-theatre
NEVILLE CREED - Chorus Master
Neville Creed began his conducting career whilst a
choral scholar at Trinity College, Cambridge. He then
became Director of Choral Music at Tiffin School in
and recital has taken him throughout the world.
Kingston-upon-Thames, providing choirs for several
highly acclaimed recordings for radio, television and
Recent engagements have included appearances in the
disc. The Tiffin Boys’ Choir recording of Mahler’s 8th
Far East and mainland Europe, televised concerts and
Symphony with the London Philharmonic Orchestra
commercial recording.
under Klaus Tennstedt gained a nomination for a
During 1993 Brian Rayner
Cook also made three further separate appearances in
‘Grammy’
the United States: in early opera; in a celebration of
conductor of the Milton Keynes Chorale and Assistant
Award.
During
this
time
he
became
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 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
Choir, returned to the Guildhall to conduct and
worked as Associate Chorus Master with the Philharmonia 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
He has given concerts with the
Denmark.
Bournemouth Sinfonietta, Bournemouth Symphony
Orchestra, Guildford Philharmonic Orchestra, The
Royal Philharmonic ‘Pops’ Orchestra and The Royal
GUILDFORD CHAMBER CHOIR
Conductor: Peter Wright
Guildford Chamber Choir was founded in 1980 and has
a well-earned reputation for the high standard of its
singing and for performing lesser known works in the
choral repertoire.
Peter Wright and the choir have made two recordings
for BBC Radio 3. The first recording in October 1986
and the second in August 1989.
Guest conductors have included John Bawden,
Sebastian Forbes, Louis Halsey, David Hill, Stephen
Layton, David Lowe, Andrew Millington, Philip
Moore, Joseph Polglase, Barry Rose and Hilary
Davan Wetton.
The choir’'s management comprises Richard Fox
(Guildford 63523), Margaret Vine, Secretary
(Guildford 416018), Janet Yendole, Publicity
(Guildford 35489), Tom Hall, Librarian (Epsom
725900) and Peter Wright, Conductor.
Philharmonic Orchestra.
Brigg Fair
Delius 1862 — 1934
GUILDFORD CATHEDRAL CHOIR
The choir of Guildford Cathedral was formed in 1961
under Barry Rose, the Cathedral’s first Organist and
Choirmaster. Since the Consecration of the Cathedral,
the Choir has maintained a daily Sung Evensong, and
has built up an enviable reputation for its singing. The
boys of the choir (18), are drawn from Lanesborough
Preparatory School in Guildford, and some of the
older ones attend the Royal Grammar School. The
lower parts are sung by professional layclerks and
choral scholars from the University of Surrey.
During its relatively short history, the choir has made
numerous recordings, including an album of Christmas
Carols which won a ‘Gold Disc’ award for the sale of
over five hundred thousand records, just recently a
‘Platinum Disc’ for over a million records sold. The
choir has toured widely in Britain and Europe, and in
1988 undertook an extensive tour of Canada, singing to
capacity audiences from Ottawa in the East, to
Victoria BC in the west. The choir broadcasts regularly
on BBC Radio 3, and has made several TV appearances.
In 1974 Barry Rose moved to St Paul’s Cathedral in
London, and was succeeded by Philip Moore. He was
appointed to York Minster in 1983 and the post is now
occupied by the present Organist and Master of the
Choristers, Andrew Millington.
The choir covers a large repertoire from plainsong to
contemporary music, including a wide variety of
European styles. In addition to service music, the choir
occasionally performs larger works with orchestra. In
recent years, these have included Handel’s Messiah,
Bach’s St John Passion and Haydn’s Nelson Mass.
Concerts of light and popular music invariably end
with a brilliant showpiece, itself ending if possible with
great noise and abandon. Tonight’s concert begins
with a showpiece but a subtle one whose playing
demands controlled virtuosity in every section but
whose emotional curve demands a very quiet ending.
Brigg Fair was sub-titled by Delius ‘An English
Rhapsody’ and was written in 1907. The first
performance took place in Liverpool under the
direction of Granville Bantock and, like several other
works of Delius, was frequently played on the
continent, especially in Germany, before it began to be
known in England. The work, which is based on an
English folk song, is dedicated to Percy Grainger who
introduced the song and its words to Delius. Most commentaries say that it is a series of connected variations
divided by a free middle section. This is entirely
untrue. The form is quite clearly laid out as follows: an
introduction for woodwind and harp, the first set of
variations, a section based quite firmly on the introduction with a long metamorphosis of the tune, a second
set of variations, a new setting of the introduction, a
final set of variations culminating in a quiet coda which
encloses comments from the introduction; in other
words, a six section work with the material of the introduction alternating with sets of variations. It is Delius’s
especial gift that makes the joins between these
sections so smooth that it is only on reflection that we
appreciate the perfect balance of the form. A very
large orchestra is employed, with triple woodwind, six
horns, three trombones and three trumpets.
The introduction starts with a solo flute and harp, the
flute playing what sound like mere atmospheric
arabesques but which, in later development and at the
climax of the work, will be found to be basic material.
The flute is joined by a second flute and clarinet, and
beneath their trills horn chords and string chords
alternate. Solo oboe states the theme which passes to
the solo flute and then to the first violins. The next
variations gives the tune to flutes and clarinets, and the
next breaks the first part of the theme into staccato
chords with semiquaver accompaniment on the violins,
but allows the weight of phrase at the end of the tune to
be played more sostenuto. Each of the variations has
gained in dynamic power and in thickening of texture
when suddenly the decorative semiquavers pass to
flute and clarinet and the solo horn sings the tune forte
against mezzo piano string chords. When the solo
trumpet takes the tune, the chords and the
semiquavers gather more of the orchestra with them.
As this last variation dies down, we are back in the
world of the introduction and now the first violins have
a long espressivo statement of a close relative of the
tune itself. All the strings are muted and the beatiful
harmonies often lead interpreters of Delius to have the
tune played piano from the outset, thus giving rise to
the opinion that Delius is a luscious, spineless
composer.
Nothing, however, could be stronger than Delius’s
own markings for the beginning of the tune. They are,
forte — espressivo and, in brackets above, the word
‘singing’. As the tune progresses so it gets quieter and
then soars out again in octaves, forte. At the end of its
second statement another set of variations begins on
the solo clarinet. The theme is set against all sorts of
different backgrounds, reaches a passionate peak in
one of the quicker variations and is stated in the noble
Maestoso against pizzicato chords. At the end of this
variation the material of the introduction returns again
in preparation for the final set of variations. Before the
climax Delius makes reference to the devices he has
used earlier: running semiquavers in the violins,
staccato chords punctuating the main accents of the
dance, and then sails straight into a fortissimo
enunciation of the tune by the full orchestra, which in
turn leads to the climax of the work. In this the three
trumpets sing the tune, the woodwind have a version of
the tune, the horns another version, the strings the
same version as the woodwind but starting three bars
later, and the trombones an augmented version of the
flutes’ very first arabesques. All the voices die away
and the solo oboe is left to state the tune once more
with quiet comments from the timpani and flute and
the support of string harmonies which end on a simple
cadence.
One of the interesting things about this work is that it
prepares for and reaches its climax without resorting to
the almost universal means of late nineteenth century
composers who approach the climax of their
symphonic movements and tone poems by means of
building up their theme in harmonic sequence.
Althogh Delius’s harmony is very free, the tonal centre
of the whole of the set of variations remains the same.
This puts a tremendous strain on the orchestra because
from the fortissimo full orchestra’s statement of the
tune right the way through the climax of the work they
have no sequences or crescendos to help make the
point for the audience but have to sustain the dynamic
power and tremendous drive. The challenge of this has
been too much for some of Delius’s interpreters, who
have remarked the section with crescendos and
diminuendos and even altered note values in one or
two places. The truth is that Delius at times demands
the rhythmic and dynamic concentration that is
required by certain symphonic movements and, since
he demands it, he should receive it.
Concerto in D for Piano (Left Hand) and Orchestra
Maurice Ravel (1875-1937)
Lento — Allegro — Lento
Although the piano was the original medium for much
of Ravel’s music, he did not attempt a piano concerto
until the closing years of his creative life. Then he
suddenly found himself working on two at the same
time. One was the Concerto in G; the other was this
Concertoin D for left hand only, commissioned by the
Austrian pianist Paul Wittgenstein, who had lost his
right arm in the First World War. Both concertos were
completed in the autumn of 1931 and, apart from the
three Don Quichotte songs, proved to be Ravel’s last
compositions.
The two works are strikingly different. Whereas the
two-hand concerto is essentially a light-hearted divertissement, the left-hand one is a powerful work with
Liszt standing as an evident influence behind it. Ravel
loved setting himself a formidable technical problem,
and here he was intent on producing a virtuso concerto
conceding nothing to the limiting factor of the one
hand. He succeeded so well that it is almost impossible
to deduce from the evidence of one’s ears alone that
two hands are not being used. It goes without saying
that the solo part is extremely challenging. Indeed,
Wittgenstein found the first performance — in Vienna
in November 1931 — such a struggle that he besought
the composer to alter his part. Ravel declined.
After Ravel’s death, Alfred Cortot, thinking to gain
the concerto more performances, made a two-handed
version of it, but the composer’s executors objected
strongly. They wanted the concerto to remain as he
had left it, and on musical grounds they were right. The
late Clifford Curzon for one pointed out that the piano
part is so written that it needs the emphasis provided by
the rolling left thumb to achieve the proper effect.
Cast in one continuous three-part movement, the
concerto is scored for a large orchestra, adding E flat
and bass clarinets, cor anglais and contra-bassoon to
the basic woodwind complemnt, and including a harp
and a fair array of percussion. The contra-bassoon is
the first to be given prominence, its voice emerging
from a subdued dark mass of double-bass semiquavers
to outline the principal theme, a melody suggestive of
a slow sarabande. The horns counter with a motive
whose opening phrase of three descending notes is
important later. Gradually this material wells up to a
big climax, breaking off to admit the soloist, who
enters with a long cadenza incorporating the bold,
definitive statement of the principal theme and ending
with a spectactular glissando. The orchestra returns
with another tutti based on the same theme, and only
after this do piano and orchestra come together for the
first time, the piano introducing the reflective slower
theme that would be the second subject in an orthodox
sonata-form movement. The sarabande theme soon
Sancta Civitas
I was in the spirit and I heard a great voice of much
people praising God and saying ‘Alleluia, salvation
and glory, honour and power unto the Lord our God.
reappears with an ornate piano accompaniment and
continues until the brass abruptly breaks in.
Alleluia, Amen.
Mood, tempo and rhythm are now suddenly changed,
both small and great.’
the following Allegro section taking the form of a
scherzo. Fierce descending scales lead to a jerkily
rhythmic piano theme (a transformation of the
sarabande theme) over a tramping accompaniment.
After a brief episode recalling the chinoiserie of
Ravel’s Mother Goose the tramping bass resumes and
a solo bassoon reintroduces the horn counter-theme
from the beginning of the concerto. This now merges
with the piano’s scherzo theme, the two developing in
a syncopated fashion that may bring Bolero to mind.
The little piece of chinoiserie is heard again, leading
this time to a majestic restatement of the concerto’s
main theme. This makes way for a second piano
cadenza, which recapitulates the material of the
opening section and at last gives the reflective ‘second
subject’ its due. The orchestra creeps in with a last
reference to the principal theme, then fiercely rounds
off the concerto with a snatch of the scherzo.
© Eric Mason
Praise our God, all ye his servants and ye that fear Him
And I heard as it were the voice of a great multitude
and as the voice of many waters saying ‘Alleluia, For
the Lord God Omnipotent reigneth. Let us be glad and
rejoice and give honour to Him. For the marriage of
the Lamb is come, and his wife hath made herself
ready.’
And to her it was given that she should be array’d in
fine linen, clean and white.
Blessed are they that are called to the marriage supper
of the Lamb.
And I saw Heaven opened. And behold a white horse
and he that sat thereon was called Faithful and True
and in righteousness he doth make war. His eyes were
as a flame of fire, and on his head were many crowns:
and he had a name written that no one knew but he
himself:
and
the
armies
which
were
in
heaven,
followed him upon white horses clothed in fine linen,
white and clean.
And out of his mouth goeth a two-edged sword, that
with it he should smite the nations, and he shall rule
them with a rod of iron; and he treadeth the wine press
=)
—
s
of the fierceness and wrath of Almighty God.
[N
o
~—~
And on his vesture and on his thigh there was a name
written, King of Kings and Lord of Lords.
And I saw an angel standing in the sun: and he cried
with a loud voice saying to all the fowls that fly in the
midst of heaven, ‘Come, gather yourselves together’.
Sancta Civitas
Vaughan Williams 1872-1958
And the Kings of the earth and their armies were
gathered together to make war against him that sat
Vaughan Williams’ “Sancta civitas” (Holy city) is his
upon the horse and against his army, and were slain
musical vision of St John’s “new heaven and new
with the sword of him who sat upon the horse and all
earth”. It was written between 1923 and 1925 in the
the fowls were filled with their flesh.
aftermath of the First World War in which Vaughan
Williams had fought in the trenches and lost many
friends. He saw his mission as an artist to offer a
glimpse of transcendent reality to a world spiritually
and materially in ruins. Of his many choral works,
‘Sancta civitas’ was Vaughan Williams’ favourite —
probably because it embodies his personal attitude to
religious belief:
Babylon the great is fallen.
Alas, alas; that great city Babylon, that mighty city! for
in one hour is thy judgment come.
The kings of the earth shall bewail her and lament over
her. And the merchants of the earth shall weep and
mourn over her. And the fruits thy soul lusted after are
“The object of all art is to obtain a partial revelation
of that which is beyond human senses and human
departed from thee. And all things which were dainty
and goodly are departed from thee and thou shalt find
them no more at all.
faculties — of that which is spiritual..... The human,
Alas, alas; that great city that was clothed in fine linen,
visible, audible and intelligible media which artists
and purple and scarlet and precious stones. What city
(of all kinds) use, are symbols not of other visible
is like unto this great city! for in one hour art thou made
and audible things but of what lies beyond sense and
knowledge.”
desolate.
Rejoice over her O heavens for God hath avenged you
Vaughan Williams explores what lies beyond with
on her.
concise and dramatic visionary music which demands
And a mighty angel took up a millstone and cast it into
large forces divided into three levels of sound; the full
the sea, saying: ‘Thus with violence shall that great city
Babylon be thrown down, and shall be found no more
at all.’
chorus and orchestra, the semi-chorus and a distant
chorus of boys voices with solo trumpet.
And the voice of the harpers shall be heard no more at
all in thee. And the light of a candle shall shine no more
at all in thee, and the voice of the bridegroom and the
bride shall be heard no more at all in thee.
Babylon the great is fallen.
And I saw a new heaven and a new earth: for the first
earth and the first heaven were passed away: and there
was no more sea. And I saw the holy city coming down
from heaven prepared as a bride adorned for her
husband, having the glory of God.
GUILDFORD PHILHARMONIC CHOIR
Soprano:
Jacqueline Alderton
Margaret Parry
Kathleen Aldridge
Olivia Ames-Lewis
Jill Baker
Vivienne Parsons
Rosalind Plowright
Jean Radley
Louise Barnfield
Susan Ranft
Penny Baxter
Gillian Rix
Sue Bevan
Joan Robinson
Maureen Shortland
Mary Broughton
Elaine Chapman
Dawn Smith
And her light was like unto a stone most precious even
Rachel Edmondson
like a jasper stone, clear as crystal: and had twelve
Jenny Hakim
gates and on the gates twelve angels, and the twelve
Angela Hand
Judy Smith
Pamela Smith
Kathy Stickland
gates were twelve pearls; and the street of the city was
pure gold, as it were transparent glass.
Susan Hinton
Margaret Strivens
Nora Kennea
Philippa Walker
And I saw no temple therein. For the Lord God
Almighty is the temple of it.
Judith Lewy
Anne Lyon
Enid Weston
Christine Wilks
Elisabeth Willis
And the city had no need of the Sun, neither the Moon,
to lighten her for the glory of God did lighten her: and
the gates of it shall not be shut at all by day: for there
Margaret Mackie
Elizabeth McCracken
Lucinda Wilson
Susan Norton
Tessa Wilkinson
Robin Onslow
Frances Worpe
shall be no night there and they shall bring the glory
and the honour of the nations into it. Therefore are
they before the throne of God, and serve him day and
night in his Temple. They shall hunger no more neither
thirst any more. For he that sitteth on the throne shall
feed them and shall lead them unto living fountains of
waters.
And I saw a pure river of the water of life, and on either
side of the river was there the tree of life, and the leaves
of the tree were for the healing of the nations.
And they shall see his face: and his name shall be in
their foreheads, and they shall need no candle, and
there shall be no night there, for the Lord God shall
give them light and they shall reign for ever and ever.
Holy, Holy, Holy, Lord God Almighty.
Heaven and earth are full of Thy glory. Glory be to
Thee, O Lord most High.
Behold, I come quickly, I am the bright and the
morning star. Surely I come quickly. Amen, even so
come Lord.
Alto:
Sally Bailey
Iris Ball
Evelyn Beastall
Helen Lavin
Nicolette Bell
Iris Bennett
Brenda Moore
Jane Brooks
Jean Munro
Jean Brown
Barbara Buck
Arabella Onslow
Juliet Butler
Amor Pérez-de-Léon
Pamela Charlwood
Amanda Clayton
Mary Clayton
Anne Philps
Janet Critchley
Fiona Davis
Catherine Shacklady
Gillian Sharpe
Karen Deering
Ingrid Hardiman
Judy A. Smith
Prue Smith
Rosemary Smith
Liz Snell
Hilary Steynor
Hilary Trigg
Pamela Usher
Pamela Harman
Carol Hobbs
June Windle
Maralyn Wong
Sheila Hodson
Beatrice Wood
Joy Hunter
Carol Wyllyams
Valerie Edwards
Celia Embleton
Joanne Frampton
Mandy Freeman
Rebecca Greenwood
CATHEDRAL CHORISTERS 1994
Organist and Master of the Choristers —
Andrew Millington
Simon Bateson
Kerry Norman
Oliver Clark
David Prangnell
Duncan Cocks
Steven Coomer
Ross Ramsey
Christopher Steynor
Thomas Deering
Nicholas Trumble
Kay McManus
Christine Medlow
Mary Moon
Alison Newell
Kate Plackett
Susan Pope
Lyn Jackson
Ian Ferreira
Edward Foulkes
Tenor:
John Francis
Adrian Buxton
Peter Lemmon
Jack Glass
Bob Cowell
Elizabeth Lyon
James Goldsbrough
Dominic Hammond
Geoffrey Forster
Andrew Reid
Leslie Harfield
Christopher Robinson
Michael Johnson
Maggie van Koetsveld
John Trigg
Paul Knapp
Nick Lamb
Bass:
Michael Bradbeer
Stephen Jepson
Michael Longford
Stewart Lyon
Neil Martin
John Britten
Chris New
Norman Carpenter
Walter Chattaway
Neil Clayton
Maxwell New
Peter Andrews
Graham Barwick
Roger Barrett
Barry Norman
John Parry
Peter Pearce
Roger Penny
Nigel Pollock
Robert Coe
Rodney Cuff
Michael Dawe
David Ross
John Schlotel
Philip Stanford
Michael Dudley
Terence Ellis
Vicente Escribano
Nick Gough
Martin Unwin
Donald Walden
John Hart
Peter Herbert
Andrew Whitehouse
Ralph Whitehouse
Laurie James
Michael Jeffery
GUILDFORD PHILHARMONIC ORCHESTRA
First Violins:
Hugh Bean
John Ludlow
Phillip Augar
% Associate Leaders
Sheila Beckensall
Michael Ronayne
Emer Calthorpe
John Franca
Auvril Maclennan
Peter Newman
John Kirby
Nicholas Boothroyd
Martin Palmer
Stephen Rouse
Prunella Sedgwick
Anthony Short
Alice Mcveigh
Ian Burdge
Rosemary Van Der Werff
David Jones
Second Violins:
Nicholas Maxted Jones
Rosemary Roberts
Catherine Belton
Andrew Bernardi
CIVIC HALL, GUILDFORD
Julia Brocklehurst
Timothy Callaghan
Ruth Dawson
Stephen Dinwoodie
The Birds
Respighi
Violin Concerto No. 1in D
Paganini
Symphony No. 4in A (Italian)
Mendelssohn
HAGAI SHAHAM
Violin
Christopher Horner
BARRY WORDSWORTH
Conductor
Alan Merrick
Tickets: £10., £9., £8., (concessions)
Adrienne Sturdy
available from Box Office, Civic Hall
Violas:
Tel: (0483) 444555
John Meek
Justin Ward
HATCHLANDS LUNCHTIME RECITALS 19%
Lionel Handy
Ian Brignall
Carl Beddow
SUNDAY 20 MARCH 1994 at 3.00pm
Cellos:
Basses:
Maurice Neal
Duncan Allen
Rupert Ring
Lynette Eaton
Flutes:
Jane Pickles
Alexa Turpin
Piccolo:
Simon Hunt
Oboes:
Vicky Walpole
Neil Black
Cor Anglais:
Janice Knight
Clarinets:
Angela Malmsbury
Anne Rycroft
Andrew McCullough
Paul Appleyard
Eb Clarinet/Bb Clarinet:
Jean Burt
Colin Courtney
The Cobbe Foundation and Guildford Borough
Karen Demmel
Michael Newman
Bass Clarinet:
National Trust, a series of lunchtime recitals at
Horns:
Bassoons:
Council are inaugurating, in association with the
PP
Hatchlands Park, East Clandon.
:
.
o
Biles Jacksori
Andrew Antcliff
Participating in the recitals, which will give oppor-
(Guest Principal)
tunities to hear musical instruments of outstanding
George Woodcock
rarity, will be leading artists such as
Melvyn Tan and Malcolm Binns.
David Clack
Richard Hoad
Charles IT’s virginals, the pianos of Marie Antoinette,
Andrew Fletcher
The first in the series will be a lecture recital given by
Alec Cobbe, director of the Foundation, at 12.30pm on
Wednesday 30th March. The others are 6th April -
Gareth Bimson
Ann McAneney
Nicholas Betts
Melvyn Tan, 8th June — The Musicke Companye and
6th July — David Watkin and Howard Moody.
Ian White
Arthur Wilson
Bass Trombone:
The collection of instruments at Hatchlands includes
J.C. Bach, Chopin, Elgar and Mahler and many others.
Malcolm Binns, 20th April - Sophie Yates, 11th May All take place at 12.30pm. Tickets are £5, and include
free admission to the house in the afternoon following
the recital.
For tickets and information please send s.a.e. to
The Cobbe Foundation, Hatchlands Park,
East Clandon, Surrey GU4 7RT.
This series is sponsored by
Pendleton May
Independent Insurance Investment & Pensions advice.
Kevin Elliott
Christopher Gradwell
Deirdre Dundas Grant
Anna Meadows
Potor Beanett
.
C_ontra bassoon:
Timothy Mallett
Timpani:
Roger Blair
Trumpets:
Percussion:
Trombones:
Julian Walton
Robert Kendall
Martin Nicholls
John Forster
Tuba:
General Manager:
Stephen Wick
Christopher Nall
Nigel Shipway
Harp:
Helen Tunstall
Piano:
Katl}leen A.tk'ms
Music Administrator:
Peter Holt
j
& EMT):)
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Bacvelary:
Shirley Ewen
The Hog's Back Hotel, situated high upon the Hog’s Back
ridge, with superb views of the Downs and valleys. Set in
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For a business lunch, family meal or entertaining clients, the
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HOG,S BACK HOTEL
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TEL: 0252 782345 FAX: 0252 783113
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CHARTERIED
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A full range of opportunities
available for the
1994/95 Season.
50th Anniversary Year
Contact: Kathleen Atkins,
Guildford Philharmonic Orchestra,
Millmead House,
Millmead, Guildford
Tel: 0483 — 444666
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98/110 HIGH STREET
GU13HE
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and wish them well for the 1993/94 Season.
16
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